Limey, The (1999)

Wilson's first impression of Los Angeles was blue.  He was in
the sky at the time, so it was a curious reversal, looking
down rather than up at the color he had always felt was
nature's finest.

Swimming pools.  Hundreds of them.  Pockmarking the landscape
like miniature lakes.  A flat landscape of straight streets
and square blocks and sparse grass that didn't look quite
green enough.

As far as Wilson could remember, he had only ever seen seven
or eight swimming pools in his entire life and they had been
public ones.  Here everyone had their own.  Marvellous.

There was the one at the Butlin's holiday camp where he had
enjoyed his last legitimate employment -- as driver of a tour
bus.  And there was the one at Crystal Palace he had gone to
once or twice when he was younger.  He was most familiar,
though, with the Chelsea Baths as he had lived for some time
in a flat nearby in what he now thought of as his good years
-- before he'd gone grey, went to prison, and found himself in
a plane over a foreign town arriving to avenge the death of
his daughter.

WHOOSH!  The sound of automatic doors opening and --

EXT. ARRIVALS TERMINAL.  L.A. AIRPORT.  AFTERNOON.

WILSON steps out into the late sunlight and the heat of the
day.  A slow-motion moment while he gets acclimatized.  He
wouldn't have ever felt quite this kind of heat before.
After such a rigorously air-conditioned interior.  Or seen
cops wearing guns on their belts.  Or black cops, for that
matter, with guns on their belts.  Or seen people as fat as
Americans on their home turf.  Things someone from England
notices immediately, whether consciously at first or not.

						CUT.

EXT. MOTEL.  EVENING.

Wilson's not here for comfort.  Shown to a shitty room, round
the corner of a typical 2nd-level outside walkway.  Airport
close by.

INT. MOTEL ROOM.  EVENING.

He draws a curtain open across a window in one strong easy
glide.  His moves are neat.  His expressions just as
economical, not giving much away.  Outside the planes are
practically on top of us. The sunset colors strange and
chemical.

He's only got one light bag.  Unzips, unpacks a few things.
Change of clothes, a travel kit, and some familiar items
(shaving foam/toothpaste/deodorant} bearing unfamiliar
British brand names.

Goes into the bathroom.  Turns on the shower in there.

Comes back to sit on the bed.  Takes an envelope out of his
jacket.

ENVELOPE

Turns it over to see the return address on the back.

						CUT.

INT. TAXI.  NIGHT.

Wilson in the back.  Stares at the impenetrable name on the
driver's posted ID. Glances at the driver.

DRIVER glances back at his quiet passenger in the rearview
mirror.

						CUT.

EXT. SMALL HOUSE.  NIGHT.

Wilson walks up a cracked little path to the front door.
Lower middle-class street.  Two cars in the driveway, one
behind the other.  Lights on inside the house -- as he rings
the bell.

ED RAMA

Answers it.  Hispanic.  Late 30's.  Chairman Mao on his T-
shirt notwithstanding, an easygoing sort of fellow.  Not
looking for any trouble -- anymore.  But once did, and able
to handle himself if any shows up.  Which it has.

			WILSON
	Edward Rama?

			ED
	Eduardo.
		(rolling the R)
	Rama.

			WILSON
	You're home, then.

He turns, waves away the taxi he's kept waiting.  While
Eduardo Rama waits for an introduction.

			WILSON
	My name's Wilson.

Accent speaks for itself.  Hard, working-class.

			ED
	Wilson?

Knows the name.  But just now it's unexpected.  He's holding
a hot TV dinner, hand protected by a dish towel.

			WILSON
	You wrote to me about my daughter.

						CUT.

INT. ED'S HOUSE.  NIGHT.

Ed takes Wilson inside.

			ED
	I didn't expect anyone.

			WILSON
	No reason.

			ED
	I mean, what has it been -- six months?

			WILSON
	Round about, yeah.

They've entered a cauldron of family life.  TV blaring
(SHOWBIZ TONIGHT!).  A couple of younger KIDS yelling "Mama".
Their MOTHER shouting back at them from the kitchen (in
Spanish) that she only has two hands.  A sullen TEENAGER
walking by.

			ED
	I didn't even know who I was writing to --
	just someone with the same last name.
	She never talked about any family.

			WILSON
	It was better than a telegram.

Ed opens a screen door to the backyard.

EXT. ED'S BACKYARD.  NIGHT.

They sit at an outdoor table.  Wilson with a TV dinner in
front of him now too.  Sounds from inside MUTED.  Even this
little house has a little pool.

			WILSON
	Who done it, then?

			ED
	Huh?

			WILSON
	Snuffed her.

Ed surprised at Wilson's directness.  Ed stands nervously.

			ED
	Now, wait up a second, man.

And paces back and forth.

			ED
	I never said nothin' about nothin' like
	that.  No, no, no.  That's not what I
	wrote to you.

			WILSON
	No, but between the lines, eh?
	Mysterious circumstances, and that.

Ed stops pacing.

			ED
	Look, I sent you that newspaper clipping,
	all right?  I told you what I know.  It
	was an accident.  I didn't say anything
	about anybody being "snuffed."

Beat.

			WILSON
	This bloke she was bunked up with.  This
	Terry what'sit.

			ED
	Terry Valentine.

			WILSON
	Valentine.  What's he got to say for
	himself?

			ED
	I dunno.  What's he gonna say?  They had
	a fight that night, she drove away, she
	was upset?  I don't even know the guy.
	Don't get me wrong, Jenny and me were
	friends, but we didn't travel in the same
	social circles.  She had her life, I had
	mine.

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 shit 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.

Could be talking about the girl.  Wilson doesn't move.  But
touch him, he'll explode.  Out the window lights are passing,
but no landmarks.  He might as well be on the moon.

			ED
	You should talk to Elaine.  That was her
	best friend.

			WILSON
	She didn't write to me, did she.

			ED
	She didn't know what to say.
		(shrugs)
	I thought someone should say something.
	To someone.  With me it was, I don't know
	-- Jenny liked me for some reason.  I
	felt like I owed her.

			WILSON
	Who'd Jenny get it off of -- this grass
	or whatever?

			ED
		(self-conscious again)
	Not me, man.  I'm no drug dealer, what
	you think.

			WILSON
		(re Ed's tattoos)
	I think you didn't get that lot in the
	Navy, doing your National Service.

			ED
	I already told you, man.  Corcoran.  Know
	what that is?  State prison.

			WILSON
	Nick's a nick, n' it?  No matter what
	state you're in.  State of remorse, most
	likely -- for gettin' caught.

			ED
	But that's not me anymore.  That's when I
	was into the gang lifestyle.  That's not
	who I am now.  Five years in the joint --
	that's it for me, man.

Now Wilson drops the clanger.

			WILSON
	Just got out meself, didn't I.

And Ed turns.  Looks at Wilson.  Fellow ex-con.

						CUT.

EXT. WILSON'S MOTEL.  NIGHT.

Wilson out of the car, shuts the passenger door.  Ed on the
other side, looks over the roof at him.

			ED
	Go home, man.
		(plane taking off in
		 background)
	Get on a plane.

Wilson has other plans.

			WILSON
	I'll be needing a shooter.

Makes his fingers like a gun.  And a clicking sound.

			ED
		(comes quickly over)
	You're kiddin' me, right?

			WILSON
	What do I do, then, look in the bleedin'
	Yellow Pages?

			ED
		(an urgent whisper)
	These are not guys you can just go run a
	number on, man.

			WILSON
		(looking around)
	Thought perhaps there'd be dispensing
	machines, you know.  Bung in your coins,
	come out with a .44 Magnum, fully-loaded.

Ed throws up his hands, walks back to his driver's side door.

			ED
	Are you a resident of California?
	You gonna fill out forms, man?  Do the
	background check?  Go through a three-day
	waiting period?

			WILSON
	Sod that.  Gotta get back before my
	probation officer wonders where I've
	skived off to.

			ED
	Probation?  Man, you crazy.  They
	shouldn't've let you outta your country,
	much less prison.

			WILSON
	Travelling on a dodgy passport, n' all.

Walks round to come face to face with Ed once more.

			WILSON
	Which is why I thought, save some time,
	get what I need under the table, like.

ED

As if resigned and mulling the problem over:

			ED
	Under the table?

						CUT.

INT. GUN SHOW.  DAY.

Hundreds of tables.  Under bright lights.  Displaying every
kind of firearm.  Handguns, rifles, shotguns, parts to make
machine guns.  A weapons bazaar.

WILSON AND ED

Walking around.  Even a cool customer like Wilson can't help
but be impressed by America's loving embrace of senseless
mayhem.

DEALERS

Touting their wares.

VISITORS

Trying out pistol grips -- or pushing baby carriages.  Guys
in fatigue jackets with toddlers on their shoulders.  Women
in stretch pants looking for a little something in personal
protection.

WILSON

Doesn't know where to look.  At the booth featuring "Classic
Cowboy Collectibles" -- or the most OBESE COUPLE he's ever
seen who just walked by.

			PA SYSTEM
	Attention:  the long-range vermin-
	shooting panel is due to commence in two
	minutes in the blue room at the rear of
	the Convention Center.

... and other anomalous oddball ANNOUNCEMENTS in the
background as long as we're here.

DEMONSTRATION

At a booth selling laser attachments.

			BEAM SALESMAN
	BeamSight II is easily mountable on any
	shotgun, rifle, or sidearm and will
	project a small, bright red dot directly
	onto the point where your weapon is
	aimed ...

For purposes of display, a smiling YOUNG WOMAN is the
"target."

WILSON

Walking past, almost subliminally noting the Young Woman with
the symbol of death on her.

TABLE

A .45 passed from a DEALER's hand to Wilson's.

			DEALER
	Man knows what he likes.

			ED
		(he'll talk if Wilson won't)
	Lookin' good.

			DEALER
		(while Wilson checks)
	That's a high-end item.  Total
	reliability.

			ED
	What'd you call that -- the Protector?

			DEALER
	Yes, sir.  Won't find a better CQC on the
	market.

Wilson's eyes glance up -- but Ed asks the question.

			ED
	CQ what?

			DEALER
	Close Quarters Combat.  Keep one in my
	own home.

			WILSON
	Trouble is, I'm not at home, see.
	Fancied a bit of target shooting, y'know,
	while I'm here -- with me mate.

Nods at Ed.

			DEALER
	Oh really?  Where you from?

			WILSON
	England.
		(sighting the weapon)
	Only, we saw there was a show on, thought
	I might pick something up for a price,
	type of thing.

			DEALER
	You came to the right place, sir.  My
	wife's second cousin is English.  Well,
	Scotch-Irish.  Can I interest you in a
	holster?

			WILSON
	Just luck, this, really.  Never been to
	one of these before.

			DEALER
	You're in gun country now, my friend.

			WILSON
		(picks up another, checks it
		 out)
	Been to the Boat Show.

			DEALER
		(re Wilson's new selection)
	Packs a punch, but it's compact, has
	accessible features -- makes a nice
	concealed-carry piece.

			ED
		(playing the reluctant buyer)
	He don't have a concealed weapons permit.

			WILSON
	Don't have time for a lot of paperwork,
	y'know.  Just popped over on a quick
	visit.

			DEALER
	I can take care of the paperwork.

			WILSON
	Yeah?

			DEALER
	No problem.  If you don't have a problem
	with me reporting this gun stolen.

A look of understanding between them.

			WILSON
	No.  Not at all.
		(to Ed)
	Do we?

			ED
	Not me, man.

			WILSON
	I mean, it's already a steal, n'it -- what
	you said -- four hundred for this one?

			DEALERS
	Well, I'll have to add another two
	hundred on top of that.

			WILSON
	Oh, aye?

			DEALER
		(another look)
	... for the paperwork.

						CUT.

INT. ED'S CAR.  DAY.

Ed drives.  Nervous at Wilson handling his new gun purchase
beside him.

			WILSON
	Violation of my parole, this.
		(a perfect pause)
	-- Goin' abroad.

Ed shakes his head at Wilson's sense of humor.

			ED
	You hadda show up on a weekend.  This
	weekend.  Wouldn't've even been a gun
	show ... for another month.

			WILSON
	Fucking out of order, that.  Shouldn't be
	allowed.

As he puts away a box of ammo.

			ED
	Now what.  You gonna take your new
	arsenal, go visit Terry Valentine, just
	like that?  Boom bam boom.

			WILSON
	It's only insurance.  Can't be too
	careful.  This Terry Valentine, he's
	probably a wonderful fella.  They were
	together how long?

			ED
	Five years, I think.  Long time.

			WILSON
	Well, there you are.  Jen must've liked
	him.

Doesn't make Ed feel any better.  Nor does the way Wilson
seems now to be studying Ed's driving techniques.  Paying
attention to the way traffic lights and left-turn lanes and
cars without clutches work over here.

			ED
		(remembering)
	Jenny told me she met him at the beach.
	Got blinded by his smile.
		(beat)
	You believe that shit?  Son of a bitch
	never smiled at me.  Buried her at a
	"private" service.  Private for who.
	Him?

			WILSON
		(confused)
	Hang about.  I thought you said he come
	into the restaurant where you worked with
	Jenny.

			ED
	He came in with Jenny to the restaurant
	where I work.  That's not where they met.

			WILSON
	And that's where you met Jenny.

			ED
	No, no -- Jenny used to work as a
	waitress.  Before she met him.  But
	that's not where she met me.  Not in my
	restaurant.

			WILSON
	How'd the two of you hook up, then?

			ED
	Oh, Jenny was in my acting class.

						CUT.

INT. RENTAL CAR.  DAY.

Wilson at the wheel himself.  Getting the hang of L.A.
Driving downtown.  Along one of the major boulevards.

Glances at a street sign as he goes by.  Picks up the map
book on the seat beside him to check his route.

EXT. BOULEVARD.  DAY.

Wilson makes a sudden lane change to avoid getting fed in the
wrong direction.  Gets HONKED by another driver.

EXT. A STREET DOWNTOWN.  DAY.

Wilson cruises past a particular building.  We don't have to
really clearly see it just yet (we saw it in the flash cuts) --
more important we see him seeing it.  Casing it with the eyes
of a professional.  Sniffing it out; the instinct of a
predator after prey.

INT. CAR.  DAY.

Parks it.  Produces the little leather travel kit we saw him
unpack at his motel.  Unzips it.  Under the usual assortment
of clippers, razors, etc., is a hidden layer -- storing still
more personalized items:  a set of select slim
lockpicking/cutting tools.

EXT. SIDE STREET.  DAY.

Wilson locks the car.  Walks away.  STAY with him.

AROUND THE CORNER

He walks down the block.  A nice long walk.  What we get out
of it besides a sense of Wilson -- cool cat; ambling along;
loner; sun beating down; not bothered; his shadow doubling
him -- is this:

The building approaching.  The one he has his eye on.  The
target.  It's across the street.  A kind of flat windowless
warehouse with adjoining loading yard.  Loading yard
surrounded by a chain-link fence -- topped with barbed wire.

The actual geography of where he left his car in relation to
this building.  Safely around the corner.  And how he might
practically get back to it, either this same way or via a
more circuitous route round another block.

The sense you get in downtown L.A. on a lazy Saturday
afternoon that you're in a ghost town.  Particularly in this
shabby kind of industrial section.

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 cocks 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 fuck out of here before
	you get hurt.  Who the fuck do you think
	you are, waltzing in here, asking
	questions?

Wilson just looks at him.

			SUPERVISOR
	Do you hear me, asshole?

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
	Fuckin' 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.

			VALENTINE
		(into phone)
	Not before.  Not before.  Think about it.
	What does it mean?  What -- no, I'm not.
	Think.  Yes.  See?  You figured it out
	all by yourself.  I know.  Are we done?
	Okay.

He hangs up, stands, still doesn't turn.

			VALENTINE
	Adhara.  I told your father, if you're
	looking for a name, you can't go wrong
	with a constellation.

			ADHARA
	I used to hate it.  Now I like it.

			VALENTINE
	Could be worse, he could've named you
	Reticulum.

He turns and we see him for the first time.

VALENTINE

Polished.  Handsome.  Charismatic.  Especially when he's
smiling like he is now.  He leans over and kisses her.

			VALENTINE
	Is there anything in the world that you
	want or need?

			ADHARA
	I want to know why you need that scary
	guy in your house.

			VALENTINE
	Gordon?  He's been with me for years.
	He's not as tough as he looks.

			ADHARA
	Then what good is he?

			VALENTINE
	Is it possible that you're too young to
	be acquainted with the idea of loyalty?

			ADHARA
	Is that a problem?

			VALENTINE
	Not for you, clearly.

			ADHARA
	I'm loyal to things that make me happy.

			VALENTINE
	Am I a thing?

			ADHARA
	Well, you're certainly not a person.

			VALENTINE
	I'm not.

			ADHARA
	No.  You're not specific enough to be a
	person.  You're more like a vibe.

			VALENTINE
	I'm so glad we're having this chat.

			ADHARA
	It's not a knock.

			VALENTINE
	It's not a compliment.

			ADHARA
	It's an observation.  Like:  I'm hungry.
	When are we eating?

			VALENTINE
	As soon as you get dressed.

			ADHARA
	What kind of food?

			VALENTINE
	Anything but Japanese.

			ADHARA
	Why?

			VALENTINE
	I'm not into finger foods.  Too fussy.

			ADHARA
	Like you.

			VALENTINE
	I don't like do-it-yourself cuisine.
	Buffets.  Salad bars.

			ADHARA
	You demand to be served.  A fork
	fetishist.

			VALENTINE
	It's just fuel to me.  I'm not there for
	distractions.

			ADHARA
	For some, eating is a sensual experience.
	The sensual experience.

			VALENTINE
	That's what Gordon's always saying.

			ADHARA
	Oh, god.

His cell phone rings.

			VALENTINE
		(into phone)
	Yes.

He listens, then looks up at his balcony, where a MAN (AVERY)
stands holding a phone, obviously talking to Valentine.

			VALENTINE
		(into phone)
	I'll be there as soon as I can.

He hangs up.

			VALENTINE (cont'd)
	We can leave as soon as you're ready.

			ADHARA
	Okay.

EXT. BALCONY.  EVENING.

Valentine approaches Avery.

			VALENTINE
	What.

			AVERY
	There's been some trouble downtown.

			VALENTINE
	What kind?

			AVERY
	What the papers used to call a "gangland
	slaying."

			VALENTINE
	Our black friends?

			AVERY
	No, Terry.  They don't work like that.
	Jenny Wilson's father paid a little
	visit, left a message.

			VALENTINE
	I thought he was in prison, in England.

			AVERY
	Well, either they have a very liberal
	work-release program, or he's out,
	because he's here in L.A., looking for
	you.

Valentine is a little ruffled.  Maybe Avery likes that.

			VALENTINE
	What do we do?

Beat.

			AVERY
	We wait, and we watch.

Valentine just looks at him.

EXT. VALENTINE'S HOUSE.  POOLSIDE.  EVENING.

Adhara approaches Valentine, who stands staring at the pool.

			ADHARA
	Italian?

			VALENTINE
	I'm sorry.

			ADHARA
	Italian.

			VALENTINE
	Who?

			ADHARA
	Not who, food.  Should we get Italian.

			VALENTINE
	Sure.

Turns to her.

			VALENTINE (cont'd)
	Yes.  Are you ready?

			ADHARA
	As long as I don't have to pass Gordon
	again.  I'm never ready for that.

He smiles, rises, and offers her his hand.

			VALENTINE
	No.  I know another way out.

She takes it.

						CUT.

EXT. APARTMENT BUILDING.  EVENING.

ELAINE on her way in.  Handsome woman.  Intelligent, capable-
looking.  Passes Wilson who's leaning somewhere smoking.

ELAINE

Aware as a wary woman will be of a strange man's presence
without necessarily having looked at him.  Well aware too
that he stayed where he was -- so she unworriedly unlocks the
building's security gate and goes through to the inner --

COURTYARD

-- and closes the gate behind her, now seeing him amble up,
arriving as it CLICKS shut between them.  He's looking at her
a certain way.  She looks back.  And knows.

			ELAINE
	You're Jenny's father.

And the recognition on his part:

			WILSON
	Had a feeling it was you.

			ELAINE
	You look alike.

			WILSON
		(cigarette in hand)
	Perhaps it was the smoke.

			ELAINE
	Not her brand.

			WILSON
	She used to pinch 'em off me.
		(trying to defuse Elaine's cold
		 stare)
	Funny that.  One thing she never tried to
	get me to stop.

Elaine doesn't soften.

			ELAINE
	Why did you come here?

			WILSON
	Wanted to talk to you, didn't I?

			ELAINE
	No, why did you come here?

America.

			WILSON
	Sort a few things out.

			ELAINE
	Been busy, have you.

			WILSON
	How d'you mean?

			ELAINE
	It's been a while.

			WILSON
	I was skint -- didn't have no money to
	get here.

			ELAINE
	That's not what I heard.

			WILSON
	What was that, then?

			ELAINE
	I heard you were -- what's that adorable
	phrase? -- "at Her Majesty's pleasure."

			WILSON
	It was the bars, then.

Indicating his face, viewed by Elaine through the barred
security gate that divides them.

			ELAINE
	In any case, I don't suppose the salary
	you make sewing mailbags is really
	commensurate with international airline
	travel.

			WILSON
	Sewing mailbags?  Me?  Never did an
	honest day's work in my life, dear.
	Wasn't about to start when I was in stir --
	not with all that leisure time on my
	hands.

			ELAINE
	And not with all that buried loot you had
	waiting for you when you got out.  From
	the Wembley Staduim job, wasn't it?  Pink
	Floyd concert receipts.  Jenny would've
	been ... fourteen at the time?

			WILSON
		(trying to conceal his
		 surprise)
	Hardly buried.  Earning interest, love.
	Earning interest in an offshore account.
	Tidy little premium per annum, that.

			ELAINE
	Well, that kind of security can't be
	bought.  Must be more comforting than a
	daughter to greet you.

She turns to walk away.

			WILSON
	Here, aren't you gonna let me in.

			ELAINE
		(without looking back)
	Try calling me again.

INT. ELAINE'S APARTMENT.  EVENING.

She comes in.  A modest studio apartment.  Puts her bag on
the kitchenette countertop.  Glances at her answer machine to
see if she has any messages.  The phone RINGS.  She sits down
glumly on her couch, holds her head in her hands.

EXT. ELAINE'S APARTMENT BUILDING.  EVENING.

Wilson gives up, starts to walk away.  The gate BUZZES.

INT. ELAINE'S APARTMENT.  EVENING.

Elaine opens the door.  Wilson in the hall.

			ELAINE
	I was just going to toss some vegetable
	rolls in the microwave, open a can of
	diet soda.
		(beat)
	Want to take me out?

						CUT.

INT. RESTAURANT.  NIGHT.

Wilson and Elaine at a table.

			WILSON
	... No, I went in for more improving
	pastimes.  Philosophy classes, language
	courses, European history, all that lark.
	Did you know that in Paris in the
	Eighteenth Century there were more rats
	in people's houses than there were people
	in people's houses.

			ELAINE
	Sounds like Beverly Hills.

			WILSON
	Here, are you always this sarky?

			ELAINE
	Sarcastic, moi?  Maybe I'll mellow when
	my ship comes in.  It's expected any day
	now.  I'm all packed and ready to go.

			WILSON
	Weren't you on a television series?

			ELAINE
		(has he seen it?)
	If it played in England somebody owes me
	money.  Who told you that -- Eddie?

			WILSON
		(yes)
	Said it went on for donkey's years.

			ELAINE
	Three seasons.  They found that's the
	limit of human tolerance when it comes to
	following the adventures of a family of
	Mormons on the Chisum Trail.
		(blinks coquettishly)
	I was wife number three -- the ingenue.

			WILSON
	Oh, it just ended, then.

			ELAINE
	Now who's being sarcastic?

			WILSON
	When you've lost as many years as I have,
	love, puts things in perspective, know
	what I mean.

			ELAINE
	I'm sorry.  I guess the rest of us have
	no excuse for wondering where the time
	went.
		(raises her drink)
	It must've been the bars.

Their food arrives.

			ELAINE
	It's a kind of prison, doing a series.
	Early to bed, early to rise, no time off
	for good behavior, you grab the boodle
	for as long as it lasts.
		(the kicker)
	Only difference is you can't get arrested
	afterwards.

Wilson appears fascinated by the cold glasses of water on the
table.  Ice cubes CLINKING as he holds his.  A BUSBOY
bringing them to other people, too, just like that, without
anyone even asking.

			WILSON
	I can't believe Jenny told you all that.
	About me.  She was always so embarrassed.

			ELAINE
	Not embarrassed.

			WILSON
		(correcting)
	Ashamed.

			ELAINE
	Not ashamed.

Wilson looks at her.  Okay.  What then.

			ELAINE
	Disappointed.

			WILSON
	She never told Eddie, though.

			ELAINE
	She never told anyone else.
		(making light now)
	About the convict strain -- or is it
	stain?  No, I was privileged.  I was
	someone who helped Jenny efface her past.

			WILSON
	How'd you manage that, then.

			ELAINE
	When I'm not honing my craft in episodic
	television I do double-duty as a voice
	coach.  Not that her accent would have
	hobbled her progress.  Not with that
	look.

			WILSON
	Yeah, well, she started all that in
	London.

			ELAINE
	Modelling.

			WILSON
	Learnin' 'ow to speak proper.
		(putting it on a bit there.
		 Then, upper crust:)
	Central School of Speech and Drama.
	It's no doddle gettin' in there, y'know.
	At seventeen.  They offered her a place
	at RADA n' all, only she'd've had to wait
	till the next session and she was always
	in hurry to get on, was Jenny.  She could
	talk posh without any training, when she
	was knee-high to a grasshopper.
		(indicating himself)
	Show up the old man, you know.

Elaine smiles slightly.  None of this information new to her.
But warming to this man.

			ELAINE
	You weren't disappointed in her, then.

			WILSON
	In Jenny?  'Course not.  How could I be.
	'Course I wasn't.

			ELAINE
	She was twenty-one when she came to me.
		(looks at him)
	... Straight from leaving you.

			WILSON
	Footloose and fancy free.

			ELAINE
	She was happy here.  However the two of
	you might have parted.  Don't think she
	wasn't.

It's because Wilson thinks the opposite that he's here.
Looks at Elaine.

			WILSON
	That's the trouble, n' it.
		(hard as nails again)
	She enjoyed life.

						CUT.

EXT. OCEANFRONT.  NIGHT.

They walk along the seafront.  We HEAR the ocean but can't
see it.

			ELAINE
	When did you get in?

			WILSON
	Yesterday.  Afternoon.

			ELAINE
		(occurs to her)
	You haven't been lurking outside my
	building all day.

			WILSON
	No, I had -- some other matters to attend
	to, you know.  Getting a car sorted ...

			ELAINE
	I might've been away for the weekend.

			WILSON
	Well, I reckoned, Saturday night, if you
	were goin' out, you'd probably have to
	come home first.

			ELAINE
	And you've seen Eddie Rama.

			WILSON
	Yeah, saw Eddie, yeah.  Me and him are
	muckers.

Mates.  Friends.  Makes a kind of bonding gesture.

			ELAINE
	I should really give him a call.  He's a
	character, isn't he.  Well, not to you.
	I meant to us squares in the outside
	world.

			WILSON
	He give me your address.

			ELAINE
	I gave him yours.  Said, here, you want
	to write, I think this is a relative.  I
	guess I thought I was being true to
	Jenny.  Who told me she didn't have a
	father -- before proceeding of course to
	tell me why.

			WILSON
	Well, don't suppose she did, really, most
	of her life.  On her own after her mum
	died.  Aunts and uncles for a time -- and
	then the bright lights beckoned.

			ELAINE
	Were you still married at the time -- to
	Jenny's mother, I mean?

			WILSON
	Nah, we split up when Jenny was six.  Her
	second husband done a runner after she
	got sick.  They give me compassionate
	leave from Parkhurst to go visit her in
	hospital.  We were always mates, me and
	Jenny's mum.  I like to think they're
	together again now.  Y'know.  Heavenly
	choir.

Beat.

			ELAINE
	The address Jenny gave me, that wasn't a
	prison, was it?

			WILSON
	Nah, accommodation address.

			ELAINE
	What's that, like a P.O. box.

			WILSON
	Something like that, yeah.

			ELAINE
	Where you get your bank statements.

Wilson gives a laugh.

			WILSON
	Well, you gotta have something permanent,
	don'tcha.  Even if it's a hole in the
	wall.  No matter which jug I might be
	transferred to, I always got someone on
	the out checks up on it for me, see.
	Anything I need to know, comes round on
	visitor's day -- word in my ear.

Elaine pauses.

			ELAINE
	Some word.

Wilson leans on the wall overlooking the black ocean.  Sound
of WAVES gently lapping the beach.

			WILSON
	I already knew.  Knew beforehand.  When
	was it supposed to have happened? -- two
	o'clock in the morning, Eddie said.

			ELAINE
		(watching him)
	That's what was estimated.

			WILSON
	Eight hours difference between here and
	London.  Would've been, what, ten in the
	morning, my time.  I was just coming out
	on the yard.  Now, I was in the habit of
	saving my newspaper till then.  Bit of
	fresh air, stretch me legs -- well,
	stretch the day out, really, that's what
	you wanna do.  And I'll tell ya:  I
	couldn't open the paper.  Could not pry
	the pages apart -- it was like they was
	glued together.  That's how weak my hands
	went.  Thought I was having heart attack,
	only I knew I wasn't.  Bloke come up to
	me, he says, Dave, he says, you've gone
	all white.  I said, fuck me, I've been in
	prison half my life, what d'ya expect.
	But he was dead on, 'cause I could feel
	the blood drain right out of me head.
	And I knew ...
		(beat)
	Something had happened to Jen.

They stand here a while.  Listening to the BREAKERS hit the
shore.

						CUT.

INT. ELAINE'S APARTMENT.  NIGHT.

They come in.

			ELAINE
	Make yourself at home.  Steal something.

That gets her a look.

			ELAINE
	There's nothing I can't afford to lose.

She goes to make coffee.  Wilson looks around.

			ELAINE
	Do you even know who Terry Valentine is?

			WILSON
	Well, I gathered something from the
	article what Eddie sent me.  Some sort of
	pop music producer, wasn't it.

Maybe a smile from Elaine at the quaintness of "pop" music.

			ELAINE
	Rock n' roll, is what we called it.  He's
	sort of a forgotten figure now, but back
	when the West Coast was the grooviest
	place on earth, Terry Valentine was where
	all the happenings happened.  More of a
	kind of promoter, I guess, whatever that
	means.  Just took that whole Southern
	California Sixties Zeitgeist and ran with
	it.  Packaged and sold it.  Made out like
	a bandit.

FLASH CUTS:

VALENTINE. At home. Watching as Adhara undresses, either
deliberately for him, or just casually. She smiles as she
notices he's looking.

			WILSON
	What's he done lately.

That line pregnant with meaning.  Elaine looks at him.
Avoids answering the question actually implied there.

			ELAINE
		(brings a tray over)
	Lives high off the hog and waits for the
	next big thing.  Like me -- but on a
	grander scale of failure.

			WILSON
	Now, you shouldn't run yourself down.  My
	employer, Mr. Lindgren --

			ELAINE
	-- Your employer?

			WILSON
	-- Mr. Lindgren.

			ELAINE
	Who's Mr. Lindgren?

			WILSON
	My employer.

			ELAINE
	What line is he in.

			WILSON
	Proprietor of a London firm.  Of
	longstanding.

			ELAINE
	I see.

			WILSON
	Based in London, but with international
	concerns.

			ELAINE
	I bet.

			WILSON
	Various enterprises, style of thing.

			ELAINE
	I thought you said you never did an
	honest day's work in your life.

			WILSON
	Well, not to say Mr. Lindgren is
	dishonest, exactly.

			ELAINE
		(she gets the picture)
	Right.

			WILSON
	Anyhow, he's always saying to me, Dave,
	never run yourself down, son -- 'cause
	there'll always be plenty of people
	willing to do it for you.

			ELAINE
	In what capacity are you employed by this
	Mr. Lindgren?

			WILSON
	This and that.  Y'know.  Ways and means.

			ELAINE
	-- When he wants someone run down, you're
	willing to do it for him.

They sort of come together -- in mutual understanding -- and
sit down.  Coffee steaming.

			ELAINE
	So what's the deal.  You and Terry
	Valentine at twenty paces.  Is that what
	this is about.

			WILSON
	Why not.

			ELAINE
	Are you serious.

			WILSON
	Have you ever known me not to be.

Elaine looks away:

			ELAINE
	You fuckin' guys and your dicks.

			WILSON
	What'd you want me to do.  Stay at home,
	twiddlin' me thumbs.  Doing sweet F.A.
	[Fuck All].

			ELAINE
	You don't believe it was a car accident.

			WILSON
	What do you think.

			ELAINE
	Terry's never going to give you
	satisfaction.  Not the type.

			WILSON
	Depends, don' it.

			ELAINE
	On what.  What makes you so certain.

			WILSON
	I'll bloody well ask him.

			ELAINE
	There's the phone.  You want his number.

WILSON

That look again.

			WILSON
	I got his number.

ELAINE

Past caring.

			ELAINE
	I'm not going to help you.

She goes into a bathroom.  Shutting the door behind her.

WILSON

Sips coffee.  Bites into a cookie.

						CUT.

EXT. HILLSIDE.  UNDERBRUSH.  LATE AFTERNOON.

Thickets part and we SEE Wilson scrambling up a rather steep
hill.  Coming to a ridge where he settles down to look at
something O.S.  His expression changes by degrees from
curiosity to dawning realization to a kind of frustrated
disappointment.

INT. WILSON'S CAR (ON THE ROAD BELOW).  LATE AFTERNOON.

Ed sits in here, RADIO on.  Wilson appears out of the brush,
gets in.  Ed turns the radio down.

			ED
		(mindful of the odd car driving
		 past)
	Told you you wouldn't be able to see
	through that gate.

			WILSON
	Gate's open.  I had a butcher's at the
	house.

			ED
		(alarmed)
	Who'd you butcher at the house?

			WILSON
	Butcher's hook.  Look.
		(doesn't anyone speak English
		 in this fucking country?)
	I don't much reckon those minders of his.

			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 fuckin'
	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 fucking 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 fucking 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.

BATHROOM

Adhara reacts.

			ADHARA
	Shit.

She gets out of the tub and goes for the nearest towel.
Quickly wrapping herself, she exits.

BEDROOM

Adhara enters and goes for her purse.  She pulls the RINGING
phone out and answers it.

			ADHARA
	Hello?  Hey!  Great.  You got my message?
	Yeah.  No, Crestview Terrace, not
	Crestview Place.  Yeah, there's like three
	different ways up the hill; the quick way
	is to bear to the right.  Sure.  Okay.
	Okay.  'Bye!

She hangs up and begins toweling her hair.  After a moment
she stops.  Something isn't right.  She looks around the
room, and her eyes stop on the TV.  Her brow furrows, trying
to place the familiar image on the screen:  a girl towel-
drying her hair by the bed.

			ADHARA
	That's me.

She looks over to see the video camera, which has been turned
on and pointed toward the bed.  She's not sure if it's funny
or creepy.

						CUT.

INT. VALENTINE'S HOUSE.  DOWNSTAIRS.  AFTERNOON.

Valentine mingling, all smiles and movement.

WILSON

At the foot of the stairs.  Watches him, all stillness and
intensity.

VALENTINE

Catches Wilson's eye for a nanosecond, does a subtle double
take, then moves on.

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

Adhara, dressed, looking great, exits the bedroom and heads
for the stairwell.

INT. VALENTINE'S HOUSE.  DOWNSTAIRS.  AFTERNOON.

Adhara descends the stairs.

WILSON

Turning to SEE her as she comes down.

ADHARA

Makes her way across the room to Valentine.

			ADHARA
	Hey, I thought you weren't a buffet
	person.

			VALENTINE
	I'm a gracious host.

WILSON

Watching them, when --

			GUY
	Excuse me?

Wilson looks at him.  Reluctantly.

			GUY
	Don't you work with Ian?

			WILSON
	Ian?

			GUY
	I could swear I met you with Ian at the
	EMI offices in London.

			WILSON
	Sorry.  Wasn't me.

			GUY
	You sure?

			WILSON
	Unless I'm not who I think I am.

			GUY
	That's too bad.  Ian's got a good thing
	going over there.

			WILSON
	Yeah?

			GUY
	Turned that place completely around.  180
	degrees.

			WILSON
	No kidding.

			GUY
	What I like about Ian, he believes in a
	chain of command, but not a chain of
	respect, you understand what I'm saying?

			WILSON
	Right.  Chain of respect.  That's good,
	that.

			GUY
	Yeah.  I really admire the guy.  Well.
	Good to meet you.

			WILSON
	Yeah.  Cheers, mate.

The Guy leaves.  Wilson sees that Adhara is now on the other
side of the room, separated from Valentine.  He heads for
her.

VALENTINE

Still dealing with people desperate to be the focus of his
attention.  He notices:

WILSON AND ADHARA

Talking in a corner.  She seems attentive.

VALENTINE

In a SERIES OF CUTS, still being the gracious host, still
keeping his eyes on:

WILSON AND ADHARA

Who, in a SERIES OF CUTS, continue to talk.  Finally, they
separate, Wilson heading outside onto a deck.

VALENTINE

Excuses himself from a group of sycophants and goes to her.

ADHARA

Valentine approaches and begins talking to her, low.  After a
few moments of conversation, they both look toward:

WILSON

On the deck outside.  Joining Ed, who's taken refuge out here
with a plate of food.  What Wilson can't belleve when he SEES
it -- is that behind Valentine's house, which is on top of a
high hill, is nothing but desolate scrub canyon.  On the other
side of the railing around the deck, which is surely less
than regulation height, is a sheer drop into an abyss.

			WILSON (cont'd)
		(jumps back with only slightly
		 affected vertigo)
	Flipping heck.

Ed, a little more accustomed to L.A. architecture, nods in
agreement.

			ED
	If you could afford a house like this you
	would buy a house like this.

Wilson edges forward to the rail again.

			WILSON
	What are we standing on?

			ED
	Faith.

They stand there looking out.  Quite a view once you get used
to it.  Breeze.

			ED (cont'd)
		(nods to the hazy distance)
	You could see the sea from here if you
	could see it.

			WILSON
	Could you?

But now Ed gives Wilson a nudge -- SEEING that Valentine
inside the house is making his way out here.

			WILSON
	Why don't you go nick one of those little
	cooker what's its warming up the sausages
	cocktail and meet me in the garage.  Look
	about for a toolbox while you're at it.

Ed considers.  His is not to reason why.

			ED
	Okay.

Ed moves off.  Valentine steps up, smile fully loaded.

			VALENTINE
	Hi.  Terry Valentine.

He extends his hand.  Wilson shakes it.

			WILSON
	Pleasure.

			VALENTINE
	Have we met?  There's something I can't
	quite --

			WILSON
	EMI in London.  I work with Ian.

			VALENTINE
	Ah.

			WILSON
	You must know Ian.

			VALENTINE
	I don't.

			WILSON
	Great bloke.  Really turned things around
	there.  180 degrees.

			VALENTINE
	I suppose that's good, unless things were
	fine the way they were.

			WILSON
	Oh, I think a shake-up was in order.
	Definitely.  Otherwise, people get lazy,
	don't they?  Forgetful.  Start thinking
	they can get away with things.  Gotta
	shake 'em up now and again, make 'em pay
	attention.

Wilson looks at him.  Valentine looks back.  Something about
those eyes ...

			EXCITED GUY
	Terry, Terry ...

The Excited Guy appears, tugging at Valentine.

			WILSON
	Glad I got to meet you.

			EXCITED GUY
	Ter ... Ter ... you gotta ...

			VALENTINE
	Thanks.  You, too.

			WILSON
	Be seein' you.

The Excited Guy ushers Valentine away.  Wilson watches him
go.

			EXCITED GUY
	Charles Grodin is here.

						CUT.

INT. VALENTINE'S GARAGE.  AFTERNOON.

Ed, waiting.  Wilson enters.

			WILSON
	Got it?

Ed displays the Sterno.

			WILSON
	Toolbox?

Ed points to a table, where a toolbox sits.  Wilson crosses
to it, begins going through the contents.

			WILSON
	Put the Sterno on the ground, near the
	center of the garage.

Ed does.  Wilson pulls a brace-and-bit from the toolbox and
crosses to the rear of one of the cars.  Dropping to the
ground, he bores a hole in the gas tank.  Ed raises his
eyebrows and moves toward the door.  Wilson crosses to the
other car and puts a hole in that gas tank as well.  Then he
puts the brace-and-bit back in the toolbox and heads for the
exit, Ed right behind him, giving a quick backward glance.

THE GASOLINE

Spills out, slowly but steadily, and slithers toward the
garage door.

EXT. BETWEEN VALENTINE'S HOUSE AND GARAGE.  AFTERNOON.

Wilson and Ed walk briskly along the path.

			WILSON
		(gives Ed parking ticket)
	Bring the motor around.  Bang out in
	front, right?

			ED
	You goin' back inside?

			WILSON
	One thing I need.

INT. VALENTINE'S HOUSE.  DOWNSTAIRS.  AFTERNOON.

Valentine is talking to Gordon, his beefy bodyguard, and
looking around.  He stops as he sees Wilson once again
stepping onto the deck.  He points Wilson out to Gordon, who
nods and heads for the deck.

EXT. VALENTINE'S HOUSE.  AFTERNOON.

Ed hands the ticket to a Valet.  He exchanges looks with a
couple of the other Valets.

INT. VALENTINE'S HOUSE.  DOWNSTAIRS.  AFTERNOON.

Valentine is talking to Adhara, who is introducing her
Girlfriend.  As Valentine greets her, he glances outside
where Gordon is approaching Wilson on the deck.

EXT. DECK.

Wilson SEES Gordon approaching.  Gets ready to greet him.
Removes cigarette from mouth, drops it to floor of deck,
presses it out under his shoe.  Limbers up his shoulders in a
subtle way.

Gordon coming towards him.  As if to challenge Wilson's
legitimacy as an invited guest.  Closer.  About to speak.

But Wilson doesn't even give him a chance to do that.  In
quick succession:  Wilson HEAD BUTTS Gordon, splintering his
nose; KNEES him in the groin; then, using the knee for
leverage, grabs Gordon by the lapels -- and heaves him over
the railing!

It happened so fast that if anyone else is nearby they
probably didn't even notice -- or didn't readily grasp what
they saw.

INT. VALENTINE'S HOUSE.

Valentine had turned his attention back to Adhara and her
Girlfriend.  When he glances back to the deck he's a little
concerned not to see Gordon anywhere out there anymore --
just Wilson coming back in.

WILSON

Adjusting his jacket, walking back through the house.  Behind
him, people are rushing to the railing and looking over.  A
few yells of "Call an ambulance!" etc. are heard.

VALENTINE

Moves that way.

WILSON

Moving across the room towards the front door.  They are
heading right toward each other.

WILSON AND VALENTINE

Pass each other, eyes locked, almost dream-like.  Wilson's
eyes cold, though with the hint of a smile.  Valentine throws
a last look back before reaching the deck.

EXT. DECK.

Valentine pushes through to look over the railing.

HIS POV

Gordon -- a crumpled, inert heap way down the hill below.

VALENTINE

Turns to look toward the front door.  Wilson not to be seen.
Valentine pushes through the crowd toward the door.

EXT. VALENTINE'S HOUSE.  AFTERNOON.

Valentine emerges in time to see Ed and Wilson pulling away.
Wilson looks at him, impassive, through the passenger window.

AVERY

Is just arriving in his car.  Valentine gestures at him.
Suddenly we HEAR a loud, bass-heavy WHHUUUMMMPPP.

Valentine (and a few others) turn toward the sound, which
came from:

THE GARAGE

There is smoke coming from under the door.

EXT. CANYON ROAD.  AFTERNOON.

Wilson's car practically tobogganing back down the hill.
BOOM!  We hear an explosion from back UP the hill.

INT. WILSON'S CAR.

Ed jumps -- though he's driving.  The gas pedal his most
pressing concern.  Negotiating the dangerously winding road
comes second.  Exhilaration mixed with panic.

			WILSON
	Steady on.

			ED
	You steady on, man.  What the fuck else
	did you do back there.

EXT. ROAD.

An especially sharp curve looms ahead.

WILSON

Flinches, grabs a handhold.

CURVE

Car makes it around on two side wheels.

WILSON

Gulps.

			WILSON
	Bloody hell.

Ed regains control.

AVERY

In his car, takes a different turn.

EXT. ROAD.  CAR.

Swerves some more curves.  Should be some sense here that a
similar skyline route would have been taken by Wilson's
daughter on her final drive.

INT. WILSON'S CAR.

			ED
	Why didn't you just kill him, you had the
	chance.

			WILSON
	That would be too easy.

			ED
	Too easy?

			WILSON
	He's gotta know why.

			ED
	You think a fuckin' guy like that ever
	will?  What more do you want, man?

Suddenly out of nowhere -- (a side street) -- BAM! -- another
car shoots out to cut them off, sideswiping them.

EXT. ROAD.

Wilson's car SKIDS into a spin from the impact.

THE OTHER CAR

It's Avery.  Chased them via a shortcut down the mountain.
Now jumps out of his car, levels a shotgun at them and pumps
off a BLAST.

WILSON'S CAR

BAM! -- the trunk pops open as the car rights itself.  Avery
FIRES again, but the upended trunk is a kind of shield,
deflecting the shot.

INT. WILSON'S CAR.

Despite the fact that Ed is still in the driver's seat (and
managed rather skillfully to avoid crashing) -- Wilson acts
like he's not there, grabs the steering wheel, jams the car
into reverse, virtually sitting on Ed as he pounds his own
foot onto the gas pedal -- and with his ferocious eyes
monitoring the door-mirror, steamrolls the car backwards
towards Avery.

EXT. ROAD.

Wilson reverses his car like a speeding tank:  SMASHING into
Avery's car.  Pushing it right off the edge of the road.

AVERY

Falls backwards to the ground as he gets the hell out of the
way.

WILSON

Jumps out of his car.  Gun drawn.  Advancing on Avery with it
pointed.

AVERY'S CAR

CRASHING through underbrush down the steep bank of the
hillside.

WILSON'S FACE

SOUND of the divebombing car OVER.  Another pointed echo of
his daughter's fate.

AVERY

Their eyes meet momentarily.  And before Wilson can shoot,
Avery rolls over the edge of the road himself.

ED

Calls frantically to Wilson from their car.

			ED
	C'mon, man!  C'mon!

SIRENS in the distance.

WILSON

That consuming rage overtaken him again for a second.  But
the exigencies of the moment snap him out of it.

WILSON

Turns on a dime, goes back to the car.  Before he's halfway
in, Ed's driving them away again.  Trunk at the back BANGING
up and down, up and down.

AVERY

Pulls himself back up to the road.  Brushing himself off.
Looking the way they went.

He gently tosses his shotgun down into some thick brush where
maybe he'll retrieve it later.

EXT. VALENTINE'S HOUSE.  AFTERNOON.

Avery returns, sweating, walking back up the road to where
all the action is.  Party guests milling outside, waiting for
their cars so they can leave.  A fire truck, a police car.
SMOKE pouring out of Valentine's garage.

Valentine finishes talking to a couple of COPS.  Walks over to
Avery.

			AVERY
	You should have let me do the talking.

			VALENTINE
	Why, because you're my security
	consultant?
		(insecure)
	This cocksucker nearly burnt my house
	down.

			AVERY
		(more concerned about police
		 presence)
	What did you tell them.

Valentine blows air, runs a hand through his hair.

			VALENTINE
	I told them a long-time employee flipped
	out.  Had a drug problem, refused
	counselling.  Set the garage on fire,
	then committed suicide.  One of my
	"guests" tried to stop him -- but how do
	you stop Gordon.

In this context meaning how did that rangy Englishman do it.

			VALENTINE
	I mean, Gordon must weigh a good four
	hundred pounds.

			AVERY
	Heavier than that now.  But are there any
	drugs in that stomach to back up your
	story.

			VALENTINE
	As it happens.  I didn't make that part
	up.

			AVERY
	And where is this guest?  Don't they want
	to interview him.

			VALENTINE
	I don't know everyone here.  He was so
	traumatized he split.
		(another notion)
	Maybe he was Gordon's pusher.

Avery stares at Valentine.  Impressed at him thinking on his
feet.

			VALENTINE
	Where do you think he is, Mike.

			AVERY
		(already turning)
	We'll find him.

			VALENTINE
		(stops him)
	No.  I mean.  Not even your people should
	be involved.  Right?  It's too close now.

			AVERY
	You could use a few of my prime
	shitkickers up here.

			VALENTINE
	You think I'm staying?

			AVERY
	There's already gonna be talk about how
	people close to you keep falling into
	canyons.

			VALENTINE
	Well, can we make it one more.  Nowhere
	the fuck near me.

He's being glib, but he's being serious.  His open-handed
gesture inquiring of Avery:  are you up to the task?

			AVERY
	I have other resources.

He turns to go.

EXT. VALENTINE'S HOUSE.  CANYON.  AFTERNOON.

The huge dead bulk of Gordon hoisted back up to the deck by a
paramedic team.

INT. VALENTINE'S HOUSE.

Valentine comes back in.  In the living room beyond, Adhara
stands anxiously, where she's been waiting for him.  Cops
visible outside on the deck, peering over the edge.

VALENTINE

Heading that way.  Then stops.  Backtracks.  Something
peripherally had caught his eye and he returns to it.  His
wall of photographs.

AN EMPTY FRAME

The one that had contained the picture of Jenny.

						CUT.

INT. WILSON'S CAR.  AFTERNOON.

Safely down the hill.  Driving away in traffic, Ed calmer
now.

WILSON

Pulls the rolled-up photograph of his daughter out of his
jacket and looks at it.

						CUT.

INT. POOL HALL.  NIGHT.

Two characters stand, leaning, against a back wall.  Staring
ahead, without purpose.  Halfheartedly watching a game of
pool in progress.  Just hanging out.  Strange, threatening
characters.  One of them is young.  Lean, hungry-looking.
STACY is his name.  A shrewd, scheming kid.  But definitely a
little unhinged.  Weirder is his companion.  UNCLE JOHN.  The
title isn't one of courtesy.  He's an actual blood relative.
Maybe 25 years older than Stacy.  But intellectually younger.
Physically, much bigger.  The man is huge.  Nevertheless, the
safer of the two -- until Stacy tells him otherwise.  Way
they're standing next to each other suggests the ease they
feel in each other's company.  Tight bond.  They're good
buddies.

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 shit 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-fucking 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
	Fuck 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 shit 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.

			WILSON
	How long've you lived here?

Elaine sits on the bed, fastening her skirt.  Her bra strap
cuts across her bare back.

			ELAINE
	This town's been chewing my flesh
	since ... what we now refer to as "the
	early 70's."
		(thinks back)
	Christ, my past became nostalgia and no
	one even asked me.

			WILSON
	Early 70's.  I was away.
		(tries to remember)
	Maidstone.  Possibly Brixton.

			ELAINE
	These more highlights from the Zagat
	prison guide?

Wilson looks at her:  she's the one who goes to bed with ex-
cons.

			WILSON
	You don't seem bothered.

			ELAINE
	You don't know how I've compromised my
	standards.

			WILSON
	Tell us about it.

			ELAINE
	It's too involved; a lifetime of non-
	involvement.  Anywhere else I'd be an
	interesting little number, here I'm just
	SAG number forty-eight thousand and one.
		(quickly)
	SAG meaning Screen Actor's Guild.

			WILSON
	Oh, I was gonna say ...

			ELAINE
	Still, there have been rewards.  It's
	sunny.  And some of the producers who
	call even have credits.

			WILSON
	I can see the attraction.

She glances up at him to try and see how he means that.  Is
he looking at her or out the window?

			ELAINE
	What did you do?  To make them take the
	early 70's away from you.

			WILSON
	A jeweller's up the West End.  We
	tunnelled our way under the shop floor
	from the public lavatory down the road.
	Filthy work.  Trouble was, the bloody
	thing collapsed -- after we'd made the
	grab, 'n all.  Would you Adam n' Eve it.

			ELAINE
	You mean if they'd nabbed you before you
	actually broke and entered you would only
	have been charged with making a mess.

			WILSON
	We were lucky to be nicked.  Me and the
	lads went down there Sunday evening, we
	weren't discovered till the Monday.  Good
	job we were still breathing.

			ELAINE
	It didn't discourage you, though.

			WILSON
	Hey?

			ELAINE
	From pursuing your chosen profession.

			WILSON
	I'll tell ya something:  it made me a
	model prisoner.  Put me right off any
	escape attempts.  Tunnel my way to
	freedom after that experience?  Not
	bloody likely.

			ELAINE
	I was inside once.  I punched a cop at a
	demo.

			WILSON
	Did you.  What was that in aid of?

			ELAINE
	Who remembers.

			WILSON
	Get seven years, did you?

			ELAINE
	Overnight.  What about just now?

			WILSON
	Just now?
		(playful, goes over, ready for
		 more)
	Overnight?

			ELAINE
	You have been away.
		(lies back, regards him
		 carefully)
	Or is all this just new to you?

			WILSON
	It's true.  Has to be said.  I got off to
	a slow start.

			ELAINE
	I don't believe it.

			WILSON
	Honest.  Didn't know where to look till I
	was 21.

			ELAINE
	Pushing the legal limit even then.

He stands again, vaguely disappointing her.

			WILSON
	Me mate introduced me to a woman up the
	street.  Funnily enough, she was married
	to a milkman.  Straight up.  I said,
	"Good is she?  Been around?"  He said,
	"Good?  Listen, mush, it's not that she's
	been around, it's that she's been around
	hell of a long time."

He laughs uproariously at that.  But the point is:  he's sort
of complimenting both Elaine and himself.  They've been
around, had their knocks, they've lasted.  Elaine remains
unsmiling.

Still leaning back on her elbows on the bed, in bra, skirt,
hose, no shoes.  She asks again the question Wilson avoided
answering.

			ELAINE
	Your most recent incarceration.  What was
	that for?

And again he evades the answer she wants.

			WILSON
	It was for nine years.
		(buttoning his shirt)
	The last nine years.

						CUT.

EXT. PACIFIC COAST HIGHWAY.  MORNING.

For the first time, we see the Pacific coastline.  Impressive.

And a sleek Italian sports car.  Heading north.

INT. SPORTS CAR.

Valentine at the wheel.  Adhara besides him.

			ADHARA
	I've lived in L.A. all my life, I've
	never done this drive.

			VALENTINE
	All your life.  That happened while I
	swam the length of my pool.

Adhara looks back over her shoulder.  Checking the road
behind.

			VALENTINE
	What's the matter?

			ADHARA
	Nothing.  I guess it's hard to pass on
	this road.

			VALENTINE
	The freeway's faster, but lacks a certain
	majesty.

			ADHARA
	Just feels like the car behind has been
	following us the longest time.

			VALENTINE
	I sure hope so.

INT. THE CAR BEHIND.

A big utility vehicle.  With Avery in the front passenger
seat.  And three bodyguards he's brought along to protect
Valentine.  RICK driving, TOM and LARRY in the back.

			TOM
	All I'm sayin' is travel time shouldn't
	be the same rate.  Travel time is down
	time, right?  I mean, we're not even in
	the same car as the client.
		(to Avery)
	You told me the job was at the house.
	When we get to it.  Well, are we shadowing
	the client right now or are we just going
	the same way?  The company I was with in
	Seattle, these distinctions were made.
	Now, I don't dispute him getting the full
	whack.
		(he means Rick, who's older)
	Seniority and all that.  But if I'm
	getting paid the same hourly rate when
	we're at the house as I am in this car,
	that doesn't sit well with me and I feel
	obliged to say so.  'Cause in Seattle
	what you're paying now for so-called
	travel time was half what we got for
	actual clock-time with the client.  So I
	just feel we should get more when the job
	actually commences.

After this spineless whining weak-willed sob story, Larry
just turns to him and says:

			LARRY
	... I'd really like to eat your pussy.

						CUT.

EXT. ELAINE'S NEIGHBORHOOD.  DAY.

Stacy and Uncle John sitting on a bench in a beach setting
(though we still don't see the ocean).  Or on some grass,
maybe, in a little park -- opposite Elaine's building.

People-watching.  In their own unique way.  Stacy commenting
on fellow humanity all around them.  TIME CUTS between each
comment:

			STACY
		(after laughing loudly at a
		 handicapped person)
	I believe in mocking the afflicted.  Good
	for 'em.  Makes 'em stronger.

Uncle John picks at the grass or sand.  As they kill the day.

			STACY
		(spotting a woman with a dog)
	Ever take a look at the women who work in
	pet stores?  Wow.

			STACY
		(as a fat jogger passes)
	Good luck.

			STACY
		(watching someone else go by)
	Jesus, are you gay enough or what.

			STACY
		(barely out of earshot of a
		 black woman with dyed blonde
		 hair)
	Very attractive.  Good idea.  Now I
	really want to fuck you.

			STACY
		(after a long time in silence,
		 just staring at someone)
	... you can always tell the ones who'll do
	anal.

			STACY
		(regarding some other
		 beachgoers)
	Kinda makes you wonder why more people
	don't put a bullet through their fuckin'
	skulls, doesn't it.

			STACY
		(reading a newspaper)
	Looks like they just airbrushed the dick
	out of his mouth.

			STACY
		(leaning back on his elbows)
	Why don't they have TV shows about people
	whose daily lives you'd be interested in
	watching.  Y'know.  Like SKINNY LITTLE
	WEAKLING.  Or BIG FAT GUY.  SICK OLD MAN.
	FAMILY OF LOSERS.  Wouldn't that be good?

			STACY
		(sitting up)
	Two blacks and a Mexican in a car.  Who's
	driving?

			UNCLE JOHN
	I don't know.

			STACY
	The L.A.P.D.

			STACY
		(observing a "fast-walker")
	Oh yeah, keep doing that.  That's really
	healthy.

			STACY
		(his gaze following another
		 unfortunate)
	Can't you do something about your ass?

			STACY
		(his head turning after someone
		 else)
	Other people's lives scare the shit out
	of me.

			STACY
		(watching some guy rooting in a
		 trash bin)
	"Homeless" people.  Fuck them.  Remember
	when they were just bums?  Everyone with
	an axe to grind.  Like to grind in their
	face.  Pretty soon there'll be shit-in-
	your-pants rights groups.  Stupidity
	activists.

			STACY
		(glad he's who he is and not
		 who he's looking at)
	Wonder what it's like being a dumb guy in
	a dumb suit trying to cross the street.

			STACY
		(staring at another sad couple)
	Life sure is a minefield.

			STACY
		(clocking another female)
	Look at that one.  She's really been
	used.

			STACY
		(in a contemplative mode)
	I'd love to be famous so I could snub
	ordinary people.  Imagine, you're famous,
	you're sitting in a restaurant, some fool
	comes up to you, wants you to sign your
	name on his napkin, his wife is there, it
	would be something these poor saps would
	cherish the rest of their lives, talk
	about to their cretin friends.  Bam!  You
	tell 'em to FUCK OFF!  God, I'd love
	that.

Suddenly Uncle John speaks.

			UNCLE JOHN
	Is that her?  I bet that's her.

Stacy turns.

POV

Across the street, Elaine comes out of her building.  (We're
supposing this is an apartment building somewhat worth living
in that has outdoor parking of some kind, visible from the
street, or only street parking.)

						CUT.

EXT. SOME STREET.  DAY.

Elaine's car on the move.  Stacy and Uncle John in a car
following.

INT. ELAINE'S CAR.

Going somewhere.  Unaware of the creeps in her wake.

INT. STACY/UNCLE JOHN'S CAR.

An "8x10" of Elaine on their back seat.  Another picture of
her on a page torn from a "Player's Directory."

			UNCLE JOHN
	Maybe she doesn't even know the English
	guy.

			STACY
		(driving)
	Avery said she was tight with his
	daughter.

			UNCLE JOHN
	That don't mean nothin'.

Stacy knows better than to argue with a moron.

			UNCLE JOHN
	She's nice lookin'.

			STACY
	So what.

			UNCLE JOHN
	I dunno.  I just said she's nice lookin'.

			STACY
	And I said so what.  You think she's any
	happier?

			UNCLE JOHN
	What d'you mean, any happier?

			STACY
	Any happier than any other asshole in
	life.

Pause.

			UNCLE JOHN
	I dunno.  I never met her.

						CUT.

INT. SOUND STUDIO.  DAY.

On screen:  A BEAUTIFUL MODEL -- but speaking in ELAINE'S
VOICE.

ELAINE

At a mic.  Wearing headphones.  Matching her voice to the
model's lip movements.  Looping this commercial or whatever
it is.

INT. HALLWAY.

Wilson.  Comes to a window where he can see Elaine inside in
the sound-proofed studio.

						CUT.

INT. SOUND STUDIO.  DAY.

Wilson and Elaine talk while technicians change reels.

			ELAINE
	-- they want Southern, I do Southern,
	they want Midwest, I do Midwest, they
	want tall, blonde, and twenty-two, I'm
	shit out of luck.
		(pauses)
	One thing I can't do is English.
	Americans can't.  Shouldn't even try.
	And Laurence Olivier couldn't do us.

			WILSON
	You ever been to London?

			ELAINE
	Only in the movies.

			WILSON
	I've 'ardly ever left it.

			ELAINE
	Yeah, well, you're here now --
		(re Wilson's accent)
	-- where hurricanes hardly ever happen.

			WILSON
	I've got the hang of the driving.  Found
	this place all right.

			ELAINE
	Stick with me, kid.  Looks big when you
	get here but you can cover it in five
	minutes.

Beat.

			ELAINE (cont'd)
	So, is there anybody in your family who's
	not a criminal?

			WILSON
	Not that I recall.

			ELAINE
	What about your grandmother?

			WILSON
	Nah -- she was married to me grandad --
	he was as bent as a boomerang -- used to
	make knuckle-dusters down the shop.
	Crafty old sod.

			ELAINE
	He alive to see this?

			WILSON
		(shakes head)
	Dropped dead in the stalls in the Odeon,
	Muswell Hill.  Watching Doris Day.

			ELAINE
	What'd your father do?

			WILSON
	Black market during the war.

Elaine shakes her head.

			ELAINE
	I guess you're just habitual.

			WILSON
	You sound like my fucking probation
	officer.

			ELAINE
	Won't he be looking for you about now?

			WILSON
	Good luck to him.  He couldn't find his
	prick if he didn't wear Y-fronts.

			ELAINE
	Minor officials bother you, don't they?

			WILSON
	Do us a favor.  Can't even go have a
	slash without 'em saying, what're you
	going in there for?

EXT. ELAINE'S BUILDING.  DAY.

Elaine and Wilson enter.  Stacy not far behind.  Catches
outside gate before it slams shut.

						CUT.

INT. ELAINE'S BUILDING.  DAY.

Wilson and Elaine turn the corner into the corridor
approaching her apartment door.  Pause to kiss.  Walk closer.

And Stacy appears at the other end of the hall.  Both arms
stretched out with the .38 at the end of them.

			STACY
	Hi, kids.

Starts to squeeze off a shot.  As Wilson pushes Elaine to the
floor.  As another SHOT rings out from further along the hall
behind Stacy.  Catching him across the cheek.  Only skimming
him.  But knocking him down.  Bullet chipping the wall.

UNCLE JOHN

Across from Stacy.  Freezes, his own gun in hand.

AT THE STAIRS

Three BLACK GUYS.  Including Thompson.  They approach.  Guns
pointed at Stacy and Uncle John.

WILSON

Hand on his .45 now.  But a fourth Black Guy coming up behind
him.  Wilson lowers the .45.

ELAINE

Flattened herself back against a wall.  Petrified.

STACY

Sits on the floor.  Holds his hurt face.  Thompson walks over
and picks up Stacy's gun.  One of the other blacks relieves a
reluctant Uncle John of his.

			THOMPSON
		(stops at Wilson)
	Come with us.

If there's any doubt whether Wilson will -- one of the blacks
gently puts the muzzle of a gun to Elaine's head.  Cocks the
hammer.

They all go off down the stairwell.  Except Stacy and Uncle
John.

Hit men wondering what hit them.

						CUT.

INT. ROOM.  DAY.

Like Wilson's motel room, another version of a cell.

A small window, high up.  Bricks and debris around the floor.
And Wilson and Elaine.  Sitting, leaning against opposite
stone walls.

			ELAINE
	Tell me you wouldn't prefer a steady
	income.

Wilson takes a cigarette pack from a pocket.  Lights himself
one.  Then tosses the stuff over to Elaine.

			WILSON
	I got a steady income -- I'm on the dole.

			ELAINE
		(lights up)
	A leech on the welfare state in addition.
	You don't miss a trick.

			WILSON
	I fiddle it.  They got me down as an
	immigrant with five kids.

Elaine sort of shares a laugh at that.

			ELAINE
	Yeah ... Jenny spoke fondly of her
	imaginary siblings.

Though real ones might have been nice.  This an unspoken
thought between them.

			ELAINE (cont'd)
	Do you remember the last time you saw
	her?

			WILSON
	Last time might as well've been the
	first.  I remember all the times, don't
	I.  Watching her grow up --
		(finding the word)
	in increments.

			ELAINE
	She told me you were a ghost in her life.
	Daddy the friendly ghost.  Coming back to
	haunt her.

			WILSON
	Well, she twigged by the time she was
	eight or nine that daddy wasn't in the
	Royal Marines or doing scientific
	research in the jungles of Borneo or
	playing Iago in a worldwide tour of
	OTHELLO.

			ELAINE
	Still, you could never ... do what she
	wanted.

Wilson shakes his head.

			WILSON
	She used to tell me she'd turn me in.
		(tries to laugh about it)
	Little kid.  Ten year old.  "If you're
	naughty, Dad, I'll tell on ya."  She
	didn't want me sent down again, see.
	When I was planning some job.  "I'll tell
	'em, Dad, I promise I will.  Here, look,
	I'm calling the Old Bill right now" --
	picking up the telephone.  I can see her,
	the phone in her hand.  Became a sort of
	joke between us.  Only it wasn't a joke.

			ELAINE
	She never would have turned you in, not
	in a million years.

			WILSON
	I know that.  But as time went on ...
	well, it wasn't a joke, was it?  She had
	a feeling about it -- about the last job
	-- how long I'd get the hook for.  Said
	she wouldn't be there this time when I
	got out.

DOOR opens.  Thompson.  Gun in hand.

						CUT.

INT. HALLWAY.  DAY.

Thompson leads Wilson past a row of windows.  Dockyards,
harbor activity outside.  Toward a door with things
stencilled on it.  One of them:  US DEPT. OF CUSTOMS.

INT. OFFICE.

A man named FEATHER.  Black.  Half sitting on the edge of a
table.  Wilson is shown in.

Wilson at the door.  Sizes Feather up at a glance.

			WILSON
	This is where I come in.

He walks confidently in.  Outside, through the window, an
image of a foreign sports car being hoisted in the air by a
crane.

There's a chair.  Wilson sits in it.

Feather squints a little.  Seems ready to listen to whatever
Wilson has to say.

			WILSON (cont'd)
	How's it going, squire, all right?  Now
	listen -- when I was in the nick --
	second time, it was -- no, third.  Third
	stretch, yeah.  There was this screw had
	it in for me.  That geezer was top of my
	list.  Two years after I was slung, I saw
	him.  He was sitting on a bench in
	Holland Park.  There was no one else
	about.  I coulda gone up behind him and
	snapped his fucking neck.  But I left it.
	Coulda nobbled him, but I didn't.  'Cos
	what I thought I wanted wasn't what I
	wanted.  What I thought I was thinking
	about was something else.  This berk on
	the bench wasn't worth my time.  See what
	I mean?  It didn't matter.  It meant sod
	all in the end.

Feather has been listening to this, expressionless.  Now he
raises a finger as if there's a point he wants clarified.

			FEATHER
	There's one thing I don't understand.
		(wants to make this clear)
	The thing I don't understand ... is every
	motherfucking thing you're saying.

			WILSON
	Look, mush, you're the guv'nor here, I
	can see that, I'm on your manor now,
	right.  So there's no need to get out of
	your pram.  I'm Johnny-come-lately to all
	this.  Whatever the bollocks between you
	and this slag Valentine, it's got nothing
	to do with me.  I don't wanna know.

			FEATHER
	Well, I'll tell you.  I believe this
	Valentine screwed me out of a fair sum of
	money.

			WILSON
	I can well believe it.  I'm sure he has
	done, son.  He's about as straight as a
	dog's hind leg.

			FEATHER
	But I can't be sure.  I don't even know
	who he is.  He's too insulated.  Too many
	layers around him.

			WILSON
	Your guess is as good as mine, mate.  I'm
	here on another matter entirely.

			FEATHER
		(moves to window)
	Yeah, I guess you are.

			WILSON
	Good job your lot showed up when they did
	or it would've been me for the high jump.

			FEATHER
	That dude who works for Valentine.  He's
	the one sent those guys after you.  You
	know that.

			WILSON
	Yeah.  Shouldn't wonder.  Must've done.

			FEATHER
	So what's your beef, pal?

			WILSON
	Nothing financial.  Strictly personal.
		(moves to window)
	I can see how all this import-export
	malarkey might give rise to confusion
	where I'm concerned.  A foreigner,
	showing up unexpectedly, like.

			FEATHER
		(looks at him)
	It was you.  Downtown.

			WILSON
		(all innocent)
	Eh?

			FEATHER
	Because that wasn't anything to do with
	me.  And suspicion has been cast in my
	direction.
		(pondering)
	Didn't make any sense.  Choosing those
	shitheads over me, cutting me out of the
	deal, then screwing them over too.

			WILSON
	No, I can reassure you on that point.
	Valentine was just as surprised by that
	turn of events as you.

			FEATHER
	He'd already grabbed more than his
	allotted cut.  Didn't think he'd be so
	bold as to take all of it.

			WILSON
	All of what?

			FEATHER
	Of the deal, man.

			WILSON
	Oh, yeah, right.  The deal.

			FEATHER
	But if you're mad at him too and he's mad
	at you ... that must make us pals.

			WILSON
	As you prefer, squire.  As you prefer.

			FEATHER
		(weary of his life)
	In which case I'll just do what I usually
	do.

			WILSON
	And that is?

			FEATHER
	What am I doing?

He's standing at the window, staring out.  As if Wilson isn't
even in the room any more.  A ship being loaded out there.
Inspectors with clipboards.  Trucks like the ones we saw at
that warehouse downtown.

			WILSON
	Looking the other way.
		(turns to go)
	Gotcha.

						CUT.

EXT. INN.  DAY.

Along the way up the coast.

Through a window we SEE Valentine and Adhara enjoying a
pleasant lunch.

The bodyguards hang out by the cars outside with fast food
bags and drinks.

			TOM
		(to Rick)
	I mean, how much are you getting?  Just
	as a point of interest.  See, I didn't
	realize there was a sliding scale.

AVERY

At a payphone.  His idiots in the background.  Dials a
number.

INT. POOL HALL.  DAY.

Stacy.  Nasty bruise on his cheek.  Takes a cue off the rack.
Chalks up.

			STACY
	Straight rotation, no shit, call your
	shot.

			UNCLE JOHN
	Lemme break.

They're playing against a couple of other creeps.

			CREEP
	You broke last time.

			STACY
	Let him break - he likes to break.

			CREEP
	Fuck you.

			STACY
	I wouldn't talk.

			CREEP
	Huh?

			STACY
	I saw your mother on the Strip last
	night.  She went up to three guys, said
	she'd like 'em to stick one in each,
	know what I mean?

Creep rushes Stacy.  But doesn't get past Uncle John.  Who
drops him with one punch.  Flooring him between two pool
tables.  Stacy then goes over.  Supports himself with a hand
on each table, swings his boot into the thug's face.

			BARTENDER
		(calls)
	Stacy.

Stacy looks.  Bartender holds up phone.  Stacy goes over.

			BARTENDER (cont'd)
	I can do without you inhibiting my
	business.

Stacy just scowls, takes the phone.

			STACY
		(into phone)
	Yeah.

UNCLE JOHN

Breaks.

STACY

Hangs up.  Goes back to Uncle John.  Picks up his cue again.

			STACY (cont'd)
	We've been fired.

						CUT.

EXT. VALENTINE'S HOUSE.  L.A.  DAY

Someone we've never seen before and will never see again
stands in Valentine's driveway.  His name is FIELDING.

A car comes up.  Another guy, GRAMMS, sits in it.  He waits.
Eventually Fielding walks over.

			GRAMMS
		(re:  the burnt garage)
	Valentine had himself a party, I hear.

			FIELDING
		(by rote)
	My client has already given a statement
	regarding yesterday's events.

			GRAMMS
	A statement?  I wouldn't mind getting a
	statement.  You see, my client -- the
	United States Government -- would love to
	get a statement about a few of the deals
	going down with your client.

			FIELDING
	Deals?  My client is involved in any
	number of deals at any given moment.
	You'd have to be more specific.

			GRAMMS
	Your client have a deal in Long Beach?
	How about downtown?  There's some folks
	there -- oh, wait, they're all dead.  Any
	of this ring a bell?

			FIELDING
	My client is an entrepreneur.  I am his
	lawyer, not his business manager.

			GRAMMS
	So you wouldn't have any idea how your
	client continues to make so much fucking
	money.

			FIELDING
	He's always been very forward-thinking.
	He invested wisely.

			GRAMMS
	Where is he now?

			FIELDING
	He had urgent business in the north.

Gramms just laughs.  Just laughs and laughs.  And we leave him
laughing.  And Fielding not.

						CUT.

INT. RESTAURANT.  KITCHEN.  DAY.

Ed takes off an apron, heads out the door.  It's clear that
he's not the head chef here -- because the HEAD CHEF, an
Anglo, turns, wondering where he's going.  Over this we hear:

			WILSON
		(over)
	Where's Big Sur?

			ELAINE
		(over)
	Up the coast.

			WILSON
		(over)
	How far?

			ELAINE
		(over)
	I don't know -- few hours, I guess.

			WILSON
		(over)
	Fancy it?

			ELAINE
		(over)
	I could use a vacation.  Of course, I
	keep forgetting, for you this is a
	vacation.

			WILSON
		(over)
	Never thought of that.
		(grunt of laughter)
	Busman's holiday.

			ELAINE
		(over)
	What's in Big Sur?

			WILSON
		(over)
	That's where Valentine's scarpered.

			ELAINE
		(over)
	How do you know?

			WILSON
		(over)
	Bloke told me.

Beat.

			WILSON (cont'd)
		(over)
	You shouldn't go back to your place.  Not
	till ... this is resolved.

Another beat.

			ELAINE
		(over)
	I hear it's a nice drive.

						CUT.

EXT. RESTAURANT.  BACK ALLEY.

Ed gets into Wilson's car.  Elaine in there too.

						CUT.

EXT. COAST HIGHWAY.  DAY.

Wilson's rented car.  Heading for Big Sur.

INT. CAR.

Ed drives.  Wilson beside him.  Elaine in the back.

			ED
	What d'you say, Elaine?

			ELAINE
	Not much -- you?

			ED
	Same.

			ELAINE
	Uh-huh.

			ED
	Last time I saw you, weren't you up for
	some equity-waiver thing?

			ELAINE
	Probably.

			ED
	I was gonna be in that Michael Mann
	movie, you know -- with Pacino and
	DeNiro.  Got three callbacks.

			ELAINE
	Really.

			ED
	Didn't get it.

			ELAINE
	Well, those are the breaks.

			ED
	Not no more, they ain't.  I quit that
	acting shit, man.

			ELAINE
	You just cooking then?

			ED
	Hell, no.  I started writing.

Elaine and Wilson exchange glances.

EXT. HIGHWAY.  DAY.

Onwards.

						CUT.

INT. BAR.  DAY.

Stacy and Uncle John sit and drink.  Uncle John lamenting
their monetary loss.  Stacy thinking to himself.

			UNCLE JOHN
	We coulda used the other two-and-a-half
	grand.

			STACY
	There's more than a measly few grand in
	this.

			UNCLE JOHN
	There is?

			STACY
	Something's on.

			UNCLE JOHN
	What?

			STACY
	I happen to know more about Mr. Whatever-
	his-name-is than he thinks I know about
	him and his operation.

			UNCLE JOHN
	You do?

			STACY
	You bet.

			UNCLE JOHN
	Like what.

			STACY
	Like he'd never hire me for real.  Not
	week-to-week.  I don't have the
	credentials.  He thinks I'm just a
	sociopath, someone he can turn to when he
	needs "plausible denial."

			UNCLE JOHN
	Well, we blew it, didn't we?  He ain't
	wrong.

			STACY
		(savage mimicry)
	"He ain't wrong."  Listen, I know this
	asshole who did just go to work for him.
	Full-time.  And this dickhead's parents
	just told me he took a road trip up the
	coast.  That's the type of individual gets
	hired, someone who'll shoot his mouth off
	to his family while on the job.

			UNCLE JOHN
	I don't get it.

			STACY
	I don't know who that English guy is.
	Some kind of --
		(finding the word)
	-- courier or something.  Maybe a seller.
	Maybe a buyer.  But Mr. Avery wanted him,
	those jigs wanted him -- and I betcha
	there's a briefcase somewhere.

			UNCLE JOHN
	What's in it?

			STACY
		(shrugs)
	Drugs?  Cash?  Both if we're lucky.

			UNCLE JOHN
	How we gonna get that lucky?

			STACY
	While they're all fucking each other
	over ... couple of parties like us could
	move right in.

						CUT.

EXT. HIGHWAY.  DAY.

Wilson's car.

Closer to Big Sur.  Scenery more magnificent.

INT. WILSON'S CAR.

Ed still driving.  Wilson next to him.  Opening a new
cigarette pack.

			ED
	I've been wondering something.

			WILSON
	Again?

			ED
	Do you have any friends, man?

			WILSON
	Yeah, I suppose.  Call 'em that, yeah.
	Down the boozer Saturday night.  Meet
	some of the lads.

			ELAINE
		(a little more pointed)
	Friends and colleagues.

			WILSON
	You can't count on very many people,
	that's the trouble.  Number of times a
	decent job's been cocked up ...

			ELAINE
	Poor baby.

Little back-seat sarcasm there.  Wilson looks kind of bitter.

			WILSON
	Useless gits.  I was gonna do the Post
	Office once.

			ED
	What post office?

			WILSON
	The lot.  The whole British bloody Post
	Office.  I had a brilliant plan -- all
	worked out -- work of genius, it was.
	Could I get anybody interested?  No --
	they're too busy pinching orange squash
	from the milkman.  Lazy sods.  Jumble
	sale on in Watford, they'll be up at the
	crack of dawn.

			ELAINE
	You're just on a higher plane, Wilson.

			WILSON
	Too bleeding true, 'n' it.

Flicks some cigarette pack paper out the window.

EXT. HIGHWAY.

The car speeds along.

						CUT.

EXT. HOUSE.  BIG SUR.  DAY.

An impressive clifftop dwelling.  Isolated on a winding road.
On a beautiful promontory overlooking the sea.  Valentine
RINGS the DOORBELL (actually CHIME).  It's opened by his ex-
wife.  SUSAN.  Very well-maintained.  50-something.
Surprised to see him.  But not overjoyed.

			VALENTINE
	Hello there.

			SUSAN
	What are you doing here?

			VALENTINE
	Exercising my visitation rights.

			SUSAN
	Since when?

			VALENTINE
	I miss my kids.

			SUSAN
	They're at college.  Or doesn't your
	accountant even tell you where the money
	goes anymore.

Valentine goes inside.

INT. HOUSE.

He looks around.  She doesn't shut the door.

			VALENTINE
	You've made it ... brighter.

			SUSAN
	I don't want you here, Terry.

			VALENTINE
	Sure you do.

He turns to look at her.  Smiles.  Somehow it doesn't work on
her.  One of the reasons she divorced him.  Just one.  She
sighs.  Resigned to his presence.  Starts to close the door.

			VALENTINE (cont'd)
	Don't shut the door -- I have people with
	me.

Now she gets it.

			SUSAN
	What kind of trouble are you in?

			VALENTINE
	No trouble.

Susan SEES Adhara get out of the sporty car parked in the
drive and stand against it in a posture of younger chick
defiance.

			SUSAN
	Surely you can think of somewhere else to
	take one of your chippies for a quick
	getaway.

			VALENTINE
	Susan.

He actually puts his hands on her arms.  To hold her firm
while he locks onto her eyes.  And doesn't smile.

			VALENTINE (cont'd)
	I just need ... somewhere remote.  Away
	from L.A.  For a couple of days.
		(now the kicker)
	I pay for this house too.

Susan reads him.  He's not claiming ownership rights.  He's
telling her this house, because of the connection to him, is
a target of some kind.

			SUSAN
	What have you done?

The Land Cruiser pulls up outside.  Avery emerges, comes
over, comes in.  Susan notes the bodyguards out there as well.

			AVERY
		(to Valentine)
	We weren't followed.
		(to Susan)
	Susan.

Valentine lets Susan go.  Knowing she's now speechless at
what's turned into, as far as she's concerned, a home
invasion.

			VALENTINE
		(moving, looking around)
	Where's ... what's-his-name -- Fred --

			SUSAN
	-- You know his name is Frank.

			VALENTINE
	Is he here?

			SUSAN
	You know I don't live with him.

			VALENTINE
	Go to him.  Go to his studio, or writers
	workshop or artists colony, Esselin
	retreat, nudist camp --

			SUSAN
	Are you finished?

			VALENTINE
	In a couple of days this whole thing --

			SUSAN
	Who's looking for you?

			VALENTINE
	Go now.

Encouraging, if not in fact ushering, her towards a bedroom.

			SUSAN
	It's been five minutes and I'm packing to
	leave again.  I can't believe this.

			VALENTINE
	That's right, your life is Shit, and I'm
	to blame.  It's that simple.

That does it.  Susan turns on him.

			SUSAN
	It is that simple.  I blame you for
	everything.  Losing inhibitions and
	chicks without bras didn't have to lead
	to hardcore porno in every American
	household:  that was you.  The first on
	your block to turn on a camera in a hot
	tub and peddle it to your friends.  A
	little recreational pot didn't inevitably
	have to lead to the eventual devastation
	of the inner cities:  you made that
	happen, the first time you bought a
	bigger stash than you yourself meant to
	smoke.  It happened when you made your
	first buck hyping some so-called "event"
	that was over before it began or marketed
	some "product" whose only value was its
	instant disposability.  You were the
	first person to see there was a lot of
	money to be made selling Navajo rugs --
	you've even stolen from the fucking
	Indians!  You looked at Charlie Manson
	when all he had to show for himself was a
	guitar instead of a knife and saw another
	merry prankster, the freedom of the
	frontier.  Your pal here --
		(Avery)
	-- He saw gated communities.  Rich people
	coming to him with their money, terrified
	of what people like you had left of this
	society.  Why invest in a marriage and
	children when you had him?  He's your
	oracle.  But you couldn't even trust in
	friendship, could you?  Still he's the
	dog you call for its dinner.  Because
	everything that might once have been fun
	or nice or sweet you had to turn mean and
	cold and sour.  That was your "genius,"
	Terry.  Haven't you read your own press?

						CUT.

EXT. MOTEL.  EVENING.

Wilson and his friends pull in.  Get out of the car.
Stretch.

			ELAINE
		(finding herself at another
		 shithole)
	What is it, you just like the reassuring
	smell of disinfectant?

Wilson just heads for the motel office.  Elaine and Ed follow
a little distance behind.

			ED
	Hey, Elaine.  You even know what he's
	saying half the time?

			ELAINE
	No, but I know what he means.

						CUT.

EXT. DECK.  BIG SUR HOUSE.  NIGHT.

Adhara sways in a hammock.  Staring at Valentine.  Wanting to
know what the hell is going on.

Valentine stands smoking at the rail, looking out over the
dark sea.  Ignoring Adhara.  Avery sits at a table.
Bodyguards visible inside the house.

			VALENTINE
		(finally, to Avery)
	Do any of these guys cook?

						CUT.

EXT. MOTEL PORCH.  EVENING.

Wilson at the car.  Elaine and Ed watching.

Ed has gathered that something has developed between Wilson
and Elaine.  The way she's looking at Wilson.

			ED
	... Reminds me of Jennifer.

			ELAINE
		(barely perceptible nod)
	Hard to miss.

Ed sighs.  Awkward.

			ED
	I thought maybe you just came for the
	ride.

			ELAINE
	I'd rather be with him than without him.
	I don't want to be found dead in L.A.

Wilson walks back to them.  Looking at Ed as if to say, ready
to go?  At her as if to say ... maybe farewell.

EXT. VALENTINE HOUSE.  NIGHT.

Tableau.  Evening has descended.  Surfaces glisten from a
light drizzling rain.

INT. VALENTINE HOUSE, BEDROOM.  NIGHT.

Adhara, dressing.  Behind her, outside, way out of focus, a
figure slithers by.

INT. VALENTINE HOUSE, LIVING ROOM.  NIGHT.

Valentine and Avery sit watching TV (CELEBRITY REPORT!).  Tom
is behind them in the kitchen, flipping through Marie Claire
magazine.

VALENTINE

Turns to look through the sliding glass doors.

HIS POV

Beyond the deck stands Larry, his back to us, facing the
ocean.

EXT. VALENTINE HOUSE.  BACK YARD.  NIGHT.

Looking toward the house, Larry in the foreground, facing us.
He takes a bite from a cinnamon granola bar, then looks at it
unhappily as he chews.

			LARRY
	Fuck.

EXT. VALENTINE HOUSE, ANOTHER ANGLE.  NIGHT.

Looking at the house from the top of the hill.  Rick stands
in the driveway next to Valentine's car, smoking a cigarette.

REVERSE ANGLE

Wilson and Ed watching him.  Wilson nods his head to the
left, and Ed moves in that direction.  Wilson moves quietly
off to the right.

INT. VALENTINE HOUSE.  LIVING ROOM.  NIGHT.

Valentine and Avery, still watching TV.

			VALENTINE
		(re:  the channel)
	Check the news.

Avery starts looking around.

			AVERY
	Where's the remote?

Suddenly, we hear a CAR ALARM.  Tom looks up from his
magazine.  Valentine looks to Avery, who shakes his head:
It's nothing.

EXT. BIG SUR HOUSE.  DRIVEWAY.  NIGHT.

Rick turns and looks up the driveway toward the sound.  He
puts his cigarette out.

EXT. BIG SUR HOUSE.  BACK YARD.  NIGHT.

Larry has turned toward the sound as well.  Through a
partially obscured side entrance, he sees Rick walking up the
driveway.

EXT. BIG SUR HOUSE.  DRIVEWAY.  NIGHT.

Rick walks away from us, toward the vehicle (the Land Cruiser
they drove here) parked up the driveway.  We lose sight of
him as he crosses to the driver's side.  The alarm goes off.
We hold for several beats.  He doesn't emerge.

INT. BIG SUR HOUSE.  LIVING ROOM.  NIGHT.

Valentine and Avery are still looking for the remote.  Avery
stops, his attention drawn to the fact that he hasn't heard
anything from Larry.  He crosses to the window.

HIS POV

The driveway, car at the top partially visible.  No sign of
Rick.

AVERY

His brow furrows.

VALENTINE

Notices this, looks out toward the backyard.

HIS POV

Same as before, except Larry isn't there.

VALENTINE

Moves to the sliding glass door to get a better look at the
deck and back yard.  Still no Larry.

			VALENTINE
	Where's Larry?

AVERY

Leaves the window and moves to Valentine.  Tom has joined
them.  After a beat:

			AVERY
	Turn all the lights out.  I'll get Adhara.

Tom begins looking for the light switches.

			VALENTINE
	What's happening?

Avery is already heading for the bedroom.

			AVERY
	Stay away from the windows.

EXT. BIG SUR HOUSE.  BACK YARD.  NIGHT.

Tableau.  Avery exits the kitchen and takes the surrounding
porch to the bedroom.  Are we seeing this from someone's POV?

INT. BIG SUR HOUSE.  BEDROOM.  NIGHT.

Adhara, finished dressing, looking at herself in the mirror.
The lights behind her go off.  She turns to see Avery coming
toward her to turn off the lights by the mirror.

			ADHARA
	Uh, you've heard of knocking?

			AVERY
	I need you to come with me.

			ADHARA
	Why, what --

He takes her by the arm.  Firmly, but not roughly.

			AVERY
	Please.

She sees in his expression that something is up.

			ADHARA
	Okay.

INT. BIG SUR HOUSE.  LIVING ROOM.  NIGHT.

Tom and Valentine have finally found the light switches, and
the room is dark.  Valentine moves slowly to the window,
takes a tentative peek.

HIS POV

The driveway.  Hard to see.  Is there something moving out by
the shed?

			AVERY
		(off)
	I thought I said stay away from the
	window.

AVERY

Entering the kitchen with Adhara in tow.  He brings her
around behind the counter.

			AVERY
	Everybody in the kitchen.

Valentine and Tom move to join Avery and Adhara.

			AVERY
	Behind the counter.

Everyone moves behind the large counter in the center of the
kitchen and crouches down.  They have a wall behind them and
all the windows in front of them.

			ADHARA
		(scared)
	What's going on?

Avery and Tom have drawn their guns.

			VALENTINE
	We think someone is here.

			ADHARA
	We think?

			VALENTINE
	We can't find ...
		(what are their names?)
	... two of our guys.

			TOM
		(fucking typical)
	Larry and Rick.

			ADHARA
	Did somebody call the cops?

Tom snorts.  Avery looks at Valentine:  Haven't you told this
girl anything?

			VALENTINE
	No.

			ADHARA
	Why not?

			VALENTINE
	Because --

			AVERY
	Because I'm taking care of it.

			ADHARA
	You guys are fucking nuts, I'm calling --

She starts to stand.  Valentine pulls her down.

			ADHARA
	Hey.

			TOM
	Mr. Avery.

Avery looks to Tom, who nods toward the back porch.

THEIR POV

A silhouetted figure is tentatively making its way along the
porch, trying not to be seen.  We don't get a very clear
glimpse.

AVERY

Draws his gun and takes aim.

THE FIGURE

Careful not to become fully visible, but growing more
courageous with each step.

AVERY

Locked on him, waiting.

VALENTINE

Puts Adhara's hand to her ears.

THE FIGURE

We see a little more now than we have before.

AVERY

He sees enough.  Squeezes off a series of SHOTS, the muzzle
flash strobing the kitchen area like a flashbulb, Adhara and
Valentine flinching.

THE FIGURE

Hit.  Spinning and collapsing to the ground.

AVERY

Lowers his gun.  Turns to Tom.

			AVERY
	Watch my back.

Avery moves out from behind the counter and heads for the
body.

EXT. BIG SUR HOUSE.  BACK PORCH.  NIGHT.

Avery makes his way to the figure, which is on its stomach
and writhing slightly.

AVERY

Careful.  Takes the gun and turns the body over.

STACY

Stares up at him, choking on his last few breaths.

AVERY

Puzzled.  What the hell is this guy doing here?  He starts
feeling around Stacy's jacket for anything useful, but is
interrupted when his hand EXPLODES, accompanied by the sound
of a gunshot.  He screams in pain.

INT. BIG SUR HOUSE.  KITCHEN.  NIGHT.

Valentine and Adhara drop to the floor.  Tom, gun raised and
pointing, tries to see who shot Avery.

EXT. BIG SUR HOUSE.  BACK PORCH.  NIGHT.

Avery is turning toward his assailant, but not fast enough.
A shot rings out and part of his neck disappears in a blossom
of blood.  Stunned, he falls on his side, gasping.

AVERY'S POV

Uncle John.  Close by, huddled by the lip of the cliff.  He
starts to move cautiously toward Avery and Stacy.

INT. BIG SUR HOUSE.  KITCHEN.  NIGHT.

Tom squints, trying to see.

			TOM
	Fuck.

			VALENTINE
	What?

			TOM
	Avery's down.

TOM'S POV

A piece of Uncle John's silhouette appears.

TOM

Fires at it.  Didn't hit anything.

			TOM
	Fuck this.

Tom jumps up and runs for the living room, firing his gun in
front of him toward where he last saw Uncle John's
silhouette.

LIVING AREA

Tom runs through and reaches the sliding doors to the back
porch.  A portion of the frame SPLINTERS from a gun shot as
he gains access to the other side of the back porch.

EXT. BIG SUR HOUSE.  BACK PORCH.  NIGHT.

Tom is through the sliding doors and trying to make his way
around to the driveway.

UNCLE JOHN

Crouched behind the opposite end of the porch, sticks his
head up.

HIS POV

Tom crossing to the steps, slips on the damp wood, tries to
right himself.

UNCLE JOHN

Squeezes off two shots.

TOM

Is shot in the ankle as he is about to reach the steps.  He
yelps in pain, tries to raise his gun.

UNCLE JOHN

Crouched down.  A shot flies over his head.

TOM

Stops shooting.  Tries dragging his shattered ankle to the
steps.

UNCLE JOHN

Looks over the edge of the porch.

HIS POV

Tom turning toward the steps.

UNCLE JOHN

Fires at him.

TOM

Screams again as his elbow of his gun hand disintegrates.  He
slips on the first step and tumbles down, the gun bouncing
beside him.

UNCLE JOHN

Sees this.  Stands up to cross the back porch.  Takes a step
forward but is stopped by a bullet in the chest (about the
only clean shot anybody makes).  He looks down at himself.

			UNCLE JOHN
	Shit.

He looks up to SEE:

AVERY

Near death.  Gun in his good hand.  He squeezes the trigger
again.

UNCLE JOHN

A small black hole appears in his cheek.  He blinks, begins
to raise his hand to his face, and collapses.

AVERY

Exhales and rolls over.

TOM

Still trying to get to his feet.  He gives up and just lies
there, panting.

A HAND

Reaches for the gun beside Tom.  Tilt up with it to reveal:

ED

He puts the gun in his jacket and slides away.

INT. BIG SUR HOUSE.  KITCHEN.  NIGHT.

Valentine and Adhara are still stuck behind the counter.
Valentine sees the shadowy shape of Ed slipping behind the
back porch.

VALENTINE

Decides to make a run for it, following Tom's route, away
from Ed.

			ADHARA
	Where are you going?

LIVING ROOM

Valentine runs to the sliding door, smack into:

WILSON

Standing there.  Wet.  Mad.  He grabs Valentine by the shirt
and pushes him back into the room.

VALENTINE

Bounces off the couch and onto the floor.

WILSON

Comes toward him.

VALENTINE

Grabs a lamp off an end table and hurls it at Wilson.  It
careens off Wilson's arm and shatters.

WILSON

Is almost on him now.

VALENTINE

Tries to scramble away.  Throwing anything he can get his
hands on at.

WILSON

Who keeps coming.  He grabs Valentine, pulls him up, then
throws him into the television.

VALENTINE

Crashes into the TV face first and bounces to the floor.

WILSON

Goes to him, grabs him by the neck with one hand and pulls
out his gun with the other.  He seems about to speak when
suddenly he screams instead.

			WILSON
	AAAAGGGGHHHH!

ADHARA

Has just stuck a kitchen knife into Wilson's back.

WILSON

Turns instinctively and whips the pistol around, smashing
Adhara in the mouth.

ADHARA

Hits the ground.  She won't be retaliating.

WILSON

In agony, spinning, trying to reach the knife in his back,
but IT'S JUST BEYOND HIS REACH.

VALENTINE

Scrambles through the sliding glass door.

EXT. BIG SUR HOUSE.  BACK PORCH.  NIGHT.

Valentine stumbles out.  Notices Avery slumped on the deck,
mortally wounded.  Goes to him -- as if concerned -- but
actually just to take the gun.  Then runs off the porch
toward the STEPS that lead down to the sea.

WILSON

Comes out after him, the knife still in his back.  So intent
on catching Valentine he fails at first to notice Avery lying
in the shadows.

AVERY

Has just barely managed to reach Stacy's pistol.  Raises it
weakly.  Points it at Wilson.

WILSON

Seems to feel it.  Turns.  Locks eyes with Avery.  Avery
could already have shot him.  But there's a momentary sense of
recognition:  both of them just foot soldiers for fat cats --
and Avery's is not worth saving.

AVERY

Lowers the gun.  Nods in the direction Valentine went.

			AVERY
	... that way ...

Wilson moves on.  Avery just lies there, presumably to die.

EXT. BIG SUR HOUSE.  STEPS.  NIGHT.

Valentine hurries down the rickety steps.  Trying not to slip
in the darkness, though there are tiny Malibu lights
illuminating the steep and winding wooden framework.

EXT. BEACH.  NIGHT.

A rocky cove.  Valentine looks back up the way he came,
HEARING the FOOTSTEPS coming down after him.  Backs away a
few paces on the slippery rocks.  Falls.

Lands on the crumpled, dead body of LARRY, the bodyguard, who
was thrown off the cliff.  Valentine recoils.  When Wilson
appears, Valentine FIRES at him.  A wild shot that only makes
Wilson duck momentarily.  Valentine scrambles to his feet,
runs on.

WILSON

Jumps down from the steps.  Stops for a moment and leans his
back against the railing.  Bends at the knees slightly.

THE KNIFE

The handle is forced upward just enough to be reachable now.

WILSON

Grimacing, pulls the knife out and discards it.

FURTHER DOWN THE BEACH

Valentine runs.  Or tries to.  It's dark and the ground is
treacherous.  The beach runs out pretty soon.  Now just
rocks.  Maybe he thought he could get around the rocks on the
point at the other end.  But he can't see very far ahead.
And the tide is in, water making any escape extremely
difficult.  He tries to scramble over some rocks.  They're
wet, slippery.  He falls, cries out as he literally breaks an
ankle.

WILSON

A dark figure.  Coming into focus.  Walking inexorably this
way.

VALENTINE

Painfully rights himself.  A small bone protrudes from his
broken ankle.  He FIRES at Wilson, gun in one hand, other
hand gripping his wrist to try and steady it.  Doing his best
to aim.  But the SHOTS miss their mark.

WILSON

Steadily coming.

VALENTINE

Out of bullets now.  Gun CLICKING crazily on empty.  He
simply drops it.

WILSON

Now stands before him.

THE TWO OF THEM

Both breathing hard.

			WILSON
	Tell me.

This is not what Valentine expected.

			VALENTINE
	What.

			WILSON
	Tell me.

			VALENTINE
	Tell you ...

			WILSON
	About Jenny.
		(closer)
	Tell me about Jenny.
		(closer)
	About the deal.  Whatever fucking deal
	you had to kill my daughter for when she
	found out about it, you bastard.

Wilson drops to the ground too, in a passionate fury, starts
strangling Valentine.

			WILSON
	Tell me.  Tell me about it, you fucking
	bastard.

Easing up just enough for Valentine to sputter out a
response.

			VALENTINE
	She could've had the deal!  I would've
	handed it to her if she wanted.  I would
	have given her everything.

			WILSON
	Why then.  Why did you do it!

They're locked in a kind of embrace.  Sprayed by the waves
crashing into the rocks.  Sweating and gasping and exhausted
and hurt and furious.

			VALENTINE
	She didn't want to share it, she wanted
	to stop it.  To stop me.  She said she'd
	turn me in.

WILSON

Shock of recognition on his face.  At those words.

			VALENTINE
	She said, "You go ahead with this, I'll
	turn you in, Terry."

Wilson sits back.  Panting.  Totally spent.  The two of them.
Both on the ground now.  Whatever energy they had left drained
-- Valentine from his confession, Wilson from hearing it.
Valentine shaking, sobbing.  Still not realizing the pathetic
folly of his actions.

			VALENTINE
	She was serious.  She would have done it.
	She had the phone in her hand.  She was
	going to do it.

WILSON

Knows that the girl he loved ... loved Valentine, too.  Having
heard the truth, the last vestige of revenge has vanished.
He gets up and walks away.  Leaving the quivering shell of
Valentine behind.

						CUT.

INT. BIG SUR HOUSE.  LIVING ROOM.  NIGHT.

Adhara wakes up.  Hand to her smashed cheek and mouth.  But
it's not her hand.  It's Valentine's.  She sort of shuffles
away from him along the floor.  Sits against a wall holding
her face.  Valentine sits back against an opposite wall.
They stare at each other.

						CUT.

INT. PLANE.  DAY.

Wilson, lost in thought.  Accepts a drink from a FLIGHT
ATTENDANT.  We can see it pains him to reach for it.

			WILSON
	Ta.

After setting the glass down, his other hand goes to the
shoulder where his stab wound was no doubt only temporarily
dealt with.

FLASH CUTS:

WILSON. At the roadside hotel, grimacing.

ELAINE. Cleaning his wound.

Wilson rubs his shoulder.  The AMERICAN LADY in the seat
beside him heard the way he said thanks to the Flight
Attendant.

			LADY
	You're English.

A small beat (which he takes each time he responds).

			WILSON
	Yeah, that's right.

			LADY
	I can never decide what I like better.
	Leaving home, or coming back.

WILSON

Takes this in.

FLASH CUTS:

WILSON. Shaving in the mirror at his L.A. motel. He stops.

WILSON. In the car leaving Valentine's house. Fingering the
picture of Jenny.

			WILSON
	I would have preferred staying home, me.

			LADY
	You're a reluctant traveller, then.

Wilson nods.

FLASH CUTS:

WILSON. In the car with Elaine and Ed, driving back from Big
Sur. Everyone in their own world.

WILSON. At Ed's house. Saying goodbye.

WILSON AND ED. Shake hands.

ED. Watching him get into Elaine's car.

			WILSON
	Got called out to L.A., unexpected like,
	to do a job of work.

FLASH CUTS:

WILSON. At the airport, staring at Elaine.

ELAINE. Staring back.

WILSON AND ELAINE. She embraces him.

ELAINE. She watches him leave.

WILSON. Disappearing into the terminal.

			LADY
	You'll be looking forward to getting
	back, then.

			WILSON
	Yeah.  Another little matter needs
	attending to soon as I return.

			LADY
	No rest for the wicked.

Wilson nods, exhales.

FLASH CUT:

WILSON. In the cab on the way to Ed's, at the beginning of
the film. Watching the lights go by.

			WILSON
	Been away a lot.

			LADY
	Where else?

Longer beat.  He actually turns to look at her now.  Takes
her in, then looks forward again.

			WILSON
	Out on a oil rig.  In the North Sea.
	Nine years.

			LADY
	Nine years?
		(laughs)
	Is that legal?

			WILSON
	Well, time off for good behavior, you
	know.  I shouldn't have even been there
	-- it was these other blokes who shoulda
	gone in my place.  I got lumbered with
	the job they were responsible for.  I
	don't mind pulling me own cart, but not
	someone else's, know what I mean.

			LADY
	But you stuck it out, anyway, all that
	time.

			WILSON
	I had to, didn't I.  Nothing else for it.
	Then just when I'd finished my nine years
	-- my contract -- wallop, I had to bugger
	off to the States.

			LADY
		(reacting slightly to his
		 "colorful" language)
	Sounds like you need a rest.

			WILSON
	Could do, yeah.

Another beat.

			WILSON
	But first I gotta give these lads a
	talking to, these geezers what sent me up
	the river, in a manner of speaking.

			LADY
	The ones whose burden you took upon your
	own shoulders.

			WILSON
	Yeah.

And he turns away, to the window.  Looks at the blue sky.
Sips his drink.  Then, hard:

			WILSON
	Them next.

						        CUT TO BLACK.

THE END.