Q & A Page #2

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
524 Views


We were just telling some old war stories.

Mike was just telling us

what cojones he got.

The jungle bunny over here

is laughing his ass off...

CHAPMAN:
You ain't nothin' but a n*gger

with straight hair.

Gentlemen. You're in violation

of Police Department directives.

Racist epithets are not permitted.

Excuse me, sir.

Who's a racist? Me and Chappie?

We're the minorities, man.

You're damn lucky to get us.

If we quit, some Federal judge

take away your money.

Brennan, he ain't no racist.

He hates everybody.

He's an equal opportunity hater.

[All chuckle]

Lubin, what the f*** took you so long?

I almost got mugged on the subway.

Where were you pricks when I needed you?

Would all present please leave their name...

...badge and assignment number

with the stenographer before leaving?

REILLY:
Thank you.

Now at approximately 12:30 this morning...

...something happened.

REILLY:
Right, Lieutenant?

Correct, Mr. Reilly.

Where did this something happen?

At 3111 Park Avenue,

city and county of New York.

Tell us in your own words,

tell us what happened.

Whose words is he going to tell it in?

Lubin, I make the jokes around here.

LUBIN:
Yes, your holiness.

I think it best not to include

that last exchange, Lubin.

Not if I'm gonna be off on Passover.

[All chuckle]

Earlier this evening, I was at the 23

on 104th Street between Park and 3rd.

I was investigating

the homicide of one Julio Sierra.

Investigation revealed

that Sierra's lifelong friend and associate...

...Antonio Vasquez, had been cheated

out of a vast sum of money...

...by the aforementioned Sierra.

So a little after midnight,

I get a call from a reliable informant...

...as to the whereabouts

of this Antonio Vasquez.

I realized that this Vasquez should

be questioned in the murder of Sierra...

...as he had ample motive.

He's got a long yellow sheet of violence.

BRENNAN:
I went to this after-hours joint,

a club at 3111 Park Avenue.

The door was open.

I saw the deceased, Tony Vasquez.

He was known to me as Tony

from previous encounters.

I said, "Tony, come here.

I want to talk to you."

Or words to that effect.

I don't expect nothing. I'm nonchalant.

Tony comes over and we talk.

I no sooner say the words "Julio Sierra"

to Tony and he goes crazy.

He starts screaming at me, "I'll kill you!"

Or words to that effect.

I don't mind saying that I was scared

because Tony is known as a shooter.

I saw him reach. I saw a flash of metal...

...and in fear of my life,

I drew my gun and popped him.

And God was with me.

I hit him in the head.

Then the people emerged from the club

and started shouting abuse at me.

They were pushing and shoving.

I pointed out to them

that the deceased had a pistol in his hand.

Then I held them back at bay

until reinforcements arrived.

BRENNAN:
Ballistics is checking out

whether the gun of the deceased...

...is the same gun that killed Julio Sierra

because they were both.45 caliber.

That's about it, Mr. Reilly.

Anyhow, I'm sick a human life was lost.

But Jesus, I mean, it was quick!

It was him or me!

Lieutenant, you certainly covered everything.

LUBIN:
You want that last remark

on the record?

That was a spontaneous, refreshing reaction.

I'd leave it in, Reilly.

Yes. Leave it in.

I'll be happy to answer

any more questions, Mr. Reilly.

We nave no more questions.

Do we, Mr. Quinn?

That's up to you to decide.

Okay, thank you. End of statement.

All right, thank you, gentlemen.

Everybody go home and get some sleep.

- You handled that well, Francis.

- It's pretty cut-and-dried.

It's a good case

for you to cut your teeth on.

All you need for the grand jury is...

...statements from the witnesses at the club,

ballistics and autopsy reports...

...and a statement from Brennan's informant.

I want you to shield the identity

of the informant from everybody.

- Is that clear?

- Yes, sir.

Good night, everybody.

Good night.

He's pretty impressive, isn't he?

As Durante used to say,

"You ain't seen nothing yet!"

[Sounds of traffic and construction]

The rifling and ridges match up

with the.45 found in Vasquez's hand.

Ballistics will confirm it was the same gun

used in the Julio Sierra killing.

We're wrapping up two homicides.

We're looking good here.

That's a great introduction

to the Homicide Bureau.

Please, it's Al.

I was a cop too long,

I'm not used to second names.

I rode with Sabartelli, Forenzi, Mullins...

Moon Mullins!

You couldn't call that to his face.

That f***ing Mullins,

he was happy doing his stint in uniform.

Sure, man.

Why you go and ruin a good thing?

What about the witnesses?

Let's see here, we got Santo Rivera,

Maxie Correa...

...Angel Delgado...

- Rice and bean choirboys.

F*** you, night fighter.

We got Luis Alvarado...

...Jose Castillo, Mauricio Valdes...

...Roberto Texador,

also known as Bobby Tex...

Bobby Tex.

We got some funny fish in the net,

two scungili up there, too.

- Italians in a PR joint?

- Fellas, we gotta be alone.

We've got Lorenzo Franconi,

a.k.a. Larry Pesch...

...and his bodyguard, Bruno Valli.

REILLY:
Larry Pesch, Bobby Tex. That's

heavy stuff. These guys don't go uptown.

VALENTIN:
Not for a long time, man.

I used to see Bobby Tex

playing stickball up by San Juan Hill.

Now he's living on Sutton Place

and I'm still stuck in the projects.

Get into dope.

That's the trouble with these PRs.

They breed like rabbits,

don't do any work...

...and expect Welfare

to put them on Sutton Place.

Up yours, darker-than-me.

I get twice the work done around here.

- You know why?

- Why is that?

Because you're always stopping

for watermelon.

What's up with you people

and that watermelon?

Who else?

We got Bobby Tex's old lady,

Nancy something. Nancy Bosch.

Who?

VALENTIN:
That's what it says, Nancy Bosch.

She's been with Bobby Tex a few years.

We keep a file on him.

You should read about the parties

this guy throws.

One time he had the whole cast over

from some Broadway show.

They had to bring in the coke

in wheelbarrows.

I guess I'll get mine when I get to heaven.

The only way you'll get to heaven

is if they have their groceries delivered.

Let's say we stop this sh*t.

Chappie, you finish up ballistics

and the autopsy report.

Valentin, you take the witnesses...

...but I want to see Franconi,

Bobby Tex and Nancy Bosch.

So get them down here.

Hey.

I'll never get used to it, Al.

You got DAs at one table, you got

judges at another and defendants at a third.

How many deals do you think get cut

in the men's room? Don't answer that.

- What are you drinking?

- Some soda. Can I have a soda?

An Irishman turning down a drink?

The prophet Elijah's coming

for Passover this year.

Mr. Bloomenfeld, an honor.

Once again, we meet.

Pearlstein, f*** off!

I'm seen talking to you and

shooflies will follow my children's children.

Al, this is Preston Pearlstein.

When Jesse Jackson used

the word "Hymie," he meant him.

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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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