Information
| Year: | 1997 |
| Rating: | 8.4(164784) |
| Listed in: | Crime, Drama, Mystery, Thriller |
| Directed by: | Curtis Hanson |
| Actors: | Kevin Spacey Russell Crowe Guy Pearce James Cromwell Danny DeVito Kim Basinger |
| "Everything is suspect...everyone is for sale...and nothing is what it seems." | |
Cast
| Directed by | |
|---|---|
| Curtis Hanson | |
| Actors | |
| Kevin Spacey | as Jack Vincennes |
| Russell Crowe | as Bud White |
| Guy Pearce | as Ed Exley |
| James Cromwell | as Dudley Smith |
| Danny DeVito | as Sid Hudgens |
| David Strathairn | as Pierce Patchett |
| Ron Rifkin | as D.A. Ellis Loew |
| Matt McCoy | as 'Badge of Honor' Star Brett Chase |
| Paul Guilfoyle | as Mickey Cohen |
| Paolo Seganti | as Johnny Stompanato |
| Steve Rankin | as Officer Arresting Mickey Cohen |
| Graham Beckel | as Dick Stensland |
| Allan Graf | as Wife Beater |
| Bob Clendenin | as Reporter at Hollywood Station |
| Lennie Loftin | as Photographer at Hollywood Station |
| Will Zahrn | as Liquor Store Owner |
| Darrell Sandeen | as Buzz Meeks |
| Michael Warwick | as Sid's Assistant |
| Simon Baker | as Matt Reynolds |
| Matthew Allen Bretz | as Officer Escorting Mexicans |
| Thomas Rosales Jr. | as First Mexican |
| Shane Dixon | as Officer - Detective at Hollywood Station |
| Norman Howell | as Officer - Detective at Hollywood Station |
| Brian Lally | as Officer - Detective at Hollywood Station |
| Don Pulford | as Officer - Detective at Hollywood Station |
| Chris Short | as Officer - Detective at Hollywood Station |
| John Mahon | as Police Chief |
| Tomas Arana | as Breuning - Dudley's Guy |
| Michael McCleery | as Carlisle - Dudley's Guy |
| George Yager | as Gangster at Victory Motel |
| Jack Conley | as Vice Captain |
| Jack Knight | as Detective at Detective Bureau |
| John H. Evans | as Patrolman at Nite Owl Cafe |
| Gene Wolande | as Forensic Chief |
| Brian Bossetta | as Forensic Officer |
| Michael Chieffo | as Coroner |
| Mike Kennedy | as Bud's Rejected Partner |
| Ingo Neuhaus | as Jack's Rejected Partner |
| Robert Harrison | as Pierce Patchett's Bodyguard |
| Jim Metzler | as City Councilman |
| Robert Barry Fleming | as Boxer |
| Jeremiah Birkett | as Ray Collins - Nite Owl Suspect |
| Salim Grant | as Louis Fontaine - Nite Owl Suspect |
| Karreem Washington | as Ty Jones - Nite Owl Suspect |
| Jeff Sanders | as Sylvester Fitch |
| Steven Lambert | as Roland Navarette |
| Jordan Marder | as Officer at Detective Bureau |
| Gregory White | as Mayor |
| Colin Mitchell | as Reporter at Hospital |
| John Slade | as Photographer at Hospital |
| Kevin Maloney | as Frolic Room Bartender |
| Scott Eberlein | as West Hollywood Sheriff's Deputy |
| David St. James | as Detective at Hush-Hush Office |
| Bodie Newcomb | as Officer at Hush-Hush Office |
| Jeff Austin | as Detective |
| Robert Foster | as Detective |
| Kevin Patrick Kelly | as Detective |
| Henry Marder | as Detective |
| Monty McKee | as Detective |
| Henry Meyers | as Detective |
| Michael Ossmann | as Detective |
| Dick Stilwell | as Detective |
| Jess Thomas | as Detective |
| Robert Thompson | as Detective |
| Jody Wood | as Detective |
| Jonathan Adler | as Photographer |
| William Boyd | as Himself |
| Hennen Chambers | as Reporter |
| T.K. Durham | as Senator's Aide |
| Scott McKinley | as Cop |
| Jimmy Ortega | as Second Mexican |
| Gilbert Rosales | as Third Mexican |
| Rocco Salata | as Uniformed Patrol Officer |
| Frank Sinatra | as Himself |
| Sam P. Whitehead | as Detective |
| Dell Yount | as Court Bailiff |
| Actresses | |
| Kim Basinger | as Lynn Bracken |
| Elisabeth Granli | as Mickey Cohen's Mambo Partner |
| Sandra Taylor | as Mickey Cohen's Mambo Partner |
| Precious Chong | as Wife |
| Symba Smith | as Jack's Dancing Partner |
| Amber Smith | as Susan Lefferts |
| Shawnee Free Jones | as Tammy Jordan |
| Ginger Slaughter | as Secretary in Vice |
| Gwenda Deacon | as Mrs. Lefferts |
| Noel Evangelisti | as Stenographer |
| Marisol Padilla Sánchez | as Inez Soto - Rape Victim |
| April Breneman | as Look-Alike Dancer |
| Lisa Worthy | as Look-Alike Dancer |
| Beverly Sharpe | as Witness on 'Badge of Honor' |
| Brenda Bakke | as Lana Turner |
| Patrice Walters | as Police File Clerk |
| Rebecca Klingler | as Police File Clerk |
| Irene Roseen | as D.A. Ellis Loew's Secretary |
| Priscilla Cory | as Brunette Police Woman |
| Deborah Kerr | as Herself |
| Virginia Mayo | as Herself |
| Marilyn Monroe | as Herself |
| Nectar Rose | as Marilyn Monroe |
| Jane Russell | as Herself |
| Stacey Swall |
Movie info
| Languages: | English |
| Filming dates: | 6 May 1996 - 22 August 1996 |
| Budget: | USD 35,000,000 |
| Gross: |
USA - 64,604,977 USD (25 May 1998) UK - 6,934,891 GBP (12 April 1998) Worldwide - 6,200,000 USD (2 November 1997) (except USA) Germany - 2,828,312 DEM (29 December 1997) |
| Plot: | LA in the 50's: someone's killing imprisoned mob boss Mickey Cohen's gang. The police, led by Captain Dudley, convince wiseguys from Jersey, Cleveland, and elsewhere to go home. Rich developer, Pierce Patchett, runs a stable of high-class hookers who are ringers for movie stars. The plot to replace Cohen blindsides three plainclothes cops: White watched his father beat his mother to death then vanish, he punishes abusers with quick violence; Exley's father was a hero cop killed mysteriously, he seeks justice by the book; Vicennes, a clothes horse, consults for a Dragnet-like TV show. Will they escape corruption and murder, will they find their own morality? |
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Original Soundtracks
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"Ac-cent-tchu-ate the Positive" (1944) Music by Harold Arlen Lyrics by Johnny Mercer Performed by Johnny Mercer Courtesy of Capitol Records Under license from EMI-Capitol Special Markets "Oh! Look at Me Now" (1941) Music by Joe Bushkin Lyrics by John DeVries Performed by Lee Wiley Courtesy of Columbia Records By Arrangement with Sony Music Licensing "Silent Night" (1818) Music by Franz Gruber Lyrics by Joseph Mohr "Silver Bells" (1950) Written by Jay Livingston and Ray Evans "The Christmas Blues" (1932) Written by Sammy Cahn and David Holt Performed by Dean Martin Courtesy of Capitol Records Under license from EMI-Capitol Special Markets "Mele Kalikimaka" (1949) Written by R. Alex Anderson Performed by Bing Crosby Courtesy of MCA Records By Arrangement with Universal Special Markets "Look for the Silver Lining" (1920) Music by Jerome Kern Lyrics by Buddy G. DeSylva (as Bud DeSylva) Performed by Chet Baker Courtesy of Blue Note Records, a division of Capitol Records, Inc. Under license from EMI-Capitol Special Markets "Jingle Bells" (1857) Written by James Pierpont "Hit the Road to Dreamland" (1942) Music by Harold Arlen Lyrics by Johnny Mercer Performed by Betty Hutton Courtesy of Capitol Records Under license from EMI-Capitol Special Markets "Wheel of Fortune" (1952) Written by George David Weiss (as George Weiss) and Bennie Benjamin Performed by Kay Starr Courtesy of Capitol Records Under license from EMI-Capitol Special Markets "Makin' Whoopee" (1928) Music by Walter Donaldson Lyrics by Gus Kahn Performed by Gerry Mulligan with Chet Baker Courtesy of Blue Note Records, a division of Capitol Records, Inc. Under license from EMI-Capitol Special Markets "The Lady Is a Tramp" (1937) Music by Richard Rodgers Lyrics by Lorenz Hart Performed by Gerry Mulligan Quartet Courtesy of Fantasy, Inc. "Powder Your Face with Sunshine" (1948) Written by Carmen Lombardo and Stanley Rochinski Performed by Dean Martin Courtesy of Capitol Records Under license from EMI-Capitol Special Markets "How Important Can It Be" (1955) Written by George David Weiss (as George Weiss) and Bennie Benjamin Performed by Joni James on "The Perry Como Show" (1948) "Looking at You" (1929) Written by Cole Porter Performed by Lee Wiley Courtesy of Audiophile Records "At Last" (1941) Music by Harry Warren Lyrics by Mack Gordon Performed by Chet Baker and The Lighthouse All-Stars Courtesy of Contemporary Records/Fantasy, Inc. "But Not for Me" (1930) Music by George Gershwin Lyrics by Ira Gershwin Performed by Jackie Gleason Courtesy of Capitol Records Under license from EMI-Capitol Special Markets |
Goofs
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DATE: The premiere of When Worlds Collide (1951) is depicted as occurring in December 1952. DATE: In early 1953 (before March 15), characters watch Roman Holiday (1953), which actually premiered in late summer. Continuity: The glass of scotch that Lynn gives to White at her house disappears, and then reappears again. DATE: In the street scene after the kidnapped girl is rescued, a blue US Postal Service box is visible. Mailboxes were painted olive drab until the color scheme was changed to red, white and blue on July 4, 1955. The US Postal Service did not exist until 1971, when it replaced the U.S. Post Office Department. Prior to 1971, equipment, including trucks and mail boxes, were labeled "U.S. Mail". Continuity: Mrs. Lefferts' glasses (side bit) move from being under her kerchief on top of it (without her taking the glasses off) when Bud White interviews her at her home. Revealing mistakes: White's car leaves dust clouds when he leaves the Victory Motel on the way to Lynn's house during the rain storm. FAIR: White leaves Lynn's house when it is raining; it is still raining when he fights with Exley in the records room, yet when they confront the District Attorney, it is clear outside with scant evidence of rain having fallen. However, these locations are far enough apart that this is possible; in addition, there are rain streaks and tire tracks that imply the rain had fallen there earlier. Continuity: SPOILER: In the final scene, two woman walk past each other, behind and to Ed's left, as he is standing on the sidewalk. However, when he is seen through the rear window of the car - from Bud's perspective - the original women have disappeared and two new women (walking together, toward Ed) have taken their place. Crew: SPOILER: In the last scene, when Lynn is opening the car, you can see a reflection of the crew in the car door. FAIR: When Ed Exley asks Lynn Bracken what she can tell him about Dudley Smith, she says she has never heard of him. While unlikely to be true, she was quite possibly lying. Revealing mistakes: When Exley talks to Vincennes about Rolo Tomassi, Guy Pearce 's Australian accent accidentally slips when he tells Jack, "I just wanna solve this thing". SYNC: When White meets Dudley for a drink, he asks, "What do you want, Captain?", although he is mouthing something else. SYNC: When Dudley breaks up a fight between White and Exley, he tells Exley not to bother White when his blood is up, although he is mouthing something else. FAIR: Exley constantly wears and removes his glasses throughout the movie, even when he is reading; presumably, whatever his vision defect, it's not too severe, so that use of glasses is partly dependent on his mood. DATE: During several outside shots, especially during the raid on the kidnappers' den, downtown Los Angeles can be seen in the background featuring buildings that were not completed until several years later. FAIR: The phone number of Fleur-de-Lis is CRestview 2239. At the time, Los Angeles was using a mixture of phone numbers with 4 and 5 digits after the exchange (what today we would call 6 and 7 digit phone numbers). SYNC: When Sid Hudgeons is talking to Jack Vincennes about the male hooker, his words don't match his lips. Revealing mistakes: When Exley blasts one of the rapists out of the window, there is clearly an enormous belt around the man's waist, to yank him backwards. Continuity: When Exley and Jack are interviewing the boxer, the cigarette that Jack is smoking changes hands between shots. Crew: In one shot, when Bud White is dangling the D.A. out the window, the actor's safety cable is visible. DATE: In the scenes showing the pot bust the marijuana is shown in a plastic baggie which did not exist in 1953. Continuity: At the start just after Ed Exley is interviewed Edmund Exley and Dudley Smith walk down the stairs of the police station where Dudly picks up two drinks, he hands one to Ed and the other for himself. When Dudly walks away his has disappeared. DATE: When we see the kidnapper of Inez Soto watching TV just before White sneaks up on him and shoots him, the carton of milk on the coffee table is of today's "fold-open top" design, which was not invented until well after the early 1950s. Fact errors: During the fight between the cops and the Mexicans, the newspaper photographer raises his camera to take a photo. When he does so, the flashbulb fires; however, the resulting photo was obviously not taken with a flash. If it was, the officers in the foreground would have been overexposed and the rest of the scene would have looked more as though it were lit from the front, rather than from the sides and above. DATE: In the Nite Owl café murder scene, as the camera pans over the café, the mustard and cat-sup are seen to be in plastic containers. In the 1950s, mustard and cat-sup always came in glass bottles. DATE: When Det. Sgt. Jack Vincennes is sitting in the Frolic Club he unfolds a 50 dollar bill which has a green 'FIFTY' on the right side and a "B" signifying the Federal Reserve office on the left. None of these symbols were used on bills from the early 1950's. Revealing mistakes: SPOILER: When Jack Vincennes finds Matt Reynolds's body, there is a close-up shot on Matt's face. In that shot you can clearly see that the vein in his neck is still moving. Fact errors: During the shootout scene, White draws a wheel handgun after shooting the first henchman. He fires at least 7 shots without reloading, too many for a wheel handgun, which usually carries 6. Continuity: During the shot of when Bud White's vehicle arrives at Pierce Patchett's house, there is a JUMP-CUT where several frames have been removed. This is noticeable just before Bud opens his car door, the trees in the background appear to suddenly skip in motion. SYNC: In the scene outside the liquor store where Bud White confronts Buzz Meeks, the scene ends with White (who previously had disarmed Meeks) unloading Meeks' revolver and handing it back to him. When White unloads the revolver he spins the cylinder which makes a distinctive series of clicks, an audio effect often heard in films. However, only old style single action revolvers (the type seen in westerns) make this sound when their cylinders are spun. Spinning the cylinder on a modern double action revolver makes no sound whatsoever. SYNC: When the DA is talking to Bud White in his bathroom in front of the mirror, at one point, his lips don't match what is heard. Continuity: SPOILER: After Stensland's death at the Nite Owl, you can see him again at a later scene when all the officers are at a conference discussing about the Nite Owl case. Continuity: When Bud White drives up to the Victory Motel for the interrogation of Sid Hudgens, it is raining heavily and the sky is gray and overcast. But in the brief shot of Bud running through the doorway, the parking lot in the background is bathed in bright sunshine. DATE: The story takes place in 1953. Johnny Stompanato and Lana Turner did not meet until 1957. FAIR: SPOILER: At the Victory Motel shoot out, Dudley Smith is clearly seen shooting Bud White in the right cheek after he stabs Dudley in the leg. At the end of the movie when Bud White is sitting in a vehicle saying goodbye to Ed Exley, the bandage is on his left cheek. However, Bud also has clearly visible barely closed wound on the right cheek. Exit wounds are usually more severe than entry wounds so the bandage on the left side on the face is justified, assuming that the bullet penetrated both cheeks. Revealing mistakes: SPOILER: At the end of the Victory Motel shootout, when Exley stands next to Captain Smith's dead body while holding his badge up, James Cromwell 's body is clearly seen moving up and down as the actor is breathing. Continuity: In the shooting scene involving two whites and two blacks, The blood on Exley's face is smeared in one way when he is chasing the fourth guy and in another way when he shoots through the lift in the next shot, even though no blood could spill through the lift doors. Revealing mistakes: SPOILER: Susan Lefferts is supposedly dead, yet her body has goosebumps. Revealing mistakes: SPOILER: In the final scene, Ed and Lynn are facing each other yet the sun is shown as being behind both of them. Revealing mistakes: SPOILER: When Bud White rushes into the morgue to find Dick Stensland's body, one of the sheets he turns up uncovers an older man with grey hair who appears to have almost had the skin scraped off of him (or maybe burned off). In a later scene where Exley is speaking to the coroner about the identification of another corpse, an event depicted as occurring days later, the coroner is doing an autopsy on the same body. It's obvious that the production crew simply recycled the body, but in reality, it would have been a grievous error for a coroner to wait so long to do an autopsy. Crew: When two of Mickey Cohen's henchmen are gunned down in their car (right after the scene where Bud White gets his badge and gun back from Dudley), the outline of an explosive squib can be seen on each actor's forehead before the gunfire begins. Continuity: At the end when Ed Exley received his medal, he walks Lynn outside. When they are walking outside to the car, Ed doesn't have his medal throughout the end of the movie. Crew: (At 1:53:00) When Bud White is dangling DA Loews out of a window, you can see a wire going to the DA's feet. (There is no visual shown of a phone and no resolution given to suggest anything other than a safety harness.) Continuity: After the big shootout at the abandoned house, Dudley walks away from Exley, who staggers to the door empty handed, having dropped a shotgun inside the house. Dudley walks towards the approaching police cars and says to hold his badge up to show that they are cops and Exley shoots him with a shotgun that suddenly appears in his hand again. DATE: When White and Exley are talking to the boxer they say they could get his brother out of prison in 1960 instead of 1970 if he cooperates. However, later in the movie there is a scene of the Santa Monica Freeway being opened. The Santa Monica Freeway was opened in 1964. |
Quotes
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Captain Dudley Smith: I admire you as a policeman - particularly your adherence to violence as a necessary adjunct to the job. Jack Vincennes: Oh, lookee here: the great jerkoff case of 1953. Captain Dudley Smith: I wouldn't trade places with Edmund Exley right now for all the whiskey in Ireland. Captain Dudley Smith: Wendell - I'd like full and docile co-operation on every topic. Dick Stensland: We'll do the town one night... on me. Bud White: I'll bring my wallet, just in case. Brett Chase: Excuse me, ma'am; just the facts. Captain Dudley Smith: You'll do as I say, and ask no questions. Do you follow my drift? Bud White: In technicolor, sir. Dick Stensland: I got a hot date. Bud White: Yeah? Who is she and what did you arrest her for? Ed Exley: I'm talking about the gas chamber, and you haven't even asked me what this is about. You've got a big "Guilty" sign around your neck. Jack Vincennes: Oh, great. You get the girl, I get the coroner. Jack Vincennes: Why don't you and I go someplace quiet, cause I'd love to give you the low-down on Mitchum. Ed Exley: Do you make the three Negroes for the Nite Owl killings? Jack Vincennes: [puzzled] What? Ed Exley: It's a simple question. Jack Vincennes: Why in the world do you wanna go digging any deeper into the Nite Owl killings... Lieutenant? Ed Exley: ...Rollo Tamasi. Jack Vincennes: Is there more to that, or am I supposed to guess? Ed Exley: [aftre gathering his thoughts] Rollo was a purse snatcher. My father ran into him off duty, and he shot my father six times and got away clean. No one even knew who he was. I just made the name up to give him some personality. Jack Vincennes: What's your point? Ed Exley: Rollo Tamasi is the reason I became a cop. I wanted to catch the guys who thought they could get away with it. It's supposed to be about justice. Then somewhere along the way, I lost sight of that... Why'd you become a cop? Jack Vincennes: [long pause] I don't remember. [brief hesitation] Jack Vincennes: What do you want, Exley? Ed Exley: I just wanna solve this thing. Jack Vincennes: The Nite Owl *was* solved. Ed Exley: No; I wanna do it right. Jack Vincennes: Even if it means paying the consequences? [Exley nods his head, Vincennes stands up from his chair] Jack Vincennes: All right, college boy, I'll help. But there's a case you boys in Homicide don't care about, you think it's just another Hollywood "homo"-cide. Well, I don't. You help me with mine, I'll help you with yours. Deal? Ed Exley: Deal. Bud White: The Nite Owl case made you. Do you want to tear all that down? Ed Exley: With a wrecking ball... You want to help me swing it? Jack Vincennes: I'm the technical advisor. I teach Brett Chase how to walk and talk like a cop. Jack's Dancing Partner: Brett Chase doesn't walk and talk like you. Jack Vincennes: Well, that's 'cause he's the television version. America isn't ready for the real me. Pierce Patchett: I use girls that look like movie stars. Sometimes I employ a plastic surgeon. When the work had been done, that's when you saw us. Bud White: That's why her mother couldn't I.D. her. Jesus fucking Christ. Pierce Patchett: No, Mr. White. Pierce Morehouse Patchett. Johnny Stompanato: You want an autograph? Write to MGM. Ed Exley: Since when do two-bit hoods and hookers give out autographs? Johnny Stompanato: What'd you say to me? Ed Exley: LAPD. Sit down. Lana Turner: Who in the hell do you think you are? Jack Vincennes: Ed... Ed Exley: Take a walk, honey, before I haul your ass downtown. Johnny Stompanato: You are making a large mistake. Lana Turner: Get away from our table! Ed Exley: Shut up! A hooker cut to look like Lana Turner is still a hooker. Johnny Stompanato: Hey! Ed Exley: She just looks like Lana Turner. Jack Vincennes: She *is* Lana Turner. Ed Exley: [stunned] What? Jack Vincennes: She *is* Lana Turner. [Lana throws a drink in Ed's face] Bud White: Well, Captain, what do you want? Captain Dudley Smith: Call me Dudley. Bud White: Dudley... what do you want? Ed Exley: I heard you like to shoot dogs. Ray Collins: Dogs got no reason to live. [Dick Stensland arrives with liquor for a party] Officer: What took you, Stensland? Dick Stensland: My partner stopped to help a damsel in distress. He's got his priorities all screwed up. Bud White: I'd like to see you again. Lynn Bracken: Are you asking me for a date, or an appointment? Bud White: ...I don't know. Lynn Bracken: Well, if you're asking me for a date, I should know your first name. Bud White: [embarrassed] Forget I asked. It was a mistake. Bud White: Merry Christmas. Lynn Bracken: Merry Christmas to you, officer. Bud White: That obvious, huh? Lynn Bracken: It's practically stamped on your forehead. Ed Exley: All I ever wanted was to measure up to my father. Bud White: Now's your chance. Bud White: [after Exley gives him a puzzled look] He died in the line of duty, didn't he? Sid Hudgens: Off the record, on the QT, and very hush-hush. [first lines] Sid Hudgens: [voiceover] Come to Los Angeles! The sun shines bright, the beaches are wide and inviting, and the orange groves stretch as far as the eye can see. There are jobs aplenty, and land is cheap. Every working man can have his own house, and inside every house, a happy, all-American family. You can have all this, and who knows... you could even be discovered, become a movie star... or at least see one. Life is good in Los Angeles... it's paradise on Earth." Ha ha ha ha. That's what they tell you, anyway. Lynn Bracken: You're the first man in five years who didn't tell me I look like Veronica Lake inside of a minute. Bud White: You look better than Veronica Lake. Lynn Bracken: I see Bud because I want to. I see Bud because he can't hide the good inside of him. I see Bud because he treats me like Lynn Bracken and not some Veronica Lake look-alike who fucks for money. Captain Dudley Smith: Go back to Jersey, sonny. This is the City of the Angels, and you haven't got any wings. Captain Dudley Smith: Don't start tryin' to do the right thing, boy-o. You haven't the practice. Captain Dudley Smith: I doubt you've ever taken a stupid breath. Don't start now. Captain Dudley Smith: Our justice must be swift and merciless. [White approaches Loew in the bathroom, after he refused to answer Exley's questions] Ellis Loew: Unless you came in here to wipe my ass, I believe we're through. [White looks at him, silently] Ellis Loew: Come on, don't try this "Good Cop-Bad Cop" crap on me. I practically invented it. So what if some homo actor is dead? Boys, girls, ten of them step off the bus to L.A. every day. [White proceeds to smash Loew's head into the mirror and then sticking it into the toilet] Ellis Loew: Pull him off me, Exley! Ed Exley: I don't know how. Bud White: Now, I know you think you're the A-number one hotshot. Well, here's the juice: if I take you out, there'll be ten more lawyers to take your place tomorrow. They just won't come on the bus, that's all! [White drags Loew into his office and dangles him out of the window by his legs until he confesses] Ed Exley: Was that how you used to run the "Good Cop-Bad Cop?" [Bud grabs Johnny Stompanato by the testicles to get him to talk] Bud White: What do I get if I give you your balls back, you wop cocksucker? [Exley has to perform the interrogation] Jack Vincennes: Are you sure Golden Boy is up to the task, Cap? Captain Dudley Smith: Oh, I think you'd be surprised what the lad is capable of. City Councilman: [told by Bud to leave Lynn's house] Maybe I will. Maybe I won't. Bud White: [flashes his badge] LAPD, shitbird. Get the fuck outta here or I'll call your wife to come get you! [while Lynn hides a smile, the client gathers up his clothes, and walks out front door] City Councilman: Officer. Bud White: Councilman. Sid Hudgens: 'It's Christmas Eve in the City of Angels and while decent citizens sleep the sleep of the righteous, hopheads prowl for marijuana, not knowing that a man is coming to stop them! Celebrity crimestopper Jack Vincennes, scourge of grasshoppers and dopefiends everywhere!' Ya like it, Jackie boy? Jack Vincennes: Yeah, subtle. Captain Dudley Smith: Hold up your badge, so they'll know you're a policeman. Jack Vincennes: Karen, this is Sid Hudgens of Hush-Hush Magazine. Sid Hudgens: Hellooooo, Karen! Jack's Dancing Partner: Hello yourself! [walks off angrily] Jack Vincennes: What's that about? Sid Hudgens: Eh, we ran a piece last year, "Ingenue Dykes in Hollywood." Her name got mentioned. Captain Dudley Smith: Have you a valediction, boyo? Jack Vincennes: [gasping out a name]... Rollo Tamasi. Ed Exley: A naked man with a gun? Do you really expect anyone to believe that? Bud White: Get the fuck away from me. Ed Exley: How's it gonna look in your report? Bud White: It'll look like justice. That's what the man got. Justice. Ed Exley: You don't know the meaning of the word, you ignorant bastard. Bud White: Oh yeah, well you think it means getting your picture in the paper. Why don't you go after criminals for a change, instead of cops? [punches Exley in the shoulder and then starts to walk away] Ed Exley: Stensland got what he deserved, and so will you. [a furious White tries to attack Exley, only to be restrained by the Captain and by several other cops] Captain Dudley Smith: It's best to stay away from a man when his blood is up. Ed Exley: His blood is always up. Captain Dudley Smith: Then perhaps you should stay away from him altogether. [to Ray Collins] Ed Exley: They called you 'Sugar', 'cause you liked to give it out... so sweet. Captain Dudley Smith: Edmund, you're a political animal. You have the eye for human weakness, but not the stomach. Ed Exley: You're wrong, sir. Captain Dudley Smith: Would you be willing to plant corroborative evidence on a suspect you knew to be guilty, in order to ensure an indictment? Ed Exley: Dudley, we've been over this. Captain Dudley Smith: Yes or no, Edmund? Ed Exley: No! Captain Dudley Smith: Would you be willing to beat a confession out of a suspect you knew to be guilty? Ed Exley: No. Captain Dudley Smith: Would you be willing to shoot a hardened criminal in the back, in order to offset the chance that some... lawyer... Ed Exley: No. Captain Dudley Smith: Then, for the love of God, don't be a detective. Stick to assignments where you don't have... Ed Exley: Dudley, I know you mean well, but I don't need to do it the way you did. Or my father. Sid Hudgens: Get me some narco skinny. I want to do an all-hophead issue. You know, schwartze jazz musicians and movie stars. You like it? Ed Exley: Bud hates himself for what he did. Lynn Bracken: I know how he feels. [last lines] Lynn Bracken: Some men get the world. Others get ex-hookers and a trip to Arizona. [She kisses Exley on the cheek] Bye. Ed Exley: Bye. Ray Pinker: Stomach of the week. Unemployed actor had frankfurter, french fries, alcohol, and sperm. Hell of a last supper, don't you think? Bud White: Bullshit. How would a two-bit hick like Meeks get his hands on a large supply of heroin? Johnny Stompanato: You're right, it's probably bullshit. Even if he did, he could never unload it. Not without drawing all kinds of attention. Bud White: Maybe that's why he's under a house in Elysian Park and he don't smell too good, paisano. [when Sid Hudgens is found dead] Bud White: What happened? Detective at Hush-Hush Office: Somebody beat him to death and stole a bunch of files. Must've dug up garbage on the wrong guy. Got it narrowed down to a thousand suspects. Sid Hudgens: [voiceover] Something has to be done, but nothing too original, because hey, this is Hollywood. Dick Stensland: You're like Santa Claus with that list, Bud, except everyone on it's been naughty. Captain Dudley Smith: Bud White is a valuable officer. Ed Exley: White's a mindless thug. Captain Dudley Smith: No, Edmund, he's just a man who can answer yes to those questions I've asked you from time to time. Sid Hudgens: Are you tight with the DA, Jackie? Jack Vincennes: Oh yeah, yeah, yeah. He tried to throw me off the force last Christmas as a little joke. Captain Dudley Smith: You're a bit of a puzzlement to me these days, Wendell. You don't seem to be your old cruel self anymore. And I had such grand plans for your future. Sid Hudgens: He's on a night train to the big adios. [White catches a parolee beating his wife] Wife Beater: Who in the hell are you? Bud White: The ghost of Christmas past. Why don't you dance with a man for a change? Wife Beater: What are you, some kind of smart ass? [tries to attack Bud] Bud White: [after beating up and handcuffing the wife beater] You'll be out in a year and a half. I'll get cozy with your parole officer. You touch her again, I'll have you violated on a kiddie raper beef. Bud White: [grabs wife beater by the head] You know what they do to kiddie rapers in Quentin, don't ya? Lynn Bracken: You say "fuck" a lot. Bud White: You fuck for money. [Stocking a box with liquor for the police's Christmas party] Liquor Store Owner: If I ever get held up, you guys better be here. Ray Pinker: Bud White - what brings *you* to the basement? Bud White: I got a couple Nite Owl questions. Ray Pinker: I don't know if you'd read the papers, but that case is closed. Bud White: Is there anything bothering you about it, Ray? Ray Pinker: Yeah, the fact that the pack-up boys haven't carted this shit out of here yet. [Bud sees all the boxes of case files, and starts to look through the crime scene photos] Ray Pinker: I got three shotguns, taken from the suspects, that match the strike marks on the shells from the Nite Owl. What more do you want? Bud White: [suddenly spotting a detail in a photo] There's blood on the wall here. I thought everybody but the cook got shot in the men's room? Ray Pinker: That is Stensland's blood. Bud White: Stensland? Ray Pinker: He took a blow to the head. Was probably unconscious when they dragged him in the john. Bud White: Did they hit anybody else? Ray Pinker: No. But he was a cop, he probably tried to "do something." Bud White: [remembering that Stensland said he had a date that night, he studies a photo showing a table with two settings, including a coffee mug smudged with lipstick] Grilled cheese, black coffee... two of the victims were women, right? Ray Pinker: Yeah - Patti DeLuca, the night-shift waitress, and a Susan Lefferts. Bud White: Susan Lefferts... Ray Pinker: Yeah, what about her? [Bud runs out of the room] You're welcome! [lying in bed, Lynn touches a scar on Bud's shoulder] Lynn Bracken: Where'd this come from? Bud White: When I was twelve, my old man went after my mother with a bottle. I got in the way. Lynn Bracken: You saved her. Bud White: ...Not for long. Lynn Bracken: I'm sorry, Bud, it's none of my... Bud White: He tied me to the radiator. I watched him beat my mother to death with a tire iron. Then he left us there. Three days before a truant officer found us... They never found the old man. Lynn Bracken: Was that why you became a cop? To get even? Bud White: ...Maybe. Bud White: Something's wrong with the Nite Owl. I know it in here, [points to his chest] Bud White: I know it. That prick Exley shot the wrong guys. Whoever killed my partner, is still out there. I... If I could work cases like a real detective, I could prove it. But I'm not smart enough. I'm just the guy they bring in to scare the other guy shitless. Lynn Bracken: You're wrong. You found Patchett, you found me. You're smart enough. [to Lynn] Bud White: Don't ever try to fucking bribe me or I'll have you and Patchett in shit up to your ears. Captain Dudley Smith: [interrogation at the Victory Motel] Reciprocity, Mr. Hudgens, is the key to every relationship. Lynn Bracken: [to Ed] Fucking me and fucking Bud aren't the same thing, you know. Jack Vincennes: How's it hanging, Sid? Sid Hudgens: Down around my ankles. Lynn Bracken: There's blood on your jacket. Is that an integral part of your job? Bud White: Sometimes. Lynn Bracken: Do you enjoy it? Bud White: When they deserve it. Lynn Bracken: Did they today? Bud White: I don't know. Lynn Bracken: But you did it anyway. Bud White: Yeah, just like the half-dozen guys you screwed today. Lynn Bracken: Well, actually, it was two. Lynn Bracken: I was wondering when you'd knock on my door again, Officer White. Bud White: It's Bud. Lynn Bracken: Bud... Ed Exley: [as Bud White is beating him up] Think, goddamn you, *think!* |
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