Last Exit to Brooklyn Page #3

Synopsis: Taken from Hubert Selby, Jr.'s controversial novel. A gallery of characters in Brooklyn in the 1950s are crushed by their surroundings and selves: a union strike leader discovers he is gay; a prostitute falls in love with one of her clients; a family cannot cope with the fact that their daughter is illegitimately pregnant.
Genre: Drama
Director(s): Uli Edel
Production: Sony Pictures Home Entertainment
  6 wins.
 
IMDB:
6.8
Rotten Tomatoes:
78%
R
Year:
1989
102 min
324 Views


Why don't you go away and die!

- Why are you torturing me?

- Oh, God, Arthur, stop!

Why me?

I can't stand him, Momma,

I can't stand him. I can't stand him.

Baby, baby.

Jesus loves you.

- Hey, Spook, how is it going?

- Fine. Fine.

You're not bullshitting me

about that bike, are you?

No, no, no. I'm getting it.

Really.

'Cause I'm really lookin' forward

to getting a ride on lt.

How come you know her?

She's around. You know,

from the neighborhood.

Yeah, well, I don't like you

knowing girls like that. Come on.

- Ow.

- Come on.

You understand?

For Christ's sake, Ella,

put some clothes on her.

Don't listen to your crazy

father, Donna. Stand still.

- Okay. You go to your room.

- I've seen her bush before.

I'm fixin' up my old dress, so

she can wear it for her wedding.

- It ain't gonna work.

- It's gonna work. It's gonna work.

I'm gonna add a little extra

material and it'll work.

It ain't gonna work.

Not with a gut like that.

She's so big, Ringling Brothers

have been circling around.

Hey, Joe, shut up,

will you shut up?

- Mamma. - You see, you're

upsettin' her and the baby.

How can I be upsettin' the baby

when the baby ain't even born yet?

Oh, yeah? How would you like to be

up there, listening to you yell?

I wouldn't be up there

in the first place,

because I have nothin' to do

with that stinky Tommy.

- Mamma!

- What do you got against Tommy?

He's a nice boy.

No kid that hits me over the goddamn

head with a chair is a nice boy.

He's marrying her, ain't he?

He's a nice boy.

Mamma!

Look what you made her do.

- Oh, Jesus! What the hell is that?

What are you stupid or something?

She broke her water. Now

she's going to have the baby!

She can't have the baby yet. It is

too soon.She ain't even married yet!

Okay, come on.

Wait a minute.

Vin, this guy ain't gonna wait

no minute for his blow job.

You f***.

What are you waiting for?

What's the matter with you?

- I don't like guys pushing

my head! - Come on, goddamn it!

- Where the f*** were you?

- What are you talkin' about?

Oh, you knew I had him over there.

Why didn't you konk him?

What, that guy? Jeez, we thought

it was your new boyfriend.

- You thought it was funny, you bastards?

- "I don't like guys pushing my head!"

F*** all of you.

- All right, come on, give.

- F*** your mother.

- Give me the bread. - You didn't

do nothing. I keep the money.

Hey!

- Christ, you work cheap.

- Give me my money.

F*** whose mother?

You cheap thieving bastards!

Give me a drink, Willie.

Oh, we're closer, give us one first.

- Yeah, give us one here. - Give me

mine first. You girls screw yourself.

Hey, you shouldn't talk

to my girlfriend like that.

- That douchebag? - Douchebag?

Who you calling a douchebag?

Soldier, you should be able

to do better than that.

Hey, now you keep your shitty

mouth shut, you hear me?

Shove it up your ass, you...

Quit squawking here.

Who needs a drink?

You want a drink?

I'll buy you a drink.

- Sure, you can buy me a drink.

Nothing to do with her.

- But not in this crummy dump.

- She don't need nothing.

- See, he ain't going nowhere.

- Oh, yeah?

Hey, where are you going?

Hey, we could go to this bar

I heard about in Manhattan.

Look at that.

- A lot of officers go there.

- Manhattan, huh?

- Yeah.

Yeah, okay.

Hey, go that way first.

What's she doin'? How we

supposed to lump him in a cab?

Don't worry about it,

she'll give us a signal.

Hey, Tralala, where are you going?

- What the hell kind of signal

is that? - Oh, that was cute.

Where are you going?

Hey, Tralala, where are you going?

- Hey, what's bugging her?

- Who knows? Who cares?

Look, let's just get high, all right?

Who's springing for a cab?

Don't look at me.

- Tony?

- No f***in' chance.

Hey. What about our boy Harry?

Harry.

Harry.

Come on, fellas.

- Here, keep the change.

Give me a receipt. - Okay.

No, no, I'll fill it in. Thanks.

Take it easy.

- Sure.

God, I'm dying for a drink.

Hey, somebody's coming down.

Hey, is this

where the party's at?

You sure we got

the right party here?

Sweetheart, I'm Vin,

what's your name?

What's the matter with

that broad, don't she talk?

- Hey, sweetchips. How's the leg?

- Oh, fine. Thank you.

Yeah? Well, you know Sal and Tony.

- And this is Harry from the union.

- Hi, Harry.

Everyone, this is Miss Camille.

And this is our hostess

Miss Goldie.

Christ, that f*ggot

looks like a showgirl.

And over here is Regina.

Wow.

Hey, Vin, You didn't tell us

this was Georgie's party.

Everybody, sit down and relax.

- Give them the booze, Harry.

- Huh?

- The booze.

- What?

- Give them the booze.

- How marvelous, more libations.

- Hey, hey, watch your language.

Hey, you know, Harry buys

whatever he wants, booze, food,

anything he wants and

the union pays for it.

You must be quite a big man

in the union, Harold.

Yeah, I'm in charge of the strike.

Are you on strike

against sitting down?

Rosie, be a dear,

and refill the ice bowl.

- Mmm-mmm.

- Do as I say at once,

or you'll be out on the street with

the other freaks, Miss Cocksucker.

Hey, don't worry, chippy.

Nobody's gonna hurt you.

Maybe just f*** you a little.

- What a weirdie she is. - At least

we got one real one here, huh?

You should have asked us

to show you how, Harold.

There's no sense in wasting

good pot on amateurs.

I didn't realize your

friends were so square.

Let me show you

how to do it, Harold.

It ain't that hard, Harry. All you gotta

do is put it in your mouth and suck.

You know somethin'?

You're good looking.

And I'm gonna show you a good time.

Yeah, sure, I'll show

you the time of your life.

Light.

Please?

Yeah, sure.

Second Looey, huh?

Yeah.

- I just got out of OCS. - And

they're already shippin' you out?

I got my orders today.

So are you buying me a drink?

Yeah. What would you like?

This dump is dyin'. Maybe we ought

to go somewhere else to drink.

- It's okay with me. - Wait here,

I gotta tell my brother I'm leaving.

I thought you were gonna show me

a good time.

You bet.

The waiter's here. He wants

to know if you have any money.

- Show him your money so I

don't have to pay. - You bet.

There, you see,

I told you he had money!

- So, where are you from?

- Idaho.

Have you ever been there?

- To Idaho?

- Yeah.

I'm from Brooklyn, man.

I don't even know around here.

I don't understand.

If you're from here...

This is Manhattan. I don't

go out of the neighborhood.

New York is a lot different

than I thought it'd be.

The whole time I've been here, it seems

like all I've done is walk around by myself.

I was startin' to think I wasn't

gonna meet a single soul here.

You got anything to drink

at your hotel?

A sack of whiskey

I brought from home.

I was saving it for

my last night here,

but we could drink it

if you like.

Is it far from here?

No, it's just a couple

of blocks. We could walk.

Okay.

Thank you, Rosie. Be a good

girl, scoop up the empties.

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Desmond Nakano

Desmond Nakano (born 1953) is an American film director, screenwriter, film score composer, and actor. He is Sansei, or third-generation Japanese American. He directed the feature films, White Man's Burden (1995) and American Pastime (2007). His writing credits include the screenplays for the dramatic feature films Last Exit to Brooklyn (1989), American Me (1992), White Man's Burden, and American Pastime. more…

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Submitted on August 05, 2018

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