Q & A Page #10

Synopsis: A young district attorney seeking to prove a case against a corrupt police detective encounters a former lover and her new protector, a crime boss who refuses to help him in this gritty crime film.
Genre: Crime, Drama, Thriller
Director(s): Sidney Lumet
Production: TriStar Pictures
 
IMDB:
6.5
Rotten Tomatoes:
87%
R
Year:
1990
132 min
517 Views


[Speaking in Spanish]

BOBBY:
Takes your breath away, don't it?

You hate like guys like me, don't you?

Well, $1,600 worth of silk on my back.

And you

with those Delancey Street originals.

I'm cops, you're robbers.

BOBBY:
Not to mention

our little competition here.

Some of this is going to get tough on you.

Because I want out.

I want to get away from you cops

and wops and junkies.

Are you turning?

Who the f*** are you?

You're talking to Roberto Texador,

not Roger "the Dodger" Montalvo, okay?

You know, you better look around.

There's a whole world out here.

BOBBY:
A nice one, maybe.

I want to take a look.

Right now, I'm sitting around here.

I'm waiting for a bullet.

Nancy.

She deserves better, don't you think?

I mean, who knows, maybe kids.

I really love her...

...and she likes me.

We're good together, you know?

BOBBY:
I told you, this can get tough.

So now that you're a good guy,

what about the bad guys?

Okay.

Do you know Brennan's on a contract?

I'm the last installment

and that troubles me.

Roger put me onto this.

- Who put the contract out?

- I've got to go back a little now.

Twenty-four,

maybe even twenty-five years.

You got a bunch of tough kids, PRs.

We used to call ourselves the Sinners then.

We were pretty tough.

We rumbled.

- I mean we rumbled with anybody.

- You were bad then.

- You ever do anything, make anybody?

- No.

BOBBY:
Nickel-and-dime stuff.

You protect a fruit stand, man,

a shoeshine parlor, you know?

BOBBY:
You run a few numbers for the

coons when they need extra people.

We liked to rumble, we got down.

[Bobby speaks in Spanish]

We had a kid, his name was Skinny.

He used to deliver for the A&P.

He sort of thought we were the thing.

He had a pistol.

If we had a bad rumble coming up

we used to take this kid along.

In those days it was okay

to use a ringer or two.

Some of these kids were coming all the way

from Long Island. They were a little stupid.

Then anyway, this kid, Skinny...

See, I'd never seen anyone that bad.

This kid would stand

in the middle of the street...

...with the bullets flying all around him.

But he didn't give a sh*t.

This kid would empty his rod, man.

He wouldn't even take cover

when he'd go to reload.

This guy was trying to show the PRs

he had more balls.

He wasn't Puerto Rican?

No, he was Irish, a little older.

BOBBY:
He couldn't hang with his own,

because there was nobody up there for him.

Wait a minute, I'm ahead of you.

Skinny grows up...

That's what I'm telling you.

Kevin Tharon Quinn. Skinny.

- You guys had something on him?

- Yeah.

One day we're talking away to

this little bodega owner we knew, Sal Garcia.

Sweetest little guy.

We wanted to raise him,

$5 a week, it was a goof.

Come off a rumble,

we'd beat the sh*t out of a gang.

- Who was it?

- The Dyckman Street Angels.

Skinny was with us with his piece.

But the little guy Garcia,

he starts carrying on.

He says, "That's it, I'm not paying now.

Get the f*** out."

He picked up a bat, right?

Skinny popped him.

REILLY:
Jesus H. Christ.

Just like that, I couldn't believe it.

Twelve years ago, Al...

...l'm down in General Session,

but there's a big trial going on downstairs.

- Remember the Fuentes case?

- Yeah, one of Quinn's big wins.

I see him in the corridor,

you know, he was...

...very different.

But he was the same.

You know what I mean?

We're still talking about good ol' Skinny.

So what's he got on Brennan...

...to make him the hit man?

I don't know.

That shouldn't be too hard to find out,

Brennan's wide open.

Give me a Q&A on this,

there's no statute of limitations on murder.

I'm not a rat.

BOBBY:
You tell Quinn that.

He has nothing to fear from me.

All I want from him...

...he calls Brennan off.

Now he calls Brennan off...

...I never heard of Skinny.

BOBBY:
That's an even trade, man.

Quinn goes on wherever he's going.

Brennan goes on being a cop.

You're going to come out a hero.

Me?

I'm going to disappear.

I'm going to take Roger Montalvo's

signed statement in my pocket...

...l'll get it done right here.

What makes you think I'll be a party to this?

Because I know

how guilty you feel about Nancy.

You know this is her chance for a life. So?

You talk to Quinn, okay?

He might even be expecting you.

But if I don't hear from you in a week,

me and Roger are going to disappear.

You'll be the only one left.

And you're going to be sitting

on a lot of information.

BOBBY:
That's not a good place to be

with Brennan back there on the loose.

[Phone rings]

REILLY:
Bloomy.

I've been waiting for your call. Tell me.

We leave in an hour,

the plane gets in at 3:00 a.m.

I've got to lay this out for you and the boss.

It's everything I told you and worse.

Quinn.

Up to his lips, Bloomy.

The District Attorney, his Executive

Assistant, and Administrative Assistant...

...will meet you at 4:00 a.m.

They're waiting for my call now.

You got Roger with you?

REILLY:
Not this trip.

Send your cops home then.

They're not to come here, you understand?

REILLY:
I got it.

even if your plane is late.

[Brennan whistles]

BRENNAN:
Cangrejos Yacht Club.

[Sound of airplanes in background]

[Festive Latin music]

[Speaking in Spanish]

DA:
Isn't Texador concerned

about his own complicity...

...in drug dealing?

REILLY:
He's concerned about

getting Brennan off his back.

Our conversation was one-on-one,

he can always deny it.

BLOOMENFELD:
Do you believe him

about wanting out?

REILLY:
Yeah.

BLOOMENFELD:
Why?

He's in love.

Has been for some time.

That's a lot of love,

to give up the money he's making.

I believe him.

Right now he thinks

you're going to carry his message to Quinn.

Does he have any reason to believe that?

- What do you mean, sir?

- Are you vulnerable to him in any way?

In no way, sir.

We must work quickly

and in complete secrecy.

You will function as usual, Reilly.

We will conduct the investigation

into the Brennan-Quinn relationship.

Bloomenfeld, any suggestions?

All the cases they've made,

there must be one...

...that allowed Quinn to set this up.

Brennan's been on the edge so often.

If it isn't airtight,

maybe we can get enough to squeeze Quinn.

REILLY:
What do I do about Texador?

I'm supposed to call him.

DA:
Sit tight, he said you've got a week.

I want to tell you, Reilly,

you've done a marvelous job.

This is not an easy one.

REILLY:
Thank you, sir.

[Captain speaking in Spanish]

ROGER'S LOVER:
No!

ROGER'S LOVER:
No!

You're not going to yell, are you, Roger?

BRENNAN:
It's no use anyway.

The captain left a sinking ship.

I think he was disgusted with

all the corn-holing going on down here.

BRENNAN:
I'm going to take my hand away.

And you're going to be quiet.

BRENNAN:
Right, Roger?

You know how long

I've been looking for you, you spic fink?

ROGER:
Mike, I was so scared.

BRENNAN:
You shut up.

BRENNAN:

I'll tell you when you're allowed to talk.

BRENNAN:
You just shake your head

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Sidney Lumet

Sidney Arthur Lumet ( loo-MET; June 25, 1924 – April 9, 2011) was an American director, producer, and screenwriter with over 50 films to his credit. He was nominated for the Academy Award for Best Director for 12 Angry Men (1957), Serpico (1973), Dog Day Afternoon (1975), Network (1976), and The Verdict (1982). He did not win an individual Academy Award, but he did receive an Academy Honorary Award and 14 of his films were nominated for various Oscars, such as Network, which was nominated for ten, winning four. The Encyclopedia of Hollywood states that Lumet was one of the most prolific filmmakers of the modern era, having directed more than one movie a year on average since his directorial debut in 1957. He was noted by Turner Classic Movies for his "strong direction of actors," "vigorous storytelling" and the "social realism" in his best work. Film critic Roger Ebert described him as having been "one of the finest craftsmen and warmest humanitarians among all film directors." Lumet was also known as an "actor's director," having worked with the best of them during his career, probably more than "any other director." Sean Connery, who acted in five of his films, considered him one of his favorite directors, and a director who had that "vision thing."A member of the maiden cohort of New York's Actors Studio, Lumet began his directorial career in Off-Broadway productions, then became a highly efficient TV director. His first movie, 12 Angry Men (1957), was a courtroom drama centered on tense jury deliberations. Lumet subsequently divided his energies among other political and social drama films, as well as adaptations of literary plays and novels, big stylish stories, New York-based black comedies, and realistic crime dramas, including Serpico and Prince of the City. As a result of directing 12 Angry Men, he was also responsible for leading the first wave of directors who made a successful transition from TV to movies.In 2005, Lumet received an Academy Award for Lifetime Achievement for his "brilliant services to screenwriters, performers, and the art of the motion picture." Two years later, he concluded his career with the acclaimed drama Before the Devil Knows You're Dead (2007). A few months after Lumet's death in April 2011, a retrospective celebration of his work was held at New York's Lincoln Center with the appearance of numerous speakers and film stars. In 2015, Nancy Buirski directed By Sidney Lumet, a documentary about his career, and in January 2017 PBS devoted its American Masters series to Lumet's life as a director. more…

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