Trespass Page #3

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
285 Views


I ain't gonna give you a break.

I'm gonna take you down.

[Bradlee]

Get your f***in'hands off me, man.!

Get up!

As soon as I do,

I'm gonna kick your butt!

I'm gonna blow

your f***in' head off!

You got no right to be messin...

Get in there!

Sit down!

You got no right to be

treatin' me like this!

Who do you think you are?

Now, cover him.

You know how to use this thing?

What are you askin' me for?

Do you know

how to use it?

Of course I know.

I was four f***in' years

in the State Guard, but I

don't want any part of this.

You're already part of it.

Take it and keep him covered.

Take it!

Look, Don, he's just an old

tramp. I don't see why

we just can't let him go.

What, so he can come

back with the cops and a

whole bunch of his friends?

Hey, man, I ain't

goin' back to no cops.

I ain't goin' to no cops!

I don't care

what you're doin'here.

I don't know nothin;

- Cross your hands. Cross 'em!

- We're gettin' in awful deep.

I thought we agreed.

We found somebody here,

we cut 'em in on it.

I say he ain't

entitled to jack sh*t.

You wanna cut him into

your share, you go right away.

Share of what?

What you gray boys

cookin' up?

Keep your mouth shut, old man.

Now you listen to me,

Vince.

I got mortgage

payments on a house

I just got kicked out of,

plus my own rent money

which they just jacked up on me,

plus f***in' taxes that get

higher every f***in' year...

just so that guys

like him can keep eatin'

without doin' any work.

Now if that loot is here,

buddy, I want it.

And I'm not gonna share it

with some old bum.

[Clicking]

Look, I...

I don't like this at all.

But you don't have to worry,

'cause nobody's gonna hurt ya,

I promise.

What right you got

to come bustin' in here,

messin' with a man's sh*t

and f*** it all up?

Look what you done

to my floor.

How am I gonna live here?

Just look what you done.

I said I was sorry.

Look, I'll make it up to ya,

all right?

Here's bucks, okay?

bucks!

What, you gonna give me

a mule too? F*** you.

Sh*t, if you don't want it,

I'll keep it.

We... Well.

Yeah, wait, I'll take it.

[Grunting]

[Indistinct Noise]

[Pick Pounding]

Don! Don!

Somebody's comin'!

[Indistinct Rap]

All right, he makes any noise,

you shut him up.

How am I supposed

to do that?

Oh, sh*t.

He's a tied-up old man.

How hard can it be?

Bust him in the face

if he gets outta hand.

Untie me and I'll bust you.

Don, I'm not gonna

duke out some crazy old man.

Christ!

Will you understand

the f***in' situation here?

I understand fine.

I got two white

motherfuckers breakin'...

[Bradlee Muffled]

And you, I'm gonna go

through you like Ex-Lax.

[Muffled]

[Muffled]

Hey! Come back here!

F*** you!

Hey, Don, this whole deal's

goin' south. Let's get

the hell outta here.

I'm not leavin' here

without that gold.

You stay here.

I'm gonna take a look around.

Anybody else live

in this building?

Come on, just shake

your head yes or no.

Sh*t, I gave

you bucks!

[Muffled]

F*** you.

All right, he'll be

here any minute. Wickey

don't break his word.

He better or

I'm gonna kick your crippled

ass back down those stairs.

Hey, man, why don't you

relax, Goose? I'm just

tryin' to set things up.

[Indistinct Chatter]

He's right there.

Funny you picked up here.

This is where King James

keeps his stash at.

What you talkin' about?

It's right over there

in the air vent.

Don't be bullshittin' me.

Man, I ain't.

I'll go get it for you.

Yo, whoa, what's up?

You think I'm stupid, Lucky?

You think I'm gonna let you

walk over there, put your hand

and pull a piece out on me?

Yo, Wickey, keep your snake ass

where I can see ya, all right?

[Screaming]

- [Screaming]

- Goose!

Don't you be gettin'

outta hand now.

Lucky's just got a real

nasty sense of humor.

Yo, Goose, I think you need to

leave my little brother alone.

Come here.

You all right?

Yeah, I'm cool.

Turns out the other night

you wasn't alone. Remember

the other night, Goose?

One of my boys got killed.

K.J.'s right.

Video never lies,

Goose.

I was there the whole time

tapin'your punk ass.

I don't know what

you're talkin' about.

Ain't that amazing? Now

the n*gger don't know nothin'.

[Phone Ringing]

[Ringing, Beeping]

What's up? Yo, Marvin,

I can't talk right now.

We're gonna handle that

business, but not right now.

I'm in the middle of somethin'.

Call me back, man.

Yeah, later.

What the hell's

goin' on up there?

Where's Don?

Y'all makin' a big mistake.

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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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