Q & A Page #6

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


motherf***er on the block is me."

And then some jive-ass gives me

that stick and gun sh*t.

He said, "You motherf***er,

I shove that stick up your ass."

I say, "Okay, a**hole."

I hand him to my partner...

...we go in the alley, and wham-bam!

That scumbag loses his teeth.

He goes to the f***ing hospital, right?

But things got better when I was there.

I heard about you when I was still

at the Academy, and Chappie's told me.

Chappie knows it, too.

[Siren wails]

I don't get this.

They're f***ing animals.

I mean, two cops are just driving by, Al,

and some f***ing animal...

...drops a rock

through their f***ing windshield.

It's all coming apart, Al.

I want it the way it used to be.

I mean, you lose control of this jungle,

and you're finished.

You know, you've been on the street.

So, I break a couple of heads?

BRENNAN:
You know what we're fighting

out there, and they know it!

That's why they hate me out there.

This Texador, this Montalvo!

They want to set you up!

You can always find somebody

to set you up, right?

Not if you're clean.

Bullshit.

Like you rode with Moon Mullins, right?

REILLY:
Yeah.

He's retired now. He's in Miami.

It's Moon over Miami.

Let's say some eager-beaver Assistant DA

gets ahold of old Moon:

"We know you were taking.

We got your nuts in our hand.

"We know who you rode with.

BRENNAN:
"He didn't report us,

so he must've had his hand in, too, right?"

Cops don't rat that easy, Mike.

I know that, Al.

I know that, but you've got to picture Moon.

His pension could go.

In the meantime,

this DA is crooning in his ear:

"Give some names,

we'll give you immunity. Give us cops."

You think Moon will sit on that?

He'll give them the whole PBA roster.

Listen to me, Mike.

If you're dirty, you're going.

REILLY:
Anything you say to me

from now on, say it to me in the Q&A.

[Lntense instrumental music]

I gotta stand here...

...and take this sh*t

from Kevin Reilly's little boy?

I wish you were dead.

If your father was alive,

he'd raise a glass to that, too.

BRENNAN:
Hey, guys. Come here.

BRENNAN:
How's it going?

BRENNAN:
Hey, buddy!

There ain't nothing on Roger the Dodger.

Come on, I'll buy you a drink.

BRENNAN:
It's really calmed down in here.

Remember a couple of years ago?

BARTENDER:
What will it be?

BRENNAN:
Coffee. Chappie?

CHAPMAN:
Scotch.

BRENNAN:
They're looking to hurt me,

Chappie.

This will all blow over

in a couple of days, Mike.

BRENNAN:
No. They want to hurt me.

That phony Reilly, night-school commando.

Looks like a f***ing choirboy.

All those years he rode

with that bagman Moon Mullins...

...you don't tell me, he didn't take.

CHAPMAN:
Nobody knows what goes on

inside a police car, right?

You're f***ing right.

And this spic, Valentin,

what a f***ing nut case.

He spent all his time undercover,

sleeping in abandoned buildings...

...palling with the junkies.

Christ, who can trust a narc, Chappie?

I always heard he was clean.

BRENNAN:
Clean? I know my ass is clean,

because I wipe it.

Who do you trust, Mike?

You. I trust you, Chappie.

BRENNAN:
Because we've been through it

together and separately.

You're the whitest black man I ever knew.

That's the truth, Chappie.

Come on, help me. They want my ass.

How?

Promise me.

I'm glad you're looking for Montalvo...

...but you have to promise me.

If you find him, I talk to him first.

BRENNAN:
You know

what a f***ing snake he is.

I want him before you bring him downtown.

I don't know him. I don't know where he is.

Valentin's got a line on him.

You got Luis' home address?

I got it, but I don't know.

Come on, this is me you're talking to,

Mike Brennan!

BRENNAN:
Come on, Chappie. Come on!

VALENTIN:
Ten bucks.

[Mrs. Valentin speaking in Spanish]

VALENTIN:
Look at these prices, man.

You couldn't go somewhere else?

[Mrs. Valentin responds in Spanish]

VALENTIN:

Okay, okay! Here, I'm giving you $25.

I'm going to the video store.

What do you want to see tonight?

MRS. VALENTIN:
Whatever you want.

You decide. 'Bye, Junior.

VALENTIN:
Hey, Mike.

What are you doing up here?

Seeing you, Luis. That's what I'm here for.

How'd you find us?

What's your boy's name?

- Lucito.

- Lucito, huh?

I've got to see you alone, Luis. Now.

Sure, man. Come on.

VALENTIN:
Here okay, Lieutenant?

BRENNAN:
Perfect.

Shoot, Lieutenant.

BRENNAN:
I'm the wrong guy

to say that to, huh?

BRENNAN:
You got a line on Montalvo

and his corn-hole buddy, Jose?

Not yet, man, but we'll find him.

I got the stool brigade out looking.

Takes a stool to find a stool,

huh, Lieutenant?

BRENNAN:
You'll take him to Reilly?

Sure, man, where else?

BRENNAN:
I have to talk to him first, Luis.

BRENNAN:

Your friend Bobby Tex is trying to hang me.

BRENNAN:

I have to talk to him first before Reilly.

I don't know. That's rough, Lieutenant.

BRENNAN:
Jesus Christ.

Luis, you were in narcotics, right?

Yeah.

BRENNAN:
You worked with Alvarez,

Lopez and them guys?

Yeah.

$10,000.

What?

Don't play boy scout with me,

you n*gger with straight hair.

BRENNAN:
You worked with Alvarez,

Lopez and them guys.

VALENTIN:
I'm clean, Lieutenant.

Don't pull my prick, Valentin.

I know everything that goes on.

Everything.

BRENNAN:
You want particulars?

The Rubelo case.

- $80,000. You split it five ways.

- Four, I never went upstairs, Mike.

BRENNAN:
"Lieutenant" to you.

VALENTIN:
I'm clean, I swear.

BRENNAN:
Don't look down!

You look me in the face.

Now, are you in...

...for $10,000?

Yes, Lieutenant, yes.

The contract's closed.

$10,000, cash,

when you bring me Roger Montalvo.

Don't f*** with me on this one, Luis.

If you f*** with me...

...better you piss a kidney stone

through your hard-on.

I understand, Lieutenant.

That's a nice kid.

VALENTIN:
Chappie, it's me.

CHAPMAN:
Yeah.

He was here.

CHAPMAN:
He caught me, too.

VALENTIN:
That figures.

Don't talk on the phone.

CHAPMAN:
I'll see you tomorrow.

VALENTIN:
Chappie.

I'm all shook up.

This f***ing guy's scaring me.

Have a good day off.

Chappie?

REILLY:
That's right, $10,000.

BLOOMENFELD:
Wow.

BLOOMENFELD:
One good thing.

You can trust Chappie and Valentin,

they didn't have to tell you.

REILLY:
What do I do, Bloomy?

BLOOMENFELD:
Did you tell Quinn?

REILLY:
I see him at 2:30.

BLOOMENFELD:
Don't tell him.

BLOOMENFELD:

He and Brennan go back much too far.

From now on, you keep me informed

of everything.

None of this departmental-loyalty crap.

My boss is higher than your boss.

You're a lawyer now, don't forget that.

Your final responsibility is to the DA.

We can have this walk anytime you need me.

Don't worry.

Even if I were wearing a wire,

this noise would wreck the tape.

[Noise of heavy machinery continues]

I thought this was going to be a simple case.

My final word of advice is this, Francis.

You're letting a purveyor of narcotics, a liar

and a criminal affect your judgment.

There are not too many of us left in this city.

There's only room now for a select few.

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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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Submitted on August 05, 2018

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