Greatest Film Scenes
and Moments



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Title Screen
Movie Title/Year and Scene Descriptions
Screenshots

I Am a Fugitive From a Chain Gang (1932)

In this Warner Brothers crime/prison drama (with a message) by director Mervyn LeRoy:

  • the scene of WWI unemployed veteran James Allen's (Paul Muni) unsuccessful attempt to pawn off his war medal, a Belgian Croix de Guerre, when the owner already had a drawer case full of medals from other unemployed, vagrant veterans
  • the dissolve/transition as the judge's gavel was brought down for sentencing of punishment in prison at hard labor for ten years for a $5 robbery - a crime Allen didn't commit - the sentencing was completed by the clanging sound of a blacksmith's hammer pounding the chain on prisoner Allen's leg
  • Allen's meal scene when he was disgusted by the tasteless and abominable food, and told by a fellow prisoner that he would have to get used to it: ("Grease, fried dough, pig fat and sorghum. And you better get to like it, because you're going to get the same thing every morning, every year")
  • the exciting and memorable escape scene, when Allen was taking a break in the bushes - and he slipped the shackles off his legs, grabbed clothes from a clothesline and changed out of his uniform, ran through the swamps, and outwitted guards and bloodhounds that were chasing him by breathing through a hollow reed underwater
  • the visually impressive and chilling fade-out ending when hunted, falsely-accused fugitive James Allen was asked by his fiancee Helen (Helen Vinson) questions about how he lived: ("Can't you tell me where you're going? Will you write? Do you need any money? But you must, Jim. How do you live?") he responded: - "I steal" - as he receded into the shadowy darkness





I Spit on Your Grave (1978) (aka Day of the Woman)

In producer/director/writer Meir Zarchi's gruesomely-told and widely vilified exploitation story, a notorious rape/vigilante revenge splatter-horror ('nastie') film:

  • the character of NYC socialite/writer Jennifer Hills (Camille Keaton, grand-niece of the famous comedian Buster Keaton) who rented a remote and woodsy summer riverside dwelling in Connecticut, and was spied upon
  • the graphic, lengthy and violent, painful-to-watch sequence of her repeated rape by four locals, including three aimless, misogynistic and sex-obsessed guys she had first met at a gas station (Eron Tabor as gas station manager Johnny, and his two unemployed friends Anthony Nichols as Stanley, and Gunter Kleeman as harmonica-playing Andy), and a fourth bespectacled, mentally-slow supermarket delivery man (Richard Pace as Matthew Lucas) who was there to lose his virginity
  • the planned revenge of the traumatized victim who paid a visit to a church to pray for forgiveness before her brutal counter-assault
  • the scenes of her angry (yet often seductive) revenge against each of the four attackers: a noose-hanging for Matthew, a lethal bloodletting castration for Johnny conducted nude in a bathtub with a conveniently-placed knife, an axing for Andy, and a disembowelment with an outboard boat motor for Stanley



I Walked With a Zombie (1943)

In this acclaimed occult horror film from RKO producer Val Lewton and director Jacques Tourneur, with atmospheric tension and shadowy nighttime scenes:

  • the scene of Canadian nurse Betsy Connell (Frances Dee) on the deck of a schooner bound for the Caribbean island of Saint Sebastian, watching the stars, and looking out on the horizon after seeing flying fish, and sensing beauty: ("I looked at those great glowing stars and I felt the warm wind on my cheeks and I breathed deep and every bit of me inside myself said, 'How beautiful'") - and interrupted by rich sugar plantation owner Paul Holland (Tom Conway) who had read her thoughts: ("It is not beautiful...It's easy enough to read the thoughts of a newcomer. Everything seems beautiful because you don't understand. Those flying fish, they are not leaping for joy. They're jumping in terror. Bigger fish want to eat them. That luminous water, it takes its gleam from millions of tiny dead bodies. It's the glitter of putrescence. There's no beauty here, only death and decay...Everything good dies here, even the stars")
  • Betsy's strangely-afflicted patient, Paul Holland's wife Jessica (Christine Gordon), who exhibited symptoms of inactivity and an inability to speak (was she a zombie?), and the mystery about the cause of her condition (possibly because of Paul's retribution against Jessica for her adulterous affair with Paul's half-brother and employee, Wesley Rand (James Ellison))
  • the unsettling nighttime scene of Betsy's haunting walk with her patient Jessica through tall sugar cane fields (adorned with several talismans, including a skull and hanging goat carcass) to a local voodoo ceremony, superbly photographed with tracking shots
  • the abrupt appearance in the darkness of huge zombie guard or gatekeeper Carre Four (Darby Jones) - a memorable image
  • the shocking revelation that the Voodoo priest in the ceremony was none other than Mrs. Rand (Edith Barrett), a doctor, and the mother of Paul and Wesley, and that she was the one who had put a voodoo curse or spell on Jessica to zombify her
  • the final sequence of the double suicide of Wesley and Jessica, when he thrust an iron arrow into Jessica's body to kill her (at the same time a voodoo doll effigy of Jessica was pierced by a voodoo master), and then walked her body into the ocean






I Want to Live! (1958)

In director Robert Wise's grim and dramatic biopic:

  • hard-living, bad-luck woman Barbara Graham (Oscar-winning Susan Hayward) convicted of murder although she vowed her innocence: ("I despise the lawyers, all the ones who want me dead - I'm innocent")
  • the final, realistic San Quentin gas-chamber execution scene when the heroine is advised: "When you hear the pellets drop, count ten, take a deep breath - it's easier that way" and her response: "How do you know?"
  • the image of Barbara clenching her fist and slumping over in death



If... (1968, UK)

In director Lindsay Anderson's violent and controversial coming-of-age drama about youth rebellion:

  • the character of rebellious, anti-authoritarian anarchist Mick Travis (Malcolm McDowell in his debut film role), who had said: "One man can change the world with a bullet in the right place"
  • the coffee-shop scene in which Mick rudely flirted with unnamed coffee-house waitress (Christine Noonan); after she slapped him for stealing a kiss, she came up behind him at the jukebox and animalistically taunted him: ("Go on, look at me. I'll kill you. Look at my eyes. Sometimes I stand in front of the mirror and my eyes get bigger and bigger. I'm like a tiger, I'm like a tigress.");
  • the subsequent ten second sequence of their ritualistic mating (using the metaphor of two tigers), accompanied by growls, sniffs, clawing, hissing, and biting - suddenly, they appeared naked as they rolled around and wrestled each other on the floor
  • the violent, vengeful and bloody finale - an armed shoot-out and revolt by rebellious students from the rooftop of an oppressive, conformist English boarding school (a symbolic microcosm of a repressive Establishment-oriented society) during a Founder's Day ceremony
  • during the attack, Mick was joined by other boys and his coffee-house girlfriend who coldly shot the Headmaster (Peter Jeffrey) between the eyes while he pleaded: ("Boys, boys, I understand you. Listen to reason and trust me, trust me!")
  • the film's concluding "THE END" was substituted with "IF..."




I'll Cry Tomorrow (1955)

In director Daniel Mann's dramatic biopic about a Broadway star:

  • showbiz singer/actress Lillian Roth's (Oscar-nominated Susan Hayward) characterization - singing on stage as a glamorous screen star of the jazzy number: "Sing, You Sinners" - during the filming of the pre-Code Hollywood musical comedy Honey (1930), while her domineering stage mother Katie (Jo Van Fleet) watched from off-stage
  • Lillian's descent into drunkenness and alcohol abuse, and telling manipulative, fellow alcoholic third husband Tony Bardeman (Richard Conte) in a Los Angeles bar, before having a very public incident in the parking lot with him: ("I'm what you call an adorable drunk...I'm no good. That's the way it's gotta be. I'm just nothin'. A hopeless drunk gettin' just what I deserve")
  • her vicious argument with her mother Katie in their tiny NYC apartment, blaming her for deliberately breaking an alcohol bottle: ("OH! Look what ya did! And ya DID IT ON PURPOSE! You're still trying to make me do what you want, to be what you want! I can't be anything except what I am! Look, look what did you drop that bottle for? What are you trying to do, drive me crazy? Go on, GET THE BOTTLE! GET IT NOW!"); her mother admitted pushing her into being the famed actress Lillian Roth and projecting her own ambitions onto her, in order to survive: ("All right! All right! All right, it's my fault, huh? I made you become an actress, you didn't want to, all right. I've been a bad mother. You had to support me, all right! All right! ALL RIGHT, EVERYTHING! Just this, and for once in your life you're gonna hear it! Do you know at all why I did it, do you? No, you don't! Do you know what kind of a life I had? Do you know what it was like to live with your father, put up with his mistakes and afterwards to be left alone with nothin'? No money, no career, not young anymore, nothin' to fall back on? No, you don't! You don't know at all what I tried to save you from, the kind of freedom I never had! I tried to give to you by making you LILLIAN ROTH!"); Lillian barked back that her mother's efforts weren't entirely successful: ("So you admit it! You invented Lillian Roth! All right, now look at me. I said look at me, don't turn your face away! I'm the looking glass you created to see yourself in! All right, all right see yourself now in me! Look at this ugly picture! And then GET OUTTA HERE! But keep this picture before your face for as LONG AS YOU LIVE!")
  • Lillian's attempt at suicide by jumping from the upper floor of a NYC hotel skyscraper window: ("Oh, dear God, help me, help me") when she was unable to do it, then slumped and fell to the floor
  • her remarkable comeback and battle against alcohol, after attending Alcoholics Anonymous meetings with the support of her friend-sponsor Burt McGuire (Eddie Albert)
  • the film's conclusion, her courageous appearance on the This Is Your Life TV program hosted by Ralph Edwards, who introduced Lillian's life as ("a story of degradation and shame, but when you hear the facts, you'll realize how much courage it took for her to come here tonight. You'll also realize that it's a story full of hope, hope for many who are living and suffering in a half-world of addiction to alcohol. Hope for all people, whoever and wherever they are, so THIS IS YOUR LIFE, LILLIAN ROTH!"); she had attended to give hope to others who suffered the same pain due to alcoholism; she shared her thoughts to Burt just before walking down the aisle (with tears welling up in her eyes) to speak to the host: ("I only know that you get by giving, and this is all I've got to give")








Imitation of Life (1959)

In Douglas Sirk's great melodrama:

  • the scene in an alley in which Frankie (Troy Donahue), the date of light-skinned Sarah Jane Johnson (Susan Kohner), racistly asks: "Is it true?...Is your mother a nigger?" - and then accuses her of lying and slaps her to the ground
  • the scene in a Hollywood motel room in which estranged black-maid mother Annie Johnson (Juanita Moore) (who was in the employ of actress Lora Meredith (Lana Turner)) meets with her daughter Sarah Jane, who essentially disowns her: "I'm white! White!...and if by accident, if we should ever pass on the street, please don't recognize me"; then, Sarah Jane's mother makes one last request or wish: "I'd like to hold ya in my arms once more like you was still my baby... Oh, my baby, my beautiful, beautiful baby. I love you so much. Nothin' you ever do can stop that"
  • in the funeral scene finale with Mahalia Jackson singing "Trouble of the World," Sarah Jane unexpectedly returns for her mother's funeral, rushes to the casket, and sobs uncontrollably as she apologizes: ("Mama, Mama, I didn't mean it, I didn't mean it. Mama, do you hear me? I'm so sorry, I'm sorry, Mama. Mama, I did love you...I killed my mother, I killed her. I wanted to come home. Now she'll never know how much I wanted to come home")


I'm No Angel (1933)

In Mae West's second starring feature film comedy, by director Wesley Ruggles:

  • one-ring circus and sideshow carnival barker's (Russell Hopton) tempting a crowded audience and introducing carnival queen and dazzling international small-time, vamp circus star performer Tira (Mae West) ("Over there, Tira, the beautiful Tira, dancing, singing, marvel of the age, supreme flower of feminine pulchritude, the girl who discovered you don't have to have feet to be a dancer")
  • Tira's sauntering entrance on the catwalk and her purring to spectators: ("A penny for your thoughts. Got the idea, boys. You follow me?")
  • with further risque one-liners and memorable quips (""Well, it's not the men in your life that counts, it's the life in your men")
  • her self-defense in the final courtroom scene where she often sashays in front of the jury and at one point quips: ("How'm I doin'?")

In a Lonely Place (1950)

In Nicholas Ray's black and white film noir classic:

  • the scene in which beautiful but cool blonde next-door apartment neighbor Laurel Gray (Gloria Grahame) - first viewed voyeuristically in a window frame - provided an alibi during questioning in a detective's office, for cynical, hard-living, self-destructive and volatile Hollywood screenwriter Dixon Steele (Humphrey Bogart); he had been accused of murdering hat-check girl Mildred Atkinson (Martha Stewart): (Dixon: "She was standing on her balcony in a negligee," AND Laurel: "I believe he was looking at me"); she then bluntly described why she paid attention to her new neighbor and took an interest in him almost immediately: ("I noticed him because he looked interesting. I like his face")
  • later, Dixon complimented Laurel on providing a life-saving alibi, based upon his face: ("It's a good thing you like my face. I'd have been in a lot of trouble without you"); Laurel then gave a classic response to Dixon when he attempted to kiss her: ("I said I liked it. I didn't say I wanted to kiss it")
  • in an unforgettable dinner conversation scene, murder suspect Dixon Steele's convincing 'visual' re-enactment of his idea of the strangulation murder in a car to his cop buddy Det. Sgt. Brub Nicolai (Frank Lovejoy) and his wife Sylvia (Jeff Donnell): ("Brub, you sit down there. Sylvia, you sit there on Brub's right. Now, you're the killer. You're driving the car. This is the front seat...If she'd been killed before she got in the car, the murderer would've hidden her body in the back. In that case, he couldn't have dumped her out without stopping. Now, you're driving up the canyon. Your left hand's on the wheel....She's telling you she'd done nothing wrong. You pretend to believe her. You put your right arm around her neck. You get to a lonely place in the road, and you begin to squeeze. You're an ex-GI. You know judo. You know how to kill a person without using your hands. You're driving the car, and you're strangling her. You don't see her bulging eyes or protruding tongue. Go ahead, go ahead Brub, squeeze harder. You love her, and she's deceived you. You hate her patronizing attitude. She looks down on you. She's impressed with celebrities. She wants to get rid of you. Squeeze harder. Harder. Squeeze harder. It's wonderful to feel her throat crush under your arm.")
  • Dixon's famed line of dialogue, a line of script written for some future work, that he told to Laurel while driving together: "I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me." - she repeated the phrase back to him - but hesitated on the last sentence
  • Laurel's teary words of goodbye to him as he walked away after their relationship had deteriorated by film's end: "I lived a few weeks while you loved me. Goodbye, Dix"





In Cold Blood (1967)

In Richard Brooks' adaptation of Truman Capote's best-selling non-fiction novel about two ex-con, paroled drifters and an "in cold blood" set of murders:

  • the two main protagonists: charming Richard "Dick" Hickock (Scott Wilson) and violence-prone, unstable, and quiet Perry Smith (Robert Blake)
  • the brutal mass murder crime (delayed in the film and shown mostly as a post-crime scene flashback) against the four-member Herbert Clutter family in rural Holcomb, Kansas (November 15, 1959) in the western part of the state, conducted by the two drifters who were looking for $10,000, and ended up with only $40
  • in flashback, during the robbery-murder when speaking to the young Clutter teenaged daughter Nancy (Brenda Currin) and searching for her silver dollar that he had dropped on the floor, the expression of Perry's doubts to Dick that they were "ridiculous" - ("And all to steal a kid's silver dollar. Ridiculous! This is stupid!")
  • and just before committing the murders, Perry's self-reflections about his own traumatic and abusive childhood, including a frightening vision of his mean father pulling a shotgun on him and threatening: ("Look at me, boy. Take a good look. I'm the last living thing you're ever going to see"); after the killings, Perry calmly admitted: ("It had nothing to do with the Clutters. They never hurt me, they just happened to be there. I thought Mr. Clutter was a very nice gentleman. I thought so right up until the time l cut his throat.")
  • the scene - after the crime - of con artist "Dick" in a Kansas City men's clothing store, claiming he was the "best man" and offering to purchase a "trousseau" for his about-to-be-married friend Perry; when being fitted by a tailor for the suit, Dick claimed his friend obtained leg scars fighting in Korea (and received the Bronze Star), although they were from a motorcycle accident; Dick was purchasing everything for $192.70 - but then claimed he would have to return later, since he only had $4.00; he convinced the gullible clerk to accept a personal check (a hot check) and cash-back
  • the sequence in a decrepit Mexican hotel, where a delusional and excited Perry urged Dick that they should seek Cortes' buried treasure in the Yucatan: ("I met this kid. He's a shoeshine boy. Well, he's got a cousin in Yucatan, a fisherman. And he's got a powerboat...So, we drive to Yucatan, we sell the car, buy us a load of deep-sea diving gear and 'pow,' we hit the Cortés jackpot. $60 million dollars in Spanish gold. Of course, we'll have to cut the kid in, and his cousin, too. But even so, Yucatan! Hot, dry, clean, no crowd, no noise. Doin' what we came to do"); Dick was unconvinced and angry, and wished to return to the US: ("You listen! l've had it! You, your maps, fishing boats, buried treasures, all of it! Everything! Stop jacking off. There ain't any caskets of gold. No buried treasure. And even if there was, hell, boy, you can't even swim!")
  • the scene of the two killers hitch-hiking in the California desert, when Dick suggested their next plotted move to score - that they garrotte a driver from the back seat with a belt and steal the car: ("We want a score. One guy with a fat wallet, in a fast car, with a back seat. I sit beside him. You get in the back, l feed him a few jokes. I say, 'Hey, Perry, pass me a match.' That's your signal. Fast. Hard. Snap. I grab the wheel"); Perry disagreed: ("You're so good at it, you sit in the back seat. You do it.")
  • the trial scene, when the Prosecutor (Will Geer) effectively argued to the jury about the necessity for capital punishment, because life imprisonment would mean possible parole in only 7 years; he also quoted from The Ten Commandments "Thou Shalt Not Kill": ("If you allow them life imprisonment, they will be eligible for parole in seven years. That is the law. Gentlemen, four of your neighbors were slaughtered like hogs in a pen by them. They did not strike suddenly in the heat of passion, but for money. They did not kill in vengeance. They planned it for money. And how cheaply those lives were bought: $40 dollars, $10 dollars a life...They who had no pity, now ask for yours. They who had no mercy, now ask for yours. They who had no tears, now ask for yours. If you have tears to shed, weep not for them, weep for their victims. From the way the Holy Bible was quoted here today, you might think the word of God was written only to protect the killers. But they didn't read you this: Exodus 20, verse 13: 'Thou shalt not kill.' Or this, Genesis 9, verse 12: 'Who so shedeth man's blood, by man shall his blood be shed.'")
  • the killers' long wait of five years on death row in the Kansas State Penitentiary
  • the image of Perry Smith's face next to a rain-streaked cell window (that streaked his own face with rain drops) - his final moments on the night he was scheduled to be hanged, when he recounted to the Chaplain his relationship with his father, when they were prospecting together in Alaska, and it failed miserably and they were starving - and Perry's father blamed him and pulled a gun on him - a repetition of the memory during the Clutter killings: ("I'm the last living thing you're ever going to see") - but the gun wasn't loaded; at that point in his life, Perry admitted he left home for good: ("I walked away and never looked back. I guess the only thing l'm gonna miss in this world is that poor old man and his hopeless dreams"), and that he still hated AND loved his father: ("I hate him. And l love him")
  • the execution by hanging scene (April 14, 1965) of both convicted killers - Dick first, and then Perry, who yearned to apologize for the murders during a reading of Psalm 23, and spoke a few words before a black bag covered his head and he was put to death, when he imagined the hangman to be his father: ("I think maybe l'd like to apologize. But who to?...Is God in this place, too?")








In Old Chicago (1937)

In director Henry King's urban disaster film and family drama - a fictionalized account of the historic fire in Chicago in the 19th century:

  • the spectacular 20-minute sequence of the famous Chicago fire of 1871 with thousands fleeing into Lake Michigan as a panoramic shot shows the city totally ablaze
  • the concluding segment in which Irish immigrant matriarch Mrs. Molly O'Leary (Oscar-winning Alice Brady), watching the city burn down in the distance with playboyish entrepreneur son Dion (Tyrone Power) and pretty saloon singer Belle Fawcett (Alice Faye) in his arms, speaking sadly about the loss of her crusading lawyer son Jack (Don Ameche): ("It's gone, and my boy's gone with it. But what he stood for will never die. It was a city of wood, and now it's ashes, but out of the fire will be coming steel. You didn't live to see it, my lad, no more than your father did before you. God rest the two of you. But there's Dion left, and his children to come after"); Dion assured his mother: ("He'll have his dream, Ma. Nothing can lick Chicago any more than it could lick him")
  • wet-eyed Molly steadfastly ended the film with words of hope that the city would rebuild and survive, and life would go on - the dream of both her boy Jack and her deceased husband Patrick: ("Aye, that's the truth. We O'Learys are a strange tribe. There's strength in us. And what we set out to do, we finish")




In the Heat of the Night (1967)

In Norman Jewison's Best Picture-winning racial drama:

  • black stranger and Philadelphia homicide policeman Virgil Tibbs (Sidney Poitier) identifying himself when asked by bigoted Mississippi red-neck Sheriff Gillespie (Rod Steiger): "Virgil - that's a funny name for a nigger boy that comes from Philadelphia. What do they call ya up there?" - with the famous, angry but noble one-line self-introduction: "They call me Mister Tibbs"
  • the powerful greenhouse scene in which Tibbs exchanged an angry back-hand slap to the face of white murder suspect Eric Endicott (Larry Gates) in the presence of Sheriff Gillepsie - leading to Endicott's lethal threat against Tibbs: "Gillespie...you saw it....Well, what are you gonna do about it?...There was a time when I could have had you shot"
  • the plot-twist: the murderer of a prominent and wealthy industrialist named Philip Colbert (uncredited Jack Teter) was revealed to be Ralph Henshaw (Anthony James), a diner counter worker (and peeping tom) who was the 'true father' of slutty 16 year-old girlfriend Delores Purdy's (Quentin Dean) baby; in a sheriff's office confession, he admitted that he had murdered Colbert to pay for Delores' abortion, but he claimed that it was an assault that all went wrong ("I didn't mean to kill him")
  • the final parting scene at the train station when the begrudging Sheriff and Tibbs show mutual respect and understanding for each other: (Sheriff: "Virgil? You take care. You hear?" Tibbs: "Yeah")






In the Line of Fire (1993)

In Wolfgang Petersen's action thriller about a Secret Service agent in a cat-and-mouse game with an assassin:

  • the opening scene in a boat at a marina during a confrontation with a counterfeiting ring led by Mendoza (Tobin Bell), in which undercover Secret Service agent Frank Horrigan (Clint Eastwood) saved another undercover Agent D'Andrea (Dylan McDermott), when he was pressured into killing the agent to prove his loyalty - and he was able to outwit the gang (that was asphyxiating D'Andrea), kill two other gang members and arrest Mendoza, before identifying himself as another agent: ("You're under arrest, too. Secret Service!")
  • the effective taunting phone call scenes with conversations between haunted JFK Secret Service agent Horrigan and menacing, psychotic ex-CIA hit man and potential assassin Mitch Leary (John Malkovich) (calling himself "Booth" after John Wilkes Booth), who threatened to kill the President (Jim Curley) running for re-election; during one call, Horrigan identified Leary as crazy and as a cold and calculated killer: ("Why is it everyone who ever knew you said that you're a sick son-of-a-bitch? Your colleagues. Your wife"); Horrigan asked the monstrous Leary about his hallucinations: ("What do you see when you're in the dark and the demons come?"); Leary answered with his daring plan to shoot the current President: ("I see you, Frank, I see you standing over the grave of another dead president...I have a rendezvous with death, and so does the President, and so do you Frank, if you get too close to me"); Horrigan threatened: ("That's not gonna happen. I'm on to you...I want you to give yourself up...You have a rendezvous with my ass, motherf--ker!")
  • the exciting Washington rooftops scene of the assassin chased by D'Andrea and Horrigan, and Leary's sudden and ominous appearance above Horrigan to lend him a helping hand as he was dangling from the side of a building - and then Horrigan pointed his gun at him: ("Take my hand, Frank? Take it. If you don't, you'll die. Take it. Are you going to shoot me, Frank, after I saved your life? The only way to save the President is to shoot me. Are you willing to do that, to trade your life for his? Or is life too precious?"); to taunt Horrigan, Leary grabbed the gun barrel with his teeth, and then mercilessly shot D'Andrea dead
  • another of the numerous phone conversations between Horrigan and Leary, when the agent told the killer: ("I'm way ahead. Look, Leary, I know what you look like. I've seen your eyes....You better pray I don't find you, prick"); when Leary asked: "Do you want to kill me, Frank?", Horrigan spit back: "That's right," and Leary replied: ("The irony's so thick, you could choke on it...Think, Frank, think. The same government that trained me to kill, trained you to protect. Yet now you want to kill me, while up on that roof, I protected you. They're gonna write books about us, Frank...Don't be a poor sport, Frank. Hmm? You could have taken me out, but you chose to save your ass. Don't cry about it now, OK? You know, it does make me wonder about Dallas though. Did you really do all you could have, or did you make a choice there, too? Hmm? Do you really have the guts to take a bullet, Frank?"); before hanging up, Harrigan ended with: ("I'll be thinking about that when I'm pissin' on your grave")
  • Frank Horrigan's "IF only I reacted" reflections to fellow agent Lilly Raines (Rene Russo) about years earlier when he was assigned to protect President JFK in Dallas: ("You know something? For years I've been listening to all these idiots on bar stools with all their pet theories on Dallas. How it was the Cubans or the CIA or the white supremacists or the mob or whether it was one weapon or whether it was five. None of that's meant too much to me. But Leary, he questioned whether I had the guts to take that fatal bullet. God, that was a beautiful day. The sun was out. Been raining all morning. The air was - the first shot sounded like a firecracker. I looked over and I saw him. I could tell he was hit. I don't know why I didn't react. I should have reacted. I should have been running flat-out. I just couldn't believe it. If only I reacted, I could've taken that shot. That would have been all right with me"); she took his hand and squeezed it
  • the scene in a Westin Los Angeles hotel ballroom during a campaign dinner appearance when agent Horrigan (with a bulletproof vest) lept in front of the President and took a bullet - to foil Leary's assassination attempt by posing as bespectacled campaign contributor James Carney, but then Horrigan was taken hostage by the killer
  • Leary's discussion with his hostage Horrigan, trying to take credit for making Horrigan a hero: ("I saved your life. You owe me...I was always honest and fair with you...I'm waiting for you to show me some goddamn gratitude. Without me, you'd still just be another sad-eyed, piano-playing drunk. I brought you into this game. I let you keep up with me. I made you a god-damn hero today...I redeemed your pathetic, shitty life"), as sharpshooters attempted to "aim high" (coded words spoken by Frank) and kill their target
  • the climactic external elevator car fight in which Leary was offered Frank's hand - with the same words spoken earlier to him: ("Take my hand. If you don't, you'll die...Take it"), but Leary purposely refused Frank's hand, deliberately let go, and chose to fall to his death










100's of the GREATEST SCENES AND MOMENTS
(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
M4
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

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