U Turn Page #18

Synopsis: U Turn is a 1997 modern western neo-noir crime thriller film directed by Oliver Stone, and based on the book Stray Dogs by John Ridley. It stars Sean Penn, Billy Bob Thornton, Jennifer Lopez, Jon Voight, Powers Boothe, Joaquin Phoenix, Claire Danes and Nick Nolte.
Genre: Crime, Drama, Thriller
Production: Sony Pictures Home Entertainment
  1 win & 2 nominations.
 
IMDB:
6.8
Metacritic:
54
Rotten Tomatoes:
60%
R
Year:
1997
125 min
715 Views


Grace is pushing the bed away from the wall, slipping down on

her knees and prying open several floorboards.

GRACE:

The money's right here! Get the key!

BOBBY:

No! You get it!

He doesn't want to get close to Jake. Grace coldly runs over to

his corpse, ripping the chain, key and all, from the neck. The

action pulls Jake's head up, then she lets it thump back on the

floor. She runs back to the floorboards.

The top of a thick steel floor safe is revealed.

Bobby watches -- his whole life, it seems, hanging on the

outcome.

With the key, she opens the safe. Inside are rolled-up bundles

of cash -- in hundred dollar denominations. She looks up at him,

offering it as she reaches in for more. Bobby also gets down on

his hands and knees and grabs more and more, sucked into the

fever of freedom, far more money than he lost at the grocery

store, overcome now with emotions of fear and freedom.

They see each other.

GRACE:

Didn't I tell you?

BOBBY (plunging into the cash)

There must be 150, 200 thousand here!

Goddamnit Grace, you were right!

GRACE:

We done it, Bobby. Oh my God!

They laugh excitedly and start kissing, rolling in the stacks of

cash, some of which sticks to Bobby's sweating back. The day

didn't turn out so bad after all for Bobby.

GRACE:

F*** me baby!

BOBBY (looking at Jake)

What about him?

GRACE:

Let him watch. I want him to know what he's

missing.

As they consummate their violent relationship for the first

time, Jake's lifeless eyes watch them.

EXT. MCKENNA HOUSE - LATER NIGHT

The LIGHT in the bedroom window is low candlelight, but we sense

something watching them. GRACE's silhouette moves across a

window.

BOBBY now comes out of the house, cautious, walking down the

driveway.

He stops, thinks, and walks back to open the hood of GRACE'S JEEP.

He reaches into the ENGINE and disconnects something, then

closes the hood and walks on.

EXT. HARLIN'S GARAGE - NIGHT

BOBBY walks up to the SHACK near the garage and bangs on the

door. A light goes on in the window. DARRELL shouts out.

DARRELL (O.C.)

What you want?

BOBBY:

Open up!

DARRELL (O.C.)

We're closed. Come back when the sun comes

up.

Bobby, in a hurry to get back should Grace pull any tricks,

bangs and kicks against the door. Darrell yanks the door wide.

DARRELL:

What the hell ... oh, it's you. Might've

figgered. Listen I got a waitress coming

over. What do you want?

BOBBY:

I want my car.

DARRELL:

You got the money?

Bobby pulls the money from his hip pocket and hands it to

Darrell. The mechanic fingers it suspiciously.

DARRELL:

Two-hundred dollars in hundred-dollar

bills. And this morning you was broke.

BOBBY:

That's none of your business. Get the keys.

DARRELL:

I don't want no dirty money. I run an

honest business.

BOBBY:

Yeah, like Al Capone on tax day. Get the keys?

DARRELL (pause)

Well, there's a $50 overnight storage

charge we got to talk about.

Bobby is ready at first to explode, but then just laughs out

loud. You got to give it to a guy like Darrell. He holds up a

$100 bill.

BOBBY:

All I got's a hundred, Darrell. You got change?

DARRELL:

No.

BOBBY:

Figgers. There's a scratch on the hood and how

much you make selling my gun? Deduct it.

Bobby pulls the hundred back from Darrell's grasp.

DARRELL (going to get the keys)

Don't know nothing about no gun.

BOBBY:

Course you don't. Tell me something

Darrell. Forty thousand people die every

day! How come none of them are you?

DARRELL (throws him the keys)

I think you know where to find her.

BOBBY:

And the trunk key.

DARRELL (pulls out the trunk key)

Topped off the tank for you. No charge.

Just my way of doing business.

BOBBY (jovial, confident now)

Listen up good, Darrell. I'm getting outta

this shithole. You're staying! And one

little peep outta you -- remember that gun

makes you part of the food chain. Your

prints are all over it. I'd be awful

careful whose rectum I was pointing my

finger in, Darrell.

Bobby hops in the car, a free man. As Darrell glares at him,

bewildered and frightened at the same time.

EXT. MCKENNA HOUSE - NIGHT

BOBBY turns the MUSTANG up the drive. THE HEADLIGHTS cut the

darkness and land on an empty patch where Grace's jeep had been

parked. Bobby jumps from the Mustang and runs around

frantically. His look is devastated. He falls to his knees,

about to sob when:

GRACE opens the front door and pokes her head out, putting out

several suitcases.

GRACE:

Bobby? What the hell's the matter with

you?

BOBBY:

I ... nothing. I just stubbed my toe on

a rock. Hurt like hell.

GRACE:

I got the money all packed. I put the jeep

and his caddy in the garage. People'll

think maybe me and Jake went away. Buy us

some time...I know a back road we can take.

BOBBY:

Good thinking. (looking at her four bags)

What's all this?

GRACE:

I'm not coming back.

BOBBY (accepting)

Awright, let's go. I want to be fifty miles

from here before the sun comes up.

GRACE:

Funny thing; the jeep wouldn't start. I had

to push it.

BOBBY (dryly)

Funny thing... I'll get the bags.

EXT. MCKENNA HOUSE - LATER NIGHT

Bobby's MUSTANG is backed towards the front of the house. We

see a silhouette of BOBBY and GRACE carrying something wrapped

in a BLANKET and dumping it in the trunk.

EXT. DESERT HIGHWAY - NIGHT

A lone pair of HEADLIGHTS illuminate the night as the Mustang

cruises through the dark. As the lights brighten the screen we:

FADE TO:

INT./EXT. MUSTANG - NIGHT

GRACE sits next to BOBBY peering out the windshield, clutching

the money in a backpack. She's humming an Indian song.

BOBBY:

I can't see it.

GRACE:

It should be just up ahead. Hold on ...

there! There it is!

A SIGN illuminated by the HEADLIGHTS. It reads: YOU ARE

LEAVING SUPERIOR. THANKS FOR VISITING.

Grace lets out a scream of joy, leans over and hugs him.

GRACE:

Oh, God! I can't believe it. I'm out.

I'm finally out!

The MUSTANG begins to swerve along the road.

BOBBY:

Hey! Take it easy. Want to get us killed?

GRACE:

You don't know what it feels like to be

free of that place.

BOBBY:

I don't know about that?

GRACE:

You spent a day in Superior. I wasted my

entire life there. I feel like someone just

took a million pounds off my shoulders.

BOBBY:

We've still got some dead weight to get rid of.

GRACE:

Can't we just dump him fast someplace?

BOBBY:

I want a place where only the vultures will

find him...(then) It'll be over soon,

Grace.

GRACE:

Then will you take me on your friends' boat

with you?

BOBBY:

I'm not sailing his boat.

GRACE:

But I thought --

BOBBY:

We're going to buy a boat of our own baby,

and sail it wherever we want to go.

GRACE:

Anywhere?

BOBBY:

What the hell? Why not? Where should we go?

GRACE:

Hawaii. I've read all about it. I've

dreamed of going there and just lying on

the beach while the water licked up against

my feet. Oh, God. I'd kill to go there.

BOBBY:

You already have.

She gives him a funny look.

BOBBY:

You know I thought you'd left me back

there.

GRACE:

What are you talking about?

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John Ridley

John Ridley IV (born October 1965) is an American screenwriter, film director, novelist, and showrunner, known for 12 Years a Slave, for which he won an Academy Award in 2013 for Best Adapted Screenplay. more…

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