Q & A Page #8

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


for me right now.

I won't do that to you, Bobby.

You think I'm gonna team up

with some f*ggot stool-pigeon.

You f***ing little douchebag.

I'll take you out right now,

for Tony and Sierra.

- Yeah, but you won't.

- Don't be sure.

Don't be stupid!

You gonna knock off a police lieutenant?

Not unless you're crazy, baby,

and crazy you are not.

I'm your witness,

with me you can take him out legally.

- I'm the one who can...

- You're a dead man when he finds you.

What do think I contacted you for?

So that you could tell me this?

You got the money, the boats,

the planes and you need me...

...alive.

I can't go to the grand jury without him.

There's no doubt now,

Brennan took Tony out.

That's why he offered money for the stool.

Any word on where he is now?

No man, nothing's happening.

Chappie, you said that if Brennan

came up dirty, you won't take him in.

I'll accept that. But nothing short of it.

You want me to tail him?

- Lf he gets to the stool...

- All right.

- You're a cop, Chappie.

- No sh*t.

VALENTIN:
You're a natural shadow,

Chappie, invisible in the night.

F*** you, fartmaker.

REILLY:
Should I put somebody else

on this?

No, man, he'll do it.

He'll hate it, but he'll do it.

I'll ask you straight.

You been in touch with Brennan...

...since this investigation started?

- No, why?

I think he's getting some information

about what we're working on.

F*** this sh*t. F*** this sh*t, man.

I had to ask, that's all.

Look, choirboy, I don't spy, lie, or cheat.

You knew how I felt.

CHAPMAN:
You want me off, I'm off.

REILLY:
No.

REILLY:
Sorry I had to ask.

CHAPMAN:
Anything else?

Got to admit, you and Brennan is

not exactly a natural combination.

CHAPMAN:
Yeah? Why not?

Jesus Christ,

I mean every word out of his mouth...

REILLY:
You'd know better than anybody.

It's no big deal, it's just his way.

At least with him, it's out in the open.

How do you take it?

I told you, no problem. He's him. I'm me.

What about the others?

What others?

REILLY:
The ones not so out in the open.

F*** them. They're them, I'm still me.

Can you...

Can you spot them?

Sh*t, yeah.

You see,

they ask a lot of dumb questions...

...about what it's like

being a black policeman.

Sh*t like that.

Anything else?

No, Chappie.

Listen, Al, you're not a bad kid,

but get one thing straight about me.

You want to know what color I am,

inside and out?

I'm blue.

When I was in the Corps, I was olive drab,

or camouflage, or dress blues...

...or whatever was

the f***ing uniform of the day.

CHAPMAN:
You got it?

REILLY:
I got it.

Y'all take care now, you hear?

[Tense instrumental music]

[Speaking Spanish]

[Fast-paced,

suspenseful instrumental music]

Oh, God, it should have come to this.

BOBBY:
You'll be comfortable soon.

ROGER:
Where're we going?

Puerto Rico. You'll stay on a nice boat.

I get seasick. I absolutely hate boats.

Don't be an a**hole. It's tied up at my dock.

All the candy you need.

A nice baby-sitter. You want a baby-sitter?

I'm going to try to be true to Jose.

It'll do me good.

Ay Dios mo, what did I ever do

to deserve this?

Everything.

Anything I can do for you

while I'm down here?

ROGER:
Sorry, Nancy,

but I just don't eat fish.

Now listen to me, maricn.

Sometimes you're not that funny,

you know what I mean?

Just keep respect.

Oh, you brute.

[Rhythmic instrumental music]

AGNES:
That ends my official duties.

I will leave you now.

AGNES:
Dirty stories are okay,

even stag films...

...but there will be no girls.

QUINN:
Send Gerald back with the car.

AGNES:
I will. Goodnight.

QUINN:
Goodnight.

Leave those. Thank you.

What conclusion did you reach, Bob?

The best.

Your recognition factor is almost as high

as the Governor's or the Mayor's.

The image factor couldn't be better.

Crime fighter, straight as an arrow.

Poor boy who made it, ex-cop.

You're strong in Queens, Staten Island,

the Jewish and Italian parts of Brooklyn.

Nassau and Suffolk are a wrap.

Now, the good news.

Stronger as we move upstate

except for isolated pockets of blacks...

...around Troy, Utica, Buffalo.

Nothing we didn't expect.

But that together with Levy for governor...

...Amalfitano for lieutenant governor...

...it's the perfect ticket.

Money clearly is no problem.

Just look at this crowd.

And that's not counting Agnes' dowry.

That's a lot to invest

for an Attorney General.

I'm ahead of you.

Levy thinks he can be

the first Jewish president.

MAGNUS:
I told him it's not time yet...

...but when he gets the bug,

what do you do?

He figures, at worst, vice president.

In two years time,

he's gonna make a run for it.

He resigns the governorship,

Amalfitano moves up.

MAGNUS:
If we take it that year.

ALTSHUL:
We will.

We move Amalfitano to the Supreme Court,

maybe even the Federal bench.

That leaves you sitting in the catbird seat

for the special election.

MAGNUS:
So, Kevin?

Let's go for it.

SEABURY:
Kevin...

...you've fought the good fight.

Holding fast year after year.

Here's to the next Attorney General.

Hear, hear.

[Birds chirping]

BRENNAN:
You need a Puerto Rican

skag peddler?

For six years I've been with you wops.

I've saved you guys from big junk collars,

traced lost stuff, fingered stools.

I've even gone on

special assignments for you, Nick.

You're telling me you need Bobby Tex?

He runs a good operation, Mike.

HANK:
Let's wait,

see if we can straighten this out...

If you had a square a**hole,

you'd sh*t bricks.

- I don't want to hear that sh*t.

- Watch your mouth.

You're gonna put on your Al Capone face?

You want to step out right now?

You want guns right here?

You want to go in the kitchen with knives?

You're talking to me.

I chew up you f***ing wise guys

and spit out fags! You hear?

Mike, come on, my friend.

We're all friends here.

Why are you so angry?

I'll tell you why, Nick, I know you guys.

You'd crawl over your dying mother

to f*** your sister.

When I need you, me, a harp...

I know how you talk about me.

I get this "he runs a good operation" sh*t.

I'm telling you Nick,

if I go down on this one...

...l'm taking everybody with me.

And listen,

if you're thinking of taking me out...

...they got this new Assistant DA Reilly.

He's a real choirboy.

He likes me. He thinks I'm hot sh*t.

He gets a big envelope

the first day I don't show up for work.

Mike is right.

What are we talking about here,

this Bobby Tex, a spic stool-pigeon?

We're going to lose

a man like Mike here for that?

Bury him, Hank.

PETRONE:
Larry, you set it up.

You're close to him.

HANK:
We'll get on it tonight, Nick.

PETRONE:
Done.

You see, Mike, no reason to get angry.

I understand...

...it's not like the old days.

We got spics and n*ggers

mixed up with everything.

With us, the police force,

detectives, inspectors.

You come to a crime scene,

you don't know who to shoot.

Go home, Mike, it's over.

Okay.

Sorry, Hank.

[Petrone saying 'crazy' in Italian]

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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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