Trespass Page #2

Synopsis: Two Arkansas firemen, Vince and Don, get hold of a map that leads to a cache of stolen gold in an abandoned factory in East St. Louis. What they don't know is that the factory is in the turf of a local gang, who come by to execute one of their enemies. Vince sees the shooting, the gang spots Vince, and extended mayhem ensues. As Vince and Don try to escape, gang leader King James argues with his subordinate Savon about how to get rid of the trespassers.
Genre: Action, Thriller
Year:
1992
286 Views


through here.

When I was a kid, I loved

breakin' in empty buildings

and goin' explorin'.

I always wanted

to find some lost

treasure or dead body...

or a ghost so I could get my

picture in the local paper.

"Local kid finds

JesseJames' gun."

Be a big hero.

Yes, sir, when I was ten,

I'd have thought this was

the greatest place on Earth.

When we find that gold,

it will be.

I'll tell you one thing,

guys that built this place

sure knew construction.

It's like the damn pyramids,

gonna outlast all of us.

Here, let's try

on up this way.

Careful, step's loose.

Man, this place

is really wild.

All these stairways

and passages.

No wonder old Eugene

had to draw himself a map.

[Indistinct Creaking]

Hey, you hear that?

What do you think it is?

Shh.

[Creaking Continues]

Behind this door.

[Creaking Continues]

Jesus Christ.

Oh, God, that stinks.

Oh, God, oh.

[Coughing]

What was that you

said about wantin'

to find a body?

What the hell

happened to his face?

Rats must have chewed it.

His hands too.

God, that's rank.

Look, poor bastard even had

his shoes on the wrong feet.

Yeah. Draft in here

is makin' the body swing.

Come on,

let's close this up.

I guess

we gotta report this.

We better find some

local cop and tell him...

Hey, bullshit.

This ain't none of our business.

East St. Louis cops can solve

their own damn cases.

How long you think that

guy's been hangin' there?

Couple of months maybe.

Maybe a little more.

Suicide, I figure.

Suicide? How do you

know it wasn't murder?

Nobody murders somebody

by hanging 'em.

Yeah, but people that kill

themselves like to be found.

They leave notes or somethin'.

What if it was murder?

You've been watching

too much TV, Vince.

You're beginnin'

to sound like Geraldo.

All I'm sayin' is,

I think we oughta report it.

Look, I didn't come all

the way up here to worry

about some old stiff...

who's probably

been dead for months.

You want to report it,

fine. But let's report

it on the way home.

I mean, the guy

ain't goin' anywhere.

Okay. Okay,

I guess you're right.

Damn right I'm right.

I'll tell ya something else

I'm right about.

This is the fifth floor

and behind that door...

that's where Eugene

stashed his gold.

What'd I tell you, Vince?

This vestibule must lead

to where the apartments were.

I'd say old Eugene knew

what he was talkin' about.

Hey, look at that.

Peep slot.

Old-fashioned security.

We're gonna find that gold.

I'm tellin' you

I can smell it.

All right now, here we are.

We're back from

the third window.

I'd make that one the third.

So maybe 'round there, huh?

Let's find out.

[Beeping]

[Beeping Increasing]

There it is, Vince.

I told ya.

Didn't I tell ya it

was gonna be here?

Stand back.

Go on. Go on.

Hit that thing.

Come on, Vince.

[Laughing]

I knew we was

gonna find it.

Come on!

Sh*t! Just some pipe

and an old junction box.

You know, we're probably gonna

find lots of this kind of stuff.

Maybe this is gonna take

longer than we thought.

I'm gonna keep scannin'

the floor. If I get

a signal, you dig it up.

If you see anything,

you let me know.

Okay.

Hey, how come

you get the easy job?

It's my metal detector.

Shi...

[Indistinct Rap]

Dd

Whose wheels, man?

I don't know.

I'm gonna drive

all around this place...

and I better not see any

more cars other than

Wickey's, right?

Why are you goin' off on me,

Goose? I don't know

whose car that is, all right?

Give me a break.

All right, Lucky.

Don't let this

be no okey-doke.

[Grunting]

Hey, Don,

find anything?

Just some more damn pipe.

I'm gonna check

on through there.

Yeah, you do that.

Don! Goddamn!

Get him off me.

Don.!

Freeze, a**hole.

Don't shoot me!

Don't shoot me!

Get up! Get up!

What the hell you doin'

jumpin' him like that?

I piss on him.

I thought

he was a crackhead

tryin'to steal my money.

Who are you? Talk.!

It's my money.!

It's all the money I got.!

What are you doin' here?

I live here.

What you think, dumb ass?

I've been hidin'

ever since you come.

What's your name?

Bradlee.

Guess what, Mr Bradlee?

You're trespassin' here.

You're full of sh*t.

Don't nobody own

these old buildings.

I got a good mind to take

you down and bust you.

Give me a break!

You ain't gonna

bust me for nothin'.

I oughta run your ass in.

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Bob Gale and Robert Zemeckis

Michael Robert Gale (born May 25, 1951) is an American screenwriter, producer and film director. He famously co-wrote the science fiction comedy film Back to the Future with writing partner Robert Zemeckis, and the screenplays for the film's two sequels. Gale also co-produced all three films, and served as associate producer on the subsequent animated TV series. Michael J. Fox noted that Back to the Future co-creator Bob Gale is "the gatekeeper" to the franchiseRobert Lee Zemeckis (/zəˈmɛkɪs/; born May 14, 1952)[1] is an American director, film producer and screenwriter frequently credited as an innovator in visual effects. He first came to public attention in the 1980s as the director of Romancing the Stone (1984) and the science-fiction comedy Back to the Future film trilogy, as well as the live-action/animated comedy Who Framed Roger Rabbit (1988). In the 1990s he directed Death Becomes Her and then diversified into more dramatic fare, including 1994's Forrest Gump,[2] for which he won an Academy Award for Best Director; the film itself won Best Picture. The films he has directed have ranged across a wide variety of genres, for both adults and families.Zemeckis' films are characterized by an interest in state-of-the-art special effects, including the early use of the insertion of computer graphics into live-action footage in Back to the Future Part II (1989) and Forrest Gump, and the pioneering performance capture techniques seen in The Polar Express (2004), Monster House (2006), Beowulf (2007), A Christmas Carol (2009) and Welcome to Marwen (2018). Though Zemeckis has often been pigeonholed as a director interested only in special effects,[3] his work has been defended by several critics including David Thomson, who wrote that "No other contemporary director has used special effects to more dramatic and narrative purpose."[4] more…

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