Collateral Page #2

Synopsis: LA cabbie Max Durocher is the type of person who can wax poetic about other people's lives, which impresses U.S. Justice Department prosecutor Annie Farrell, one of his fares, so much that she gives him her telephone number at the end of her ride. Although a dedicated man as seen through the efficiency in which he does his work, he can't or won't translate that eloquence into a better life for himself. He deludes himself into believing that his now twelve year cabbie job is temporary and that someday he will own his own limousine service. He even lies to his hospitalized mother that he already owns one, with a further lie that he tells her as such primarily to make her happy, rather than the truth which is that he won't do anything to achieve that dream. One night, Max picks up a well dressed man named Vincent, who asks Max to be his only fare for the evening. For a flat fee of $600, plus an extra $100 if he gets to the airport on time - Vincent wants Max to drive him to five stops tha
Genre: Crime, Drama, Thriller
Director(s): Michael Mann
Production: Paramount Pictures
  Nominated for 2 Oscars. Another 23 wins & 68 nominations.
 
IMDB:
7.5
Metacritic:
71
Rotten Tomatoes:
86%
R
Year:
2004
120 min
$100,003,492
Website
3,478 Views


- Twelve years.

Really?

What other things

you putting together?

You know, I don't wanna talk about it.

Just a little business plan.

- No offense. I just...

- None taken.

You're one of these guys that do

instead of talk. That's cool.

- Seven minutes. Man, you're good.

- I got lucky with the lights.

Yeah, sure. You probably know

the light schedules too.

Listen, I'm in town on

a real-estate deal, close in one night.

I got five stops to make.

Collect signatures, see some friends,

and then I got a 6 a.m. Out of LAX.

Why don't you hang with me.

The car's not for hire, man.

That's against regs.

- Regulations?

- Yeah.

These guys don't pay you sick leave.

How much you pull down a shift?

- How much?

- 350, 400.

Yeah? Well, let me tell you what.

I'll make it 600.

- Man, I don't know.

- Plus an extra hundred

you get me to LAX

and I don't have to run for the plane.

Oh, no, guy.

I don't know about this.

- I don't know.

- Yeah, you do.

- Man, I don't know, man.

- Yeah, you do.

Six hundred...

Cool. We got a deal.

Now, here's 300 down.

- What's your name?

- Max.

- Max. I'm Vincent.

- All right.

I can't stay double-parked here,

though.

I'll meet you in the alley

behind the building here.

Definitely not from around here.

There you go.

Oh, no! Sh*t! F***!

What the f...?

What the hell?! Damn it!

My man, you all right?

Oh, sh*t. F***.

He... He fell on the cab.

He fell... He fell from up there

on the motherfucking cab.

- Sh*t. I think he's dead.

- Good guess.

You killed him?

No, I shot him.

Bullets and the fall killed him.

Oh, man. F*** this, man.

- Red light, Max.

- Hold on. Hold on.

Put your hands down.

Put your hands down.

Okay. Okay.

- Okay, help me out. Pop the trunk.

- What?

Pop the trunk.

Come on, man. Come on. Come on.

What you...? What you doing?

I'm gonna roll him off the roof.

Can't leave him here.

So unless you want him up front

with you... But given the hygiene...

- Oh, sh*t.

- Okay.

It's only a dead guy. Grab his hands.

- I can't do this.

- Grab his wrists.

- You got it?

- Yeah. He's twitching and sh*t.

Okay. That's good enough.

- Let's go.

- Hey, why don't you just take the cab.

- Take the cab?

- Yeah, you take it.

I'll chill. I'll just chill.

They don't even know who's driving

these things half the time anyway,

man. They never check or anything.

Okay? So just take it. You, me...

You promise not

to tell anybody, right?

- Yeah. Yeah. Yeah.

- Right?

Promise.

- Get in the f***ing car.

- You... You...

Get in the car.

Ramone?

Ramone?

Ramone!

Ramone!

F***.

- Rampart watch commander.

- This is Detective Fanning, Narcotics.

Send two black-and-whites and

a night detective to 1039 South Union.

- And contact SID. I got a crime scene.

- Roger. 1039 South Union.

- What are you doing?

- I got to clean it up. It's a mess.

So? Lady Macbeth, we're sitting here,

and the light's green.

Leave the seats.

A**hole!

You no longer have

the cleanest cab in La-La Land.

You gotta live with that.

You focus on the job. Drive.

- 7565 Fountain. You know it?

- West Hollywood.

- How long you figure?

- I don't know, man, 17 minutes.

Why?

- Oh, no. No, no, no. Hold on, man.

- Now, I told you we had

- other stops to make tonight.

- No, you said

- you had to go visit some friends.

- Well, they're somebody's friends.

You drive a cab, I make my rounds,

you might make it through the night,

come out 700 bucks ahead.

I'm not trying to piss you off,

but I can't do this.

I can't drive you while

you go around killing people.

- It ain't my job.

- Tonight it is.

Look, you don't get it.

I mean it. I mean it.

I'm... I'm not up for this.

- Okay, hey, hey, hey. You're stressed.

- Yes, I am.

You're stressed.

Now, I understand that.

Now, you just keep breathing

and stay calm.

- Are you breathing?

- Sh*t.

- Are you breathing?

- Yes.

Okay, good.

Okay, look, here's the deal:

Man, you were gonna drive me

around tonight and never be the wiser,

but el gordo got in front of a window,

did his high dive.

We're into plan B.

You still breathing?

Now, we gotta make the best of it.

Improvise. Adapt to the environment.

Darwin. Sh*t happens. I Ching.

Whatever, man. We gotta roll with it.

"I Ching"?

What are you talking about?

- You threw a man out of a window.

- I didn't throw him. He fell.

- Well, what did he do to you?

- What?

- What did he do to you?

- Nothing. I only met him tonight.

You just met him once,

and you kill him like that?

What, I should only kill people

after I get to know them?

- No, man.

- Max, 6 billion people on the planet,

you're getting bent out of shape

because of one fat guy.

- Well, who was he?

- What do you care?

- Have you ever heard of Rwanda?

- Yes, I know Rwanda.

Tens of thousands killed

before sundown.

Nobody's killed people that fast

since Nagasaki and Hiroshima.

- Did you bat an eye, Max?

- What?

Did you join Amnesty International,

Oxfam,

"Save the whale,"

Greenpeace or something? No.

I off one fat Angeleno,

and you throw a hissy fit.

Man, I don't know any Rwandans.

You don't know the guy

in the trunk either.

Man.

Okay, if it makes you feel any better,

he was a criminal

involved in a continuing

criminal enterprise.

What are you doing?

You just taking out the garbage?

Yeah. Something like that.

- Pull over to the right.

- Sh*t.

- Get rid of them.

- How?

You're a cabby.

Talk yourself out of a ticket.

Just, please, man, don't do anything.

Then don't let me get cornered.

You don't have the trunk space.

- I can't believe this.

- Believe it.

Don't. I'll talk to them.

He's probably married.

The other one has kids.

Probably his wife's pregnant.

Yeah, I'll take care of it. I got it.

I'll deal with it. Yeah. Just a second.

How you doing? My partner's gonna

help you out on that side over there.

License, registration.

Yeah.

I'm pulling you over

because your windshield's smashed.

- All this current?

- Yes, officer.

Hey, what'd you do,

have a food fight in here?

Yeah, I'II... Pretty messy.

Just clean it up...

Hey, is this blood up here

on your windshield?

Yeah.

Yeah, I hit a deer.

- You hit a deer?

- Yeah, over on...

- I was on Slauson.

- A South Central deer?

Yeah, they out there. They...

It ran right in front of the car,

and I couldn't avoid it.

- Why you still carrying a passenger?

- I was on my way to the depot, and...

I could just drop him.

His drop is on my way.

Yeah, but your cab's unsafe to drive,

and we have to impound it,

so we gotta do a vehicle inventory

before the tow truck gets here.

So pop the trunk

and step out the vehicle.

Sir, I'm sorry, but you're gonna

have to call another cab.

Is that really necessary, officer?

I'm just a half a mile from here.

Yes, sir, I'm afraid it is.

Please, step out the vehicle.

- You too. Come on.

- If you open that trunk, they go inside.

You know what, man,

it's been a long night.

Plus, the barn is right up there,

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Stuart Beattie

Stuart Beattie (born 1972) is an Australian screenwriter and film director. His screenplay for Collateral (2004) earned him nominations for the BAFTA Award for Best Original Screenplay, Satellite Award for Best Original Screenplay and Saturn Award for Best Writing. Beattie attended Knox Grammar School, in Sydney, New South Wales, where his mother, Sandra, was a languages teacher; and later Charles Sturt University in Bathurst. more…

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Submitted on August 05, 2018

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