The Limey Page #2
Makes a kind of scoffing gesture: and you can see what my
life is.
ED:
Valentine came into the restaurant where
I work with Jenny a couple times. He's a
money guy. Jenny would say, hey, here's
my friend Eddie and he would shake my
hand and everything, but he wouldn't even
see me, you know what I mean.
Wilson gazes up at the sky. Clear night. Stars.
WILSON:
How long had she been in the States?
(as if to himself, somewhat
wistful)
Near on ten years, wasn't it? Long
enough to know her way about, I reckon.
Ed leans down, palms on the tabletop, facing Wilson.
ED:
There was an investigation, okay? The
car was totalled. Jennifer was... Her
neck was broken. On impact, they said.
So she wouldn't have... felt the effects
of the fire.
(helpless shrug)
It happens up there. Happens a lot.
What more can I tell you.
Wilson taps out a cigarette from a pack of "Silk Cut" he's
produced from his pocket.
WILSON:
What more is there.
ED:
I'm just sayin' -- it was a steep
hillside. There was no moon that
night...
Wilson's quiet stillness is getting to him.
ED:
Coulda happened to anyone, man. I never
knew her to be reckless. I mean, sure,
she would smoke a little grass, or
something, have a few drinks. But that's
it, nothing more than that.
WILSON:
No, not my girl. Self-control, she had.
Point of pride.
(smokes)
And people don't change, do they.
ED:
I dunno... Maybe they do.
Wilson notes the tattoos on Ed's forearms.
WILSON:
Going straight, are ya.
Ed looks at him. Sits down again. Keeping his forearms under
the table.
ED:
(looks away)
Boomerang.
WILSON:
Y'what?
ED:
I knew when I was droppin' that letter
into the mail slot it was gonna come back
and smack me in the face.
(looks at Wilson again)
I did my time, okay? My sister, her ol'
man's up in Chino right now doin' eight
years.
WILSON:
(re the family inside)
This ain't your lot?
ED:
You kiddin', man? I don't need a wife
and screamin' kids. I still got my
youth.
And yet -- he lives here. Wilson declines to pursue the
matter.
ED:
I go to work, try to keep my life
together, put all that sh*t behind me,
man. What d'you want from me.
WILSON:
(calmly smoking)
I only asked.
Ed sighs. Reaches for one of Wilson's cigarettes.
ED:
Couple weeks before she died, Jennifer
asked me to drive her downtown. Said she
was meeting -- her boyfriend --
Valentine. But I think she was looking
for him.
FLASH CUTS:
ED AND JENNIFER. In a car, downtown. She has the same steely
intensity as her father. Ed looks a little worried.
WILSON:
(lighting Ed's cigarette)
What, tryin' to catch him with another
bird?
ED:
That's what I thought, man. But it was
not a hotel or nothin' that we went to.
It was someplace else.
WILSON:
Where abouts?
FLASH CUTS:
JENNIFER. Talking to a beefy SUPERVISOR. Or talking at him.
Either way, he isn't happy.
MEAT PUPPETS. Watch instead of working.
ED. Taking all this in.
ED:
Bad place, man. Bad people. Some guys
loading some trucks. Some kinda deal
goin' down.
(anticipating Wilson's next
question)
I don't know and I don't care. Maybe
they're shipping fava beans to Eskimos.
WILSON:
Did Jenny know?
ED:
(shrugs)
Valentine wasn't even there. If he was
into something, if she was involved --
who can say.
(stands up again)
But I'll tell you something. She stood
in front of these dudes, man. Eyeballing
them. Checking them out.
(beat)
I felt like she was covering my ass that
day.
Unconsciously rubbing his arms where his tattoos are.
ED:
I drove her back to Valentine's house.
FLASH CUT:
VALENTINE. Standing in front of his house. His expression
says:
We have something to discuss.ED:
He was standing outside waiting for her.
That's the only other time I ever saw
him.
(a short sad note)
Last time I saw her.
He meets Wilson's gaze. As hard and pointed as a drill
through his skull.
CUT.
INT. ED'S CAR. NIGHT.
Ed drives Wilson back to his motel. Wilson silent. Ed still
not quite sure who he's dealing with. Is this really or
merely a grieving dad?
ED:
What you gonna do, man? You gonna go to
the cops?
WILSON:
Nah, coppers don't do nothing, do they.
ED:
Those streets up in the hills, man.
Gotta be real careful, keep your eye on
the ball. Two o'clock in the morning,
it's dark, your mind is all agitated,
you're drivin' a little too fast...
(beat)
Those curves don't kid around.
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. 21 Nov. 2024. <https://www.scripts.com/script/the_limey_719>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In