Underneath Page #4

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


The company'll be eating interest|big time, especially on this haul.

He'll make it.|He'll make it.

George Rittenhouse, line three.

George Rittenhouse,|line three.

Yeah? What?|Oh, no. I'll be right there.

- Deborah broke water.|- Hey, good luck.

- Good luck!|- Thanks!

So why didn't|you want to get into it?

- Bastard. Who?|- Somebody.

- Since when?|- Since before the beginning.

- Hello. Myself speaking.|- That was a really stupid thing to do.

- Don't ever show up again.|- Rach! Where are you?

- I'm in my car.|- What happened?

I was waiting and you never showed|and then you're f***ing married.

- What the hell is going on?|- I don't have time|to play games with you.

Why didn't you come?

It is idiotic to be having|this conversation after what happened.

- What are you talking about?|You owe me an explanation.|- Michael.

- There's nothing to explain.|- You haven't told me|why you didn't show.

- I shouldn't have to.|- What the hell happened to you?

All right, let's just get this|over with. Where are you?

- I'm in the Salem Street house.|- Oh, God, you're kidding.

- You're renting it?|- Yeah.

You don't do anything halfway,|I'll give you that.

- I'll be there in a minute.|And no funny stuff.|- Fine.

- Chambers.|- Yeah?

Thirty dimes on LSU.

- Thirty?|- Yeah.

Okay.

All right, all right,|all right, all right.

Get us a field goal.

- Come on.|- Good call to go for the field goal.

You've got time,|if you make it,

to go for an onside kick. Here's|the kick. It is long, and it is good.

- A tie. I can live with a tie.|- We have a tied game,|with 1:1 to go, at 13.

I can live with a tie.

Come on, Florida.|Go to sleep, go to sleep, go to sleep.

Dropping to throw, Morris.

Throwing to the sideline. Complete.|Out of bounds to Emmitt Smith.

- And that'll stop the clock.|- We're all right. We're all right.

Morris, deep over the middle,|complete to the 45.

- Oh, I can't watch this.|- To the 44-yard line.

They're edging toward field goal range|with that catch.

- Again, Morris...|- Oh, God! God!

- They got a bunch of it.|An 18-yard pickup.|- Come on, come on, come on.

- Thirty seconds remaining now.|Morris is four out of five.|- Hit him!

Hit!

Emmitt Smith going to the far side|of the field. That may hurt them,

- because they may not|be able to stop the clock.|- No more time outs.

They got wrapped up|at the 24-yard line by Jimmy Young.

- They're done.|- They're gonna have a hard|time stopping the clock.

- The game is over, gentlemen.|- Nine seconds, eight, seven, six,

- five, they're at the 24.|- The game is...

He drops back and throws it|away with one second remaining.

I believe the clock is retired,|but they'll give 'em the one second.

They'll give 'em the one second|even though the clock shows nothing.

It's come down to this.

This field goal try...

will be attempted|from about 41 yards.

Here's the snap,|the kick; it's high.

It is long, and it is...|good!

Florida has won|on the final play of the game.

Sixteen to thirteen.

In the final analysis,|it will be the penalties...

and the Tigers' mistakes|that cost them this win,

because they really played well|against the Florida Gators.

I got good news,|and I got bad news.

The good news is I have|till Tuesday to cough it up.

The bad news is I have|till Tuesday to cough it up.

So I have a year to get you|a present, right?

- Yup.|- I figured I'd get you something|you could really use.

Like hemlock.

Happy?

Like an Oscar winner.

You know me.|I like money.

- Not much.|- Beats goin' to jail.

Jail? What's jail|got to do with it?

Ask your brother.

What?|What did he do?

He threatened me.

How? When?

When you left town,|he was pursuing me.

He'd call.|He'd follow me.

This went on|for a long time.

I kept asking him to stop.|Finally he did.

- That night we talked about going away...|- Mm-hmm.

He saw us.

He saw us in the car.

He came to see me.

He said he was still|obsessed with me,

that if he couldn't have me,|neither could you.

He tried to come on to me.|I started screaming at him.

If I didn't|stay away from you,

- he'd frame me for possession|and send me up.|- Jesus.

I tried to call his bluff,|and he pulled out a bag...

and started dragging me|to his car.

Why didn't you call me?

Because when your psychopathic|brother with a badge starts|throwing his weight around,

I figured, forget this.|And forget you.

The Chambers family|is a bad investment.

But why Tommy?|Why marry Tommy?

- He did ask.|- Aw, come on. That's not a reason.

- You asked once.|- Tell me it was the same thing.

Look me in the eye,|and tell me it was the same thing.

He treats me bad.

- Look at my arms.|- Oh, my God, Rachel.

I know they've killed people.|I just know it.

I don't know how|to get out of it.

You can get out of it.

How? I'm married to Mack the Knife.|How do I get out of it?

We leave.

We'll live somewhere else.

I'm good at leaving.|You know that.

He'll find us.

No, he won't.

- What was that?|- Somebody's in the house.

Michael?

In here.

Hi, hon.

You know,

it don't look right.

You... can't exactly say it|looks right, now can you?

It's a risk...

in business that|the people closest to you...

may do you wrong.

Usually I can...|figure out a way to get...

satisfaction.

Let's say they're...|skimming.

Well, they can|give me the money back,

work it off,|something.

I'm... pretty good|at balancing these things out.

But, see, you can't|unfuck my wife!

So I find myself looking|to the outer edges of...

acceptable behavior to...

make myself feel better.

It's not nice,|what comes to mind.

- Tommy, it was my idea to come...|- That's not helping, hon!

I wanted to talk to you.

So the napkin should have|been under my drink.

Now everything makes sense.|I had it all wrong, didn't I?

- That's right.|- I see.

I wanted to make you|a business proposition.

I wanted her opinion first|about how best to approach you.

And she suggested that you...

seduce her|as a way to approach me?

What business could we|possibly have together?

A job.

A job.

A job job?

Yeah.

Why come to me?

You're the only|crook I know.

Is that... polite?

What kind of a job is it, Michael,|that you need a crook?

- Where I work.|- Where you work.

Armored cars.

I work with armored cars.

And?

And every Monday the cars|go to the retailers,

and they collect all the cash|from over the weekend:

Lottery ticket sales|and merchandise sales.

It's taken back to the company|to be verified.

And the whole wad's|taken to the bank.

In one truck.

Could be anywhere from a couple|hundred thousand to a million.

Small bills.

Totally untraceable.

Well.

Hey, school's out.

So what now?

- Well, it's you and me, kid.|- What?

- George collared me.|- Oh, th-that's not fair.|Y-You've been out all day.

What about Casey, Tom?

- Suddenly I'm not good enough?|- No, no, that's not it.

It's just what I said.|You've been out all day.

Aah, it's a short run.

- Number 1, Chambers and Dutton.|- Well, here we go.

Number 1, Chambers and Dutton.

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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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