Information
| Year: | 1990 |
| Rating: | 8.8(228498) |
| Listed in: | Biography, Crime, Drama |
| Directed by: | Martin Scorsese |
| Actors: | Robert De Niro Ray Liotta Joe Pesci Paul Sorvino Frank Sivero Lorraine Bracco |
| ""As far back as I can remember, I've always wanted to be a gangster." -- Henry Hill, Brooklyn, N.Y. 1955." | |
Cast
| Directed by | |
|---|---|
| Martin Scorsese | |
| Actors | |
| Robert De Niro | as James 'Jimmy' Conway |
| Ray Liotta | as Henry Hill |
| Joe Pesci | as Tommy DeVito |
| Paul Sorvino | as Paul Cicero |
| Frank Sivero | as Frankie Carbone |
| Tony Darrow | as Sonny Bunz |
| Mike Starr | as Frenchy |
| Frank Vincent | as Billy Batts |
| Chuck Low | as Morris 'Morrie' Kessler |
| Frank DiLeo | as Tuddy Cicero |
| Henny Youngman | as Himself |
| Charles Scorsese | as Vinnie |
| Jerry Vale | as Himself |
| Christopher Serrone | as Young Henry |
| Beau Starr | as Henry's Father |
| Kevin Corrigan | as Michael Hill |
| Michael Imperioli | as Spider |
| Robbie Vinton | as Bobby Vinton |
| Johnny Williams | as Johnny Roastbeef |
| Daniel P. Conte | as Dr. Dan |
| Tony Conforti | as Tony |
| Frank Pellegrino | as Johnny Dio |
| Ronald Maccone | as Ronnie |
| Tony Sirico | as Tony Stacks |
| Joe D'Onofrio | as Young Tommy |
| Steve Forleo | as City Detective #1 |
| Richard Dioguardi | as City Detective #2 |
| Frank Adonis | as Anthony Stabile |
| John Manca | as Nicky Eyes |
| Joseph Bono | as Mikey Franzese |
| Mark Evan Jacobs | as Bruce |
| Clem Caserta | as Joe Buddha |
| Samuel L. Jackson | as Stacks Edwards |
| Paul Herman | as Dealer |
| Edward McDonald | as Himself |
| Edward Hayes | as Defense Attorney |
| Joel Calendrillo | as Young Henry's Older Brother |
| Anthony Valentin | as Young Michael |
| Edward D. Murphy | as Liquor Cop #1 |
| Michael Citriniti | as Liquor Cop #2 |
| Peter Hock | as Mailman |
| Erasmus C. Alfano | as Barbeque Wiseguy |
| John Di Benedetto | as Bleeding Man |
| Manny Alfaro | as Gambling Doorman |
| Thomas Lowry | as Hijacked Driver |
| Richard Mullally | as Cop #1 |
| Frank Albanese | as Mob Lawyer |
| Paul McIsaac | as Judge - 1956 |
| Bob Golub | as Truck Driver at Diner |
| Louis Eppolito | as Fat Andy |
| Tony Lip | as Frankie the Wop |
| Mikey Black | as Freddy No Nose |
| Peter Cicale | as Pete the Killer |
| Anthony Powers | as Jimmy Two Times |
| Vincent Pastore | as Man w/Coatrack |
| Anthony Alessandro | as Henry's '60s crew |
| Victor Colicchio | as Henry's '60s crew |
| Mike Contessa | as Cicero's '60s crew |
| Philip Suriano | as Cicero's '60s crew |
| Paul Mougey | as Terrorized Waiter |
| Norman Barbera | as Bouncer |
| Anthony Polemeni | as Copa Captain |
| James Quattrochi | as Henry Greeter #1 |
| Lawrence Sacco | as Henry Greeter #2 |
| Dino Laudicina | as Henry Greeter #3 |
| Thomas E. Camuti | as Mr. Tony Hood #1 |
| Andrew Scudiero | as Mr. Tony's Hood #2 |
| Irving Welzer | as Copa Announcer |
| Jesse Kirtzman | as Beach Club Waiter |
| Russell Halley | as Bruce's Brother #1 |
| Spencer Bradley | as Bruce's Brother #2 |
| Bob Altman | as Karen's Dad |
| Gaetano Lisi | as Paul #3 |
| Luke Walter | as Truck Driver |
| Ed Deacy | as Detective Deacy |
| Larry Silvestri | as Detective Silvestri |
| John 'Cha Cha' Ciarcia | as Batts' Crew #1 |
| Vito Picone | as Vito |
| Frank Aquilino | as Batts' Crew #2 |
| Michael Calandrino | as Godfather at Table |
| Vito Antuofermo | as Prizefighter |
| Vito Balsamo | as Henry's '70s Crew |
| Peter Fain | as Henry's '70s Crew |
| Vincent Gallo | as Henry's '70s Crew |
| Gaetano LoGiudice | as Henry's '70s Crew |
| Garry Pastore | as Henry's '70s Crew |
| Michaelangelo Graziano | as Bar Patron |
| Tony Ellis | as Bridal Shop Owner |
| Peter Onorati | as Florida Bookie |
| Joel Blake | as Judge - 1971 |
| H. Clay Dear | as Security Guard w/Lobsters |
| Thomas Hewson | as Drug Buyer |
| Gene Canfield | as Prison Guard in Booth |
| Tobin Bell | as Parole Officer |
| Adam Wandt | as Kid |
| Joe Gioco | as Garbage Man |
| Isiah Whitlock Jr. | as Doctor |
| Bo Dietl | as Arresting Narc |
| Steve Baker | as Waiter |
| Anthony Caso | as Truck Hijacker |
| George G. Colucci | as Contruction Worker |
| Matthew T. Gitkin | as Warehouse Worker |
| Richard Goteri | as Cicero's '60s Crew |
| Anibal O. Lleras | as Fellas Chauffer |
| Charles Pendelton | as Resturante Mob Onlooker |
| James Reno | |
| Jeffrey Rollins | as Courtroom Defendant |
| Barry Squitieri | as Wiseguy |
| Drew Stanley | as Wedding Photographer |
| Frank Stellato | as 1956 Court Stenographer |
| Billy L. Sullivan | as Jimmy's Son |
| Nick Vallelonga | as Prison Inmate Sitting Behind Henry |
| Actresses | |
| Lorraine Bracco | as Karen Hill |
| Gina Mastrogiacomo | as Janice Rossi |
| Catherine Scorsese | as Tommy's Mother |
| Suzanne Shepherd | as Karen's Mother |
| Debi Mazar | as Sandy |
| Margo Winkler | as Belle Kessler |
| Welker White | as Lois Byrd |
| Julie Garfield | as Mickey Conway |
| Elaine Kagan | as Henry's Mother |
| Katherine Wallach | as Diane |
| Angela Pietropinto | as Paulie's Wife |
| Marianne Leone | as Tuddy's Wife |
| Marie Michaels | as Mrs. Carbone |
| LoNardo | as Frenchy's Wife |
| Melissa Prophet | as Angie |
| Illeana Douglas | as Rosie |
| Susan Varon | as Susan |
| Elizabeth Whitcraft | as Tommy's Girlfriend @ Copa |
| Fran McGee | as Johnny Roastbeef's Wife |
| Daniela Barbosa | as Young Henry's Sister #1 |
| Gina Mattia | as Young Henry's Sister #2 |
| Margaret Smith | as School Guard |
| Joanna Bennett | as Marie #1 |
| Gayle Lewis | as Marie #2 |
| Janis Corsair | as Vito's Girlfriend |
| Lisa Dapolito | as Lisa |
| Nicole Burdette | as Carbone's Girlfriend |
| Stella Keitel | as Henry's Older Child |
| Dominique DeVito | as Henry's Baby |
| Paula Kcira | as Janice's Girlfriend #1 |
| Nadine Kay | as Janice's Girlfriend #2 |
| Jamie De Roy | as Bookie's Sister |
| Margaux Guerard | as Judy Hill @ 10 Years |
| Violet Gaynor | as Ruth Hill @ 8 Years |
| Berlinda Tolbert | as Stacks' Girlfriend |
| Nancy Cassaro | as Joe Buddha's Wife |
| Alyson Jones | as Judy Hill @ 13 Years |
| Ruby Gaynor | as Ruth Hill @ 11 Years |
| Linda Carola | as Gangster's Girlfriend |
| Nicole Grey | |
| Debbee Hinchcliffe | as Jimmy's Date |
| Bianca Hunter |
Movie info
| Languages: | English, Italian |
| Filming dates: | 3 May 1989 - 9 August 1989 |
| Budget: | USD 25,000,000 |
| Gross: |
UK - 1,994,136 GBP (1990) Australia - 1,289,988 AUD (1990) Hong Kong - 1,516,239 HKD (1990) |
| Plot: | The lowly, blue-collar side of New York's Italian mafia is explored in this crime biopic of wiseguy Henry Hill. As he makes his way from strapping young petty criminal, to big-time thief, to middle-aged cocaine addict and dealer, the film explores in detail the rules and traditions of organized crime. Watching the rise and fall of Hill and his two counterparts, the slick jack-of-all-trades criminal Jimmy Conway and the brutish, intimidating Tommy DeVito, this true story realistically explores the core, blue-collar part of the mob. |
View Online
Tags
Original Soundtracks
|
"Rags to Riches" Written by Jerry Ross and Richard Adler Performed by Tony Bennett Courtesy of CBS Records, Music Licensing Department "Can't We Be Sweehearts" Written by Morris Levy and Herbert Cox Performed by The Cleftones Courtesy of Rhino Records "Hearts of Stone" Written by Eddie Ray and Rudy Jackson Performed by Otis Williams and The Charms Courtesy of G.M.L., Inc. by Arrangement with Celebrity Licensing Inc. "Sincerely" Written by Harvey Fuqua and Alan Freed Performed by The Moonglows Courtesy of MCA Records "Firenze Sogna" Written by Cesarini Performed by Giuseppe Di Stefano Courtesy of London Records, a Division of PolyGram Records, Inc. "Speedo" Written by Esther Navarro Performed by The Cadillacs Courtesy of Rhino Records "Parlami d'amore Marilù" Written by Enrico Neri and Cesare A. Bixio (as C.A. Bixio) Performed by Giuseppe Di Stefano Courtesy of London Records, a Division of PolyGram Records, Inc. "Stardust" Written by Hoagy Carmichael and Mitchell Parish Performed by Billy Ward and His Dominoes Courtesy of Billy Ward c/o Original Sound Entertainment "This World We Live in" ("Il cielo in una stanza") Written by Gino Paoli (as Toang), Mogol and Don Raye (as Raye) Performed by Mina Courtesy of Shad/Mainstream Records by Arrangement with Celebrity Licensing Inc. "Playboy" Written by Brian Holland , Robert Bateman and William Stevenson Performed by The Marvelettes Courtesy of Motown Record Company, L.P. "It's Not for Me to Say" Music by Robert Allen Lyrics by Albert Stillman (as Al Stillman) Performed by Johnny Mathis Courtesy of CBS Records, Music Licensing Derpartment "I Will Follow Him" ("Chariot") Written by Norman Gimbel, Arthur Altman, J.W. Stole and Paul Mauriat (as Del Roma) Performed by Betty Curtis Courtesy of CGD Records "Then He Kissed Me" Written by Phil Spector, Ellie Greenwich and Jeff Barry Performed by The Crystals Courtesy of Phil Spector Records Inc. by Arrangement with ABKCO Records "Look in My Eyes" Written by Richard Barrett Performed by The Chantels Courtesy of Rhino Records "Roses Are Red" Written by Al Byron and Paul Evans Produced by Bob Gaudio Performed by Bobby Vinton Courtesy of Curb Records "Life Is But a Dream" Written by Raul Cita and Hy Weiss Performed by The Harptones Courtesy of Old Town Records - Paradise Records, Inc. "Leader of the Pack" Written by Shadow Morton (as George Morton), Jeff Barry and Ellie Greenwich Performed by The Shangri-Las Courtesy of Sun Entertainment c/o Original Sound Entertainment "Toot, Toot, Tootsie (Goo' Bye!)" Written by Dan Russo , Ernie Erdman and Gus Kahn "Happy Birthday to You" Written by Mildred J. Hill and Patty S. Hill "Ain't That a Kick in the Head" Written by Sammy Cahn and Jimmy Van Heusen Performed by Dean Martin Courtesy of Capitol Records by Arrangement with CEMA Special Markets "He's Sure the Boy I Love" Written by Barry Mann and Cynthia Weil Performed by The Crystals Courtesy of Phil Spector Records Inc. by Arrangement with ABKCO Records "Atlantis" Written by Donovan (as Donovan Leitch) Performed by Donovan Courtesy of CBS Records, Music Licensing Department "Pretend You Don't See Her" Written by Steve Allen Performed by Jerry Vale Courtesy of CBS Records, Music Licensing Department "Remember (Walkin' in the Sand)" Written by Shadow Morton (as George Morton) Performed by The Shangri-Las Courtesy of Sun Entertainment c/o Original Sound Entertainment "Baby I Love You" Written by Ronny Shannon Performed by Aretha Franklin Courtesy of Atlantic Recording Corporation by Arrangement with Warner Special Products "Beyond the Sea" Written by Jack Lawrence and Charles Trenet Performed by Bobby Darin Courtesy of Atlantic Recording Corporation by Arrangement with Warner Special Products "The Boulevard of Broken Dreams" Written by Al Dubin and Harry Warren Performed by Tony Bennett Courtesy of CBS Records, Music Licensing Department "Gimme Shelter" Written by Mick Jagger and Keith Richards Performed by The Rolling Stones By Arrangment with ABKCO Music & Records, Inc. "Wives and Lovers" Written by Burt Bacharach and Hal David Performed by Jack Jones Courtesy of MCA Records "Monkey Man" Written by Mick Jagger and Keith Richards Performed by The Rolling Stones By Arrangment with ABKCO Music & Records, Inc. "Frosty the Snow Man" Written by Steve Nelson and Jack Rollins Performed by The Ronettes Courtesy of Phil Spector Records Inc. by Arrangement with ABKCO Records "Christmas (Baby Please Come Home)" Written by Phil Spector, Ellie Greenwich and Jeff Barry Performed by Darlene Love Courtesy of Phil Spector Records Inc. by Arrangement with ABKCO Records "Bells of St. Marys" Written by Douglas Furber and Emmett Adams Performed by The Drifters Courtesy of Atlantic Recording Corporation by Arrangement with Warner Special Products "Unchained Melody" Written by Hy Zaret and Alex North Performed by Vito and The Salutations Courtesy of Arista Records "Danny Boy" Written by Frederick Edward Weatherly (as Frederick E. Weatherly) "Sunshine of Your Love" Written by Jack Bruce , Pete Brown and Eric Clapton Performed by Cream Courtesy of PolyGram Special Products, a Division of PolyGram Records, Inc. "Layla (Piano Exit)" Written by Eric Clapton and Jim Gordon Performed by Derek & The Dominos (as Derek and The Dominos) Courtesy of PolyGram Special Products, a Division of PolyGram Records, Inc. "Jump into the Fire" Written by Harry Nilsson Performed by Harry Nilsson Courtesy of RCA Records "Memo from Turner" Written by Mick Jagger and Keith Richards Performed by The Rolling Stones By Arrangment with ABKCO Music & Records, Inc. "Magic Bus" Written by Pete Townshend Performed by The Who Courtesy of MCA Records "What Is Life" Written by George Harrison Performed by George Harrison Courtesy of Apple Records Courtesy of Apple Records by Arrangement with CEMA Special Markets "Mannish Boy" Written by Muddy Waters (as McKinley Morganfield), Mel London and Bo Diddley (as Ellas McDaniel) Performed by Muddy Waters Courtesy of CBS Records, Music Licensing Department "My Way" Written by Claude François , Jacques Revaux and Paul Anka Produced by Steve Jones Performed by Sid Vicious Courtesy of Virgin Records Limited/Glitterbest, Inc. |
Goofs
|
DATE: In the scene that opens with "Idlewild Airport, 1963", Henry leans on a 1965 Chevy Impala. DATE: When Henry and others are outside Idlewild Airport in 1963, and overhead a Boeing 747 flies overhead. The first 747 test flights were in 1969, and they entered service in 1970. BOOM: Shadow in Henry's house when he is talking with Marie about the Lufthansa heist. Continuity: When Karen holds a gun in Henry's face, one gun is used in close-ups, and a different gun is used for long shots. Continuity: When Karen visits Henry in prison, cheese and salami on the table change position between shots. Continuity: When Karen visits Henry in jail the daughter sitting on her lap plays with blocks. These blocks change between shots. Continuity: When Karen throws things on the table while visiting Henry in prison, her youngest daughter is cries on Henry's lap. When the girl hugs him, she is suddenly holding a bottle and pacifier. FAIR: SPOILER: When Tommy takes out Stacks, he says, "You'd be late to your own funeral" as he puts the gun to the back of Stacks' head. When they show Tommy in slow motion, he doesn't say anything. Tommy shoots him once in the head, then changes positions before shooting him again. In slow-mo, we don't see the first shot, only the latter ones. DATE: When Lois makes the call that dooms Henry, her Trimline phone has the 1984 AT&T logo. The scene is set in 1980. DATE: In the establishing shots of "Idlewild Airport, 1963,"a Swissair jet's livery has black and dark green stripes and the title "Swissair" in lower-case red letters on the fuselage. That color scheme was introduced in 1981. Continuity: When Sonny Bunz has his sit-down with Paulie about Tommy, an over-the-shoulder shot from behind Sonny shows Paulie talking with a cigar in his mouth. In the next shot, an over-the-shoulder shot of Sonny, Paulie's cigar is gone. In the following shot, another over-the-shoulder from behind Sonny, Paulie has the cigar in his mouth again. Continuity: When the police car pulls up while Jimmy is handing out cartons of cigarettes from the truck heist, the same two-tone brown 1957 Buick two-door sedan drives by several times, in the same direction, in the background. Continuity: SPOILER: When Jimmy opens up the trunk of the car and finds Billy Batts still alive, Tommy pulls out a large butcher knife and plunges it into Batts almost to the hilt several times. He then stands watching while Jimmy empties his gun into Batts' body. There is no blood on either Tommy's hands or the knife. Crew: When Jimmy calls about Tommy being made, the front of a camera is reflected in the side of the phone booth. Continuity: When Henry brings in the bag of supplies in jail, he hands the wine bottles to Paulie, then picks up a bottle of scotch and two jars. In the next shot, he is holding bread, a different bottle of scotch, and two jars. Crew: When young Henry enters the phone booth as he and Tuddy Cicero are "running around" making Paul's phone calls, you can see a wireless mike pack in his back pocket. Fact errors: Henry looks into a bag filled with $20 bills. They're signed by "James A. Baker" ('James Baker III' (qv)), who was Treasury Secretary in 1985. The scene is set in the mid to late 1970s. Revealing mistakes: When Karen drives off after Jimmy tells her to go to the dress shop, the car blows a fake license plate off another car. Continuity: After Tommy shoots Spider's foot, Henry gets up to help him, but can be seen sitting down in the background. Revealing mistakes: Obvious blood spray used in wide shot of Stacks Edwards Hit. Also, Tommy's gun does not recoil. Continuity: The phone jumps around on Morry's shoulder when he's talking to Henry. Continuity: Henry's Catholic cross and Star of David during the shower scene. Crew: When Henry and Karen hide the gun at her mother's house, a camera is visible in the background. Continuity: While Tommy tells his anecdote at the restaurant, wine glasses on the table fill and empty, and napkins move themselves, throughout the scene. DATE: Near the end, when Henry is driving around watching for the helicopter, a package of Winston cigarettes is on the dashboard of his car. The scene is set in 1980, but the package design was introduced in 1987. DATE: Near the end, as Henry waits for the helicopter, his 1979 Cadillac Coupe DeVille Phaeton has a rear dash-mounted brake light, which was introduced in 1986. Continuity: SPOILER: A title card dates the Billy Batts murder as June 11, 1970. When they go to dig up the grave, Henry says "it's been six months." It should be winter in New York, but the boys are in short sleeves and Henry's kids are going to the beach the next day. Continuity: When Henry's mistress is having a party to show off her new apartment, the women walk from the living room to the bedroom. Two women change position as they enter the bedroom. Continuity: During Tommy's "Why am I funny" speech, the position of Henry's left hand, as well as the objects he is holding (cigarette, glass) change and move. DATE: The pay phone in the airport diner is of the familiar current design, which was introduced by the Bell System in the late 1960s, or several years after this scene takes place (1963). It is, however, the rotary dial version. Fact errors: When Maury's address is shown in his TV ad, not only is the number not hyphenated (as all Queens addresses are) are, but address should be "Neighborhood, NY", not "Queens, NY". Except for Manhattan, which is always "New York, NY", the names of the other New York boroughs are used in addresses. Continuity: Karen's sweater has dirt on the shoulder after Henry's fight. At the door, the sweater is clean. DATE: The bass player in the band in the restaurant in 1963 is playing a Gibson EB-2D, which was introduced in 1966. Crew: Reflected in the window while Karen tries to find the stolen dresses. BOOM: When Henry is released from prison, the mic is reflected in the car window when Karen turns to her right to hug Henry. Continuity: In the "You're a funny guy" scene, a styrofoam coffee cup disappears and reappears three times. FAIR: During the "You're a funny guy" scene, set in 1963, a bottle of Crown Royal whiskey is on the table. Crown Royal wasn't sold in the US until 1965. Tommy smuggled it into the States. DATE: When young Henry Hill is arrested for selling black-market cigarettes (late 1950s), the cigarette cartons have UPC barcodes, which first appeared in the late 1970s. Revealing mistakes: When the mailman's head is pushed into the pizza oven, his hand is clearly seen resting on the inside of the oven door before the image is frozen, even though a cooked pizza is shown inside the oven as it is opened (i.e. it was too hot for him to keep his hand there for the few seconds shown without reacting). Crew: About 45 minutes in, one of the cameramen can be seen on the right-hand side of the screen. Crew: During the long Steadicam shot through the restaurant's kitchen, the camera's shadow is briefly visible on the left-hand side as it exits. SYNC: When Billy Batts says, "What?" to Tommy in the bar, Billy's lips don't move. SYNC: When Billy Batts is mocking Tommy in the bar, he eventually raises his glass and says "Salud, Tommy", but his lips aren't moving. Continuity: Young Henry is right-handed; older Henry is left-handed. Continuity: On the morning of May 11, 1980, Henry puts a paper bag into the car trunk with the left hand. In the close-up we see a hand with a watch and a bracelet, which Henry is wearing on his right hand. Continuity: SPOILER: After Tommy breaks a bottle over the restaurant owner's head, his jacket changes from clean and dry to splashed and back between shots. Continuity: SPOILER: When Jimmy strangles Morrie with the telephone cord, Morrie's grip on the phone changes between shots. Revealing mistakes: SPOILER: After Tommy De Vito kills Morrie from behind in the car, Morrie clearly breathes on the left edge of the screen. DATE: In a segment introduced as Brooklyn, 1955, the camera follows Henry running off to his job at the cab stand. Part of the view is a look through the utility poles to show the surrounding neighborhood. The shot includes a modern cable television amplifier. DATE: Towards the end, when Karen shouts at Jimmy, the street signs should be white on black, not white on green. DATE: When we first see Paulie's house, a cable TV wire is clearly visible on the outside. Cable TV didn't come to New York's outer boroughs until the mid-1980s. Continuity: When Henry and Karen go on their first date alone, their clothes are different when they arrive at the club. DATE: When Henry is almost in an accident, the door of a Nassau County Police patrol car appears for a split second. The emblem on the door is the Nassau Police shoulder patch, which they did not display on their cars until the mid-1980's, not in May 1980 when the scene was set. DATE: A McDonnell Douglas DC-10, introduced in the early 1970s, appears in one of the 1960s airport shots. GEOG: The Airline Diner is outside Laguardia Airport, not Idlewild (Kennedy). Continuity: When Henry hands in the gun to Karen, the way she holds it changes between the wide shot and the close-up. Continuity: On May 11, 1980, when Henry and Karen are at the shopping mall, they leave their car by the curb in front of the store. When they leave the mall later, after looking out for the helicopters, the car is parked in the parking lot. Continuity: SPOILER: Every scene coming to or going from Karen's home, regardless of passage of time, (i.e. the neighbor rough-up, Henry leaving) was obviously shot in the spring, with all trees, shrubs in the same state of bloom. In the latest shot, the hot pink almond or dogwood tree was faded. DATE: The faux ivy back-drop at the hostess party is obviously contemporary silk-floral foliage. It should be plastic only. CHAR: In an early scene, the narrator says, "It was before Apalachin," referring to the upstate New York town where a late-1950s Mafia summit was raided by police, making national headlines. He pronounces it "ap-a-LAY-chin," instead of "ap-a-LAY-kin." SYNC: SPOILER: When Tommy kills Stacks, the silencer is heard three times after he shoots Stacks in the head. During the slow-motion replay, Tommy shoots Stacks 5 times in the back, 2 times more than in the previous scene. CHAR: During the prison dinner scene, Paulie says, "Freddie, Vinnie, come eat." There was no Freddie; he was talking to Johnnie Dio. Fact errors: When Henry says "Air France made me. . .", the aircraft shown is a Convair 240, which Air France has never flown. Revealing mistakes: SPOILER: When Tommy pulls out the knife to stab Billy Bats, you can see when the light hits it that it is a retractable prop knife. DATE: When Henry and Tommy hijack the truck, and Tommy has the paper bag over his gun, graffiti is on the side of the truck. Graffiti became common in New york around 1972, not in the late 1960s. Continuity: When teenage Henry is given the keys to park a "wise-guy's" Cadillac, he gets into a 1952 or 1953 model. After Henry parks it, an overhead long shot shows him getting out of a 1949 Cadillac. Fact errors: In the film, Henry and Karen Hill have two daughters. In real life, they have a son and a daughter. Continuity: During Henry's shower scene, the shampoo in his hair appears and disappears between shots. Continuity: The same truck is used in 3 hijacking scenes: the diner, the guy that they take his drivers licenses away and possibly one other. It's the truck with the red cab in the front. FAIR: SPOILER: When Tommy shoots Spider in the foot, Tommy fires a total of seven shots from a revolver without reloading. Some revolver hold seven or more rounds, although it is not clear whether Tommy's gun was actually capable of that or if it was a special effects error. Fact errors: In the 1955 sequences, Tommy DeVito is portrayed as a boy about the same age as Henry Hill, maybe slightly older. Pesci's character was based on real-life mobster who was born in 1950. He would have been 4 or 5 years old when these events took place. Continuity: When Tommy shoots Spider he is behind the bar putting ice in the drinks. The next shot he is meters in front of the bar and falls back into it. Revealing mistakes: At the airport, when Tommy and Henry take the Sargent key and walk over to the locked storeroom, the whole knob turns when the key is turned. That means the lock was already unlocked. If it had been locked, only the key would've turned. Revealing mistakes: When young Henry breaking the unwanted cars' windows, the glass breaks and falls out easily, as if they were window panes. Continuity: When Henry, Paulie and the restaurant owner are discussing Paulie taking over part of his restaurant, to make it safe from Tommy, Paulie's cigar moves around and even disappears in between scenes. DATE: In May of 1980, when Henry and Karen hide guns at Karen's mother's house, a G-Body GM car is parked in the driveway. They were introduced in 1982. DATE: In an early 1970s scene, Visa and Mastercard logos are on the front door of a dining establishment. At the time, Mastercard was Master Charge, and Visa was the Bank of Americard. DATE: When Henry takes Karen to the Copa, they enter through a service door and through a labyrinth of passageways until they finally emerge in the dining room. As the camera follows them on their journey, a modern fire extinguisher is near the kitchen area. At the time, most fire extinguishers were either the dry powder, push-handle type (similar to old insect sprays) or gravity-fed liquid extinguishers that worked by turning the unit upside down and directing the nozzle. The extinguisher in the scene is a modern pressurized CO2 extinguisher with an OSHA filling inspection tag attached, which wasn't required in the early to mid 1960s. Continuity: When Morrie says "Give them 8 to 5 on Cleveland," the phone is in his right hand and next to his ear. In the next shot, a split second later, the phone is in his left hand and down by his side. Continuity: SPOILER: When Jimmy finds out Tommy has been "whacked", check the car window in the background. When Jimmy goes to the car it is open, but when he pushes over the phone booth, it's closed. DATE: When Henry steals the truck at Idlewild Airport, and when the man comes back in and says that two men have stolen his truck, modern-day cars are passing by outside the diner. Revealing mistakes: SPOILER: When Tommy stabs Billy Batts, the knife is a very obvious rubber prop knife. Revealing mistakes: When Henry brings the guns for the silencers that have already been purchased, the silencers are threaded and the barrels are too big. In reality, gun barrels are threaded and the silencers fit over them. Crew: SPOILER: When Jimmy is crying about Tommy getting whacked, a crew member is reflected in the phone booth. Continuity: When Jimmy and Paulie go to Janice Rossi's apartment to convince Henry to go back to his wife, Henry is wearing a Star of David around his neck when he sits down on the couch. In later shots from the same scene, Henry is wearing a Cross around his neck. Crew: Early in the movie, when young Henry's father beats him with a belt, the boy clearly has some sort protective padding under his shirt. DATE: When Johnny and the boys are making spaghetti in the late 1950s, a bottle of dish soap in the window sill has a UPC bar code. The bar code was first tried in 1966, became a new industry standard in 1970, and was first scanned in 1974. Revealing mistakes: In the legendary steadicam scene, Henry and Karen's route doubles back on itself in the kitchen. As they turn left to enter the kitchen, a fire hose is behind a waiter in front of them; Thirty seconds later, they emerge from the same door with the fire hose on their left. Henry doesn't take them through the kitchen at all, they just walk around inside it. They could have passed the kitchen door and turned right into the nightclub. Continuity: SPOILER: When Tommy kills Stacks, Carbone stands in the doorway and watches Tommy shoot Stacks three more times after shooting him once in the head. In the slow motion alternate view, Carbone is not in the doorway, and Tommy shoots Stacks five more times instead of three. Revealing mistakes: When Karen visits Henry in prison and she has to sign the register, she scans the entries in the book. With the camera looking at the register from Karen's point of view, Karen spots Henry's name, then her eyes look to the right to see who had visited him. The camera pans to the left, not the right. Continuity: Just before Henry enters the jail cell with a bag of supplies, Paulie sits at the table drinking. A jar containing a bunch of fresh basil is in the middle of the table. Paulie is still drinking in the next shot, but the jar and the basil are gone. Continuity: When Tommy is beating Billy Batts with the gun in his hand the cylinder of the gun comes out and lands on the floor, this would only happen if there was no retention screw to hold the cylinder Crew: During dinner scene with Tommy's mother, the camera shakes noticeably on a single shot of Henry. DATE: When Henry and Karen are on their date at the Copa, they are drinking champagne from large flute glasses. While a 4oz flute that had been introduced in the 1930s, Henry and Karen should have been drinking from coupe style glasses as large flutes did not become popular until the mid-seventies. |
Quotes
|
Tommy DeVito: In this day and age, what the fuck is this world coming to? I can't believe this, prejudice against - a Jew broad - prejudice against Italians. [first lines] Henry Hill: The fuck is that? Morrie: Henry, you're a good kid, I've been good to you, you've been good to me. But there's something really unreasonable going on here. Jimmy's being an unconsionable ball-breaker. I never agreed to 3 points on top of the vig! Am I something special? Some sort of schmuck on wheels? Henry Hill: Morrie, please! You borrowed Jimmy's money, pay him. Morrie: I never agreed to 3 points on top of the vig! What am I, fuckin nuts? Come on! Henry Hill: Are you gonna argue with Jimmy Conway? Just give him his money so we can get the fuck outta here! Morrie: Hey! Fuck 'em! Fuck 'em in the ear! What are you talking about? Fuck 'em in the other ear, that son of a bitch! Did I ever bust his balls? Did I? Did I? I could've jumped the dime a million times, and I wouldn't have to pay tip! Henry Hill: Come on, Morrie, you're talking crazy, stop it! Jimmy Conway: [Grabs telephone cord and chokes Morrie with it, then his wig falls off and Henry starts laughing] You got money for that fuckin commercial. Fuckin' commercial, you don't got my money, you don't got my fuckin money, huh? Henry Hill: Jimmy, he'll pay, he'll pay. Jimmy Conway: I'll fuckin kill you, get the money, you fuckin' cocksucker, you hear me? [Phone rings] Pay me my money. Morrie: Hello? Who's this? He's here. [Gives phone to Henry] Henry Hill: Jimmy, I'm sorry. Jimmy Conway: Yeah? You should be sorry. Don't fuckin do it again and give me the money. Give me the fuckin money, You hear me? You hear me, I gotta come here and you bust my balls? Give me the fuckin money. Morrie: OK, OK, OK. I'll pay you kid. Spider: [hesitating] Why don't you go fuck yourself, Tommy? [stunned silence] Jimmy Conway: Whoa! Can't believe what I just heard. Hey Spider, here. This is for you. [tosses money on the table] Jimmy Conway: Attaboy! I got respect for this kid. He's got a lot of fucking balls. Good for you! Don't take no shit off nobody. Jimmy Conway: What's the fuckin' matter with you? What - what is the fuckin' matter with you? What are you, stupid or what? Tommy, Tommy, I'm kidding with you. What the fuck are you doin'? What are you, a fuckin' sick maniac? Tommy DeVito: How am I meant to know you're kidding? What you mean, you're kidding? You breaking my fuckin' balls? Jimmy Conway: I'm fuckin' kidding with you! You fuckin' shoot the guy? Henry Hill: He's dead. Tommy DeVito: Good shot. What do you want from me? Good shot. Fuckin' rat anyway. His family's all rats. He'll grow up to be a rat. Jimmy Conway: You stupid bastard, I can't fuckin' believe you. Now, you're gonna dig the fuckin' thing now. You're gonna dig the hole. You're gonna do it. I got no fuckin' lime. You're gonna do it. Tommy DeVito: Who the fuck cares? I'll dig the fuckin' hole. I don't give a fuck. What is it, the first hole I dug? Not the first time I dug a hole. I'll fuckin' dig a hole. Where are the shovels? Frankie Carbone: I could never hit that number [unintelligible] Tommy DeVito: Frankie, Frankie, Frankie. What the fuck does 528 have to do with 460? I can't believe this guy. Fuckin' 528 ain't even close to 460. Now what the fuck does that got to do with anything? Frankie Carbone: Eh, I been playin' that numba for three years Pete the Killer: [points] By the way, I took care of that thing for ya Tommy DeVito: Sure, mom, I settle down with a nice girl every night, then I'm free the next morning. Henry Hill: You're a pistol, you're really funny. You're really funny. Tommy DeVito: What do you mean I'm funny? Henry Hill: It's funny, you know. It's a good story, it's funny, you're a funny guy. [laughs] Tommy DeVito: What do you mean, you mean the way I talk? What? Henry Hill: It's just, you know. You're just funny, it's... funny, the way you tell the story and everything. Tommy DeVito: [it becomes quiet] Funny how? What's funny about it? Anthony Stabile: Tommy no, You got it all wrong. Tommy DeVito: Oh, oh, Anthony. He's a big boy, he knows what he said. What did ya say? Funny how? Henry Hill: Jus... Tommy DeVito: What? Henry Hill: Just... ya know... you're funny. Tommy DeVito: You mean, let me understand this cause, ya know maybe it's me, I'm a little fucked up maybe, but I'm funny how, I mean funny like I'm a clown, I amuse you? I make you laugh, I'm here to fuckin' amuse you? What do you mean funny, funny how? How am I funny? Henry Hill: Just... you know, how you tell the story, what? Tommy DeVito: No, no, I don't know, you said it. How do I know? You said I'm funny. How the fuck am I funny, what the fuck is so funny about me? Tell me, tell me what's funny! Henry Hill: [long pause] Get the fuck out of here, Tommy! Tommy DeVito: [everyone laughs] Ya motherfucker! I almost had him, I almost had him. Ya stuttering prick ya. Frankie, was he shaking? I wonder about you sometimes, Henry. You may fold under questioning. Tommy DeVito: You know Spider, you're a fuckin' mumbling stuttering little fuck. You know that? Tommy DeVito: No more shines, Billy. Billy Batts: What? Tommy DeVito: I said, no more shines. Maybe you didn't hear about it, you've been away a long time. They didn't go up there and tell you. I don't shine shoes anymore. Billy Batts: Relax, will ya? Ya flip right out, what's got into you? I'm breaking your balls a little bit, that's all. I'm only kidding with ya... Tommy DeVito: Sometimes you don't sound like you're kidding, you know, there's a lotta people around... Billy Batts: I'm only kidding with you, we're having a party, I just came home and I haven't seen you in a long time and I'm breaking your balls, and you're getting fucking fresh. I'm sorry, I didn't mean to offend you. Tommy DeVito: I'm sorry too. It's okay. No problem. Billy Batts: Okay, salud. Billy Batts: [takes a drink] Now go home and get your fuckin' shinebox. Tommy DeVito: Mother fuckin' mutt! You, you fucking piece of shit! Billy Batts: [taunting] Yeah, yeah, yeah, come on, come on, come on! Tommy DeVito: Motherfucking... He bought his fucking button! That fake old tough guy! You bought your fucking button! Tommy DeVito: You mother fuck... Fuck! Keep that motherfucker here, keep him here! [leaves] Henry Hill: [narrating] And when the cops, when they assigned a whole army to stop Jimmy, what'd he do? He made 'em partners. Henry Hill: Jimmy was the kind of guy that rooted for bad guys in the movies. Henry Hill: [narrating] Whenever we needed money, we'd rob the airport. To us, it was better than Citibank. Henry Hill: [narrating] And then there was Jimmy Two Times, who got that nickname because he said everything twice, like: Jimmy Two Times: I'm gonna go get the papers, get the papers. Morrie: What am I? A schmuck on wheels? Henry Hill: All they got from Paulie was protection from other guys looking to rip them off. That's what it's all about. That's what the FBI can never understand - that what Paulie and the organization offer is protection for the kinds of guys who can't go to the cops. They're like the police department for wiseguys. Henry Hill: [narrating] Paulie may have moved slow, but it was only because Paulie didn't have to move for anybody. Henry Hill: [narrating] One day some of the kids from the neighborhood carried my mother's groceries all the way home. You know why? It was outta respect. Henry Hill: [narrating] Thirty-two hundred dollars he gave me. Thirty-two hundred dollars for a lifetime. It wasn't even enough to pay for the coffin. Tommy DeVito: What the fuck are you doing? You're hanging around my fuckin' neck like a vulture, like impending danger. Henry Hill: [narrating] As far back as I can remember, I always wanted to be a gangster. Tommy DeVito: [after killing Morrie] I thought he'd never shut the fuck up. Henry Hill: You know, we always called each other good fellas. Like you said to, uh, somebody, :You're gonna like this guy. He's all right. He's a good fella. He's one of us.: You understand? We were good fellas. Wiseguys. But Jimmy and I could never be made because we had Irish blood. It didn't even matter that my mother was Sicilian. To become a member of a crew you've got to be one hundred per cent Italian so they can trace all your relatives back to the old country. See, it's the highest honor they can give you. It means you belong to a family and crew. It means that nobody can fuck around with you. It also means you could fuck around with anybody just as long as they aren't also a member. It's like a license to steal. It's a license to do anything. As far as Jimmy was concerned with Tommy being made, it was like we were all being made. We would now have one of our own as a member. Tommy DeVito: Hey, Spider, that fuckin' bandage on your foot is bigger than your fuckin' head. [With the suitcase open on the desk, Henry counts out stacks of cash] Henry Hill: Thirty-five, forty, forty-five, fifty, sixty thousand. Jimmy Conway: It's gonna be a good summer. [last lines] Henry Hill: [narrating] Anything I wanted was a phone call away. Free cars. The keys to a dozen hideout flats all over the city. I bet twenty, thirty grand over a weekend and then I'd either blow the winnings in a week or go to the sharks to pay back the bookies. [Henry leaves the witness stand and speaks directly to the camera] Henry Hill: Didn't matter. It didn't mean anything. When I was broke, I'd go out and rob some more. We ran everything. We paid off cops. We paid off lawyers. We paid off judges. Everybody had their hands out. Everything was for the taking. And now it's all over. Henry Hill: [narrating] And that's the hardest part. Today everything is different; there's no action... have to wait around like everyone else. Can't even get decent food - right after I got here, I ordered some spaghetti with marinara sauce, and I got egg noodles and ketchup. I'm an average nobody... get to live the rest of my life like a schnook. [buzzing over and over on her husband's girlfriend's intercom] Karen: This is Karen Hill, I want to talk to you. Hello? Don't hang up on me. I want to talk to you. You keep away from my husband, you understand me? Hello? ANSWER ME. I'm going to tell everybody that walks in this building that in 2R, Rossi, you're nothing but a whore. [gets on phone] Is this the superintendent?... Yes, sir, I would like you to know that you have a whore living in 2R. Rossi, Janice Rossi... He's MY husband. Get your own goddamn man. Billy Batts: Go home and get your fucking shine box. Tommy DeVito: Just don't go busting my balls, Billy, okay? Billy Batts: Hey, Tommy, if I was gonna break your balls, I'd tell you to go home and get your shine box. [to his friends] Now this kid, this kid was great. They, they used to call him Spitshine Tommy. [Morrie jokes at the table] Frankie Carbone: Morrie, stop breaking my balls, all right? [on Morrie's wig commercial] Morrie: Don't buy wigs that come off at the wrong time. Tommy DeVito: What, do you got me on a fuckin' pay-no-mind list kid? Tommy DeVito: He said, "No, you're gonna tell me something today, tough guy." I said, "All right, I'll tell you something: go fuck your mother." Jimmy Conway: [after Spider tells Tommy to "go fuck yourself"] I can't believe what I just hear. [he throws some money on the table] Here, Spider, this is for you. I got respect for this kid. He's got alot of fucking balls. Good for you, don't take no shit of nobody. He shoots him in the foot he tells him to go fuck himself. [to Tommy, joking] Tommy, you gonna let him get away with that? You gonna let this fucking punk get away with that? What's the matter? What's the world coming to? [Tommy pulls out a gun and shoots Spider in the chest] [Tommy has shot Spider] Jimmy Conway: I'm fucking kidding with you; you fucking shoot the guy? Henry Hill: He's dead. Tommy DeVito: I'm a good shot, what do you want from me? I'm a good shot. Anthony Stabile: How could you miss at this distance? Tommy DeVito: Kidding? How am I meant to know you're kidding? You're breaking my fucking balls. Tommy DeVito: [Tommy holds up a gun at the truck driver he's hijacking] Where's the strong box you fuckin' varmint, you? Paul Cicero: You know anything about this fucking restaurant business? [Talking to Henry] Sonny Bunz: He knows everything about it. I mean he's in the joint 24 hours a day. I mean another fucking few minutes he could be a stool that's how often he's in there. Henry Hill: [narrating] Now the guy's got Paulie as a partner. Any problems, he goes to Paulie. Trouble with the bill? He can go to Paulie. Trouble with the cops, deliveries, Tommy, he can call Paulie. But now the guy's gotta come up with Paulie's money every week, no matter what. Business bad? Fuck you, pay me. Oh, you had a fire? Fuck you, pay me. Place got hit by lightning, huh? Fuck you, pay me. Henry Hill: [narrating] When they found Carbone in the meat truck, he was frozen so stiff it took them three days to thaw him out for the autopsy. Henry Hill: For us to live any other way was nuts. Uh, to us, those goody-good people who worked shitty jobs for bum paychecks and took the subway to work every day, and worried about their bills, were dead. I mean they were suckers. They had no balls. If we wanted something we just took it. If anyone complained twice they got hit so bad, believe me, they never complained again Tommy DeVito: What do you want to tell me now, tough guy? I said, "Bing, what are you doing here? I thought I told you to go fuck your mother!" [group laughs] Tommy DeVito: I thought he was gonna shit! [Tommy mocks at Spider] Tommy DeVito: Oklahoma kid. That's me. I'm the Oklahoma kid. You fuckin' varmint! Dance. Dance. YAHOO, YA MOTHERFUCKER! [shoots Spider in the foot] Paul Cicero: I don't want any more of that shit. Henry Hill: What shit? What are you talking about? Paul Cicero: Just stay away from the garbage, you know what I mean. Henry Hill: Look, Paulie? Paul Cicero: I'm not talking about what you did inside, you did what you had to do, I'm talking about now, from now, here and now. Henry Hill: Paulie, why would I want to get into that... Paul Cicero: Don't make a jerk out of me, just don't do it... just don't do it. Now I want to talk to you about Jimmy, you have to watch out for him. He's a good earner but he's wild, takes too many chances. Henry Hill: Yeah I know that, I know Jimmy, you think I would take chances like Jimmy? Paul Cicero: And Tommy he's a good kid too. But he's crazy, he's a cowboy, he's got too much to prove. You gotta watch out for kids like this. Henry Hill: Yeah I know what they are, I only use them for certain things, believe me you don't have to worry. Paul Cicero: Listen, I aint gonna get fucked like Gribbs, understand. Gribbs is 70 years old and the fuckin guy's gonna die in prison, I don't need that. So I'm warning everybody, EVERYBODY. It could be my son, it could be anybody. Gribbs got 20 years just for saying hello to some fuck who was sneaking behind his back selling junk, I don't need that, aint gonna happen to me, you understand. Henry Hill: Uh huh. Paul Cicero: You know that you're only out early because I got you a job. I don't need this heat, understand that. Henry Hill: Uh huh. Paul Cicero: And you see anybody fucking around with this shit you're going to tell me right. Henry Hill: Yeah. Paul Cicero: [slaps him] That means anybody! Henry Hill: All right. Paul Cicero: Yeah? Henry Hill: Yeah, of course. Jimmy Conway: I'm not mad, I'm proud of you. You took your first pinch like a man and you learn two great things in your life. Look at me, never rat on your friends and always keep your mouth shut. Henry Hill: I swear to my fucking mother, if you touch her again, YOU'RE DEAD. Tommy DeVito: Oh, I like this one... One dog goes one way, the other dog goes the other way, and this guy's sayin', "Whadda ya want from me?' Guy's got a nice head of white hair, it's beautiful. Jimmy Conway: Looks like someone we know. Tommy DeVito: Oh, my... no, without the beard? Oh, shhhhhh...! [laughs] Stacks Edwards: What time is it? Tommy DeVito: It's eleven thirty, we're supposed to be there by nine. Stacks Edwards: Be ready in a minute. Tommy DeVito: Yeah, you were always fuckin' late, you were late for your own fuckin' funeral. [shoots him] Henry Hill: [narrating] Jimmy had never asked me to whack somebody before - but now he's asking me to go down to Florida and do a hit with Anthony? That's when I knew I would never have come back from Florida alive. Henry Hill: [narrating] Jimmy had never asked me to do a hit before, and now he's asking me to go down to Florida with Andy to make a hit. [Jimmy gives him a pack of matches with a number] [narrating] That's when I knew I would never have come back from Florida alive. Tommy DeVito: [has just killed the talkative Morrie] I thought he'd never shut the *fuck* up. Jimmy Conway: Yeah. Pain in the ass. Tommy DeVito: You dizzy motherfucker, you! Tommy DeVito: [about Morrie's corpse] Hey Frank, let's chop him up. Frankie Carbone: All right. [starts to get out of the car] Tommy DeVito: Where you going? Where you going, you dizzy motherfucker, you? Frankie Carbone: To chop him up. Tommy DeVito: At Charlie's, not here! [Carbone mumbles to himself in Italian] Come on, what are you doing? Let's get the fuck outta here. I oughta let him [Morrie's corpse] fucking drive. What are you waiting for? Frankie Carbone: The car's cold. Tommy DeVito: Get the fuck outta here! What fucking warm enough? Get outta here! Henry Hill: I only bought the damn guns because he wanted them and now he didn't want them. Jimmy Conway: What the fuck are these? None of them fit. What's the matter with you? What, do you want me to pay for this shit? I'm not paying for it! Henry Hill: I didn't say a thing. He was so pissed off, he didn't even say goodbye. Jimmy Conway: Stop with those fucking drugs. They're making your mind into mush. You hear me? Take'em back! [Henry has just been busted for dealing drugs] Henry Hill: For a second I thought I was dead. But, when I heard all the noise, I knew they were cops. Only cops talk that way. If they'd been wiseguys, I wouldn't have heard a thing. I would've been dead. Police Detective: [to Henry] Talk to me, when was the last time you took a collar? Hey fuckhead, I'm talking to you. You don't wanna say a fucking word to me, you don't have to. I don't really give a fuck. Twenty five years, pal, that's what you're looking at. Truck Driver: [Henry and Tommy just boosted a rig] Hey, you got a phone? Two niggers just stole my truck. You believe that shit, huh? You fuckin' believe that? Henry Hill: If you're part of a crew, nobody ever tells you that they're going to kill you, doesn't happen that way. There weren't any arguments or curses like in the movies. See, your murderers come with smiles, they come as your friends, the people who've cared for you all of your life. And they always seem to come at a time that you're at your weakest and most in need of their help. Sonny Bunz: But I'm worried, I mean, I'm hearin' all kinds a fuckin' bad things. I mean he's treating me like I'm a fuckin' half-a-fag or somethin'. I'm gonna wind up a lammist, I gotta go on the fuckin' lam in order to get away from this guy? This ain't right, Paulie. Henry Hill: [after Karen points gun at him while hes sleeping] I got enough to worry about getting whacked on the street! I gotta come home for this! I should fucking kill you! Billy Batts: [under his breath after Tommy leaves the bar] I'll fuck him in his ass. I fucked kids like him in the can in the ass. Fuckin' trying to break up my party. Henry Hill: [narrating] By the time I grew up, there was thirty billion a year in cargo moving through Idlewild Airport and believe me, we tried to steal every bit of it. Jimmy Conway: [Frenchy is describing a large shipment of cash at Idlewild Airport to Jimmy and Henry] What about the security? Frenchy: Security? You're looking at it. Police Detective: [to Henry] Hey, your pals are here. You don't want to talk to me, you're gonna have a fucking problem all night 'cause I'll be on you like shit. New York State. Twenty five fucking years, pal. [the detectives bring in the utensils Henry used to make coke] What, were you guys grocery shopping? What, are we going to make a cake? Gonna make a fucking cake? Got anything good in there or what? [a detective tastes the residue in a pan] Is it good? [detective nods; to Henry] Ha ha ha ha. Bye bye, dickhead. Ha ha ha. See you in Attica, dick. Tommy DeVito: All right so he got shot in the foot, what is it a big fuckin' deal? [Infuriated at Spider] Tommy DeVito: [to the other card players] Hey, what's that movie that Bogart made? Anthony Stabile: Which one? Tommy DeVito: The one where he played a cowboy. He only did one. Anthony Stabile: Oh... ah... The Oklahoma Kid. Jimmy Conway: Shane? Tommy DeVito: Oklahoma Kid! Tommy DeVito: [to Jimmy] Shane... [They all laugh] Karen: What do you do? Henry Hill: I'm in construction. Karen: [She feels the softness of his hands] They don't feel like you're in construction. Henry Hill: Ah, I'm a union delegate. Karen: One night, Bobby Vinton sent us champagne. There was nothing like it. I didn't think there was anything strange in any of this. You know, a twenty-one-year-old kid with such connections. He was an exciting guy. He was really nice. He introduced me to everybody. Everybody wanted to be nice to him. And he knew how to handle it. Karen: After awhile, it got to be all normal. None of it seemed like crime. It was more like Henry was enterprising, and that he and the guys were making a few bucks hustling, while all the other guys were sitting on their asses, waiting for handouts. Our husbands weren't brain surgeons, they were blue-collar guys. The only way they could make extra money, real extra money, was to go out and cut a few corners. Henry Hill: [narrating] It was revenge for Billy Batts, and a lot of other things. And there was nothing that we could do about it. Batts was a made man, and Tommy wasn't. And we had to sit still and take it. It was among the Italians. It was real greaseball shit. They even shot Tommy in the face so his mother couldn't give him an open coffin at the funeral. Billy Batts: Hey Jimmy! What's right is right. You understand what I'm talking about? Jimmy Conway: It's all right. It's all right. Billy Batts: No. The kid's over here. We're hugging and kissing over here. And two minutes later, he's acting like a fucking jerk. Jimmy Conway: No, no, no, no, no. You insulted him a little bit. You got a little bit out of order yourself. Billy Batts: No I didn't insult him. I didn't insult him. Jimmy Conway: I'm sorry. You insulted him a little bit. Billy Batts: No, I didn't insult nobody. Give us a drink. Give us a drink. Karen: Please stop feeding the dog from the table... from the plate on top of it. Billy Batts: Give us a drink. And give some to those Irish hoodlums down there. Jimmy Conway: There's only one Irishman in here. Billy Batts: On the house. Salud. Jimmy Conway: Top of the mornin'. Tommy DeVito: What the fuck you looking at? Come on. Make that coffee to go. Let's go. Frankie Carbone: [Mumbles something and goes to the door with the coffee pot in his hand] Tommy DeVito: What the fuck are you doing? It's a joke! A joke! Put the fucking pot down! Tommy DeVito: What am I, a mirage? Tommy's Mother: Has Tommy ever told you about my painting? [Henry, Jimmy and Tommy are digging up Billy Batts' decomposed corpse. Henry is coughing from the stench, while the others don't appear to be bothered] Tommy DeVito: Hey, Henry, Henry, hurry up, will ya? My mother's gonna make some fried peppers and sausage for us. [Jimmy and Tommy laugh while Henry coughs] Jimmy Conway: Oh, hey, Henry, Henry! Here's an arm! Henry Hill: Very funny, guys. Jimmy Conway: Here's a leg! Tommy DeVito: Here's a wing! [laughs] . Hey, what do you like, the leg or the wing, Henry? Or ya still go for the old hearts and lungs? Henry Hill: [Vomiting] Oh, that's so bad! Jimmy Conway: Yeah. Vinnie: Yeah. Jimmy Conway: Who's this? Vinnie: This is Vinnie. Jimmy Conway: Vinnie, what happened? Vinnie: Well we-... Jimmy Conway: You get it straightened out? Vinnie: No, we had a problem... and uh, we tried to do everything we could. Jimmy Conway: What d'you mean? Vinnie: Well, you what I mean. He's gone, and we couldn't do nothing about it. [pause] That's it. Jimmy Conway: What d'you mean? What d'you mean? Uh... Vinnie: He's gone. Uh, he's gone. [pause] And that's it. Jimmy Conway: [smashing telephone] Fuck. Can't fuckin' believe that, can't fuckin'... Jimmy Conway: [crying] Fuck it, fuck... the fuck... [Henry exits diner] Henry Hill: What happened? Jimmy Conway: They whacked him. They fuckin' whacked him. Henry Hill: Aw, fuck. [Jimmy kicks phone booth] Jimmy Conway: Motherfucker! [pushes over phone booth] [cries] Jimmy Conway: [Knocks on the car window of two cops following him. They cops have fallen asleep] Come on fuckos, let's go for a ride. Jimmy Conway: Look what this fucking mutt did to my shoes [after kicking Batts to near death] Tommy DeVito: We hit the deer and his paw... What do you call it? The paw. Jimmy Conway: [Speaking through a mouth full of pasta] The hoof. Tommy DeVito: It got caught in the grill. I got to hack it off. Paul Cicero: Tommy's a bad seed. What am I supposed to do? Shoot him? Copa Captain: That wouldn't' be a bad idea. Karen: I know there are women, like my best friends, who would have gotten out of there the minute their boyfriend gave them a gun to hide. But I didn't. I got to admit the truth. It turned me on. Jimmy Conway: Watch this. Henry Hill: Ah, don't fuck with them. Jimmy Conway: I do it all the time. Bust their fucking balls. Henry Hill: Don't give'em the satisfaction, the fucks. Jimmy Conway: [taps on car window of two cops following him, who had fallen asleep] Come on, fuckos, let's go for a ride. [he and Henry laugh] Keep'em up all night. Tuddy Cicero: [as Paulie is being arrested] Why don't you boys go down to Wall Street and find some real crooks? Whoever sold you those suits had a wonderful sense of humor. |
Comments
No comments yet.
