Entrapment Page #10

Synopsis: Insurance investigator Virginia "Gin" Baker (Catherine Zeta-Jones), looking into a stolen Rembrandt painting, suspects that accomplished thief Robert "Mac" MacDougal (Sean Connery) is responsible. She decides to go undercover and help Mac steal an ancient artifact. When a suspicious Mac confronts Gin about her real intentions, she claims that she is, in fact, a thief and that the insurance job is a cover. To prove it, she proposes a new target that could net them $8 billion.
Genre: Action, Crime, Romance
Production: Twentieth Century Fox Home Entertainment
  4 wins & 6 nominations.
 
IMDB:
6.3
Metacritic:
54
Rotten Tomatoes:
38%
PG-13
Year:
1999
113 min
Website
1,175 Views


GIN:

We go underwater?

She doesn't like that idea.

MAC:

What's with the "we", Tonto?

GIN:

We're partners.

MAC:

Precisely. I steal the Mask, you get a

finders fee. At ten percent, that should

be worth two or three million. Not too

bad.

GIN:

Look, I've got the code for the Mask

security.

MAC:

That's why you're here. Give it to me.

GIN:

No.

MAC:

Fine. It's almost been interesting

meeting you.

He starts taking down the plans, the photographs, putting

things away.

GIN:

This is a two-man job. You need a sensor

expert. Me.

MAC:

This isn't some Rocky Mountain print you

steal from a Burger King, my dear.

GIN:

I'm not your dear! You arrogant bastard!

You don't have any idea how lucky you

are!

MAC:

That's been a lifelong problem.

GIN:

No, dammit! I mean me! That

Rembrandt...that Rembrandt!

He looks up at her. She has his attention now.

GIN:

(continuing)

I stole it!

What the hell?

MAC:

Look, you're a smart girl, but you're an

amateur. Whoever stole that Rembrandt was

a professional, not some wee slip of a

girl. So let's not kid each other.

Mac sits down at the end of the table and begins to put away

some of the documents lying on it.

Furious, Gin stares at him. He is so maddening and

dismissive. Nothing she says is going to change his mind.

She takes the table cloth runner, grasps it in her hands, and

jerks it off the table! Books, papers, candlesticks fly.

Mac's eyebrow goes up. You have my attention.

She walks to the end of the room, takes the measure of the

table, then runs toward it and BOOM! BOOM! Does two front

handsprings! Coming right at him!

Then does a full twisting layout vault! Right over his head!

Lands on her feet behind him!

MAC:

(continuing)

Pretty good.

GIN:

For a wee slip of a girl.

She's won him over.

MAC:

The Rembrandt--that was very impressive.

GIN:

It was perfect.

MAC:

Perfect was it?

He gets up, makes a show of walking slowly and creakily over

to the corner.

MAC:

(continuing)

How'd you get the painting out?

GIN:

I mailed it. Down their own mail tube.

Simple. Effective. Safe.

MAC:

Very, very impressive.

He takes out a rolled-up canvas.

MAC:

(continuing)

Would you be referring to this Rembrandt?

He displays the familiar painting. Now it's her turn to be

shocked. And ours as well.

GIN:

Oh my God. No.

MAC:

Why rob the Penthouse when the mailroom

is on the ground floor?

(enjoying himself)

You're too easily impressed with

yourself. I believe I've mentioned that

before.

Gin reaches for the Rembrandt.

GIN:

Someone was expecting that.

He studies the mailing label.

MAC:

Obviously Mister Conrad Greene? But why

Kuala Lumpur, Malaysia?

GIN:

We get the mask I'll tell you why.

MAC:

A partner with secrets isn't much of a

partner.

GIN:

Without the mask it doesn't matter.

MAC:

Could it be a downpayment? On a bigger

job?

He's interested now.

GIN:

Something like that.

MAC:

What could you possibly want to steal in

Malaysia?

GIN:

Let's just see how we do.

For the first time she's caught him off-balance.

MAC:

Are you testing me now?

GIN:

Oh, I think you can do it. Probably.

She smiles sweetly at him.

EXT. SAFEHOUSE - DAY - LATER

A delivery van drives up. A TRADESMAN steps out. He's mid-

forties, black. Mac meets him at the door.

TRADESMAN:

Delivery for Robert MacDougal, Esquire.

He says it with just a bit too much deference.

MAC:

Just take it around the back, would you?

EXT. SAFEHOUSE - DAY - MOMENTS LATER

Carrying a box, the Tradesman walks into the kitchen. This is

THIBADEAUX, a Cajun who carries himself with authority. The

Tradesman veneer didn't fit him too well: he's too dangerous.

Mac is there to meet him.

THIBADEAUX:

What the hell did you do to that Jag? You

have any idea what it cost?

MAC:

Actually, I do.

Thibadeaux sets down the box.

THIBADEAUX:

You said small pneumatics, I got small

pneumatics. Got to be an elf to use

these.

Mac opens the box, picks up some flat black miniature tools,

handles them with expert ease.

THIBADEAUX:

(continuing)

They work off the O2 tank.

MAC:

And the blade det cord?

THIBADEAUX:

In the van. That is bad sh*t. You don't

want to go mixing it with nothing else.

Rate this script:0.0 / 0 votes

Ronald Bass

Ronald Bass (born March 26, 1942), sometimes credited as Ron Bass, is an American screenwriter. Also a film producer, Bass's work is characterized as being highly in demand, and he is thought to be among the most highly paid writers in Hollywood. He is often called the "King of the Pitches".[citation needed] In 1988, he received the Academy Award for Best Original Screenplay for Rain Man, and films that Bass is associated with are regularly nominated for multiple motion picture awards. more…

All Ronald Bass scripts | Ronald Bass Scripts

0 fans

Submitted by aviv on November 02, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Entrapment" Scripts.com. STANDS4 LLC, 2024. Web. 24 Dec. 2024. <https://www.scripts.com/script/entrapment_393>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Entrapment

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "parenthetical" refer to in screenwriting?
    A A character's inner thoughts
    B A scene transition
    C An instruction for how dialogue should be delivered
    D A description of the setting