The Limey Page #5

EXT. THE BUILDING.

Wilson crosses over to it now. From sunny to shade.

Walks past the chain-link fence. The padlocked gate, big

enough to accommodate the (couple of) trucks parked within

the compound.

Walks past the closed security door which would appear to be

the building's main entrance.

Round the next corner -- SEES there's a steel back door as

well.

Comes around this block again. Looking surreptitiously around

now. Streets here utterly deserted. Not even a passing car.

Crappy residential building on an opposite corner, SPANISH

MUSIC blaring from one of the open windows, but not with a

direct view on the loading yard fence on this side. Wilson

nearing it now -- taking something out of his pocket. One of

the mysterious metallic tools from his travel kit. Snaps his

wrist, unfolding the tool with a CRACK. Wire cutters.

He doesn't go for the gate, the padlock, like we might have

thought. He suddenly drops to one knee, in shadow where the

fence meets the adjoining building. SNAP, SNAP, SNAP, SNAP,

SNAP -- so quick, with great dexterity, though his face

grimaces with the strength he has to exert with each

application of pressure -- he cuts just as many links as he

knows he needs to push in a little flap of fence and roll

under. Whole thing accomplished in seconds.

LOADING YARD:

Walks fast to the cover of the trucks. Passes. Looks

around. Cement loading docks and bays. Shuttered doors. He

jumps up to one, puts his ear to the metal. Listens awhile.

WILSON:

Scans the wall for any sign of an alarm box or anything.

Then c*cks an ear upwards... CAMERA CRANING UP to show us

what he hears:
an air-conditioning unit HUMMING away. Which

means someone must be inside.

Wilson looks back at his entry options. Not the loading

doors -- but a conventional door at one end, with a

conventional lock his eye zeroes in on. Gets out his tools,

going over.

INT. WAREHOUSE HALLWAY.

A SCRATCHING at the door. It opens. He's in.

Waits. Cautious. Nothing. He starts along the hallway.

INT. WAREHOUSE.

A SUPERVISOR (the one from the flash cuts) does a double take

as Wilson passes.

SUPERVISOR:

Hey!

Wilson stops and turns. Says nothing.

SUPERVISOR:

How'd you get in here.

WILSON:

Walked.

SUPERVISOR:

You walked.

(coming over)

What the hell are you doing here.

WILSON:

Looking for a bloke named Valentine.

Know him?

MEAT PUPPETS (who we saw before as well) who work here

gathering. The Supervisor and the Meat Puppets exchange

glances.

SUPERVISOR:

He's expecting you?

WILSON:

(beat)

I doubt it.

The Supervisor moves toward Wilson.

SUPERVISOR:

So why would he want to see you.

WILSON:

I have a message for him. About Jennifer

Wilson.

SUPERVISOR:

Jennifer Wilson.

More looks are exchanged.

WILSON:

You know her?

SUPERVISOR:

Yeah. I know her, all right. She came

down here once, stirred up a shitstorm.

We lost a full day's work, took me weeks

to get back on schedule. If she hadn't

a' been Terry's woman I would've broke

her jaw. 'Course, she's nobody's problem

now.

Wilson stares at him.

WILSON:

Is Valentine here?

SUPERVISOR:

What do you think?

Wilson looks at the Meat Puppets, the loading area.

WILSON:

Where is he, then?

SUPERVISOR:

Listen, get the f*** out of here before

you get hurt. Who the f*** do you think

you are, waltzing in here, asking

questions?

Wilson just looks at him.

SUPERVISOR:

Do you hear me, a**hole?

The Supervisor shoves him. The Meat Puppets move a little in

anticipation. Wilson isn't giving any indication that he's

going to leave.

SUPERVISOR:

Jesus, you really want your ass kicked,

don't you?

He pushes Wilson again, hard.

SUPERVISOR:

Go on, get outta here.

He pushes Wilson again. Still, Wilson won't leave.

SUPERVISOR:

F***in' nut. Go on.

This time he tries to slap Wilson. Wilson blocks the

Supervisor's hand and then punches him, hard. The Supervisor

stumbles back and falls to the floor.

THE MEAT PUPPETS

Move to Wilson. He tries to fend them off, but there are too

many. They beat him. When they find that he's armed, they

beat him harder.

CUT.

EXT. BUILDING. DAY.

Wilson is taken outside and dumped. After a moment, he gets

to his feet. Dusting himself. Reaches for ANOTHER GUN tucked

in his lower back. He re-enters the building.

A beat. We hear several SHOTS.

Seconds later, one of the Meat Puppets comes stumbling out of

the door, terrified. He runs past us, fast.

A moment later, Wilson emerges, gun in hand.

WILSON:

You tell him. You tell him I'm coming!!

CUT.

INT./EXT. VALENTINE'S HOUSE. DUSK.

A series of images that prove Valentine (whoever he is) has

taste, wealth, and influence, stretching back a good three

decades at least.

Walking through some of these shots is a young beauty in a

bathing suit named ADHARA. She advances slowly, not entirely

sure of herself, and stops to look at things just like we do.

At one point she looks to see a BEEFY GUY (GORDON) sitting at

the kitchen counter, flipping through a magazine. He looks

her up and down, more from reflex than anything.

She continues on. Eventually she emerges through sliding

glass doors and on to a patio.

HER POV:

A figure by the pool, talking on the phone. His back to us.

The pool is spectacular, mosaic tile bottomed.

ADHARA:

Approaches, then sits beside him. His voice is soothing, but

with the tiniest hint of exasperation that comes with being

slightly ahead of everyone.

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