Trespass Page #2

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
270 Views


on my share, not one thin dime.

[Don]

Don't look like nobody

lives there, does it?

I guess that figures.

We're about a mile

off the highway...

and close to two miles

outside of town.

That means if we find it,

we don't have to cut anybody in.

Let's see.

Old Eugene's map has got it

between these two others.

I'd make it that building

there with the fire escape.

Fifth floor, right?

Yeah.

That'd be where

those arch windows are.

Ain't gonna leave it

parked out here though.

Somebody comes along,

the vandal's gonna have

a field day with this thing.

Let's pull around back.

See if we can park

out of sight.

We'll have to cut through

the basement of that

buildin' back there.

But at least

the truck'll be safe.

Goddamn. You always

drive around packin'?

Like the man says,

"Don't leave home without it."

Especially when you

go to East St. Louis.

I figure Eugene's tenement's

just the other side

of that buildin' behind us.

All we gotta do is

find the fifth floor.

Vince, old buddy,

let's get rich.

Let's cut on

through here.

When I was a kid, I loved

breakin' in empty buildings

and goin' explorin'.

I always wanted

to find some lost

treasure or dead body...

or a ghost so I could get my

picture in the local paper.

"Local kid finds

JesseJames' gun."

Be a big hero.

Yes, sir, when I was ten,

I'd have thought this was

the greatest place on Earth.

When we find that gold,

it will be.

I'll tell you one thing,

guys that built this place

sure knew construction.

It's like the damn pyramids,

gonna outlast all of us.

Here, let's try

on up this way.

Careful, step's loose.

Man, this place

is really wild.

All these stairways

and passages.

No wonder old Eugene

had to draw himself a map.

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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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Submitted by jameslanderson on March 29, 2019

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