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


Check the replay.


I told you that motherfucker

was scandalous.

Now we get

to break him off some.

He wouldn't have did it if he

didn't have somebody in Houston

to help him get that package.

I wanna know who it is.

Wickey, set it up for Saturday.

I wanna do it someplace way out,

where nobody is, off the track.

I got just the ticket, K.J.


- Stay back.

- Shit!

Here! I stole

from Jesus Christ. I hid it!

Fifth floor, my apartment.

I never told. Here, take it.

Take it!

Save my soul!

Take it easy, we'll get ya out.

Come on!

Oh, forgive me, Jesus!

- We're tryin' to save your life!

- [Screaming]

God! Agh!


[Beeping Continues]

[Fire Truck Horn Blowing]

Hey, Don, remember what

that old guy said about

burnin' in hell and all?

This envelope here.

I've been goin' through it,

fillin' out the report.

I think I figured out what

he meant. It's pretty wild.

"Orgill Brothers and Company.

Eugene Delong Employee I.D. Card."

Eugene Delong was

the old man. Read this.

"St. Louis Herald,

February rd, .

"Catholic Church

Looted And Vandalized.

"Thieves broke into

St. Anthony's Church

last night...

"and made off with a fortune

in religious articles.

Objects, most of which

were pure gold, were on

special exhibit from Europe."

It's gold, solid gold.


I think it was old Eugene

that robbed this church.

Shoot, I'd say there

ain't no question about it.

Wejust solved a crime,

a -year-old crime.

Wow, that's pretty wild.

Hey, Vince.

I think our ship

just come in.

This, my friend,

is a treasure map.



All I'm saying is, come Saturday

why not drive to East St. Louis,

find this factory

and take a look around?

I got a metal detector at home.

This buddy and I used to go

prospectin' with it.

We bring some tools.

We check out the floor.

If there ain't nothin' there,

it ain't no loss.

If there is, like I said,

why not?

Because it's crazy, Don.

We can't walk in a factory

and rip up their floor.

I already called information.

There ain't no listin'

for Orgill Brothers Company.

They're outta business.

Don, the deal is

the guy robbed a church.

Even if the stuff

was still there, we couldn't

just take it for ourselves.

Why not?

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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" STANDS4 LLC, 2020. Web. 19 Feb. 2020. <>.

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