Favorite Scene: Interrogation Intrigue – Tequila Sunrise
As I’ve noted elsewhere, every year, usually over the summer, “…I make it a point to watch one of my favorite movies, Robert Towne‘s Tequila Sunrise. And, this year was no exception.” Can recite some of the lines verbatim even without it playing in the background, such is my affection (my wife would say it’s an affliction1) for the film. “… a wonderfully layered neo noir film set in the distinct South Bay area of L.A.” A diverse area I spent my remaining teens exploring once upon a time.
Perhaps, have become enthralled with writer-director Towne’s crime tale that’s less concerned with our century-long war on drugs than an examination of friendship at its core. Specifically throwing “…a keen eye to the strangest of relationships: those life-long friendships that arise, and are tempered, in the furnace known as high school.” A special kind of kiln that’s fused or scalded a number of us. A point a certain character attempted to use and sway his cousin within the film:
“I don’t know what it is about going to high school with someone that makes you feel you’re automatically friends for life. Who says? Who says friendship lasts forever? We’d all like it to, maybe. But maybe…it just wears out like everything else — like tires. There’s just so much mileage in them and then you’re riding around on nothing but air.”
Among my favorites of the film is one scene in particular that features three of the main characters. Though, not the lead one who is at the center of the attention, and ultimately the target of the DEA2. I happen to appreciate the brief sequence because it lays out the interdynamics of the story and characters. And who the Feds want behind bars, no matter who gets in the way. Yet, the person who tries to get to the bottom of it all is the most intriguing character of the film. Lt. Nick Frescia, as portrayed by the great Kurt Russell.
The Scene
The Los Angeles-born director/screenwriter Robert Towne grew up in the South Bay, mainly in the seaport neighborhood of San Pedro. Got his start acting and writing for legendary exploitation director/producer Roger Corman. Earned a Hollywood screenwriting reputation during the ’70s and began directing in 1982. One of earliest screenplays he did that decade was Tequila Sunrise, “…a movie about the use and abuse of friendship.”, as he’s described it.
Source: L.A. CountyThe region at the center of the story is a relatively large one of L.A. County and unique for what and who comprises it. From industrial areas and suburban neighborhoods to expensive beachfront homes. Racially diverse but also with heavily exclusive white enclaves, it spans the poor to some of the richest in the state. Where better to tell a story that involves drugs, money, and those who sell and smuggle them, chased by those trying to stop it. Towne incorporated what he knew well.
And when it comes to writing, there’s a reason Towne’s stands out. Not only for its character development and dialogue but in its relationship and motivation to others. That’s why his treatment of friendship in Tequila Sunrise keeps drawing me back to it. As he tells it:
“The single most important question, I think, that one must ask one’s self about a character is what are they really afraid of? What are they really afraid of? And if you ask that question, it’s probably for me the single best way of getting into a character. That finally is where stories are told… with a character that’s real.”
And friendship, in contrast to family and those with a lack of, in the film is its primary source of melodrama, with its opposite number — betrayal — close by.
Setup
One night at the behest of the DEA, L.A. Sheriff Lieutenant Nick Frescia (Kurt) has joined an undercover bust of someone trying to sell cocaine. That it happens to be some Century City attorney, accompanied by his client, who is also Nick’s old friend, Dale “Mac” McKussic (Mel Gibson), comes as a surprise to both men. The now-retired drug smuggler of the South Bay only tagging along to help his lawyer sell something he’s been paid with3 and is clueless about.
Nick, knowing Mac is not stupid enough to get caught doing this again, realizes something else is afoot and is being set up, excuses him from where the bust will take place, to the ire of the Taskforce Head Hal Maguire (the late-J.T. Walsh).
As the lieutenant is the newly promoted head of Narcotics for L.A. County, he’s squeezed by the Feds to help their case involving the notorious Mexican trafficker, the mysterious “Carlos” coming to town. Plus, hoping to finally arrest the legendary McKussic in the bargain for his past deeds smuggling the former’s product. All complicated by Mac being friends with both Carlos and Nick, relationships that straddle the law and that could get him caught or killed.
So begins Nick’s investigation when he subsequently confronts Mac at his favorite restaurant that same night to understand his end of things. To then discover something that could help him with it all: Mac’s interest with the attractive restaurant owner and hostess, Jo Ann Vallenari (Michelle Pfeiffer).
“No matter how good the food is, Mac’s not here to eat. He’s in love.”
Knowing all this, the sharp but protective Nick must find a way to placate the Feds, stop Carlos from whatever he’s really up to, and prevent his high school pal from serving 25 years in federal prison. He gets this in motion after noting the restaurant’s famed chef has a drinking problem and having him pulled over by Sheriffs and arrested for a DUI4. And the result is all on display in this brief but pivotal scene where all the characters involved come into sharper focus.
Presentation
Shout out to the other unseen but key member whose superb work helped ingrain the scene and this movie into fans’ heads, film editor Claire Simpson; it doesn’t work without her mastery.
Director/screenwriter Robert Towne has already telegraphed Nick’s talents at manipulation and subterfuge to this point with his friend Mac, who he likes, and the federal agent McGuire he hates. So, it’s no surprise for Frescia when he pulls up to the Lomita Sheriff’s station and notes Jo Ann’s Alpha Romero Spider parked there. He knows exactly how the DEA will play it, suspecting the dull Maguire to do it clumsily, but the wildcard he doesn’t anticipate is the restaurateur herself.
Kurt Russell begins the scene with what has always been a strength of his acting style: effortlessly and wordlessly conveying the character’s thoughts and feelings to the audience through body language and facial expression as he walks into the scenario he’s prearranged. It truly is a lost art for many young actors these days, but when it’s done right, it’s a joy to behold. Not to say this scene depends entirely on Kurt. Michelle Pfeiffer and J.T. Walsh also really make this ensemble piece work.
J.T.’s entire career was a master class in character acting and all that entailed. He could pull off fantastic side characters crucial to the storyline, as was his Lt. Col. Matthew Andrew Markinson (A Few Good Men), and make you feel for them, to a hiss-inducing villain like Red Barr from Breakdown5. And his unctuous Fed here was among his best screen portrayals. He permeates the scene with smarm as he attempts to make Jo Ann Vallenari uncomfortable as he looks over her chef’s immigration papers.
Maguire: “Your chef’s visa has expired, Miss Vallenari.”
Jo Ann: “He does have a work permit. My brother’s hired a lawyer to work through Immigration to get Nino a Green Card.”
Maguire: “You mean Andy Leonard.”
Jo Ann: “Yes.”
Hell, her Catwoman from Batman Returns is still the best thing in the 1992 movie.
The stunning Michelle Pfeiffer easily sells her character’s wide-eyed discomfort sitting in an interrogation seat, across from the sort who enjoys making it so as proof of his seeming power. The SoCal native has always dazzled with her beauty, shortchanging her acting talents for some. She’d turn all of that around starting with Tequila Sunrise followed by Dangerous Liaisons, The Fabulous Baker Boys, and The Russia House, proving she had the acting chops to go along with those looks.
Maguire’s attempt at intimidation only goes downhill from there.
Maguire: “Have you ever seen Andy Leonard in your restaurant with a Mister Dale McKussic?”
Jo Ann: “Yes, they’re very good customers.”
Tag-teaming, Maguire’s agency underling (the late-Bob Swain6, I believe) chimes in with his rare bits of dialogue of the entire movie. Offering a snide segway to Jo Ann’s reply in an attempt to further browbeat the woman…
Ralph: “What’s that?”
Jo Ann: “What’s what?”
Maguire: “A good customer.”
It’s at this point the lieutenant quietly steps into the room and assesses how the catechism is going, and he’s just in time to witness the volte-face about to occur there. Plain enough as Michelle’s eyes begin taking their beautiful color to that of steel. Plus, her tone of voice hinting their attempts are about to get batted away like she’s undoubtedly done for years with men trying to come on to her in less obvious attempts due to her looks. Showing she’s not some wallflower.
Jo Ann: “Someone who is on time and doesn’t make personal requests or demands of unusual dishes.”
Maguire: “In other words, you’re telling us that the… you’ve never had to satisfy any personal request from Mr. McKussic?”
Jo Ann: “No, Mr. Maguire, he usually orders right off the menu. Who are you and what’s this all about?”
Maguire: (opening his ID billfold) “Agent Maguire, Federal Drug Enforcement.”
The scene makes clear that Frescia doesn’t have much respect for Maguire, or his questioning of the woman, and you can see that plainly enough in how the scene is edited. The immediate cuts to Nick each time he offers something up to catch his facial reactions to the ineffective attempts at cowing Jo Ann, which go nowhere. Resulting in the interviewee starting to interrogate her questioner.
Jo Ann: “Has Andy Leonard been arrested on some sort of drug charge?”
Maguire: “We arrested him.”
Her patience with Maguire and his bullshit inquisition is now at an end, and her verbal judo is about to come into play. Turning his own statements against him in her questioning, his weak responses to her third degree puts Maguire on the defensive. Her rapid takedown is a thing of beauty, and all eloquently captured on camera across the faces of expressively gifted actors by a screenwriter who knows how to frame and direct the clash on a small stage of an interrogation room.
That this comes from the lovely Michelle Pfeiffer with a velvety smoothness, it’s little wonder this is subtly and admiringly noted on the Lieutenant’s face as Maguire’s ego and reputation try to pick themselves off the floor.
Jo Ann: “What makes you think my restaurant is involved?”
Maguire: “Well, for one thing Leonard is in there all the time.”
Jo Ann: “So is the District Attorney, does that mean he’s selling drugs in my restaurant?”
Note that Maguire, now feeling the heat in the room rise after she drops the DA in the exchange, only then starts to show some respect to the lawyer he’s been trashing by putting a “Mister” in his reply. A sign he’s already lost his balance and is fitfully trying to regain it. But Jo Ann has Maguire where she wants him and will use his own verbal stumbling to finish the job when he attempts to redirect it back to the contrabandist. which only seals his fate.
Maguire: “Mr. Leonard doesn’t have dinner with the District Attorney, he has dinner with Mr. McKussic.”
Jo Ann: “Are you telling me Mr. McKussic is sellings drugs in my restaurant?”
“Maybe.”, Maguire’s DEA second jumps in one last time, desperately trying to save his boss, which is never a good sign. Frescia catches this and gives a judgmental glance over to the subordinate. Jo Ann’s pause at this point, tells us everything we need to know. She’s in full command of the room now, and nobody is going to pipe up till she responds. No one. Yet, Maguire, not the sharpest chisel in the shed, doesn’t know when to quit, or probably how to do it.
Jo Ann: “Well, all I do is see them eat.”
Maguire: “Miss Valenari, we know how important your chef is to you. We have our problems, we certainly don’t have help Immigration with theirs.” [then looking smugly at his partner]
Jo Ann: “In other words, Mr. Maguire, if I spy on my customers, you’ll make sure my chef isn’t deported for drunk-driving.”
Maguire: “I didn’t say that Miss Valenari.”
Jo Ann: “Don’t bother to explain. At eight o’clock tonight I’ll be seating my lawyer and his ex-partner, who is a federal judge downtown. I’m sure they’ll understand what you meant and explain it to me.”
Quick cuts then display both Maguire’s stunned face and Nick’s impressed one, in reaction. The only ones there who aren’t sure what just happened are the DEA agents. So, it’s no surprise the person who instigated the whole shindig has to step in to, A) save his colleague from embarrassing himself further, and B) ingratiate himself with Jo Ann. Even taking a swipe at the fool who tried to interrogate her as he greets and removes Jo Ann from the room to get his plan in further motion.
Nick: “Okay, Hal. Hello Miss Valenari, I’m Lieutenant Frescia from the Sheriff’s Department.
Jo Ann: “We’ve met, with Mr. McKussic.” [stunned, and looking over at Maguire]
Nick: “Absolutely. And when you sue him [pointing at Maguire], I don’t want to be anywhere in sight. Come on, get me out of here.”
With the agent mortified, which was also the point, the rest is sabotaging the DUI arrest as Nick walks Jo Ann and her chef out. Further currying favor with both. Setting up what he really wants from all this — dinner with Jo Ann at her restaurant where he can continue the charm offensive and perhaps gleam what’s really going on. With her, the DEA’s scheme, and what’s really happening under his nose with his friend who is supposed to be retired from the drug business.
The capper is when Maguire saunters outside, thinking he’s played his part deftly (which is far from the case) and trying to reestablish his cool and now tenuous authority by telling Nick something he thinks he doesn’t know. Frescia calmly sets the record straight in response while watching the lovely restauranteur drive off7. If perhaps a little unsettled with his attraction to someone all of the men in the room, including himself, had underestimated.
Maguire: “We got the word on your friend McKussic, he’s got a deal cookin’.”
Nick: “Yeah?”
Maguire: “We’re gonna nail him.”
Nick: “Well, if anyone can do it, you can.”
Maguire: “Why’d you let her chef go?”
Nick: [still fixed at Jo Ann drive away] “She tough, isn’t she?”
Maguire: “Huh.”
Nick: “She beat the shit out of you, Hal.”
Maguire: “Hell she did.”
Nick: “Hell she didn’t. Ask anyone in the room.”
Maguire: “Frescia, what’s you got going on here?”
More sublime editing follows when Claire Simpson cuts from this scene to one with the person who’s the aim of it all as he arrives at his beachfront home in Manhattan Beach later that night. BTW, a location I and a million other beachgoers frequently walked or rode past on their bikes during the ’80s. And I still do the latter on occasion.
- She, like many others, has validly lost all respect for actor-director Mel Gibson. ↩
- The Federal Drug Enforcement Agency. ↩
- The client who paid that attorney off in coke is all part of the DEA scheme to ultimately bust Mac. ↩
- Driving Under the Influence, where the driver is sufficiently impaired by alcohol, drugs, or a combination of the two, or has reached the 0.08 blood alcohol content limit, that the driver cannot drive safely. ↩
- In the other film he played opposite Kurt Russell. ↩
- Who gave a fun cameo as Andy Warhol in Robert Zemeckis’ underrated Death Becomes Her. ↩
- It’s here you’ll note a goof in continuity: Nick’s Cadillac, which he parked in front of Jo Ann’s Spider when he pulled into the station, is missing as she drives on out to the street. ↩
It Rains... You Get Wet 
3 Responses to “Favorite Scene: Interrogation Intrigue – Tequila Sunrise”
Love this movie but the match book scene always makes me die a little inside for both characters.
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Oh, I so agree with you, Sergio. Frescia just couldn’t help himself in that scene. His heartfelt dialogue right up to that point, notwithstanding. Glad to hear you’re a fan of the film. Many thanks for the comment, my friend. 🙂
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