The Limey Page #14

AVERY:

Walks in. Stops to look around. Spots his two freaks.

Walks toward them.

DOORWAY:

A mysterious black man has followed Avery in. THOMPSON is

his name. He hangs back and watches.

AVERY:

Makes contact.

AVERY:

Stacy.

Stacy turns to see him. Uncle John looks vacantly.

STACY:

(bored)

Hey.

AVERY:

Come over here.

That was in the way of an order. He nods around the corner

where it's less crowded. Stacy stops Uncle John from

following, and goes after Avery.

THOMPSON:

At the bar. Keeping his eye on them.

AVERY:

Speaks softly. Alone with Stacy.

AVERY:

How they goin', kid?

STACY:

Not bad.

AVERY:

How'd you like to kill someone for me?

STACY:

Okay.

Avery gives him an envelope.

AVERY:

Same as last time -- the rest after.

STACY:

(pockets it)

Where do we go?

AVERY:

When you find the guy, you'll know.

STACY:

What sh*t is this. I just do it. I

don't prepare it.

AVERY:

I'll point you in the right direction,

but you'll have to take it to the end-

zone. He's a hit-and-run gunman -- I

figure he's not cruising the Polo Lounge.

STACY:

This is un-f***ing professional.

AVERY:

See, a successful man like me has

limitations -- I lose touch at a street

level. So I have to depend on a smart

boy like you who's closer to the nitty

and the gritty than I am.

STACY:

F*** you, Mr. whatever-your-name is.

This is a lifestyle I embrace.

AVERY:

That's why I'm letting you take care of

this. I'm the one with appearances to

maintain. But who gives a sh*t about

you? Not even God.

CUT.

INT. WILSON'S MOTEL. NIGHT.

Wilson on the bed. Watching TV (ACCESS HOLLYWOOD!). KNOCK

at door. He turns down the TV. Takes a .45 from the springs

under the bed. Looks carefully through the peephole in the

door.

Opens it. Elaine has come to visit. Lets her in. After

closing the door resumes his position on the bed.

Elaine looks around.

ELAINE:

I was in the neighborhood. I come down

here quite a bit. Watch the planes

taking off.

(re this motel)

Study the architecture of early David

Lynch.

But she doesn't really have it in her to be ironic right now.

Leans back against the door.

Wilson remains silent. He's done the same to Elaine now that

he did to Ed. Almost magically induced her to a confessional

verge.

Elaine, too, isn't sure she wants to be complicit in this

revenge tragedy. But here goes:

ELAINE:

Jenny was supposed to come to my place

that night. She called me, asked if she

could come over. She and Terry had been

-- having some trouble. Lately. I don't

know about what. On this occasion, it

reached some sort of crisis point.

WILSON:

She told you all about my details but not

about his. Lovely.

ELAINE:

She'd never called me like that before.

She sounded more... pissed off -- angry --

than upset or afraid. But she never

turned up. I called the house but only

got the answer machine. When they found

her... she'd been going the wrong way.

Not the direction she'd have gone if

she'd been coming to see me. Or coming

straight to see me. Who knows. Maybe she

just wanted to drive.

She looks at Wilson. Shrugs. That's it. That's all. Isn't

it?

WILSON:

(measured)

How did you come to have my address?

Found it, did you. Among her things.

ELAINE:

You think Terry gave me access to her

things? Probably sold her clothes.

WILSON:

(gently urging)

And how did you get it?

Elaine looks at him.

ELAINE:

She gave me your address.

Wilson nods.

ELAINE (cont'd)

(starting to realize)

Not long before...

(realizing)

She said if anything ever happened...

(realizes)

That's how you know. That's why you're

so sure.

(realization)

Jenny's telling you.

She's sitting on the bed now.

CUT.

EXT. MEAN STREET. NIGHT.

Stacy, putting on a jacket that says "Bomb Hanoi" comes out

of the pool hall. Uncle John in tow.

UNCLE JOHN:

How much.

STACY:

Five thousand.

UNCLE JOHN:

(impressed)

Hey.

STACY:

(taps pocket)

I got half.

UNCLE JOHN:

Makin' trouble for someone?

STACY:

Yeah.

UNCLE JOHN:

Which kind?

STACY:

The forever kind.

BEHIND THEM:

Thompson, the mysterious black man, watches them from the

hall doorway.

CUT.

EXT. WILSON'S MOTEL. MORNING.

Early.

INT. WILSON'S ROOM.

Wilson and Elaine. Getting dressed. She's in pantyhose.

Fastening a bra. He's got trousers on, reaching for a shirt.

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