Out of Sight Page #14

Synopsis: Out of Sight is a 1998 American criminal comedy film directed by Steven Soderbergh and written by Scott Frank, adapted from Elmore Leonard's novel of the same name. The picture was the first of several collaborations between Soderbergh and Clooney, and was released on June 26, 1998.
Genre: Crime, Drama, Romance
Production: Universal Pictures
  Nominated for 2 Oscars. Another 13 wins & 12 nominations.
 
IMDB:
7.0
Metacritic:
85
Rotten Tomatoes:
93%
R
Year:
1998
123 min
682 Views


FOLEY:

I don't know. I never used a gun.

RIPLEY:

Really?

FOLEY:

You'd be surprised what all you can

get, you ask for it the right way.

RIPLEY:

(smiles)

You're the reason, Jack, I don't keep

all my money in banks.

FOLEY:

No? Where do you keep it, Dick?

(Ripley smiles)

I'm talking about all those uncut

diamonds you told Glenn about.

RIPLEY:

(still smiling)

I know what you're talking about.

FOLEY:

You're the one with balls, Dick, say

something like that to someone like

Glenn. Or maybe you just forgot where

you were for a minute.

RIPLEY:

Yeah, but who's gonna believe Glenn?

I mean, do you believe Glenn?

FOLEY:

Of course not.

RIPLEY:

Plus, even it was true, he'd still

have to figure out where I keep 'em.

FOLEY:

Doesn't have to figure out sh*t. You

told him you keep 'em at your house.

RIPLEY:

(shrugs, big smile)

It's a big house.

Ripley sits down on one of the picnic tables, looks around the

yard.

RIPLEY (CONT'D)

Tell me something, Jack, how much longer

you in here?

FOLEY:

Twenty-two months, three days, two

hours. Why?

RIPLEY:

I was just thinking that I could use a

guy like you, someone knows how to ask

for things the right way. I'm talkin'

about when you're outta here. I mean,

you can't rob banks for ever.

Foley looks at Ripley.

FOLEY:

It's a little late for me.

RIPLEY:

Hey, Jack? Bullshit. I didn't make

my first million until I was forty-

two. Forty-two. You really want to

change, it's never too late.

FOLEY:

I don't know. I'm not exactly the

nine-to-five type.

RIPLEY:

Who is? But then you gotta look at a

job as more than just work. You gotta

look at it as peace of mind. As

security, you know what I mean? I got

offices in Detroit, Miami, Boston,

take your pick.

FOLEY:

My ex-wife's in Miami. It's nice down

there.

RIPLEY:

No need to decide now. Be like the

fish. Let whatever happens happen.

FOLEY:

The fish?

RIPLEY:

Yeah, fish live in the present. They

don't dwell on yesterday and they don't

worry about tomorrow. Even when a big

fish attacks a little fish, there's no

neurosis involved. No guilt afterward.

No whining on some fish-shrink's couch.

They just do it. They accept.

FOLEY:

I can't say that I've paid that much

attention to 'em before.

RIPLEY:

The fish saved my life. Two years

ago, I found out I had high blood

pressure. So my doctor, he tells me

to go get an aquarium, look at the

fish every time I felt myself stressing

out.

FOLEY:

And the guy sent you a bill for this?

RIPLEY:

It works. You should try it sometime.

FOLEY:

The next time I walk into a bank.

Ripley shakes his head, then gets up...

RIPLEY:

Think about my offer, Jack.

Foley watches him go.

BUDDY (V.O.)

Hey, Jack...

CUT TO:
CLOSE UP OF FOLEY

As he turns to us.

FOLEY:

What?

PULL BACK TO REVEAL: WE'RE INSIDE A CAR

Across the street from the KRONK RECREATION CENTER -- a red-

brick building in a bleak, depressing neighbourhood.

BUDDY:

You see this one...

Buddy reads from a newspaper while Foley watches the gym.

BUDDY (CONT'D)

"Fight over tuna casserole may have

spurred slaying." Seems this woman's

live-in boyfriend, seventy years old,

complained about her tuna noodle

casserole and she shot him in the face

with a twelve-gauge. Police found

noodles in the woman's hair and think

the guy dumped the casserole dish on

her before she shot him. They'd been

together ten years.

FOLEY:

Love is funny.

Buddy looks at him. Notices something over Foley's shoulder.

BUDDY:

Hey--

And now Foley turns and looks over as the black Town Car

pulls into the Kronk parking lot.

INT. TOWN CAR - SAME

Kenneth and White Boy Bob nod along to some rap tape in the

front seat. Glenn sits in the back, looking pale, hugging

himself, shaking. Maurice looks out the window...

MAURICE:

Was a time you see a gold Mercedes

over in the parking lot has a license

plate on it say HITMAN? You know Tommy

Hearns is inside. Seeing the car would

get our juices flowing.

Maurice looks at Glenn now and grins.

MAURICE (CONT'D)

You already got your juices flowing,

huh? Pissed your pants back there at

Eddie's house, didn't you?

Glenn just looks at Maurice.

MAURICE (CONT'D)

That was some sh*t, huh?

GLENN:

(indicates Kenneth)

Why'd he have to do that to that girl?

MAURICE:

Yeah, Kenneth, why you have to do that

to that poor girl.

KENNETH:

(smiles)

Do what?

Glenn says nothing, just looks at Kenneth.

MAURICE:

Just wait till we get inside Ripley's

house.

And he and Whiteboy start laughing as they get out of the car.

GLENN:

It's all right with you, I'll just

hang in the car.

MAURICE:

(beat)

No. You gonna stay close to me from

now on. So you don't disappear on me.

GLENN:

Why would I do that?

Maurice looks at him, starts laughing. White Boy Bob and Kenneth

join in. Maurice leans over... Glenn flinches as Maurice opens

Glenn's jacket so that we can see the BLOOD splattered on his T-

shirt.

MAURICE:

Was worse than you imagined, wasn't

it?

(then, smiles)

Baby, you with the bad boys now.

INT. FOLEY AND BUDDY'S CAR - SAME

As they watch Glenn and Snoopy and White Boy Bob get out of the

car.

BUDDY:

Whatta you think?

FOLEY:

I think Glenn opened his big mouth and

now we got us another partner.

BUDDY:

Or two.

INT. BOXING GYM - DAY

Glenn sits on a bench near the rear wall, facing the ring.

Kenneth grabs a magazine, walks into the john. A shirtless

White Boy Bob lifts weights while Maurice moves around the ring

calling to the boxers inside.

MAURICE:

Stick and jab!

VOICE:

Hey, Studs, how you doing?

He looks up, sees Buddy and Foley coming this way.

GLENN:

Jesus Christ, what're you guys doing

here?

They sit down on either side of him, close.

FOLEY:

Weren't you expecting us?

GLENN:

That broad you picked up -- did you

know she was a US Marshal, for Christ

sake?

Now he turns to Buddy as Buddy stands up, takes off his overcoat

and sits down again.

GLENN (CONT'D)

She knew me from some bullshit dope

bust. She drove me to court. Twice.

You know what she said, we're in the

car on the turnpike? "I never forget

anybody I've cuffed and shackled."

FOLEY:

Yeah? She said that to you?

Glenn turns to see Foley with a mild expression on his face,

almost smiling.

FOLEY (CONT'D)

What happened to your shades? Someone

finally step on 'em?

GLENN:

(touches his head)

I don't know...

Foley notices the blood on Glenn's shirt.

FOLEY:

Whose blood you got all over you?

GLENN:

These guys, man, they're crazy.

(looks off)

Sh*t.

Foley follows his gaze, sees Maurice coming this way, White Boy

Bob beside him, carrying his shirts.

FOLEY:

Is that Snoopy? In the purple doo

rag?

BUDDY:

What's he do now, tell fortunes?

Maurice stands at the edge of the ring apron, looks from Foley

to Buddy and back again, pretty serious about it.

WHITE BOY BOB:

We have a problem here?

MAURICE:

(walking over)

Jack Foley, famous bank robber.

FOLEY:

Snoopy Miller, famous fight thrower.

MAURICE:

It seems to me I been reading about

you in the newspaper. Busted out of

some joint in Florida, huh?

Rate this script:5.0 / 1 vote

Scott Frank

A. Scott Frank (born March 10, 1960) is an American screenwriter, film director, and author. He has earned two Academy Award for Best Adapted Screenplay nominations, for Out of Sight (1998) and Logan (2017). more…

All Scott Frank scripts | Scott Frank Scripts

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