Opening Image
Scene 1 / Page 1 / 1% target
The film opens on Foley’s stylized bank robbery, establishing his world of crime.
That's my partner. He has a gun in there. And if you don't do exactly what I tell...
Out Of Sight script analysis
Bank robber Jack Foley is arrested but engineers a daring prison escape with federal marshal Karen Sisco in tow. As they navigate trust and attraction, Foley’s criminal crew plans a high-stakes heist. The midpoint romance, escalating threats, and a final betrayal lead to a dramatic shootout and Foley’s capture.
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Scene 1 / Page 1 / 1% target
The film opens on Foley’s stylized bank robbery, establishing his world of crime.
That's my partner. He has a gun in there. And if you don't do exactly what I tell...
Scene 6 / Page 6 / 5% target
Karen’s comment about loving her Sig-Sauer gun hints at themes of law versus outlaw life.
It's a -- Sig-Sauer .38. I love it.
Scenes 3-5 / Pages 3-5 / 10% target
We see Foley in prison plotting escape and calling his ex, establishing stakes, allies, and his desire for freedom.
Some people are going out of here. What if I told you where and when?
Scene 10 / Page 10 / 12% target
Foley and Buddy’s breakout under Karen’s nose forces the action into motion.
I'm a federal marshal and you're under arrest, both of you guys.
Scene 11 / Page 11 / 20% target
Trapped in the trunk, Foley and Karen debate trust and whether she can stop him.
I bet I smell, don't I? Listen, you hop in the trunk and we'll get out of here.
Scene 20 / Page 20 / 25% target
Foley insists Karen join them on the run, shifting into the main ‘upside-down’ world.
She's coming with us.
Scene 27 / Page 27 / 30% target
The phone call between Foley and Karen deepens their personal connection aside from the heist plot.
I just wanted to see if you're okay, make sure Glenn didn't hurt you or, you know, anything.
Scenes 11-17 / Pages 11-17 / 40% target
The trunk and early road-trip scenes showcase their witty banter and chemistry.
You know you don't have a chance of making it. Guards are out here already, they'll stop the...
Scene 52 / Page 52 / 50% target
The bar scene where Foley and Karen reunite marks their romantic turning point.
Jack Daniel's, please, water on the side.
Scenes 60-63 / Pages 60-63 / 65% target
Maurice’s crew readies the heist and Karen closes in on Glenn, raising the stakes.
Scene 72 / Page 72 / 75% target
Karen shoots Foley, seemingly ending their alliance and his freedom.
I'm sorry, Jack, but I can't shoot you.
Scene 73 / Page 73 / 80% target
Foley is taken back to prison, reflecting on the cost of his choices.
The Hejira was the flight of Mohammed from Mecca in 622.
Scene 73 / Page 73 / 85% target
Meeting Hejira Henry sparks Foley’s resolve for one last plan.
The Hejira was the flight of Mohammed from Mecca in 622.
Scenes 67-71 / Pages 67-71 / 95% target
The Ripley heist culminates in violence and Foley’s stand against the criminals.
Dumbfuck Glenn was right, there's about five million worth in there, wouldn't you say, Richard?
Scene 73 / Page 73 / 99% target
The closing image of Foley behind bars mirrors the opening but with changed stakes.
The Hejira was the flight of Mohammed from Mecca in 622.