Trespass Page #3

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


[Indistinct Creaking]

Hey, you hear that?

What do you think it is?

Shh.

[Creaking Continues]

Behind this door.

[Creaking Continues]

Jesus Christ.

Oh, God, that stinks.

Oh, God, oh.

[Coughing]

What was that you

said about wantin'

to find a body?

What the hell

happened to his face?

Rats must have chewed it.

His hands too.

God, that's rank.

Look, poor bastard even had

his shoes on the wrong feet.

Yeah. Draft in here

is makin' the body swing.

Come on,

let's close this up.

I guess

we gotta report this.

We better find some

local cop and tell him...

Hey, bullshit.

This ain't none of our business.

East St. Louis cops can solve

their own damn cases.

How long you think that

guy's been hangin' there?

Couple of months maybe.

Maybe a little more.

Suicide, I figure.

Suicide? How do you

know it wasn't murder?

Nobody murders somebody

by hanging 'em.

Yeah, but people that kill

themselves like to be found.

They leave notes or somethin'.

What if it was murder?

You've been watching

too much TV, Vince.

You're beginnin'

to sound like Geraldo.

All I'm sayin' is,

I think we oughta report it.

Look, I didn't come all

the way up here to worry

about some old stiff...

who's probably

been dead for months.

You want to report it,

fine. But let's report

it on the way home.

I mean, the guy

ain't goin' anywhere.

Okay. Okay,

I guess you're right.

Damn right I'm right.

I'll tell ya something else

I'm right about.

This is the fifth floor

and behind that door...

that's where Eugene

stashed his gold.

What'd I tell you, Vince?

This vestibule must lead

to where the apartments were.

I'd say old Eugene knew

what he was talkin' about.

Rate this script:4.0 / 1 vote

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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