U-Turn
(Stray Dogs)
Screenplay by
John Ridley
and
Richard Rutowski & Oliver Stone
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
AND SOME "OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS
SOFT COPY.
EXT. SOMEWHERE IN THE DESERT SOUTHWEST - DAY
BEGIN TITLES OVER:
It is early morning and already hot. INSECTS drone, crackle,
and scurry for shade. PRAIRIE DOGS burrow to escape the sun.
We
move.
RACHEL
Ben youre late. Im serious. Im
wearing a very serious face. Dont
make me start counting ONE...
No movement. Rachel tugs the sleeve of a shirt hanging on a chair,
and out comes a magicians bouquet of FLOWERS.
RACHEL
TWO.
She pulls a dirty handkerchief out of the pocket of the shirt --
its an endless MAGICIANS HANDKERCHIEF.
RACHEL
Dont make me say three Im about to
say three.
(a beat,
move A GUN from inside
his jacket, a well-concealed knife, a metal case, laying them
on the desk that separates Bond and...
LACHAISE...an extremely well-groomed gentleman. Behind him,
three floor-to-ceiling windows lead out to a rooftop garden.
LACHAISE
Not the usual Swiss procedure, Mr. Bond,
but you understand, a man in my
position..
BOND
Which is neutral, no doubt.
Lachaise takes the joke a li
moved. Then hormone therapy. He
developed bitch tits because his
testosterone was too high and his
body upped the estrogen. That was
where my head fit -- into his huge,
sweating tits that hung enormous, the
way we think of Gods as big.
BOB
Theyre gonna have to open my pecs
again to drain the fluid.
Bob hugs tighter; then looks with empathy into Jacks eyes.
BOB
Okay. You cry now.
Jack looks at Bob
Night Moves Script
Beep. How I hate these goddamn machines.
Its Nick, babe. I got one for you, Har.
Needs a real live detective
and not one of our computers.
Its a lady called Arlene Iverson.
Sunset Plaza.
Looking to get her daughter home.
Shes an old friend. Used to be
in the movies. Maybe you remember.
If you take the job, stop by the office.
Ill give you what stuff we have on Arlene.
Bye-bye,
Under gloomy sky a huge fortress looms on a volcanic mountainside. From within WE HEAR the agonizing scream of a woman giving birth.
INT. NOCKMAAR CASTLE - DAY
The scream continues as WE MOVE THROUGH the grim corridors of the castle TOWARD stairs leading down to a dungeon.
INT. DUNGEON - DAY
Silhouetted in sadows, three Nockmaar MINIONS stand guard. In a jail cell, sex fully pregnant WOMEN watch
moves behind Napoleon.
BREMOND
(angling his head to
read the title)
Dear me, arent we in an unfriendly
mood. Caesars conquest of Gaul.
Arent we terribly conscientious
about our studies? By the way, did
the supervisor give you permission
to take that book away from the
school grounds?
NAPOLEON
(quietly)
Fuck off, Bremond.
BREMOND
Oh, my goodness. What language!
Did you learn that from your mother,
moves wildly, grinding her hips into him, her head arched
back, her hands rubbing lightly over her breasts. She reaches
down, grabbing his hips and jerks them upwards, forcing him
deeper inside her. They move together -- faster -- and faster.
The CAMERA slowly begins to PULL BACK. As it does we see what
we are watching is on a TELEVISION.
Further back still. We see TWO UNIFORMED POLICE OFFICERS
s
-- TERMINATOR 2 SCRIPT --
1 ext. city street - day 1
Downtown L.A. Noon on a hot summer day. On an EXTREME LONG LENS the
lunchtime crowd stacks up into a wall of humanity. In SLOW MOTION they
move in herds among the glittering rows of cars jammed bumper to bumper.
Heat ripples distort the torrent of faces. The image is surreal,
dreamy... and like a dream it begins very slowly to
dissolve to:
2 e
mechanical locks revealing a serious
looking lever. The Commander pulls that lever. A MACHINE Is
revealed, rising from the floor in the middle of the room. It
begins to GLOW. Cut to each actor in turn reacting dramatically.
Then suddenly.. THE PICTURE GOES WHITE, LEADER LEADER NUMBERS
APPEAR, with a STUDIO COPYRIGHT notice.
CUT TO:
3 HUNDREDS OF FACES
??
ENTHRALLED LEGIONS of mostly spotty faced