Trespass Page #6

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]

Go, Wickey, dive in there.

I don't need no big-ass gun.

Mess up my suit. This right

here will do me just fine.

[Raymond Laughing]

All right, all right,

Mr Leader Man.

What's your plan?

Come on over here.

Them country motherfuckers

was cryin' about the police, right?

They want cops?

Give 'em cops.

[Raymond Laughing]

Yeah.!

[Video Man]

Hello, Officer Friend.

How are you?

Hold it, hold it.

Hold it.

This ain't gettin' us anywhere.

This place is

too goddamn secure.

At least the good news is,

they can't get in either.

That means we just sit tight

and wait 'til the cops show up.

[Laughing]

[Laughing]

What are you

laughin' about?

Who's gonna call the cops,

the pigeons or the rats?

What about a patrol car?

Don't patrol cars come

around here?

Think they'd throw a guy off the

roof in broad daylight if there

was a chance cops would come?

Cops ain't comin' by, Vince.

We're on our own here.

We got shells.

I'm gonna take .

You're gonna take .

That way whoever's

got the gun can reload.

Listen, I got an idea.

Why don't we bust down

through this floor...

and drop down to the

apartment right below us?

That ain't gonna work.

If the layout's the same

as it is up here,

we're gonna be stuck

without our hostage.

We'll be dead meat.

Bradlee, you ever been

down to the fourth floor?

Is there a back stairway?

F*** you.

[Door Opening]

Anything happen?

No, all quiet, K.J.

Go downstairs, help 'em out.

Tell Wickey to call me up

when he gets it set up.

Is this gonna work?

It better.

I'm gettin' tired of this.

[Footsteps]

Man, those are some

weird, f***in' footsteps.

What is that?

Spikes. One of the guys

was wearin' baseball shoes.

Big son of a b*tch.

[Phone Ringing]

[Ringing Continues]

Yeah?

[Video Man]

Savon, what up, man?

Sh*t, we're ready.

Let's just do it.

They're gettin' close.

This sh*t's got me pissed off.

Man, this is stupid.

[KJ.]

Got everything goin'good,

then two stupid-ass honkies...

come up in here

and f*** up everything over

some dumb n*gger named Goose...

that nobody gives

a f*** about dead or alive.

Only thing keepin'

'em alive's my brother.

Savon said that's

a bunch of bullshit.

Says you and Lucky

ain't even got the same pops.

He's my brother, man.

I been takin' care of him ever

since he was born and I was .

All right, man.

We hot, we goin'.

[Siren Wailing]

Stop, this is the police!

Stop! You there!

N*gger! Freeze!

F***er! Spread your legs!

Spread 'em!

Take it easy, man.

Gotta make this sh*t

look real, man.

Where you got the dope,

boy?

Don, there's a cop

out there!

[Cocking]

Help! Hey, Don!

Get me out!

Someone come back here!

Come back!

Get me outta this cha...

Sh*t. Come on.

Go.! Go.!

F***ers, move.!

Go!

Go!

Go, man!

[Gunfire]

Get me the f*** outta here!

[Muffled Shouting]

Sh*t. They got Davis.

F***!

[Bradlee]

Come here, you two idiots.!

Come over here.!

Bring your asses in here

right now! Move! Move!

Get me off this damn floor.!

Come on, get me up offhere.!

What the hell?

Move it, both of ya!

Hurry up!

What the f*** you tryin'

to do, get me killed?

I thought he was a cop.

You stupid peckerwood.

You'd fall for that sh*t?

He was wearin' a uniform!

You're just a stupid,

dumb-ass redneck!

You shut your goddamn mouth,

you black son of a b*tch.

Black son of a b*tch?

F*** you! Kiss my black ass.

Goddamn...

Hey! Hey!

Hey!

Vince!

If he doesn't shut up,

I'm gonna shut him up.

Man, what the f*** was that

bullshit goin' on over there?

I told you not to shoot

'til you got a clean shot.

You got Davis killed.

F*** that.

It wasn't my fault. It was

that motherfuckin' Luther!

It was both you

dumb motherfuckers.

Okay, we f***ed up.

But you f***ed up too.

Ain't none of your sh*t

worked all day.

The point is,

what you gonna do now?

I'm gonna go up under them

so they don't dig no tunnel.

You need to go

get rid of Davis'body.

I ain't the garbage man.

Moon, go get rid of him.

Bullshit. That ain't

my motherfuckin'job.

No, Moon, go do it.

At least I know the

sh*t'll get done right.

Now you, you keep this

trigger-happy sh*t up, you're

gonna get all of us killed.

I don't know how.

I ain't the leader.

[Beeping]

I'm not gettin' anything.

It's not gonna work. There

ain't no apartments up there.

It's just attic.

No pipes, no plumbin'.

And I don't remember seein'

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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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