Analyze That script
Analyze That (2002)
Synopsis: Mob boss Paul Vitti (Robert De Niro) is nearing the end of his term in Sing Sing, and the FBI agents monitoring him are baffled. Day after day they watch as New York's most notorious gangland figure walks around his cell in a semi-catatonic stupor. Is Vitti having a nervous breakdown because of recent threats on his life or is his odd behavior merely a foxy ploy to get him sprung from jail early?

FADE IN:

INT. DIMLY-LIT BAR - NIGHT

Two men, CAESAR and MARTY "DUCKS," stand at the end of the

deserted bar, talking quietly, oblivious to the exotic dancer

grinding her pelvis on a pole in the middle of the small

stage. Body language and charisma tell us that Caesar is the

boss, "Ducks" his lieutenant.

DUCKS:

It's Peezee. Gotta be. He hates your

fuckin' guts.

CAESAR:

(brooding)

I don't know.

DUCKS:

Who else knew about the money? And

how did Peezee know they popped Tony

Cisco when we didn't even hear about

it 'til last night?

CAESAR:

(sighs heavily)

I don't know.

DUCKS:

(pressing)

What is so hard to understand here?

You said yourself Peezee was a

mamaluke and you couldn't trust him.

Now suddenly you're soft on the guy?

CAESAR:

I just don't think it was him.

DUCKS:

Okay, I'll bite. If not Peezee, then

who?

CAESAR:

(slowly rising to

his full height)

I think it was you, Ducks.

Caesar starts to walk away as the bartender, now holding a

sawed-off shotgun, moves closer to Ducks. The exotic dancer

splits in a hurry through a curtain at the back of the stage.

DUCKS:

(scared)

You gotta be kiddin'!

Caesar stops at the door where two of his soldiers have

2.

appeared, holding AUTOMATIC WEAPONS.

DUCKS:

Caesar, you know me! What kind of

fuckin' idiot would I have to be to

try that shit with you?

CAESAR:

A dead fuckin' idiot.

As he walks out the door, the soldiers OPEN FIRE on Marty

"Ducks." Caesar doesn't look back.

PULL BACK TO:

TV SCREEN:

The title credits come up on the made-for-cable series we've

been watching, "Little Caesar." CLAPPING AND CHEERING from

O.S.

WIDEN TO:

INT. SING SING PRISON - NIGHT

Maximum-security prisoners are gathered around watching their

favorite show in the rec room. In the front row is PAUL VITTI,

former New York crime boss, and a couple of other wiseguys.

VITTI:

Garbage. Change the channel.

WISEGUY:

Okay, Paul.

The WISEGUY gets up and starts switching channels on the TV.

A couple of CONVICTS in the back start to protest.

CONVICT:

Hey! What're you doin', asshole!

Vitti turns and stares at them. They fall silent

immediately.

CONVICT:

Sorry, Mr. Vitti. Didn't mean any

disrespect.

WISEGUY:

Punks.

Vitti turns the page and sees a huge headline in the Post:

MOB SHRINK TELLS ALL. He gets up, agitated.

3.

VITTI:

I'm going to bed.

Vitti stands up and heads back to his cell.

CUT TO:

INT. CELL BLOCK - MOMENTS LATER

As Vitti approaches his cell, he sees a prison guard standing

by. His cellmate, EARL, a giant of a man, comes out of their

cell carrying his bedroll and a box containing his other

meager possessions.

VITTI:

(suspicious)

What's goin' on, Earl?

EARL:

They're transferring me.

VITTI:

Why?

EARL:

(shrugs)

Don't know. Thanks for looking out

for me, Mr. Vitti.

VITTI:

Yeah. Take it easy.

He notices something in the box.

VITTI:

Hey, Earl. Is that my after-shave?

EARL:

(blanches)

I'm sorry. I just grabbed stuff!-- I

didn't know -

VITTI:

That's okay. Keep it. Go ahead.

EARL:

Thanks. See you around.

Earl exits with the guard. Vitti hesitates a moment, then

warily steps into his cell.

CUT TO:

INT. VITTI'S CELL - MIDDLE OF NIGHT

The cellblock is quiet. A guard stops outside the darkened

cell, looks around to make sure no one is watching, then

4.

pulls out a GUN with a SILENCER, reaches through the bars and

FIRES REPEATEDLY into Vitti's shadowy form under the blanket.

Then he slips away as quietly as he appeared.

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Kenneth Lonergan

Kenneth Lonergan (born October 16, 1962) is an American playwright, screenwriter, and director. more…

All Kenneth Lonergan scripts | Kenneth Lonergan Books

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