The Limey Page #10

Synopsis: The Limey follows Wilson (Terence Stamp), a tough English ex-con who travels to Los Angeles to avenge his daughter's death. Upon arrival, Wilson goes to task battling Valentine (Peter Fonda) and an army of L.A.'s toughest criminals, hoping to find clues and piece together what happened. After surviving a near-death beating, getting thrown from a building and being chased down a dangerous mountain road, the Englishman decides to dole out some bodily harm of his own.
Genre: Crime, Drama, Mystery
Production: Artisan Pictures
  1 win & 9 nominations.
 
IMDB:
7.1
Metacritic:
73
Rotten Tomatoes:
93%
R
Year:
1999
89 min
Website
645 Views


ED:

Huh?

WILSON:

He's brought in the heavy mob.

ED:

What?

WILSON:

Extra muscle. Bodyguards.

ED:

Has he?

WILSON:

They look a right load of wallies.

Patrolling back and forth outside the

gate, all ponced up like the f***in'

Household Cavalry.

(ducks suddenly)

Watch it.

As one of the "bodyguards" runs by, only fleetingly glimpsed

by us.

ED:

That was one of them?

WILSON:

(sits up again)

See what I mean? Wearing bloomin'

uniforms n' all.

Off Ed's perplexed look...

EXT. HILLSIDE UNDERBRUSH. LATE AFTERNOON.

Wilson settles into position again, this time with Ed.

WILSON:

Look at that.

Ed just laughs.

WILSON:

What's so f***ing funny?

ED:

Those aren't guards. They're valets.

POV:

Now we SEE what Wilson had mistaken for Valentine's private

army. Half a dozen VALETS outside Valentine's hilltop home.

Dressed in matching attire, a couple of them wielding walkie-

talkies.

RESUME WILSON AND ED

Ed's still laughing.

WILSON:

Valets. What d'ya mean valets. What is

he, then, the Earl of f***ing Doncaster?

ED:

Valets. They park cars. He's having a

party.

CUT.

EXT. VALENTINE'S HOUSE. LATE AFTERNOON.

Wilson's car pulls up. He and Ed get out. Wilson engages in

a mini tug-of-war with a Valet over his car key, it so rubs

him the wrong way having to give it up.

WILSON:

Keep it handy, mate, all right? We're

not stopping long.

He gestures, apparently getting the message across that he

wants the car kept close by.

VALET:

Yes, sir.

WILSON:

Cheers.

Exchanges the key for a card -- which he turns over in his

hand and studies curiously as they head inside.

WILSON:

Valets, eh? Aren't we all la-de-da.

ED:

(nervous being here)

I thought you just wanted to check out

the house, man.

WILSON:

Well, that's what we're doin', n' it.

ED:

No one else is even here yet.

WILSON:

First in, first out, that's me.

Looking over to note the multi-car GARAGE off the main house.

INT. VALENTINE'S HOUSE. AFTERNOON.

Wilson and Ed are among the first to arrive. A smattering of

other GUESTS. Elaborate catered cuisine. They mosey over to

the wet bar.

BARTENDER:

Gentlemen. What can I get you.

WILSON:

(suggesting Ed take first

crack)

Dubonnet with a twist? Baby sham?

Tomato juice and Tabasco sauce?

By now his whole dynamic with Ed is a verbal tease.

ED:

(to Bartender)

Got a Coke?

INT. VALENTINE'S BEDROOM. AFTERNOON.

Valentine is checking himself in a full-length mirror. TV on

in background, sound low (ENTERTAINMENT WEEK!). Not quite

satisfied, Valentine crosses to the bathroom.

BATHROOM:

Valentine takes one more closer look.

ADHARA (O.S.)

You have the same posters.

Valentine turns.

VALENTINE:

Hmm?

ADHARA:

Is lounging in the large tub. Staring dreamily at a couple

of framed posters on the walls: more 60's psychedelia.

ADHARA:

That you have down at your office.

Valentine sits on the edge of the tub. With a nostalgic air

as he looks at her: the embodiment of youth.

VALENTINE:

Different ones.

He strokes her wet skin. They kiss lightly.

ADHARA:

I like the colors.

VALENTINE:

We all did.

ADHARA:

It must've been a time. A golden moment.

Beat.

VALENTINE:

Have you ever dreamed of a place... you

don't really recall ever having been

to... a place that probably doesn't even

exist except in your imagination...

somewhere far away, half-remembered when

you wake up... but when you were there you

spoke the language, you knew your way

around...

(significant pause)

That was the 60's.

With that exit line (practiced?), he starts to go.

Then pauses, turns again.

VALENTINE:

No, it wasn't. Wasn't either.

Comes back to her. Faraway look in his eyes.

VALENTINE:

It was '66... early '67.

(comes back to now)

That was all.

He goes.

INT. VALENTINE'S HOUSE. DOWNSTAIRS HALLWAY. AFTERNOON.

Wilson wanders around, exploring the house. Comes to a wall

of photographes. Casually scanning them as he passes slowly

by, he's caught up short by one.

POV:

A framed photo of JENNY, his daughter.

WILSON:

A series of emotions play over his face. He turns -- SEES

Valentine coming down the stairs. Valentine joins the party

without noticing him.

BY THE BUFFET TABLE

Ed peruses the available food. Valentine comes over to check

it out. Glances at Ed without recognizing him.

VALENTINE:

Hi.

And goes away. Leaving Ed more nervous than ever.

INT. VALENTINE'S HOUSE. UPSTAIRS HALLWAY. AFTERNOON.

Wilson has come up here. Peeks into one room. Moves along to

another:
the master bedroom. Opens the door gently.

INT. MASTER BATHROOM.

Adhara is still enjoying her bath.

INT. MASTER BEDROOM.

Wilson enters. Careful. Aware that someone's in the adjoining

bathroom. The soft RIPPLE of WATER from in there. Perhaps he

even glimpses her through the door as he boldly looks around.

He notices a video camera on a tripod, a cord running to the

television. Suddenly we hear the CHIRP of a cellular phone.

Rate this script:4.0 / 1 vote

Lem Dobbs

Lem Dobbs was born on December 24, 1958 in Oxford, Oxfordshire, England as Anton Lemuel Kitaj. He is a writer and producer, known for Dark City (1998), The Limey (1999) and Haywire (2011). He has been married to Dana Kraft since 1991. more…

All Lem Dobbs scripts | Lem Dobbs Scripts

1 fan

Submitted by aviv on November 30, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "The Limey" Scripts.com. STANDS4 LLC, 2024. Web. 23 Nov. 2024. <https://www.scripts.com/script/the_limey_719>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    The Limey

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    In screenwriting, what is a "montage"?
    A A single long scene with no cuts
    B The opening scene of a screenplay
    C A series of short scenes that show the passage of time
    D A musical sequence in a film