Underneath Page #3

Synopsis: Michael Chambers returns home to celebrate his mother's marriage. Michael had been ousted from his home town due to his gambling indiscretions and had left his wife to deal with the mess he created. He now must reassimilate back into the town, renew his relationships with his family and friends (and enemies) and, most of all, seek out his ex-wife to woo her again. In the process, he obtains a job working with his mother's new husband as an armored car driver. He almost seems the perfect prodigal son as he finds his niche back in the community and his way back into his ex's heart. His troubles surmount when he and his wife are caught in the act by her hoodlum boyfriend/fiancé. To get out of this predicament, Michael must concoct a plan to heist of a payroll being carried by his armored car company.
Genre: Crime, Thriller
Director(s): Steven Soderbergh
Production: MCA Universal Home Video
  1 nomination.
 
IMDB:
6.2
Metacritic:
69
Rotten Tomatoes:
59%
R
Year:
1995
99 min
106 Views


I just know which way to bet.|It's like being connected.

It-lt's like knowing something|that no one else knows.

- God, I wish I could describe|the feeling to you.|- You don't have to.

- Hey, how did it go?|- What?

The audition.

Hmm. Did Jane Duncan call|after I left?

Jane Duncan? No.

When you were on the phone|and I was getting ready,|did anybody try and click through?

- I don't know.|- They were trying|to call me not to come.

Because they decided to go with a|lottery official instead of an actress.

I sat there for an hour looking|like an idiot before somebody told me.

I'm sorry.|That must have been awful.

- There's the stand.|- Did you at least remember|to get my plane ticket?

Yes and no.

- What the hell does that mean?|- I did remember, but I didn't get it.

- Michael, this audition|has been planned for months!|- I got you something else.

- Julie's expecting me!|- I got you something else.|I got you something else.

- What? What did you do?|- I'll give you a hint.

We don't have enough|to fly to L.A.,

but you could|drive there in style.

What?|That's mine?

- Michael...|- You hate it, I'll take it back.

- Wait.|- Uh, if you like it, we'll keep it.

- You make me really, really mad.|- Ooh, careful!

Careful, it'll come off.|Ooh, ooh, ooh.

Oh, I don't know,|about 45 minutes.

Forty-five minutes?|What do you think went on in there?

I don't know.|I wasn't inside.

You don't have to be|inside to figure it out.

- Look, I gotta trust her.|- Michael Chambers, line 2.

- Michael Chambers, line 2.|- You're either very smart|or very stupid.

I can't figure out which.

- Hello.|- It's me.

He proposed.

Christ.

Christ.

What did you say?

I pretended I wasn't|expecting it.

I said I needed time.

This is my problem:

When I think about|trying again with you,

I have no idea if it's a moment|of strength or a moment of weakness.

Do you remember|the last time we went away?

- The conversation we had|in front of the fire?|- Yes.

I don't want to be on the outside.

It's too painful.

I won't make that mistake again.|I promise.

What do you think would happen|if we went away for the weekend?

I don't see how we can|resolve this any other way.

We could go back|to Whispering Pines.

We could do that.

We had a good time there.

What about Tommy?

I'll pick you up|Friday at 6:00.

- Can we take my car?|- Yeah, we can take your car.

I forgot.

Suddenly, Friday at 6:00|seems like a long way off.

It's only two days.

- All you have to do is say no.|- No.

The mobile customer|is away from the phone...

or has traveled beyond the service area.|Please call again later.

- Rachel around?|- Nope.

- What about Tommy?|- Nope.

It's sort of important. We were supposed|to hook up, and she never showed.

- Don't know where she is?|- Everybody got in a car and took off.

- Where to?|- Uh, Vegas, I think.

- Rachel too? You're sure?|- She's hard to miss.

Michael.

Hi. How are you?

- Good. I had a feeling I'd see you.|- Yeah, me too.

- Hi, I'm Deborah.|- Hi. Michael.|- I'm sorry.

Listen, I'm sorry.|I-I gotta run.

- Oh. I'll talk to you soon?|- Yeah.

- Still have my number? You're sure?|- Yeah.

It was nice to meet you.|I'll speak to you soon.

- I gotta go.|- Bye.

- He'll call.|- What do you want?|You met the guy on a bus.

Have you seen David lately?

Not since you and Ed|got divorced... married!

I'm sorry.|Excuse me.

Michael, when you get to be|my age, you realize...

sometimes the planets|just don't line up.

And there's nothing|you can do about it.

Of course, sometimes|they do line up.

And there's nothing you can do|about that either.

Hi, this is Susan Crenshaw.|I'm not in right now,

but if you leave me a message,|I'll call you right back.

- Hi, this is Michael Chambers.|I'm sorry to call so late...|- Hello!

- Oh, you're there.|- Yeah.

- I just didn't feel|like talking to anybody.|- Okay, bye.

No, I didn't mean you.

What are you doing?

Sittin' around.|What are you doing?

Sitting around.

Are you with me?

Yeah.

I feel like you're somewhere else.

I feel like I'm|in an ad for fine wine.

But it's nice,|really nice.

I like to be close.

This is close.

This is close to you?

Isn't it?

- You're not very present tense.|- Wh-Wh...

Is that like|an acting thing?

I love you.

- Mmm. That was nice.|- Mmm.

There's somebody else,|isn't there?

- Sort of.|- Sort of?

Where is she?

I don't know.

There's what you want|and there's what's good for you.

- Uh, they never meet.|- They never meet.

Except for my mother|and stepfather.

Maybe they think they're|wrong for each other.

Nah, they're too old|for that sh*t.

Then why do anything|with anybody?

Because anything|is better than nothing.

The idea that you think you make sense|is really terrifying.

Yeah, I know.

- Have a nice day, Michael.|- Nice seein' you.

That the last of it?

- That the last of it, Michael?|- Yeah. Listen.

Give me two minutes.|I gotta use the bathroom.

Michael?

- Oh, hi.|- Hi.

- How are you?|- Good. And you?

Good. Did you|just get here?

- No, just on my way out.|- I have to go downstairs|to meet a delivery.

Great.|I'll go with you.

Later they find out that Bob,|this manager, is letting|this new guy fill the ATM...

without having the second person there|with the offsetting key.

Which you're not supposed|to do, obviously.

It turns out this guy|was stealing money...

and splitting it|with Bob.

- A little office intrigue.|- Yeah.

- Hello. Susan Crenshaw?|- Yes.

I need you to sign.

This is for you.

- Here you go. Bye-bye.|- Bye.

So.

Oh. Yeah.

- Back to work.|- All right.

Take care.

- Rachel in tonight?|- Haven't seen her.

Hey, I need three scotch waters,|dirty Tanqueray martini up,

two Rolling Rock|and a Red Stripe.

I'm trying to get a message|to Rachel. Is she here?

Tommy's wife?|Yeah.

Tommy's wife?

Right.

Tommy's wife.

- Yeah, she's in back.|- Do me one small favor,

and the other half...

is yours.

- Call it.|- It's my club. That's what I call it.

Hey.

I-I put it down right in front of her,|and she wouldn't look at it,

- so...|- Thanks.

Yeah!

Ow! Loser racks.

Whatcha readin' about, hon?|Tit jobs?

Yeah, I'm thinkin' about having|one put on my forehead.

Ooh.

Could be interesting.

- What the hell is this?|- What?

What the hell is this?

I don't know.

- Are you rolling this guy|behind my back?|- Tommy.

I swear to God I have no idea|how that got there.

That's all that happened,|Tommy, I swear.

See?|I didn't ask him to come here.

If he bribes her to take me a note,|I can't control that.

- Tommy, I just...|- Get out of here!

- If you want him out of the club,|keep him out.|- You bet I will.

If I find out you're seeing him, I'll|make the both of you very uncomfortable.

Why "uncontested"? You could've|hit her with the rug salesman.

- No point. She'd only|been seeing him a few weeks.|- That the last one?

Yup.

But if you get adultery,|you can slip out on alimony.

- Didn't want to get into all that.|- He'll never make it.

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Steven Soderbergh

Steven Andrew Soderbergh (/ˈsoʊdərbɜːrɡ/; born January 14, 1963) is an American film producer, director, screenwriter, cinematographer and editor. His indie drama Sex, Lies, and Videotape (1989) won the Palme d'Or at the Cannes Film Festival, and became a worldwide commercial success, making the then-26-year-old Soderbergh the youngest director to win the festival's top award. more…

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Submitted on August 05, 2018

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