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Driver is in survival mode and kind of fills Irene in. He realizes that the goons know who he is. Driver and Bernie finally meet under the auspices of Driver returning the money. The two stab each other.
On its surface, Drive has all the trappings of a neo-noir and a great one at that. Before Driver meets Irene, he seems aimless, going through motions. After their introduction, his decisions, and therefore character arc , are more purposeful.
Amini does this with minimal dialogue and space the entire screenplay is only 89 pages. Take, for example, the following paragraph:. Irene pauses, then looks at Driver. Amini is emphasizing this importance to the director by spending the time describing it in painstaking detail. This dialogue is fine, but Amini gets it across more efficiently, and more devastatingly, with just three lines. Director Nicolas Winding Refn cuts down the dialogue even more. Take a look:. The scene-stealer of Drive is Albert Brooks.
His Bernie Rose is menacing without being cartoonish. His antagonist introduction is pitch-perfect, sitting in a pizzeria getting served Chinese food and scaring the crap out of a waiter. When a script has so little dialogue, each line carries extra weight. Amini knows this and delivers. But, once more, the most important plot movement is in the scene direction. Amini is telling the story through looks— both characters are sizing each other up, and they understand each other.
Ironically, because the dialogue is so sparse in Drive , there are a multitude of memorable lines. Here are just a few more:. What else are we supposed to do? Smartly, however, Amini emphasizes that the violence Driver commits is not without its consequences. Amini uses the final act of Drive to further a powerful theme , and one that is all too rare in action films: violence begets violence, nothing more.
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