Trespass Page #4

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
287 Views


I don't know nothin'

about nobody gettin' offed.

I don't think so, b*tch.

You're the one made

the mistake, motherf***er.

[Goose]

Hey, KJ., you got

to slow this sh*t down.

This situation does

have an explanation.

Now, who you

been workin' for, man?

Who you sold us out to, punk?

Why are you

sweatin' me, man, huh?

You can kiss my black ass.

Now get on your little

phone and run tell that.

[KJ.]

You ain't gonna make

this easy, huh?

[Goose] No,

this ain't gonna be easy.

Yo, Cletus, let's show

this man your shoes.

Be real f***ed up

if he had to use 'em on you.

Stomp a mud hole on that

ugly-ass face of yours.

[Growling]

[Screaming]

Goddamn.

Hey, motherf***er!

What the f*** you doin'?

I said, what you doin'?

Nothin'.

Cool, it works.

Watch out, man, watch out.

I thought...

You thought what?

I saw... I saw

your friend fall.

N*gger wasn't my friend.

Who are you, man?

What you doin' here?

Huh?

What the f*** you

lookin' at me for?

The man asked you

a question. What the

hell are you doin' here?

Nothin', I'm just here.

I'm not lookin' for trouble.

Is that right?

You f***in' with us,

white boy?

No, man, like I said,

I'm not lookin' for trouble.

Bullshit.!

I'm gonna ask one more time.

What the f*** you doin'?

He's spying.

I'm not spyin'.

I don't wanna get in the

middle of no big gang hassle.

Gang? You think we're

some big punk-ass gang?

I'm a businessman.

These are my associates.

Whatever you say, man,

no problem.

Back off!

All of ya!

Get outta here, or I'll

blow his f***in'head off!

Don! Don!

Come on!

[Don]

Back off! You clear outta

here, or I'll kill him.!

I swear I will!

[Indistinct Shouting]

K.J.!

Hurry, Don!

Come on, man!

Make a run for it!

I mean it, man!

Back off!

Don't shoot!

He's got Lucky, man!

Don't shoot!

[Gunfire]

Don't shoot!

Don't shoot!

Hold your fire!

I'll blow his head off!

[KJ.]

Stop.! Stop shootin; man.!

Stop shootin;!

F***!

Don.!

Jesus Christ.!

We gotta get out.

The fire escape,

the window. Go!

Savon, go downstairs.

Make sure nobody's tryin'

to get out the window.

All right.

[KJ.]

Calm down. No more shootin;

What you want?

Come on, stand up.

Have you got a weapon?

Huh?

I ain't got nothin'!

You got a weapon?

I ain't got nothin'!

Huh?

Don't f*** with me, man.

I ain't got sh*t.

Yeah, what's this?

[Beeping, Ringing]

[Ringing]

Yo, Savon?

Yeah?

What was that?

That was me.

I blasted at him

tryin' to come down

the fire escape.

Get him?

Nah.

All right, stay posted

down there. No more

shootin' unless I tell ya.

I don't wanna spook 'em

any more than they already are.

All right, all right.

Sh*t.

Goddamn it, Vince.

Why didn't you stay put

like I said?

'Cause I thought

you were in trouble, that's why.

Where the hell did you

go all that time? Sh*t!

All right, Cletus, Wickey,

let's try this door.

They got Lucky in there.

They're probably tryin'

to get out the back way.

[Wickey]

All right, cool.

Come on.

[Phone Ringing]

Sh*t!

[Ringing Continues]

Now back off, all of ya!

You come any closer,

he's a dead man!

Go on, get back.

Get back.

[Ringing continues]

Yeah? Marvin, goddamn it!

This ain't the time!

I got some problems right now.

Yeah, we're gonna handle

business on that package.

But I gotta get back

with your ass.

Wickey, you know your way around

here. Any other way out beside

the door and fire escape?

Hell, no. There

ain't no other way out.

All right, check this out.

Cletus, go downstairs.

Get rid of Goose's body.

Then go to the car,

get the M- . But go out

the same way we came in.

I don't want nobody to see us,

all right? Go on, man,

get the f*** out.

Yo, hey in there,

how do we know Lucky's okay?

Tell him.

Hey, man, I'm cool,

but this motherf***er's crazy.

Don't worry about it, man.

We're gonna get you outta there.

Check his fanny pack

down on the floor.

See if he's got a gun.

I told you

I ain't strapped.

Shut up.

Anything?

Don, this guy's

some kind of dope addict.

Figures!

All right, cut me

two six-foot lengths

of that rope in my bag.

Come on, move.

Wickey, go down there,

use Savon's phone.

Call up Luther, Moon

and Davis and tell 'em to get

their ass over here right now.

- You got it.

- Yo, also call up Raymond.

Tell him I need some

of that goddamn heavy

artillery he's got.

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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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