Collateral Page #7

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
3,722 Views


in you...

...aren't.

And why haven't you killed me yet?

Of all the cabbies in L.A., I get Max,

Sigmund Freud meets Dr. Ruth.

Answer the question.

Look in the mirror.

Paper towels, clean cab,

limo company someday.

- How much you got saved?

- That ain't none of your business.

Someday?

"Someday my dream will come"?

One night you'll wake up,

and you'll discover it never happened.

It's all turned around on you.

It never will. Suddenly you are old.

Didn't happen.

And it never will, because you

were never gonna do it anyway.

You'll push it into memory,

then zone out in your Barcalounger,

Don't you talk to me about murder.

All it ever took was a down payment

on a Lincoln Town Car.

Or that girl.

You can't even call that girl.

What the f*** are you still doing

driving a cab?

Because I never straightened up

and looked at it, you know?

Myself. I should have.

I've tried to gamble my way out,

but that was just a born-to-Iose deal.

- Slow down.

- It's gotta be perfect.

It's got to be perfect to go.

Risk all torqued down.

I could've done it anytime

I wanted to.

Red light.

But you know what? New news:

It doesn't matter anyway.

What does it matter anyway?

We're all insignificant out here

in this big-ass nowhere.

The Twilight Zone sh*t.

Says the badass sociopath

in my back seat.

But you know what? That's the one

thing I gotta thank you for, bro.

Because until now,

I never looked at it that way.

What does it matter?

It don't, so f*** it. Fix it.

What do we got to lose anyway, right?

- Slow down.

- Why? You gonna shoot me?

You gonna pull the trigger

and kill us?

- Go ahead, shoot my ass.

- Slow the hell down.

You gonna shoot me? You gonna

shoot me now? You gonna kill us?

Well, shoot my ass, then.

Huh? Shoot me.

- Slow down!

- You're right.

You know what, Vincent?

Go f*** yourself!

- Well, that was brilliant.

- Didn't have your seat belt on?

One-L-20, show me code six

at Olympic and Figueroa

on a TC with injuries.

- Copy your location.

- Sir, are you okay? What happened?

Sir, you were involved in an accident.

An ambulance is on its way

to help you.

You understand what I'm saying

to you? Sit down and relax, okay?

Okay. Don't worry about the cab.

They'll get you a new one.

Relax and breathe.

Put your hands up.

Put your hands up. Face the cab.

Get down on your knees.

- Go ahead and arrest me.

- Put your hands on your head.

Take me to jail.

L.A. County Jail's great.

Don't move! Put your hands

behind your head.

One-L-20, I need a backup

on a 187 suspect.

- Put your gun down!

- Get back! Put your hands down!

- Look, I gotta go.

- Put down the gun!

Stop moving! Stop moving!

When did this become a negotiation?

Clap your hands together.

Hold your hands together.

Listen, somebody's gonna get killed

if I don't go right now.

Now, cuff yourself.

I'm going to Sixth and Fig.

Call the cops.

- Give me that.

- Hey, hey, whoa! F***!

Come on!

Come on. Go through.

Come on. Come on. Pick up.

Pick up.

Come on, girl.

Come on, pick up.

U.S. Attorney's office.

- Annie!

- Yes.

It's Max.

Max, the cab driver.

Listen to me, all right?

- A guy named Vincent...

- Max.

Listen to me, Annie.

It's kind of a strange time

to be calling.

Listen. Listen, Annie.

There's a man named Vincent.

He's coming to kill you.

- He's what?

- Kill you! He's coming to kill you!

He was scoping out the building

when I dropped you off...

Okay, you know what?

Max, if this is supposed to be

some type of joke, it's not funny.

It's not a joke.

Annie, listen to me, please.

Felix hired him. Okay?

Or people that Felix worked for.

Felix Reyes-Torrena.

How do you know about my case?

I don't understand what's going on.

All I know is that he's already killed

witnesses. He's coming to kill you.

When I dropped you off,

I don't know how it happened,

but he ended up in my cab.

Annie.

Annie, listen. All I want you to do...

- I don't understand what's going on.

- Annie, listen. Listen. Please listen.

Get out of the building. Annie.

- I'm leaving the building right now.

- No, no, no, wait.

- Max.

- Wait, wait.

- Max.

- Listen, where are you right now?

- What floor?

- I'm on the 16th floor.

I'm in the law library and files.

He's two floors below you,

corner office.

In my office?

Listen, he does not know you're up

there. Just stay there and call 911.

Max, are you sure

he's on the 14th floor?

Listen, just stay there and just call

the police. Just call the police.

Max?

Sh*t.

Max?

- Max.

- He knows you're up there. Just...

I can't hear you. Hello?

Annie. Annie, listen to me.

Sh*t.

Annie. Annie!

Sh*t.

Yes. Listen, there is a man

in my building, and he is...

Hello?

Let her go.

Max?

Why? What are you gonna

do about it?

Come on.

Max!

- God. Felix Reyes-Torrena?

- Yeah. I met him.

What do you mean,

you met him? How?

I don't know. Look, when I

dropped you off, there was a fare.

- He said his name is Vincent.

- Vincent?

- Wait, wait, wait, wait.

- This is the street.

This way. Come on.

Stay up. Stay up. Stay up.

No, no. This way.

Wait, wait. Wait. Wait.

Stay down.

Sh*t.

There's a station.

Sh*t.

Max!

I do this for a living!

We're almost...

...at the next stop.

Hey, Max.

A guy gets on the MTA here

in L.A. And dies.

Think anybody will notice?

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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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    "Collateral" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/collateral_5758>.

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