Q & A Page #9

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


He's trouble.

It's too bad.

PETRONE:
He was good for us.

HANK:
Right away, Nick?

No. Tex first, that'll calm Mike a little...

...while we check out this Reilly guy.

It's probably bullshit.

It is. I've seen the guy. We're covered.

You see what happens

when you go outside your own?

Maybe it's better this way.

Clean out the pipes.

Start a whole new operation.

Anybody know any chinks?

[All laughing]

[Announcer speaking in Spanish]

FRANCONl:
Phillie.

PHILLIE:
How are you?

FRANCONl:
Danny, how do you like

San Juan?

DANNY:
It's hot.

ANNOUNCER:
Don't leave cars unattended

while waiting for passengers to disembark.

[Speaks in Spanish]

[Phone rings]

Yes?

It's me, Larry. I just got in.

- How about some dinner?

- You got it, my friend.

How about the Gobernador?

You took me there once. It was terrific.

BOBBY:
That's swell with me, Larry.

in the lobby of the Marriott.

And Bobby, I'm alone.

Leave the Cubans at home.

They scare the sh*t out of me.

FRANCONl:
You guys get here around 8:30.

I'll get here at 9:00.

Danny, you stay on the wheel

on that side of the island.

Phillie, when you start to us...

...l'll get out of his car.

He'll be on the driver's side.

You pop him, go for the head,

then vroom, you're out of here.

Separate flights back, it's a snap.

PHILLIE:
You got it.

[Jet aircraft engines overhead]

PHILLIE:
Danny, order me another margarita.

[Water beating down in shower]

[Laughing] That's some sign

you got on the door out there.

I guess since I'm here, I got no choice, huh?

Lieutenant.

Boy, that's some show you guys put on.

No, really.

- You were there tonight.

- Damn right.

Jesus, I could have sworn

those were girls up there dancing.

That chorus, they work really hard.

Jesus, that end guy, what legs.

That gets a guy horny, you know?

JOSE:
His name is Michael, like yours.

BRENNAN:
No sh*t? Wow.

You look pretty good up there yourself.

You want it, Mike.

Yeah, $100.

I pitch, you catch.

Let me get some of this crud off.

BRENNAN:
All right, let me help you.

We'll go over to your place, all right?

We'll take this Vaseline here.

And I've got K-Y.

Just wipe this off, a little bit.

JOSE:
So, what would you like me to wear?

JOSE:
Bra? Panties?

JOSE:
Garter belt?

BRENNAN:
Whatever, lover.

JOSE:
Give me a few minutes.

[Answering machine beeps]

MARTY:
[Over machine] This is Marty.

You come late again, you're fired.

[Answering machine beeps]

VINCE:
[Over machine]

This is Vince. Call me.

ROGER:
[Over machine] Hi, it's Roger.

You better be home tonight, you f*ggot.

I'm on a boat in f***ing Puerto Rico.

Can you believe it?

It's too tacky.

He calls it The Nancy. I could vomit.

I'm so lonely, I could die.

Call me tonight or I'll go crazy.

There's a payphone at the end of the pier.

I can hear it ring from the boat.

Let it ring a long time.

Bobby Tex has a boat with no phone.

Can you believe it?

[Answering machine beeps repeatedly]

Don't be scared, lover.

This isn't your first time, is it?

Come here.

Come here. Come on.

[Latin music playing on radio]

Turn around.

BOBBY:
Larry, it's this way.

It's this way.

BOBBY:
Something on your mind, Larry?

FRANCONl:
No, I'm just feeling the jet lag.

BOBBY:
Really? How come?

It's the same time.

Jesus, Bobby,

I never thought you'd do this to me.

I came down here to warn you.

They want to hurt you.

Cut the sh*t.

Your two gunsels are out of action.

BOBBY:
You're left holding it.

Jesus, Bobby, we made money.

Didn't I make money for you?

Chicken-plucking guinea,

if you make it back...

I ain't decided that yet.

BOBBY:
When you make it back,

carry this message for me to your bosses.

- I didn't put the finger on you...

- Shut up.

I'm getting out now.

I'm going to bury your boy Brennan,

but legally. I got my proof.

He jammed Sierra and Tony.

I want his ass.

If they stay in this corner,

they'll have another war on their hands.

I'll make Miami look like a little place

where the monks live.

BOBBY:
If they let me settle this now,

between me and Brennan...

...they're never going to see

or hear from me again.

They can name whoever they want

to run things uptown. I'll disappear.

I don't ask for separation pay.

I think you know my word is good.

BOBBY:
So do they.

Can I leave now?

Sure, get out of here, scumbag.

I've got nothing against you, Bobby.

I take orders like everybody else.

Get out of here,

before I make you beg for your life.

[Speaking in Spanish]

[Phone rings]

Yeah.

BOBBY:
Is this the Assistant DA Reilly?

Yeah, who's this?

BOBBY:
Bobby Tex.

What's up?

How about that whole f***ing city,

if you don't do what I say?

I'm at the Hilton. I'm here in San Juan,

and I want you on the first plane out.

And that leaves Kennedy at 7:00 a.m.

REILLY:
Why?

I got Roger the Dodger.

Does he finger Brennan?

BOBBY:
Brennan is the least of it.

How would you like Quinn?

What?

BOBBY:
You want me to keep talking?

REILLY:
No, I'm on my way.

Three things:

You talk to anybody, all bets are off,

we've got to disappear.

BOBBY:
Two, no wires, please.

REILLY:
Okay.

And three, no Chappie.

'Cause that spook...

I want to tell you that

he's been ratting you out to Brennan.

REILLY:
I'll bring Valentin and one other.

BOBBY:
Okay.

If you're not here on the first plane,

I'll know you went to your bosses...

...and then you're going to have

to look for us. So you just obey me.

You know, you're in over your head as it is.

That's the whole reason

they put you on this case.

[Phone rings]

Bloomy, were you asleep?

Of course, what's up?

I've got to go to Puerto Rico, first plane.

The eyewitness is there.

BLOOMENFELD:
What witness?

The Tony Vasquez killing.

It was no self-defense,

Brennan took him out.

Jesus.

You told Quinn?

I can't, Bloomy, he's in it.

My God, Quinn.

I don't know how yet, but...

...I trust this witness

and that's why I have to be on that plane.

Leave a night message

you won't be in tomorrow.

Not a word of this to anyone.

BLOOMENFELD:
Take your flight.

REILLY:
I'd like to bring two men.

Anything you need, I'll call administration

and have them authorize the tickets.

BLOOMENFELD:
I'll take this to the DA.

REILLY:
Yeah.

BLOOMENFELD:
This is very big,

you talk only to me.

Be careful. Good luck.

VALENTIN:
That's the best phone call

I've ever gotten.

Back to the land of my fathers, you know?

Not going to have time to enjoy it,

we're coming back tonight.

You're kidding me.

What the hell is going on?

I'm meeting Bobby Tex,

that's all I can tell you.

We may have to bring someone back.

It's going to be your ass...

...if anything happens to him.

- Shooting?

Zucker, you're still a virgin, man?

You heard about this guy, Al?

They call him "The Virgin."

Eighteen years on the force,

six on Narcotics, four on Safe and Loft...

...and the guy's never fired a gun.

Four years and I bury the damn thing.

ANNOUNCER:
TWA Flight Number 413

to San Juan...

Taxi.

[Light orchestral music]

Rate this script:4.0 / 1 vote

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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