Trespass Page #5

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


Raymond?

You sure you want him

in on this?

Yeah, goddamn it! Don't give

me no more f***in' sh*t.

Get that goddamn camera

outta my face.

Von, give me your phone.

For what?

K.J. Wants Raymond here.

Finally got some guns

comin' up here.

Sh*t's gettin' hectic.

[Beeping]

Figure they're the police

up there, man?

Ain't got no f***in' idea.

Hello, Raymond?

Your name is Lucky, huh?

I ain't talkin' to you.

I ain't tellin' you sh*t.

[Don]

Fine. Vince.

How many did you see out there?

Five. Tie his arm

to that door.

There's gonna be

more than that...

'cause my big brotherJames

down there, fool,

he's a king around here.

He'll spread the word.

Your big brother, huh?

That's right. Let me tell

you white boys somethin'.

You don't let me go,

he's gonna fry your

motherfuckin' asses.

I thought you

weren't talkin'.

Hey, James, we got

your kid brother tied

spread-eagle against this door.

That means anybody

shoots at the door,

they're gonna kill him.

Anybody tries to break it down,

they're gonna rip his arms

outta their sockets. Got that?

I hear ya.

Just don't do anything

stupid in there.

You gotta tell us, Bradlee, is

there another way outta here?

I don't gotta tell you sh*t.

Goddamn it.

Don, these bars

are pretty solid.

Hey, Vince.

Over here.

Vince, that catwalk there

goes out to another building.

If we can get to it, there's

gotta be another stairway in

there. We can get to the truck.

Yo, Cletus, go on top.

Keep it secure.

I wanna keep 'em boxed in.

Go, man.

Come on, go.

[Don]

Careful.

Okay.

[Crashing]

- Yo, Lucky! Y'all right?

- Yeah, man, I'm all right.

Sh*t!

F*** that plan.

Them motherfuckers

still alive in there?

Yeah!

How many in there with ya?

There's three,

but one of'em was tied...

He can't talk right now!

Yo, man.

Listen, man.

We don't want no trouble.

We just want my brother back.

Just let him out.

Why don't you come out?

We could discuss this.

You just bring the cops.

We'll discuss it with them!

They're drug dealers.

They just threw a guy off the roof.

They ain't gonna call the cops.

Yo, man, that ain't

necessary. All we want

is my brother back, man.

- All we want is Lucky, man!

- Find me a rag.

You heard him. As long as

you got me, they're gonna be

on your asses like glue.

They already got the place

surrounded, and my brothers

will be here with more soldiers.

Yeah? As long as

we got you, they ain't gonna

be shootin' at us, are they?

I ain't scared of sh*t.

You know why?

I've been through three drive-bys,

and I ain't never been hit.

Bullets just go around me.

That's why they call me Lucky.

Lucky! Motherf***er.

Look, all they want

is the kid.

Now they know we got a gun.

Maybe if we let him go,

they'll back off!

Damn it, Vince.

They want us dead.

We're witnesses.

As long as he's alive,

we got a chance.

If we let him go, they're

gonna kill us for sure.

[Honking]

[Indistinct Rap]

It's about time

you guys got here.

So, what's up?

You got a problem?

Yeah, we got a problem.

Sh*t, three more.

Makes eight of'em.

We're screwed, Don.

[Footsteps]

Hey, yo, K.J.,

Man, what's up?

Three white motherfuckers,

they got my kid brother in there.

Three?

I didn't see but two.

Lucky said there was three.

You get Raymond?

Yeah, man, he'll be here.

White motherfuckers?

Down here?

Who are they, the man?

Hell, no. They just asked me

for cops. If they want cops,

they can't be cops.

[Grunting]

Damn it!

Sh*t.

Let me try that Halligan.

[Don]

Come on. Here we go.

All right.

[Grunting]

You f***er!

[Grunting]

[Indistinct Rap]

Sh*t, another one.

Looks like

some f***in' pimp.

Leave me alone I got posse

bust the bets

You better watch me

I gotta do what I gotta do

So who the hell is you to

tell me how my song is wrong

You don't know

[Beeping]

Yo, Wickey, this is Raymond.

Where do you want me to park?

What do you

think's goin' on?

Nothin' good.

[Laughing]

I think I finally figured out...

how you boys are gonna

get a chance to get outta here.

Body bags!

[Laughing]

[Savon]

Oh, sh*t. P*ssy in the trunk.

[KJ.]

Raymond's good for somethin;

All right. This sh*t here

takes out a rat's ass

at yards.

Sh*t, I'll take that. I was

a sharpshooter in the army.

You don't look like

no sharpshooter.

I was the best in my company.

Ease back, motherfuckers.

This is mine.

You know what I'm sayin'?

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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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    "Trespass" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/trespass_24142>.

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