Out of Sight Page #22

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
683 Views


INT. LIBRARY (DOWNSTAIRS) - SAME

Dark. As Foley steps into the doorway, we BOOM DOWN to reveal

a LIGHTED AQUARIUM in f.g. He comes into the room, sits down

in an armchair beside the fish tank.

He leans close to the glass, stares at the fish a moment. He

sees a door reflected there and turns to look across the room,

sees how the phone cord disappears underneath.

FOLEY:

They cut the lines, Richard.

Silence. The door opens and we see a terrified Richard Ripley

sitting on top of a toilet, the phone in his lap.

RIPLEY:

Foley? That you?

FOLEY:

How are you, Richard?

RIPLEY:

Jesus Christ, what the hell are you

doing here? What's going on? Who's

upstairs?

FOLEY:

Maurice Miller, couple of his friends.

RIPLEY:

Maurice? From Lompoc? Good God.

Ripley moves to the doorway.

RIPLEY (CONT'D)

Have they got Midge up there?

FOLEY:

What kinda man lets a woman answer the

door, this time a night?

RIPLEY:

We thought it might be her husband.

Sometimes he comes and checks up on

her. She told him I was down in

Florida.

FOLEY:

A minute or two, you're gonna wish you

were.

Ripley looks at him. Foley pats the back of a chair.

FOLEY (CONT'D)

Why don't you come on over here, sit

down, Richard, have a look at your

fish.

EXT. BLOOMFIELD HILLS - ROAD - SAME

As Karen slowly negotiates her way through the snowstorm.

INT. RIPLEY'S BEDROOM - SAME

The music ON LOUD (Herb Alpert -- Tijuana Taxi). Buddy stands

in the doorway, watches Maurice, out of his coveralls, as he

takes suits and sport coats from the walk-in closet to look

them over. He tries on a coat, turns to the maid.

MAURICE:

How do I look, mama?

MAID:

Like a fag.

Maurice smiles at her, goes back into the closet. Kenneth stares

at the maid, nodding slowly.

KENNETH:

I think she like to tussle with me.

Get boned a way she gonna remember.

She looks to the doorway, where Buddy now starts to take a step

into the room, when Maurice comes out of the closet...

MAURICE (OS)

Motherf***er!

He sticks his head out of the closet.

MAURICE (CONT'D)

I found the safe.

Buddy backs out of the room.

EXT. RICHARD RIPLEY'S HOUSE - SAME

As Karen drives slowly past the house. White Boy Bob emerges

with an armload of steaks and sets them on the front steps.

MAURICE:

White Boy! Get your ass up here!

White Boy Bob hurries back into the house.

INT. RIPLEY'S LIBRARY - SAME

Ripley sits on the couch across from Foley. He keeps looking

up at the ceiling.

RIPLEY:

What do you want from me, Jack? Name

it. You want money?

FOLEY:

You gonna write me a check?

RIPLEY:

We'll go to my bank. I'll make a

withdrawal.

Foley just looks at him. Buddy sticks his head in the room.

BUDDY:

They found the safe.

FOLEY:

You remember Buddy, don't you, Richard?

BUDDY:

Yeah, hi. Nice house.

RIPLEY:

Thank you.

INT. BEDROOM - CLOSET DOORWAY - SAME

White Boy Bob comes in as Kenneth and Maurice are getting ready

to blast the safe with the shotgun and pistol.

MAURICE:

We gonna open up this f***er...

Maurice and his boys open fire on the safe. The maid covers up

as bullets begin ricocheting all over the room.

MAURICE (CONT'D)

Jesus...!

EXT. HOUSE - SAME TIME

Karen sees the muzzle flashes in the upstairs window and quickly

gets out of the car.

INT. STUDY - SAME

As Buddy and Ripley look up.

RIPLEY:

(gets up)

Good God... they're shooting Midge!

FOLEY:

(pushes him down)

Siddown, Dick. They're trying to open

the safe, not your maid.

INT. BEDROOM

As Maurice, Kenneth and White Boy Bob get ready to fire again.

MAURICE:

A'ight, this time we gotta get the

motherfuckin' trajectory right...

(pause)

Okay, on three:
One... Two...

MAID:

The combination is three-ten-forty-four.

They all turn to look at her, guns still pointing at the safe.

MAID (CONT'D)

Richard's birthday.

EXT. HOUSE - SAME

As Karen cautiously makes her way towards the front door.

INT. BEDROOM - SAME

As Maurice finally gets the safe open. They all anxiously peer

inside. Maurice narrows his eyes, reaches in, pulls out one of

three toupees. He stares at it.

MAURICE:

...the f*** is this...

WHITE BOY BOB:

Are they dead?

He looks at White Boy Bob...

MAURICE:

Go find Foley. NOW!

INT. RIPLEY'S STUDY - SAME

As Foley leans forward in the chair now...

RIPLEY:

I can't believe you're still angry

with me, Jack, after all this time.

FOLEY:

I'm not angry, Richard.

(staring at the tank)

In fact, I'm completely relaxed. Thing

is, I can't tell if it's the fish

that're cooling me out or all those

uncut diamonds on the bottom of the

tank there.

Ripley sags, closes his eyes.

BUDDY:

Damn--

And now Buddy takes a closer look and now we, too, see that

strewn about the bottom of the aquarium are dozens of uncut

diamonds of various sizes.

FOLEY:

Dumbfuck Glenn was right, there's about

five million worth in there, wouldn't

you say, Richard?

RIPLEY:

Five point two.

BUDDY:

They look like plain old rocks.

FOLEY:

They sure do.

He gets up, looks at Buddy.

FOLEY (CONT'D)

Go get a bag.

Foley turns to Richard as Buddy comes back into the room with a

plastic bag, starts reaching into the tank.

FOLEY (CONT'D)

I were you, I'd get up and run.

RIPLEY:

I'm not leaving Midge.

FOLEY:

Don't be an a**hole, Richard. They're

gonna kill you.

RIPLEY:

If that's my fate, so be it. I'm not

leaving.

(then)

I love her, Jack.

Foley looks at Buddy. Now what?

BUDDY:

C'mon.

Foley just looks at Ripley, who doesn't move.

FOLEY:

Good luck, Richard.

MAURICE (OS)

Someone down here?

Buddy and Foley slip out the other door, down the hall, just as

Maurice walks in, some of Ripley's clothes over his arm.

MAURICE (CONT'D)

Well, if it isn't the Ripper hisself.

RIPLEY:

Are those my suits?

MAURICE:

Where you been hiding, Dick?

EXT. HOUSE - SAME

A now-freezing Karen hugs a retaining wall, watches as Foley

and Buddy emerge from the house.

AT THE VAN:

As Buddy leans under the dash. Foley looks up at the house

where we see shadows moving about in the upstairs window, hear

the faint pumping of the music. We hear the VAN START.

BUDDY:

Okay.

Buddy straightens up, looks at Foley.

BUDDY (CONT'D)

Come on.

FOLEY:

Sh*t.

BUDDY:

What?

FOLEY:

They're gonna rape the maid, aren't

they.

BUDDY:

From the looks of those boys, the

Ripper too.

FOLEY:

And then they'll kill 'em.

BUDDY:

At least.

Foley looks at the diamonds in the bag.

FOLEY:

We made it, didn't we?

BUDDY:

All you gotta do is get in.

Again Foley looks at the diamonds, then...

FOLEY:

I'm going back inside.

BUDDY:

I'll go with you.

Foley finally hands him the bag with the diamonds in it...

FOLEY:

No, you dump the van, meet me at the

airport.

I'll take one of Ripley's cars.

BUDDY:

Jack --

FOLEY:

Listen, Buddy, the sh*t that's about

to go down, you'll be on the phone

with your sister for a month. Let me

do this part alone.

Buddy just looks at him.

FOLEY (CONT'D)

I'm saying this isn't your problem.

Far as I'm concerned, we're square.

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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