"Ronin", early, by J.D. Zeik
RONIN
an original screenplay by
J.D. Zeik
DRAFT: May 20, 1997
A BLOOD RED SCREEN - A JAPANESE DRUM starts to play, softly,
but tinged with a desperate edge, growing louder, joined by
other DRUMS as a BLACK LEGEND scrolls up: In feudal Japan,
the warrior class of Samurai were sworn to protect their
liege lords with their lives. Those Samurai whose liege was
killed suffered a great shame, and they were forced to wander
the land, looking for work as hired swords or bandits. These
masterless warriors were no longer referred to as Samurai,
they were known by another name: Such men were called Ronin.
The words hang on the screen and we hold for a BEAT, and then
the DRUMS are cut off by - A SILENCED GUN SHOT: Thwpfft...
FADE IN ON:
INT. A MEDIEVAL CATHEDRAL - NIGHT
It's dark, and so it takes us a minute to realize we're
MOVING UP STONE SPIRALING STAIRS, up up up in what we now see
is a medieval cathedral. And as we continue MOVING UP
something TRICKLES DOWN INTO FRAME - BLOOD. Running thin,
then thicker, as we CONTINUE TO MOVE UP the stairs and find -
A BODY, sprawled awkwardly across the stones, arms and legs
akimbo, not so much Christ-like as victim-like. In one hand
the Body holds a GUN he never had a chance to use. In the
other - A DARK SHAPE, we can't quite tell what it is.
FOOTSTEPS sound from above and - THE KILLER walks into frame,
silenced pistol dangling at his side. We don't know him, and
it's going to be a while before we see him again, but mark
his face because we'll see him again. The Killer now picks
up the dark shape in the Body's hand, and we see it's - A
BRIEFCASE. The Killer cuffs the Briefcase to his wrist and
turns to - TWO MEN standing behind him: subordinates. The
Killer shows them the Briefcase.
KILLER
God loves me.
THE BODY suddenly twitches -- this guy is not quite dead.
The Killer raises his silenced pistol.
KILLER
(to his victim)
But I don't think he's too fond of you...
SLAM CUT TO:
EXT. A BACK STREET - PARIS - NIGHT
A PHONE RINGS, replacing the sound of the silenced gun shot
we expected to hear.
Rain-slicked cobblestones gleam in a twinkling of
streetlight.
EXT. A PHONE BOOTH AT THE END OF THE STREET
The source of the ringing. We start to PUSH SLOWLY IN one the
phone booth, and as we do we hear the VOICE of an UGLY
AMERICAN.
UGLY AMERICAN (V.O.)
What is this?
CUT TO:
INT. A DRIVE BAR IN PARIS - NIGHT
A SOCCER MATCH is in progress on a TV which sits above the
bar in this smokey, dim dive.
UGLY AMERICAN (O.S.)
This is not football...
And now we're PULLING BACK DOWN THE LENGTH OF THE BAR. We
see THREE MEN sitting seperately at the bar, paying no
attention to each other. One of these men watches the game
with real interest. The Ugly American talks on from off
screen.
UGLY AMERICAN (O.S.)
(continuing)
...Football is three hundred pound guys,
they run way too fucking fast, they got
helmets made of kevlar they use to spear
the quarterback into the next life.
SLAM CUT TO:
EXT. THE STREET OUTSIDE
The phone is still ringing, louder now, and we're MOVING
TOWARDS it while looking THROUGH AN UNSEEN PAIR OF EYES, and
even as we drink this in we're back in -
INT. THE BAR
AT THE END OF THE BAR - LARRY, the Ugly American. He's got
an obvious attitude, all of it bad. But there's something
about the guy -- he's not all bluster, and he has the look of
a seasoned tough guy who knows how to get rough and tumble.
He's big, and yeah he's got a gut, but the rest of him looks
solid.
LARRY
(talking to the air)
You wanna know what football is? It's
hitting the other guy dirty and then
spitting in his face when he's down.
Football is all things American, and
American is A-Number-One the absolute
fucking best there is. That's what
football is...
(he points to the TV)
...And that's not football.
The one man at the bar who's been watching the gam turns
slowly and gives Larry a long look. This is VINCENT: French,
hard boiled and solid. Charming when he wants to be, which
isn't all that often. He gives Larry a long look and then
speaks -
VINCENT
(to Larry in perfect English)
Football -- American football -- is a
game for faggots.
A BEAT. The other two men at the bar, who seem like tough
customers themselves, pretend not to watch too closely, but
they're interested: what's Larry going to say? For a moment
it seems as if he's pissed, but then suddenly a smile breaks
out on his face and he laughs heartily at Vincent's remark.
Vincent joins in, as do the others. In particular - THE
BARTENDER looks relieved -- he's tough enough to toss a bar
drunk, but these guys are in a different league. The
Bartender laughs with the others, happy to have avoided a
confrontation as we go back to -
EXT. THE STREET OUTSIDE
We're almost ON TOP OF the phone booth, the phone is still
ringing as a HAND reaches INTO FRAME and snatches the phone
from its cradle.
A WOMAN'S VOICE (V.O.)
(a touch Irish accent)
Yes?
ANOTHER ANGLE - And we see a woman named DEIRDRE on the
phone: striking, dark-haired, Irish. She carries herself
with the same professional edge as the men inside the bar.
Deirdre listens for a moment to the voice on the other end,
and before she speaks she sense something - A SILHOUETTE
stands in the shadows of the bar, watching Deirdre. She
gives this silhouette a measure glance before speaking, her
hand creeping ever so slightly towards her coat.
DEIRDRE
Can I help you?
The silhouette steps into a POOL OF LIGHT. This is SAM.
Tough, lean, enigmatic. Somebody you might trust, but whom
you'd never cross. Sam returns her look before he speaks.
SAM
No...
Sam moves towards the bar, and Deirdre returns to her phone
conversation.
DEIRDRE
I'm here...
(a beat, responding to a
question)
No, it was nothing.
INT. THE BAR - A MINUTE LATER
Sam enters and by now the men inside have all come together
at the bar, talking casually, recognizing they're somehow all
here for a reason. With Larry and Vincent we see - GREGOR, a
man from Eastern Europe. His accent is hard to pin down,
but he most definitely has one. Gregor has the air of an ex-
spook, and that's exactly what he is. Lastly we see SWEDE --
blonde, muscular, and somehow blank in the face. No, he's
not stupid -- he's a sociopath. Now - Sam looks at the
group, which grows quiet as he enters. Finally, Sam speaks.
SAM
Sorry I'm late...
VINCENT
(a challenge)
What makes you think we're here to meet
you?
SAM
(meeting Vincent's gaze)
Who else would you be?
Vincent turns towards the others, including them in an
expansive gesture.
VINCENT
Perhaps the police?
SAM
I know cops -- and you're no cop.
Vincent smiles at Sam's answer, satisfied, and makes room for
Sam to join them. Vincent takes a pack of cigarettes, shakes
them so that one sticks out, and offers it to Sam.
VINCENT
Cigarette?
SAM
No thanks.
Vincent looks a little disappointed at this as we go -
EXT. BACK OUTSIDE - SAME TIME
THE PAY PHONE makes a sharp noise as it's cracked back into
the cradle. Deirdre stands at the phone booth, lost in
thought. Then, without warning - Deirdre spins around,
pulling TWO GUNS from inside her coat. The move is fast,
performed with the grace of a professional killer, as Deridre
scans the horizon, but nobody seems to be watching. Deirdre
pockets her guns and steps into the shadows of the street,
the better to watch -
THE BAR - And as Deirdre watches the bar we watch her.
PULLING BACK from Deirdre, UP INTO THE AIR and then MOVING
THROUGH TO -
INT. A CHEAP APARTMENT - SAME TIME
LOOKING THROUGH A WINDOW, donw onto the street below. Barely
visible we can see Deirdre. And staring at Deirdre - THE
WATCHER. Somebody we're going to see periodically through
the movie. Right now he's only a SILHOUETTE with a well-
defined PAIR OF HANDS. And in those hands - A KNIFE. As the
Watcher watches he slowly cleans his nail with the knife,
methodically, perfectly. And he watches. First Deirdre, and
then turning his attention to THE BAR. He's especially
interested in the bar.
A TIME CUT TO:
INT. THE BAR - LATER
The BARTENDER is wiping out a last glass. When this is
finished he looks up at -
A TABLE IN THE BACK -
Where our five guys have relocated. Now the Bartender and
Vincent exchange a look, and then the Bartender takes out a
set of keys and tosses them - THROUGH THE AIR and they SMWACK
into Vincent's hand. The Bartender and Vincent speak in
rapid-fire French, and then the Bartender is gone. Sam turns
to Vincent.
SAM
He trusts you to lock up?
VINCENT
Let's just say he knows who I am.
Vincent takes out his pack of cigarettes and offer them
around the table -- again, nobody takes on. Vincent seems
really disappointed by this.
LARRY
Anybody wanna tell me what we're waiting
for?
VINCENT
(lighting his cigarette)
The question isn't what we're waiting
for... it's who.
LARRY
And who the fuck is that?
GREGOR
Whoever hired us.
SAM
I got this gig through a contractor.
And he most definitely didn't know who
was doing the hiring, only that they
were paying a lot of money...
There's a kind of general look around the table -- a nod or
grunt of acknowledgement, indicating that all of these men
were hired the same way.
SAM
(continuing his thought)
So none of us knows who's paying the
freight, this is just some anonymous job.
For all we know, we're working for
different people.
GREGOR
Now that is an interesting proposition.
SWEDE
How so?
GREGOR
Because if there's more than one party
involved, if we really are working for
different people, then perhaps some of us
are on different sides.
(with great meaning)
Your orders might be different from mine.
LARRY
What're you talking about, man? I don't
understand.
SWEDE
(quietly, but loud enough to be
heard)
What a surprise...
LARRY
I got a surprise for you, blondie...
GREGOR
(sharply, as if he's used to
giving orders)
Why don't both of you shut up?
LARRY & SWEDE
(to Gregor at the same time)
Fuck you!
SAM
Knock it off!
There is a BEAT. Gregor, Swede and Larry look at Sam, who
glares them all down. Lastly, Sam turns and looks at
Vincent. The two men nod at one another, acknowledging a
kind of mutual respect.
SAM
The point remains: we could be working
for different people. There's a chance
for one of us...
(looks around the table)
Maybe more than one of us -- has been
paid to cross the others. I don't know
about you guys, but I like to know who
I'm working for. It can help prevent a
great deal of...
(finding the right word)
...unpleasantness.
LARRY
(patting the gun inside his
cheap suit)
Anybody tries to unpleasant me I'll put
two between his eyes -- one to do the job
and the other to make sure it takes.
From OFF SCREEN we hear a new sound: LAUGHTER. ANOTHER ANGLE -
Deirdre has entered the bar, and she's amused by this last
exchange.
DEIRDRE
It's good to see you've all got such
faith in our little undertaking.
LARRY
Who the fuck are you?
DEIRDRE
(staring at Larry)
The name is Deirdre, and I'm running this
show.
GREGOR
Who are you? IRA?
DEIRDRE
(with a brittle laugh)
Not likely. Once, yeah, I was -- but
there wasn't an inch of profit in it, and
I'm a cash oriented girl, if you take my
meaning. I'm a hired gun, same as the
rest of you, and that's all any of us
needs to know about the other.
Deirdre hands out several thick envelopes. Larry and Swede
open theirs and stare at the wads of Franc Notes stuffed
inside. Even Gregor cracks his envelope and peaks at his
money. But neither Vincent nor Sam takes a look.
DEIRDRE
From here on in you want something you
pay cash for it: no credit cards, no bank
accounts are in place: ten percent up
front, the rest when the job is done.
(a quick beat, then she looks
at Gregor)
You. What do you do and what should we
call you?
GREGOR
These days they they call me Gregor -- and
I'm a tech. I do electronic work,
surveillance, computer runs.
Deirdre turns to Sam.
SAM
Sam. I'm a weapons guy.
DEIRDRE
You were a soldier, were you?
SAM
Once.
Deirdre gives Sam a look -- and he returns it. Finally,
Deirdre turns to Larry.
LARRY
I drive -- and my name is Larry. Larry
from the States.
DEIRDRE
(she turns to Vincent)
And who are you?
VINCENT
I'm Vincent. And I coordinate.
SAM
(sharply)
Coordinate what?
VINCENT
Things. This is my country, you know.
The two men exchange another look. A pecking order is
developing among the group: Vincent and Sam are both natural
leaders, and now they're feeling one another out.
DEIRDRE
(to Vincent)
Coordinate all you want, but make sure
whatever you do gets cleared through me.
(Vincent doesn't respond for a
moment)
Are we in sync on this, Vincent?
VINCENT
Of course.
Deirdre waits a BEAT, letting Vincent know what she isn't any
more intimidated by him than he is by her. Finally, she
turns to Swede.
SWEDE
They call me Swede.
LARRY
Who's they?
SWEDE
Everybody.
VINCENT
And what is it you do?
SWEDE
Me?
(with a smile)
I kill.
CUT TO:
INT. A WAREHOUSE - DAY
A PAPER TARGET, in the shape of a human being, dances in
place as it is riddles with GUNSHOTS, each shot hitting the
target in the belly, each shot fired by - Larry, whose been
shooting a sleek automatic pistol from which he's just
discharged an entire clip. The gun is empty, Larry turns to
Sam, who stands next in line.
SAM
(looking at the target)
You shoot alright.
LARRY
Gets the job done.
SAM
All in the stomach, though. Your man
might live.
LARRY
Not for long.
SAM
Long enough to shoot back.
LARRY
Is that right?
SAM
It's been known to happen.
LARRY
(a challenge)
Why don't you go do better, then...
Without a word, Sam pops a new clip into the gun and SHOOTS
THE LIGHTS out of several other human targets, hitting each
target in a different place. One he clips between the eyes,
the next in the heart, one in the groin, and then the last
target - He SPLITS DOWN THE MIDDLE, firing shot after shot
from the head to the groin until the target is sheared in
half. Larry is impressed in spite of himself.
LARRY
Yeah, well... My way works too.
SAM
My way is better.
IN A CORNER OF THE WAREHOUSE -
Gregor has set up a table loaded with computers and
electronic whizmos. Right now Gregor is holding a
particularly high-tech type CELL PHONE in his hands, looking
at it almost lovingly.
DEIRDRE (O.S.)
Is it alright?
ANOTHER ANGLE - Deirdre sits nearby, looking at the cell
phone.
GREGOR
It's quite satifactory.
DEIRDRE
Good, because it cost enough. There's
cheaper phones by far than that one, man:
you better fucking use it.
GREGOR
(almost caressing the phone)
I intend to. This phone is wired like no
other: it's got an encryption chip and
instant sat-a-link recognition, it can
talk to any computer in any language and
make it understand. With my custom
hardware and this phone I can trace the
target's cell phone signature and follow
him anywhere he goes...
DEIRDRE
You sure about this?
GREGOR
I'd stake my reputation.
DEIRDRE
But would you stake your life, that's the
question...
GREGOR
In this business, your life and your
reputation are more often than not one
and the same.
From off screen we hear MUNCHING. It's - Larry inhaling a
sandwich. A malicious look comes over Swede's face, who's
cleaning a pistol and sitting near Larry.
SWEDE
You should watch what you eat.
LARRY
Who the fuck died and appointed you food
czar?
SWEDE
I'm just worried about your health,
Larry. You could stand to shed a few
pounds.
LARRY
(sensitive about his weight)
And you could stand to get a little
smarter, ain't that right you dumb blonde
fuck?
SWEDE
(sensitive about the dumb
blonde thing)
Who you calling dumb, dickless?
Both men eyeball one another, and then suddenly Larry reaches
for his piece, and as soon as he does this Swede does the
same thing, but before they can do anything - DEIRDRE'S GUN
swings INTO FRAME, smashing Swede in the face and dropping
him to the floor. Larry's mouth drops open in surprise, but
it's too late: Deirdre kicks him in the stomach and then
rabbit punches him in the back of the neck, driving him to
the ground.
DEIRDRE
(standing above them)
Next one of you fuckers plays this game
I'm going to do for you myself. I won't
say it again: we don't have time for this
shit! There's a clock running on this
job, gentlemen, and I mean to be on
schedule.
A TENSE MOMENT as Deirdre stares down at these tough guys --
letting them know who's in charge. A SOUND from OFF SCREEN
interrupts this moment: a DOOR opening, as we see - Vincent,
who stands in the door, wearing his coat and hat.
He's been out somewhere, and he looks first at the squabbling
men, and then at - Deirdre. She gives Vincent a little nod --
a silent command that makes Vincent turn to Sam.
VINCENT
Let's go for a ride.
Vincent and Sam start off, moving towards the door, while Swede
and larry slowly pick themselves up off the ground.
SAM
Where to?
VINCENT
To see a man about a thing.
SAM
I can do that.
EXT. THE WAREHOUSE - SUNSET
A DESOLATE URBAN LANDSCAPE - Sam and Vincent walking away
from the warehouse, which is housed in what looks to be the
toughest neighborhood in the city, filled with CHEAP CONCRETE
PUBLIC HOUSING and INDUSTRIAL BUILDINGS.
THE SETTING SUN throws a red glow on the street, giving the
raw concrete buildings a blood-colored tint, as Sam and
Vincent approach a FIAT, a car neither too old nor too new.
Before they can reach the car, the two men are intercepted by
FOUR TOUGHS, young guys in their early twenties. The LEADER
of the Toughs apporaches Vincent.
LEADER
(subtitled French)
Who gave you permission to park here?
SAM
(to Vincent)
What's he saying?
VINCENT
Pretty much what you'd expect.
SAM
(with a sigh)
That's what I thought.
LEADER
(in French)
There's a charge for parking on our
block.
The other Toughs add lib a few tough guy remarks (in French,
of course).
VINCENT
(to Sam)
He says this is their block.
SAM
As in, they own it?
VINCENT
Something like that...
SAM
And I suppose he's saying that we oughta
give them something for using it, huh?
VINCENT
I didn't know that you spoke French.
SAM
I don't. But the language he's speaking
is universal.
ANGLE ON THE LEADER - Who's smirking at Vincent and Sam.
Sam's words make a great deal of sense: the Leader is
speaking the universal language of "give me some money or
I'll kick your ass."
SAM (O.S.)
I guess we oughta give them something...
CUT BACK TO: Vincent and Sam.
VINCENT
If you think we should.
Vincent backfists the Leader in the nose -- hitting him so
hard that the Leader skitters back on unsteady feet and then
sits down on his ass. This blow hurt, but the real damage is
to the Leader's pride. Now - One of the Toughs rushes at
Sam, only to have Sam perform what looks like a jujitsu throw
which savagely jerks the Tough off his feet and flattens him.
SAM
(as if it were an accident)
Oh man, I am sorry about that...
(he sticks his hand out)
Let me give you a hand.
Sam reaches down as if to help the Tough, who ignores the
hand and totters to his feet. As soon as he's up he turns
and runs away, followed by the other Toughs. Now only the
leader is left behind. He looks for a second at Vincent and
Sam, and then turns and runs after his friends. Vincent
calls after him in French, but whatever he says isn't
translated. Vincent turns to unlock the car.
SAM
What'd you say to him?
VINCENT
I asked if we could give him anything
else.
By now the two men are in the car, which starts up and drives
off, as it does we -
CUT TO:
INT. THE FIAT - SAME TIME
VINCENT
That was a nice move you did on our young
friend. Judo?
SAM
Jujitsu.
VINCENT
Same thing, isn't it?
SAM
Not at all. Similar, but not the same.
VINCENT
What's the difference?
SAM
One's a lot more painful than the other.
Vincent laughs, and Sam looks out the window at the city of
Paris as we MOVE THROUGH to the outside world of -
EXT. PARIS DRIVING MONTAGE - TWILIGHT
A SERIES OF QUICK CUTS of the car driving through Paris at
night. We don't see familiar sights like the Eiffel Tower or
the Arc de Triomph, but instead - We travel through the LEFT
BANK, down a series of Mazy Alleys which twist and turn,
filled with bistros, bars and falafel joints. NEON SIGNS
line the streets for as far as the eye can see. Near the end
of this trip we hear the SOUND OF A MATCH FLARING, followed
by -
SAM (V.O.)
Could I get one of those?
INT. THE CAR - STILL DRIVING - SAME TIME
Vincent is driving and smoking a cigarette. He tosses his
pack to Sam, but he seems a little surprised at Sam's
request.
VINCENT
Help yourself.
(quick beat)
Since when do you smoke?
SAM
(lighting up)
I have, I don't know, maybe a cigarette a
week.
VINCENT
A cigarette? As in one?
(exasperated, almost to
himself)
One cigarette a week, who smokes like
that?
SAM
I do.
VINCENT
Christ, I smoke a pack-and-a-half a day,
and I tell myself I could be worse.
(takes a satisfying drag)
It's just so damned pleasurable.
SAM
(blowing a smoke ring with
great skill)
It has it's moments.
(stubs out cigarette)
Course, you get cancer and die, that's
the down side.
VINCENT
(with a sigh)
There is that.
Vincent stamps his cigarette out, looking vaguely unhappy
that Sam has spoiled his smoke.
SAM
So, Vincent: why bring me along for the
ride? Job like this calls for a warm
body, somebody who can stand around and
look threatening. A tough guy.
VINCENT
Like Larry or Swede.
SAM
Exactly. Why not bring them?
VINCENT
Let's just say I thought the
conversational possibilities were
limited. Of course, I might have brought
Gregor, but he didn't seem like the right
candidate -- for this.
SAM
Watch that one, he's an ex-spook for
sure, maybe Stasi, maybe KGB. He's
smart, Gregor is.
VINCENT
So is the woman.
SAM
Deirdre? Smart, yeah, and seriously
goddamned dangerous.
VINCENT
I wonder if she truly left the IRA.
SAM
I've wondered that myself. None of this
answers my question, though...
(suddenly direct)
Why bring me?
VINCENT
I wanted to see who you were.
SAM
Who am I?
Vincent, driving all the while, gives Sam a sideways glance
before speaking.
VINCENT
You were once some kind of special
forces. Airborne Ranger, maybe a Navy
SEAL. After that you rode shotgun for
the CIA in some place like El Salvador or
Afghanistan, a real mercenary.
(beat)
Only now -- now you're like the rest of
us, it's a very competitive market since
the end of the cold war. There's a lot
of hired guns out here, and not nearly
enough work to go around.
SAM
That's right: there's not hardly enough
work these days, nothing that pays the
big money, anyhow. Then along comes this
job, paying so much goddamned money I
couldn't afford not to take it. Somebody's
paying through the nose for this.
VINCENT
They certainly are. Whatever it is we're
going to steal, it must be quite
something.
SAM
Whatever it is it must be goddamned
priceless.
And on that thought we -
CUT TO:
EXT. A SIDE STREET - NIGHT
The Fiat pulls up to the curb and Vincent and Sam get out.
Vincent leads Sam around a corner and they come to -
AN EXQUISITE PARK, a small, perfectly manicured place -- a
kind of mini-Luxembourg Gardens in the middle of nowhere.
When Sam sees the park, he draws an involuntary breath.
VINCENT
Lovely, isn't it?
SAM
They'd have to keep something like this
under lock and key in New York, and it
would still get fucked up.
The two men enter the park, which is, indeed, open to the
public. Inside, sitting on a bench in the back, almost
invisible from the street, we see - FRANCOIS, a stubble-faced
tough with a stained shirt and bad teeth. Vincent and Sam
draw near. This next conversation between Francois and
Vincent is in FRENCH WITH ENGLISH SUBTITLES.
FRANCOIS
That's good right where you are, Vincent.
Vincent signals for Sam to stop. Both Vincent and Sam are
still several feet away from Francois.
VINCENT
Do you have it?
FRANCOIS
Not so fast.
(nods slightly to Sam)
Who's that?
VINCENT
He's company.
FRANCOIS
(as if he recognizes Sam)
Bad company...
VINCENT
What do you mean?
FRANCOIS
He's a cop, Vincent, he's French and he's
a cop and you better shoot him in the
fucking head right now!
Sam hasn't said a word -- he doesn't seem to understand
what's been said, but he has noted the urgency with which
Francois spoke. Now - We HOLD FOR A BEAT. Neither Vincent
nor Francois pulls out a piece to shoot Sam. Instead they
wait to see if Sam will respond in any way to what Francois
said. The conversation now switches to ENGLISH, which (it
turns out) Francois speaks fairly well.
SAM
(to Vincent)
What's going on?
VINCENT
I just wanted to see something.
SAM
(that edge creeping into his
voice)
See what?
Vincent isn't going to answer, but the overbearing Francois
chimes in.
FRANCOIS
He wanted to see how you reacted when I
said that you were a cop.
SAM
(he can't believe this)
You told him I was a cop?
FRANCOIS
He asked me to say it.
SAM
(looking at Vincent, truly
pissed)
He asked you to?
VINCENT
I needed to know.
SAM
You need to know a lot of shit, Vincent.
FRANCOIS
(to Vincent, in subtitled
French)
Are you ready?
Francois's French words give Sam pause -- he's wondering
what's being said, as - Vincent moves towards Francois,
leaving Sam several steps away. The conversation is again in
SUBTITLED FRENCH.
VINCENT
(taking out an envelope)
Here's yours.
FRANCOIS
There's been a slight problem.
VINCENT
(immediately tensing)
What's that?
Francois gives the slightest of nods, indicating that Vincent
should look towards a place perhaps thirty yards away -
A COPSE OF TREES, where we see a SNIPER pointed a telescopic
rifle at Vincent.
FRANCOIS
(still in subtitled French)
If you say a word in English, Vincent, my
friend with the high powered sporting
rifle will shoot you in the throat.
Sorry to screw you over like this, but
the information you want might get me
killed if I give it to you, and that's a
price I'm not willing to pay.
VINCENT
(in French)
I take it you still want the money...
FRANCOIS
(in English, with a grin)
Of course.
SAM'S POV: Looking at Vincent and Francois.
The men are talking, and from here we can't really hear them
speak. All Sam can see is an earnest Vincent listening to
Francois talk, almost as if Francois is giving Vincent
instructions. Now - Vincent reaches into his pocket,
reaching for the envelope of cash he's carrying. As he hands
the money to Francois, Vincent uses his free hand to pull out
his gun while - Sam already has his gun out -- somehow he
figured out what was going on -- and now Francois looks on in
stunned disbelief as -
Sam fires a single shot, hitting Francois in the shoulder,
driving him away from - Vincent, who now squeezes off several
rapid fire shots at the sniper, while - Francois, bleeding
but still very much alive, now has his piece free just as -
The Sniper, his gun firing wildly into the air, falls to the
ground, shot dead by Vincent, and now - Francois is drawing a
bead on Vincent when - Sam hits Francois with a fusillade of
bullets in the chest and now - A SINGLE SPENT BULLED CASING
flies through the air in SLOW MOTION and lands on the ground,
spinning around until it comes to a halt and - A HEAVY
SILENCE FALLS, as the last echo of the last gunshot finally
dies. Vincent and Sam look at one another, see that they're
still alive, and then look back at - The two men they've
shot. Francois isn't quite dead. Blood bubbles from his
lips as Vincent leans over him. Again, they speak in
SUBTITLED FRENCH
VINCENT
Where's my information?
FRANCOIS
(with a grim smile, pointing to
his head)
In here...
VINCENT
Then you better find it in your heart to
tell me, Francois, because while your
death is inevitable, it still isn't
decided how painful it's going to be.
A LONG ANGLE - Vincent whispers in Francois's ear, whose grin
blanches as he realizes Vincent means to hurt him. Francois
whispers something back and then - BANG. Vincent shoots
Francois in the head, killing him instantly. Then Vincent
bends down and retrieves the envelope of money which Francois
had tucked inside his shirt. As Vincent does this, Sam comes
up from behind.
SAM
Now would be a good time to get the fuck
out of here.
INT. THE FIAT - LATER/NIGHT
The two men drive in silence for a moment. Vincent lights a
cigarette and offers one to Sam, who refuses. Finally, Sam
speaks.
SAM
You know, what you pulled back there,
that was bullshit.
VINCENT
I needed to see if you were a cop.
(defensively)
I'm a popular man with the police, Sam,
and whenever they try to catch me they
always do it with an inside guy -- some
man on some job who seems more
trustworthy than all the others put
together. And that's the guy you have to
watch out for.
(beat)
I hate cops...
SAM
(insulted that Vincent would
even consider it)
Well I ain't a cop.
A BEAT, the two men driving in silence.
VINCENT
How did you know?
SAM
Know what?
VINCENT
That there was a gun pointed at me.
SAM
I saw you look off when Francois nodded
his head. I figured he wasn't pointing
out a particularly rare shrub, and the
rest was easy.
VINCENT
But how did you know I would have the
presence of mind to pull my weapon
when I did?
SAM
(as if it's obvious)
Because that's what I would have done...
CUT TO:
EXT. AN APARTMENT HOUSE - A LITTLE LATER/NIGHT
Vincent's Fiat is parked at the curb in front of this
apartment house. Vincent and Sam exit the car and move
towards the house -- a silence hanging between them. Right
before they go into the house, Vincent takes out the envelope
full of cash that was supposed to have been for Francois. He
thinks for a moment and then hands the whole envelope to Sam.
VINCENT
You saved my life back there in the park.
I know this doesn't begin to make it
right between us...
Vincent's voice trails off -- he doesn't know what to say.
Sam takes the money out of the envelope -- half he keeps for
himself, the other he gives to Vincent.
SAM
What I did back in the park I did because
we're working together -- we're on the
same team.
(holding up the money)
This is business -- this is work. We did
it together, we share the spoils, even
split.
Sam opens the door to the house, but Vincent has one last
thing to say to him.
VINCENT
I owe you a heavy debt.
Sam almost smiles cynically at this: debts of honor don't
seem to be something he believes in.
SAM
Whatever you say.
They enter the house and the door closes behind them. A
second later we hear -
DEIRDRE (V.O.)
What'd you do with the money?
INT. THE HOUSE - A LITTLE LATER
Vincent and Sam sit with Deirdre in a room, alone. They've
told her about the park, and she seems a little pissed about
all of this.
VINCENT
We kept it...
DEIRDRE
(a little annoyed)
Is that right?
SAM
Hazard pay...
DEIRDRE
(with an exhalation of disgust)
The two of you were supposed to go to a
simple meet and come back with a simple
piece of information, and instead you
went to fucking war...
SAM
We weren't real thrilled about it
either...
Deirdre shakes her head in disgust and rises. We FOLLOW HER
INTO -
AN ADJOINING ROOM -
Where Larry, Swede and Gregor are waiting. They look up
expectantly at Deirdre, who crosses through the room without
stopping -- she's really pissed about this turn of events.
LARRY
So what's the deal?
DEIRDRE
(barely stopping, very
snappish)
The deal? The deal is we leave for Nice
at first light.
And she exits, leaving these three men behind along with Sam
and Vincent, who have entered from the other room. larry
looks at the two of them.
LARRY
What'd you guys do?
EXT. OUTSIDE THE HOUSE - LATER THAT NIGHT
A CAR sits, cloaked in shadows. Inside sits our friend, the
WATCHER. Once again we see the Watcher's knife -- once again
he manicures his nails with it, almost delicately, as he
watches the House. It's dark -- a single light glows behind
a window on the third floor. Sam's room.
INT. SAM'S ROOM - SAME TIME
Sam has pushed all the furniture aside to make enough room to
do a martial arts form. Right now he's frozen, one leg
extended in a kick, balancing on the other leg. Now - A
KNOCK at his door -- seconds later, it opens. Deirdre stands
there, watching as Sam holds his position for a BEAT more,
and then retracts his leg.
DEIRDRE
I feel as if I've wandered onto the set
of Enter The Dragon. Could you teach me
to do that?
SAM
I didn't think to see you again tonight.
You were pretty pissed.
DEIRDRE
I still am.
SAM
Is that right?
DEIRDRE
That's right.
Deirdre spings at Sam, throwing martial arts combinations at
him: punch followed by kick, elbow strike followed by palm
thrust. Sam parries her blows as she drives him across the
floor until he's got his back to the wall. Their movements
are controlled, but powerful, and there's something almost
flirtatious about the whole thing. Now -
Deirdre throws one last punch which Sam ducks. He slips
behind her and suddenly they square off in earnest. The
previous martial arts stuff was a kind of choreographed
exercise, but now - They spar for real -- they never hit one
another, but they come awfully close, hands and feet whizzing
through the air, throwing rapid-fire combinations and
techniques. They're not angry, but they're not kidding,
either. Finally - Deirdre feints a punch that distracts
Sam's attention from - The KICK she throws right behind her
punch, and she smiles as - WHUMP! Sam wasn't distracted at
all -- he drops to the ground beneath her kick and catches
her standing leg with a sweep which takes her to the ground
and now - She's trapped beneath him. The two of them are
breathing hard from the exertion, their faces close to one
another, shining with sweat and excitement and - We've gone
from flirting to an almost primal seduction, and with their
faces only inches apart Deirdre leans in to kiss Sam, and
he's about to meet her half way when he pulls back.
SAM
Part of me says I should just look at
this as a perk. You know, a bonus. But
then I remember you're you -- Deirdre
who used to belong to the IRA -- and it
occurs to me that deceit and subterfuge
come very naturally to you.
DEIRDRE
(kissing him very lightly)
Nobody's saying they don't.
SAM
(returning the kiss, just as
lightly)
And when I consider that, I have to
wonder if you don't have some ulterior
motive for being here, with me, right
now.
DEIRDRE
I probably do.
(pulling him close)
But for the time being, I'm willing to
forget about it...
They finally kiss, slowly and then building in intensity, and
as they start to make love the
CAMERA MOVES UP - THROUGH THE BUILDING, floor by floor, until
we've reached -
EXT. A ROOFTOP GARDEN - MEANWHILE
Deirdre and Sam are not the only ones indulging in
extracurricular activities. Up here in this rooftop garden
we find Swede and Gregor talking in hushed tones.
GREGOR
I would imagine that the great
satisfaction in all of this will be
killing the American.
SWEDE
(we know this isn't true)
I hadn't thought about it. Understand
me, Gregor -- I take no pleasure in
killing. It doesn't bother me one bit,
but I don't get off on it.
GREGOR
A means to an end, is that it?
SWEDE
That's it.
GREGOR
(he rises to leave)
Then I guess we're set.
SWEDE
There is one other thing...
GREGOR
What's that?
Suddenly Swede pulls Gregor down to the rooftop with a harsh
THUD. Within seconds he has his gun pressed to Gregor's
head.
GREGOR
What are you doing?
SWEDE
Don't cross me...
GREGOR
Nobody's going to do that!
SWEDE
Really?
GREGOR
(truly frightened)
I need you, Swede, I can't do this
without you!
SWEDE
(beat, then he puts his gun
away)
I just wanted to make sure you knew who
you were dealing with.
GREGOR
I do, I do...
Swede is now on his feet, walking away, back into the
apartment house.
SWEDE
(this is almost to himself)
Just remember it, then.
And he's gone. And as soon as he is, we notice something
strange about Gregor: he's not the least bit scared -- he
laughs a little low laugh as we -
DISSOLVE TO:
EXT. THE HOUSE - DAWN
GRAY LIGHT seeps in from the horizon, while inside in -
INT. SAM'S ROOM - SAME TIME
Deirdre is pulling her dress over her head. Sam seems to be
sleeping in his bed as she moves like a cat towards the door
when -
Sam's HAND reaches out, gently yet firmly, and takes her by
the arm.
SAM (O.S.)
No goodbye?
ANOTHER ANGLE - Sam is somehow sitting up, wide awake --
looking at Deirdre with a penetrating glance.
DEIRDRE
Look, Sam, don't take it the wrong way
when I tell you we won't be doing this
again.
SAM
You don't have to explain yourself to me,
Deirdre.
DEIRDRE
(almost surprised by this)
I know I don't have to, Sam, it's just
that, for once, I want to. when I was a -
(almost with a sneer)
Patriot, it was a given I'd sleep with
any man it was deemed necessary for me to
sleep with. You know: any man who needed
setting up. Sometimes so we might
blackmail him, sometimes so he could be
killed.
(a quick beat)
Sometimes so I could kill him myself.
IRA isn't exactly an enlightened feminist
organization, Sam. To most of the men I
with I was always the girl. "Send the girl
to do it." "Tell The girl to take care of
it." "Have the girl fuck him."
(a quick beat)
But I look at you and I get this feeling
you take me for what I am: no more, no
less.
SAM
You're a hired gun, Deirdre -- just like
me.
DEIRDRE
Exactly. And last night I wanted to be
with someone who was just like me.
Somewhere in all of this Deirdre has sat back down on the
bed, and somehow now she's only inches away from Sam.
They're lips brush and -
A MUTED PHONE RINGS in a nearby room, breaking the moment. A
QUICK BEAT, then -
DEIRDRE
I better be getting that.
SAM
Duty calls?
DEIRDRE
(with a trace of a sigh)
Just business.
Deirdre gives Sam a light kiss on the lips and then she opens
his door. The muted phone is a little louder now. Deirdre
closes Sam's door as she exits, but - Sam reaches out a hand
and catches the door right before it snaps shut. He watches
THROUGH THE DOOR CRACK as - Deirdre cross the hall and
opens the door to her room, and now the phone rings loudly
until the door shuts, muting the sound once again, shutting
Sam out. The phone stops ringing as Deirdre answers and as
this happens Sam shuts his door and as the door closes we go
to - BLACK. Just for a second. And then - BLINDING SUN hits
us in the eyes as we find ourselves above -
EXT. NICE - DAY
A DAZZLING OVERHEAD MOVING SHOT, establishing that we've
changed locales, moved to a place filled with sun and blue
water and reflective surfaces: the Cote d'Azure. We start to
MOVE DOWN TOWARDS -
EXT. A PRIVATE BEACH - NICE - MEANWHILE
A TOPLESS GRANDMA reclines on a beach chair, soaking up rays,
sipping a drinnk just delivered by a young stud of a WAITER.
Nearby -
AT A ROUND TABLE -
A nice distance from anyone who might try to listen in, we
find our group: Deirdre, Sam, Vincent, Gregor, Swede, and
Larry. Food and drink surround them. Larry is, of couse,
still eating.
DEIRDRE
Now then, let's run through it one more
time, shall we?
(to Gregor)
What's your job?
GREGOR
I use my cell phone to get computer
access to the telecommunications
satellite used by our target. I trace
his cell phone signature and use it to
pin point his location as he moves
through Nice, relaying that information
to you.
DEIRDRE
(to Larry)
Next.
LARRY
(a sigh, he's done this too
many times)
You call me with the target's route, I
follow along until we've reached the
attack point and then I run his squag ass
off the road.
DEIRDRE
(to Swede)
Which leads us to...
SWEDE
I ride with fat-boy...
LARRY
(under his breath)
Eat shit and die slowly...
SWEDE
After we stop the target car I get out
and use the heavy artillery to kill the
driver and his bodyguard.
LARRY
I blast the lead car into oblivion...
VINCENT
(picking up)
While Sam and I take out the back two
cars...
DEIRDRE
Leaving...
SWEDE
(picking it up)
...Leaving me to step in, drop the target
in the back seat, and get the package...
DEIRDRE
(with a quick look at Sam)
While...
SAM
(returning her look)
...While I back him up, making sure to
get the package if something goes wrong
and somebody takes Swede down.
Nobody else seems to notice this look between them, but we
should -- if only to note that there's something about the
way Deirdre queries Sam about his role, and something about
the way Sam answers her without overly reacting -- they're
not flirting, but there's a kind of acknowledgment of the
history they now have between them. But -- nobody else
notices, and Swede's line follows Sam's without breaking the
flow of the dialogue.
SWEDE
Nobody's taking me anywhere...
DEIRDRE
And then...
LARRY
Then Swede and I split with the package
and meet you back at the rendezvous.
DEIRDRE
And then...
VINCENT
And then Sam, you and I clean up
whatever's left to be cleaned.
DEIRDRE
Very good. Now all we have to do is live
long enough to get paid.
EXT. A POSH HOTEL - LATER - NIGHT
A ROW OF ROOMS, each one with a light behind a shade. Even
as we watch the light in each room goes off: one two three
four five six lights -- one for each member of the team. The
night before the big event nobody breaks curfew.
ACROSS THE STREET -
A BAR -
Through the bar window we see the Watcher's silhouette. A
match flares as the Watcher lights a cigarette, REVEALING his
face for the first time: weathered, sharp, treacherous. THE
MATCH goes out, and the Watcher's face FADES TO BLACK, and so
do we.
FADE IN ON:
EXT. THE HILLS OF NICE - MORNING
A PRIVATE ESTATE IN THE HILLS -
A CARAVAN OF BLACK ARMOR PLATED CARS, all idling, ready to
pull out, filled with muscular men in suits with bluges under
their jackets, all of them waiting for - THE TARGET. Except
we've seem him before and he wasn't called the Target: he was
the Killer from the first scene of the film: the gunman in
the cathedral who made off with - THE BRIEFCASE. Which the
briefcase is still handcuffed to his side. Now the Target
gets into his car, a BLACK MERCEDES, and as soon as he's in
the caravan pulls out and - The Target takes out his cell
phone, punches in a number and starts to talk, and as he does
we - PULL BACK, INTO THE AIR, leaving the Caravan behind as
we MOVE TOWARDS THE WATER and -
THE PROMENADE DES ANGLAIS, the long roadway that runs the
length of the town adjacent to the beach. It's a special
place, a huge road for cars, along with a promenade for
tourists. Here we come upon -
AN OUTDOOR CAFE -
Where we find Deirdre, a laptop in front of her, wearing a
HEADSET. And, lest we think she looks out of place, we get
a look at -
THE REST OF THE CAFE -
Where many of the other PATRONS are typing away on laptops,
or chattering like crazy on their cell phone. She types a
sentence on her keyboard, and as she types she says it out
loud.
DEIRDRE
Alright, Gregor, I'm...
CUT TO:
INT. A CRAMPED COMPTUER CONTROL ROOM - SAME TIME
GREGOR
(finishing her sentence)
Ready when you are...
Gregor is sitting behind a console, looking at Deirdre's
message, which we can read on his laptop. Gregor also has a
much bigger COMPUTER with him as well, and on this screen we
see - A COMPUTER GRAPHIC MAP OF NICE. This is a map of
incredible detail, a high-tech graphic rendering of Nice.
Now - THE MAP starts to shift, randomly moving about the city
as it searches for the proper signal. The computer isolates
an entire district of the city, enlarges a part of the
district, and then locates and enlarges a single street. Now
- On screen a FLASHING CURSOR appears on the map, the TARGET.
The Cursor starts to move down one of the streets of Nice and
as we follow the Curson it TURNS INTO - THE TARGET CAR,
driving home the point that Gregor is now locked onto the
Target. THE JAPANESE DRUMS we heard in the opening sequence
start to play again -- softly, ominously, and we're on -
EXT. A SIDE STREET
Where VINCENT'S FIAT is parked at a curb, Sam and Vincent
sitting inside.
INT. THE FIAT
Vincent sits behind the wheel, while Sam sits next to him,
loading a small arsenal of weapons.
The DRUMS grow, a little louder now, a little more urgent.
EXT. ANOTHER STREET
A VOLVO idles, waiting for something, Larry behind the wheel
of this car, and sitting next to him Swede. The DRUMS
continue to play, and their volume is still low, but they're
jarring, setting our nerves on edge.
INT. THE VOLVO
LARRY
Where is this broad?
SWEDE
You should learn a little patience.
LARRY
Is that right?
SWEDE
It's consider a virtue in some corners
of the world.
LARRY
Not in mine.
THE CAR PHONE rings, and Swede pushes a button. Deirdre's
Voice is heard on the speaker phone.
DEIRDRE (V.O.)
Hello gentlemen, are we ready?
EXT. THE CAFE
Deirdre looks at her laptop and relays Gregor's instructions.
She speaks over her headset as if she's conducting ordinary
business -- as if she's giving someone traffic directs
over the phone. The JAPANESE DRUMS continue, quiet and yet
intense.
DEIRDRE
You want to take a left, then, so that
you're going west.
During this next sequence, the DRUMS will continue to play,
building with the action as we do -
THE CHASE MONTAGE: A SERIES OF CUTS AS -
The Volvo takes a flying left turn -
Gregor watches the Target on his computer as it moves towards
the Promenade des Anglais, typing the results on his
keyboard as - The Volvo careens down a steep hill, hits a
bump, and flies through the air a good fifteen feet, even as -
The Fiat follows close behind and hits the same bump, does
the same flight through the air and lands with a thud -
THE CARAVAN of cars -
THE TARGET CAR -
THE TARGET, still talking away on his cell phone - THE
COMPUTER MAP tracking the Target's movements, as the Map
shifts and moves as it keeps pace with the target, and now -
The Promenade des Anglais is right ahead and the DRUMS build
to a crescendo as -
The Volvo SMASHES into the Target Car and they grind
together, as -
CARS 3 & 4 in the Caravan are cut off by Vincent's Fiat,
which forces them to slam to a halt, as -
Larry runs the Target Car to a halt and the JAPANESE DRUMS
stop.
Larry and Swede hop out of the Volvo, and Swede brandishes a
MONSTER of a MACHINE GUN, with which he opens fire, a blast
of huge guage shells spitting a trail of fire, smashing
against THE WINDSHIELD of the Target Car, which is bullet-
proof. The windshield doesn't break right away -- but the
heavy blast of firepower causes the windsield to buckle.
Sam and Vincent are now out of the Fiat, guns drawn, blazing
away at BODYGUARDS, and Christ, there's an army of them,
pouring out of Cars 3 & 4. These guys are armed and returning
fire as -
Larry gets out of the driver's seat of the Volvo, and he's
got some kind of sumbitch weapons himself, a ROCKET LAUNCHER,
which he points and fires - And now we TRACK THE MISSLE as
it scorches the air, traveling towards -
The LEAD CAR of the caravan which has only now realized
what's going on behind it, and as frantic Bodyguards drive
back towards the carnage - The Missle IMPACTS, blowing the
Car sideways.
Meanwhile - Sam and Vincent are taking out the Other
Bodyguards, and these guys are warriors -- they moves as a
team, each man with a gun in both hands, using a weapon until
it's out of bullets and then discarding it in favor of a new
one.
And even as this is going on - Deirdre has joined the fray,
firing both of her pistols, taking Sam's place at Vincent's
side so that Sam can run towards -
The Target Car, where the Target is seated in the backseat,
pulling out his own piece, ready to fight to the death
himself as -
Swede continues blasting away at the windshield with his
monster gun, and now - The Windshield has started to crack
and splinter, and abruptly, it shatters, instantly bursting a
bright red as Swede's bullets tear up the body of the Driver.
Now Sam has reaches the Target Car, just as the Target, who
is armed and, as we know, not exactly helpless, steps out of
the car and sights in on Swede and - ZING! Sam fires,
winging the Target, knocking the gun out of his hand and
still the Target won't give up without a struggle, he hits
Swede with the Briefcase.
THE TARGET
Fuck you!
SWEDE
Not today.
BANG. Swede puts one shot between the Target's eyes, ending
his life. Now - Swede takes out a DAI-SHO, the smaller of the
two traditional Japanese Samurai swords. With one slashing
blow he hacks off the Target's HAND AT THE WRIST and grabs
the briefcase. The SEVERED HAND is still caught in the
handcuffs, so that it is carried along for the ride. Now -
DISTANT SIRENS sound from OFF SCREEN as Swede moves back
towards Larry and the Volvo, and as he goes he raises the
briefcase (with its severed hand) in a kind of mock salute to
Sam, who starts to move back towards Deirdre and Vincent, who
have taken care of the remaining Bodyguards, and now the
SIRENS are growing closer as we - START TO MOVE IN SLOW
MOTION as Swede approaches the Volvo and - Deirdre and Vincent
are already at Vincent's Fiat, waiting for Sam, and so they
don't notice that - A VAN has been parked nearby this entire
time, and now the van's side door slides open, and unseen by
any of the others - Gregor steps out of the Van, a gun at his
side, and a predatory look on his face as - Swede reaches Larry
and the Volvo just as - Sam has reaches the Fiat, and now he looks
back and sees - Gregor, crossing the street, and now - Sam
screams a warning to Larry, but it's way too late because -
Swede shoots Larry in the neck, hitting him above the
protective covering of his bullet proof vest. Now we're
MOVING IN REAL TIME as - Larry manages to get his backup
piece drawn, a snub-nosed .38, and he fires all six shots
into - Swede, hitting him in the stomach -- it's the same way
Larry shot the target in the warehouse. Swede is sent flying
backwards, where he crashes to the pavement. For a second we
think he's dead, but then he gets up, in pain but alive, just
as Sam predicted. Swede claws at his shirt to reveal that he
too wears a bullet proof vest. By now - Larry has rolled out
of the Volvo, crawling away but too weak to go far, and now -
Swede has Larry in his sights, he's going to kill him.
SWEDE
I don't particularly like killing, tubby,
but I want you to know that this one I'm
going to enjoy.
LARRY
(sees something over Swede's
shoulder)
I don't think so.
Swede turns to follow Larry's gaze, and as he does - Gregor
walks INTO FRAME and puts his gun right beneath Swede's chin.
Before Swede can even compute this, Gregor pulls the trigger,
firing straight up into Swede's brain. Then, without even
looking at Larry, who is lying helpless on the ground -
Gregor takes the briefcase and gets into the Volvo, driving
off just as - Sam arrives, kneeling down by Larry. The SIRENS
get louder.
LARRY
(in shock)
He just...I don't believe that son-of-
a...
Vincent's Fiat comes peeling to a halt in front of them,
Vincent and Deirdre inside it as Sam manages to get Larry
into the back seat. Sam doesn't get in the car yet as Larry
says -
LARRY
(still having trouble believing
it)
We've been crossed...
The SIRENS reach a crescendo as a group of GENDARMES arrive,
charging with automatic weapons drawn. Between the French
cops and our heroes lies the shot up wreck of the Target Car,
and now - Sam takes out a GRENADE, pulls the pin, and rolls
it across the ground, beneath the Mercedes, which the cops
have just reached. Seconds later - The Car EXPLODES, cutting
off the cops, and as this happens, Vincents puts the pedal to
the floor and gets the fuck out of Dodge. We start to SLOWLY
PULL BACK on the remains of this battle: the dead bodies, the
shot up cars, the broken glass, and that flaming, smoking
hulk of a Mercedes in the middle of the street.
DISSOLVE TO:
EXT. THE OLD CITY/NICE - SUNSET
The FIREBALL of the car turns into a BLOOD RED SUN as it sets
in the Western sky, tinting the stone buildings of the Old
City a coppery red.
We're MOVING THROUGH the Old City, through the twists and
turns of what an American would call back alleys but that
pass for streets in this place. It is quiet almost deserted,
then - A TESTOSTERONE CRAZED PLAYBOY whips his sports car
through one of these streets, engine whining, as we - MOVE
DOWN yet another side street, and this sucker really is a
back alley, you couldn't get a car down here if you tried.
Finally, we come to - A RAT TRAP OF AN OLD BUILDING, and we
PUSH TIGHT on this building as we hear -
LARRY (V.O.)
What is this?
INT. A BACK APARTMENT - SAME TIME
A SYRINGE is plunged into Larry's arm. Sam is tending to
Larry's wound. Sam seems to know what he's doing, as Larry
is also hooked up to a bottle of plasma hanging on a make-
shift stand.
SAM
(answering Larry's question)
It's a cocktail. Mostly demerol, cut
with a little crank because we might need
you awake in the real near future.
LARRY
Fine with fucking me, we got work to do.
I don't care what it takes, we are
getting our property back and putting it
into the hands of the people who are
gonna pay us a great deal of money when
we do. I don't know about the rest of you
guys, but I'm not the kind of guy
to just sit back and take it in the ass.
(a quick beat)
I don't mean that in, like, a literal
way...
DEIRDRE
Of course.
VINCENT
Finding this package is a thing easier
said than done. We don't even know what
it is.
(he looks at Deirdre, and
suddenly he's deadly earnest)
What did we steal?
DEIRDRE
(suddenly defensive)
I don't know.
VINCENT
When this whole thing started you made it
clear: you're running the show. And I
don't believe you'd be running this show
if you didn't know what was going on.
DEIRDRE
Well I don't!
VINCENT
And I don't believe you...
Vincent's gun is out in the blink of an eye, at Deirdre's
head, but she's as fast as he is and her gun is drawn as
well, jammed into his stomach.
DEIRDRE
(suddenly feral)
You go shoot me if you want, Vincent, but
you'll be dead before I hit the ground.
VINCENT
(matching her intensity)
I don't want you dead, woman, I want the
the truth!
SAM (O.S.)
(with a dead cool in his voice)
Both of you...
ANOTHER ANGLE - Sam has the two of them covered with his gun -
an interesting moment, because he can shoot either Deirdre or
Vincent, but not both at the same time. The question is:
whose side is he on?
SAM
(continuing without missing a
beat)
...put your guns down and chill out.
A BEAT. And then Vincent and Deirdre lower their weapons,
followed by Sam.
SAM
Like it or now, we're on the same side:
we're here and the package isn't.
(looks at Deirdre)
You're not the boss any more, you're our
partner. So tell us what you know, so we
can figure a way out of this mess.
Sam's look isn't romantic, but it implies a level of trust
based upon their physical intimacy.
SAM
Now, what did we steal?
DEIRDRE
(she hates to admit this)
I don't know...
(defensively, off Vincent's
look)
Well I don't! It's a goddamned mystery
to me just like it is to you.
(quick beat, then reluctantly
continuing)
But I do know who we're working for. My
people, and the Russian mob.
LARRY
Your people? Who the fuck is your
people?
VINCENT
Who do you think, Larry? The IRA.
DEIRDRE
And you believed me?
(passionately)
But it wasn't my people who did it.
LARRY
How do we know that?
SAM
Because if they had she'd be gone along
with the package, instead of sitting here
with us.
DEIRDRE
Exactly. Gregor, he was the Russian's
man. It was my people came up with the
idea for this run, but the Russians who
had the capital to finance it. Gregor,
he was their insurance, and I was ours.
Everybody else was supposed to be
neutral. Gregor must've got to Swede...
LARRY
I never did trust that blonde fuck...
DEIRDRE
That's why you were riding with him.
VINCENT
The question still remains: what do we do
now?
SAM
(he figures something out)
Gregor's cell phone...
LARRY
(to himself)
What are you gonna do, call him up and
ask him to give us back our shit?
SAM
(ignoring Larry, to Deirdre)
Did he bring that with him?
DEIRDRE
I bought it for him -- all the stuff he
was using, it was in his contract. Cost
a nice penny, too, especially that
goddamned phone: Gregor had expensive
tastes.
SAM
Check this out.
(he's thinking on his feet)
Gregor's a spook, or he was one until
recently. When he was a spy he lived the
life -- you know, a prince in some
Eastern Bloc country where nobody had
shit and Gregor had everything. Then the
wall goes down. No more Cold War. And
Gregor is out of a job. No apartment, no
special stores with Western food and
video tapes. I would bet dollars against
shit that Gregor liked that phone and he
doesn't want to give it up. And I
wouldn't be surprised if he's arrogant
enough to think...
DEIRDRE
(finishing his sentence)
That we're too stupid to trace his calls.
Deirdre and Sam share the slightest of conspiratorial smiles
as they realize they're both thinking the same thought: they
might still win this one.
EXT. AIX EN PROVENCE - TWILIGHT
We're on perhaps the MOST BEAUTIFUL STREET in all of France:
the Cours Mirabeau in the town of Aix.
Outdoor cafes line the sides of the street, while a canopy of
interlocking trees covers everything. Now we're - MOVING,
DOWN THE STREET, towards a CAFE, where a DAPPER GENT sits,
sipping a mineral water. The Gent has a SATCHEL at his feet.
Now - A JEEP pulls up to a nearby corner and idles in
neutral. The Dapper Gent throws some bills on the table and
gets up, crossing to - The Jeep. A door opens, and the
Dapper Gent, carrying his satchel, gets into the jeep, which
drives off as we -
CUT TO:
INT. JEEP - SAME TIME
Gregor and the Dapper Gent drive in silence for minute, down
the length of the Cours Mirabeau.
GREGOR
(breaking the silence)
It's a beautiful street, no?
The Dapper Gent also has an accent, a much thicker one than
Gregor's; it's an accent that places the Gent as a resident
of what used to be called the Soviet Union.
DAPPER GENT
(he can't wait any longer)
Do you have it?
GREGOR
Always in a rush, you are. All these
years I've known you, you could never
wait for anything.
DAPPER GENT
This is important.
GREGOR
Do you really think so?
DAPPER GENT
You know it is.
Gregor, still driving, takes out a SILENCED PISTOL, and the
Dapper Gent reaches for his own piece.
GREGOR
Relax!
The Dapper Gent loweres his hand, leaving his gun in his coat.
Gregor pulls the van to a curb.
GREGOR
Look over there.
GREGOR & THE GENT'S POV: THROUGH THE WINDSHIELD - A GROUP OF
CHILDREN are playing.
GREGOR (O.S.)
Do you see that one? The girl in the
light blue dress?
We find one particular LITTLE GIRL, around eight, holding the
end of a jump rope, wearing a light blue dress. She's
breathtakingly beautiful, and now - Gregor raises his
silenced pistol, as if to shoot her.
DAPPER GENT
What are you doing, have you lost your
mind?!?
Gregor pulls the trigger, as he does so the Dapper Gent jogs
his arm, and we hear the soft thwpfft of the silenced shot
just as the shot goes off - Missing its mark, harmlessly
shooting into a tree, causing a SINGLE LEAF to float to the
ground behind the playing children. Nobody notices a thing.
BEAT. The Dapper Gent is visibly shaken, because there is no
doubt that Gregor would have killed the Girl if the Gent
hadn't ruined his aim.
DAPPER GENT
Why did you do that?
GREGOR
To make a point. I don't know her, and I
was ready to splatter her brains all over
the sidewalk.
(giving the Gent a look)
I don't particularly like you, so imagine
what I'll do if you try anything...
Gregor leaves his gun dangling in the air a moment longer than
necessary and then starts the jeep as we -
CUT TO:
EXT. A COUNTRY ROAD OUTSIDE OF AIX - NIGHT
A FULL MOON casts a silver light over a field of wild grass.
A soft wind blows, and the grass moves gently from side to
side. Now - Gregor's JEEP glides down this road as we MOVE
THROUGH TO -
INT. THE JEEP - SAME TIME
DAPPER GENT
(squirming)
Enough! We've been driving for an hour,
where is my package?
Gregor smiles -- he's been waiting for this. He pulls the
jeep over and looks at the Dapper Gent.
GREGOR
It's under your seat.
DAPPER GENT
(incredulous)
What?
GREGOR
As my American friend Larry would say:
are you fucking deaf? It's under your
seat.
The Dapper Gent looks down, and sure enough, the edge of the
Briefcase sticks out beneath the seat.
DAPPER GENT
I can't believe you'd do that, Gregor. I
thought I trained you better than that.
With a laugh the Dapper Gent hands his satchel to Gregor,
whose eyes literally dance with the prospect of his reward.
He can't help himself, he opens the satchel and there it is -
COLD HARD CASH in large bills, enough for Gregor to live like
a prince for quite some time. Gregor sucks in an involuntary
breath and then looks back up to see - The Dapper Gent hasn't
reached for the Briefcase. Instead he's taken out his gun,
and it's only inches from Gregor's head.
DAPPER GENT
I've never particularly liked you either,
Gregor.
The Dapper Gent yanks out the Briefcase, and as he does -
THE SEVERED HAND comes whipping out along with it, still
attached by the handcuff chain. The Hand flies up in the
Dapper Gent's face, and we notice that the Hand is starting
to rot -- it's bloated and swelling and horrific and it
scares the shit out of the Dapper Gent, who drops his gun and
fumbles with the Briefcase as - THWPFFT...we hear the sound
of another silenced shot as we -
SMASH CUT TO:
EXT. OUTSIDE THE JEEP - SAME TIME
A DARK STAIN splashes against the passenger side window of
the jeep. Seconds later - The door swings open, and the
Dapper Gent's body plunks out onto the ground. A moment
later, something wet and viscous plops down on the face of
the Gent as the jeep drives off. Now - We HOLD FOR A BEAT on
the Dapper Gent's dead body, which lies in the silver
moonlight, blood running out from beneath him, while the
Severed Hand palms the Gent's face, fingers splayed out
around his head. Now - We HEAR the sound of PHONE TONES.
And not just any phone...
INT. THE JEEP - SAME TIME
Gregor finishes punching a number into his CELL PHONE. We
hear a single ring on the other end of the phone before it is
picked up.
PHONE VOICE (V.O.)
(in Russian, English subtitles)
Is it done?
GREGOR
(in English)
It's done.
BEAT. The Phone Voice doesn't respond for a moment -- whoever
this is they didn't expect to hear from Gregor. The Voice
switches to English.
PHONE VOICE (V.O.)
Gregor, is that you?
GREGOR
(with a low chuckle)
Much to your disappointment, no doubt.
PHONE VOICE (V.O.)
It was a mistake, it shouldn't have
happened.
GREGOR
(suddenly cold, furious)
I'm in the middle of saving you people a
great deal of money -- the least you
could do is have the decency to pay me!
BEAT.
PHONE VOICE (V.O.)
So what do we do?
GREGOR
What I do is none of your concern. What
you should do is wait for my next phone
call. I'm going to find a place where I
can tilt the field in my favor. When I'm
ready, I'll call you and tell you what I
want you to do.
The Phone Voice says something unintelligible in Russian, cut
off by Gregor as he angrily snaps off his cell phone and we -
CUT TO:
INT. THE CHEAP APARTMENT - DAWN
Larry snores on the couch, while Deirdre sleeps in a sleeping
bag on the floor. Vincent sits in a ratty easy chair, feet
propped on an overturned crate, dozing lightly. Suddenly -
Vincent's eyes open, warily, as if something has changed in
the room. He looks around - No Sam. Vincent gets up, takes
out his gun, and silently gets to his feet. He moves down a
long hall and - No Sam. Now, like a cat, Vincent moves into -
THE BATHROOM: pitch black. He moves in, swipes the string of
the overhead light and - nothing. Nobody's here. The only
place left is the front door, and now Vincent approaches. He
opens the door, gun still at ready, and moves out into -
INT. THE LANDING OUTSIDE - SAME TIME
This is a small building. There is no other apartment on
the floor. At the far end of the landing, there is a small
ladder which leads up to -
THE ROOF. And the door which leads to the roof is flapping
in a light wind.
EXT. THE ROOF - SAME TIME
Vincent bursts onto the roof, gun straight out, finger on the
trigger, only to find - Sam is there, his gun pointed at
Vincent. A BEAT, then both men give little laughs and put
their weapons away, like Samurai so trained in combat that
they know when it's safe to relax.
SAM
What's going on?
VINCENT
You weren't around when I woke up, I
thought maybe something had happened.
(off Sam's look)
This has been one very fucked up job,
Sam, and I'm not taking any more chances
on anybody...
(a quick beat)
Including you...
In answer Sam takes out Vincent's pack of cigarettes and
tosses them back to him. Vincent looks almost delighted at
this.
SAM
I came up here to sneak a smoke.
VINCENT
You were smoking?
SAM
I hope you don't mind I took your pack.
It was on the table.
VINCENT
(very sincere, offering the
pack)
Please, help yourself. Smoke as many
you'd like.
Sam considers for a minute, and then takes one. Vincent does
so as well, and he searches for his lighter, which he can't
seem to find, because - Sam has it, and he lights their
cigarettes, and then hands the lighter back to Vincent.
SAM
(a shrug of the shoulders)
I borrowed that, too...
VINCENT
(puffing contentedly)
Of course...whenever you feel like it
just help yourself.
SAM
I have a feeling I'm about to start
buying my own.
BEAT. The two men smoke in silence, looking out at -
THE CURVED SHORELINE OF NICE -
Which glitters with thousands of lights from the apartment
buildings, and a thousand more from the cars that travel on
the road that leads into town: the Promenade des Anglais.
VINCENT (O.S.)
That was a bad bit of business, today.
BACK ON Sam and Vincent.
SAM
It was at that.
VINCENT
A lot of people died.
SAM
I've seen a lot of people die before.
VINCENT
I haven't. Not like that. How do you
get used to it?
SAM
You don't. You just learn to live with
it.
VINCENT
I won't lie -- there have been times when
I had to do it, times when the only way
to get out alive was to see that the
other man didn't.
SAM
We live in a singular world, my friend.
VINCENT
I never really thought I was part of the
world you move in, Sam, to tell you the
truth.
(off his look)
I'm a hood, a thief. Big time in a small
time king of way. To the local police
I'm a prize, to the local hoods I'm a
legend. But to a guy like you I'm just
another two bit hired gun.
SAM
You might be a hired gun, Vincent, but I
got a feeling you cost more than two
bits.
This conversation might have gone further, but it is
interrupted when Deirdre pokes her head up onto the roof.
DEIRDRE
Christ, I was starting to think that the
two of you had thrown it in and walked
away.
(to Vincent)
There's someone on the phone downstairs
asking for you, and my somewhat limited
French leads me to believe that he might
have something to tell us about Gregor.
EXT. THE HIGHWAY - LATER - NIGHT
A car we haven't seen before, a CITROEN, hums up the French
highway in the night, along on the road. It's a postcard
moment, but only for a moment.
LARRY (V.O.)
I'm telling you...
INT. THE CITROEN - SAME TIME
LARRY
(continuing)
That I could be dead and I'd drive better
than you.
Deirdre is driving, and Larry -- much to his chagrin -- is in
the passenger seat, watching her every move.
DEIRDRE
(very curt)
Oh shut up...
IN THE BACK SEAT -
Sam and Vincent have a MAP spread out. Vincent is tracing
Gregor's route so far, and we follow his RED MAGIC MARKER as
it traces a line up the highway.
VINCENT
He's going north.
(circles something on map)
That's Aix en Provence, where he used the
phone.
Sam runs his finger along the length of the highway on the
map. Destination: Paris.
SAM
(making up his mind)
He's going back.
VINCENT
Not necessarily. He could go off road at
any number of places. He might not even
be in the country anymore.
SAM
It's Paris. The route's too indirect for
anything else. A guy like Gregor, he
doesn't waste time on this road unless he
has to be on it in the first place.
Otherwise, he'd be out of the country by
now. He's going to Paris.
(beat)
Now I just hope we can find him before he
gets there.
DEIRDRE
If somebody else doesn't find him first.
EXT. THE TOWN OF ORANGE - DAY
Orange, pronounced "Au-Ronge", is a mid-sized town of fifty
thousand souls. It is small, charming, quaint, and it has
one particular thing that no other town in France can claim -
AN ANCIENT ROMAN THEATER that has been painstakingly
restored. We see this Roman Theater from the outside, as we
MOVE THROUGH the streets of the town, to the TOWN SQUARE.
It's packed -- every seat in every outdoor cafe is filled
with a tourist having breakfast. This normally quiet place
explodes one month out of the year, when an internationally
famous music festival is held in the Roman Theater. We come
upon -
A TABLE OF AMERICAN TOURISTS: a Family. Dad is angry at Mom.
DAD
Opera? This is an opera festival?
MOM
I told you that, Henry.
DAD
I thought you meant Phantom of the Opera.
You know, Andrew Lloyd Weber, Cats, that
kind of thing.
Mom and Dad continue their discussion, but we've left them
behind, MOVING THROUGH the seats and cafes until we get to a
cafe on the outskirts of the Town Square. Here, in the most
removed table in the entire Square, we find Gregor sitting in
the shadow of the trellis. Unless you're on top of him you
can't see him, but he can see everything perfectly. His cell
phone sits on the table in front of him -- he picks it up and
starts to punch in a number.
CUT TO:
EXT. A REST STOP ON THE HIGHWAY - MEANWHILE
THE CITROEN is parked among a number of other cars. Sam is
sleeping in the back seat, while Vincent is seen on an
outdoor pay phone at the other end of the parking lot.
Deirdre and Larry sit at a nearby picnic table, eating French
fast food, which we get a good look at as we - PAN THE LENGTH
OF THE TABLE, which is covered with pasta, grilled sausages
with dijon mustard, really good fried potatoes.
In fact, everything that's on this table is so far beyond the
imagination of your average American truck driver that Larry
can't contain himself. He's stuffing himself, washing
everything down with the wine which is also sold at these
road-side rest stops. Deirdre drinks coffee.
LARRY
(mouth full)
This...this is incredible. Is the rest
of Europe like this?
DEIRDRE
(with a laugh)
Some places, not all. Italy, for
instance, they're serious about their
food. But try bloody Britain, anywhere
in the U.K., you don't get much fancier
than a deep-fried bar egg. Food's not
our thing, you see.
LARRY
What is?
DEIRDRE
(everybody knows this)
Best beer in the world known to man or
God.
LARRY
(with a snort)
Best beer in the world? Budweiser for
me, thanks.
DEIRDRE
(with unconcealed scorn)
Budweiser? You talk to me of beer and
you've the unbridled gall to mention
Budweiser in the same sentence? That's
not beer! Christ, it's not even a poor
excuse for rabbit piss.
LARRY
Oh yeah? Whatta you drink, then?
DEIRDRE
I drink what every civilized man, woman
and child in the world drinks: Guinness.
VINCENT (O.S.)
I hate to interrupt a conversation of
such cultural depth...
CUT AWAY TO REVEAL: Vincent -
Who has finished his phone call and returned to join them.
VINCENT
...but we've got to get back on the road.
Vincent raps lightly on the car window next to Sam's head --
Sam's eyes shoot open: a light sleeper. All eyes are on
Vincent, who waits for a BEAT before he reveals his news.
VINCENT
We've got him.
LARRY
I'm driving.
EXT. THE TOWN SQUARE - A LITTLE LATER - DAY
Gregor is seated where we saw him last -- at the little table
in the corner cafe. He's been here for hours, observing the
Town Square, and now, he finally sees what he's been looking
for - TWO MEN, definitely not tourists here for the music,
have entered the Square -- everything about these guys
screams GUNMEN. Now, as Gregor watches - A PUNKED-OUT TEEN
comes up to the men and hands them a small envelope. The
Gunmen look around the Square, trying to see where Gregor is,
but he's too far back in the shadows. The Gunmen ask the
Teen a question, to which the Teen can only shrug his
shoulders. Now - The Teen walks away, leaving the Gunmen to
open the envelope and look at its contents, which are quickly
read. From OFF SCREEN we hear the sound of Gregor punching
in a number on his cell phone. Simultaneously, the Gunmen
finish reading the instructions Gregor has sent them, and
turn around to face - A PAY PHONE. The phone rings, and one
of the Gunmen goes to pick it up.
EXT. ANOTHER STREET - MEANWHILE
The Citroen pulls into town and slows to a crawl, cruising
the streets, looking for Gregor.
INT. THE CITROEN - SAME TIME
Vincent stares out of the window and sees something that
causes him to swear under his breath in French. It's -
The Gunmen walking down the street.
VINCENT
I know those men.
Sam frowns: he also seems to recognize at least one of the
gunmen. None of the others in the car notice Sam's reaction,
but we do. The Gunmen are heading straight for -
EXT. THE ANCIENT ROMAN THEATER - MEANWHILE
THE MID-AFTERNOON SUN shines down on the open air Roman
Theater. The theater itself is almost two thousand year
old. A semi-circle of seats surrounds a huge Stage Wall, a
massive structure which is one of the best preserved of its
kind in the world. THE GUNMEN enter at the bottom of the
theater, holding ticket stubs. They are with a Tour Group
led by an ANCIENT GEEZER who speaks in rapid-fire French. As
the tour moves off to see the Stage Wall, the Gunmen hang
back and then separate from the crowd.
EXT. OUTSIDE THE THEATER - SAME TIME
THE CITROEN sits at a curb. Larry sits behind the wheel of
the car, the getaway driver with the motor running. Vincent
and Deirdre are already walking towards the Theater. Sam
stays behind for a second to say something to Larry.
SAM
Whatever you hear, whatever happens, when
your partners come back out, you make
sure you're here with the motor running.
And on that note Sam follows after Vincent and Deirdre.
Larry doesn't notice it, but - THE WATCHER has found them.
He's a block or so away, wearing a two-day stubble of beard
and hugging the shadows of back alley. Cradled in one hand,
barely visible but ominously present: his knife, which for
one moment catches a glint of sun that hits our eyes as we -
CUT TO:
EXT. INSIDE THE ROMAN THEATER - MEANWHILE
The Gunmen have reached a point about midway up the coliseum-
like staircase. Behind them we can see the Tour Group,
standing on the stage, being lectured to by the Ancient
Geezer. In front of them the Gunmen find -
AN EXIT which leads to an interior hall. Inside the exit
it's dark, while a bright sun falls down on the Gunmen. They
look into the dark, unable to see a thing, while a voice
come at them from out of the dark.
GREGOR (V.O.)
Thank you, gentleman, that will do
nicely.
IN THE HALL -
ON GREGOR. It's dark in here. There are no lights, no
torches. From the dark in here, he can look out and see -
THE GUNMEN, who make plain targets, backlit as they are by
the sun. Now we CUT BACK AND FORTH between these two ANGLES,
and it becomes clear that Gregor has chosen wisely -- he can
see his quarry, but they can't see him.
GREGOR
Edvard, is that you?
EDVARD, the more dangerous looking of the two Gunmen
responds.
EDVARD
Yes, Gregor, they sent me.
GREGOR
I'm touched, really, that they'd send
someone of your caliber. It's nice to
know that they didn't make the mistake of
underestimating me twice.
EDVARD
That was a mistake, trying to kill you.
Mikhi did it without consulting me, I'd
have never allowed it.
GREGOR
I'm sure. But I'm sorry to say that it's
too late for trust: we have a serious
problem.
EDVARD
We'll double your price.
GREGOR
(now that's interesting)
Really? Do you have the money with you?
EDVARD
Do you have the material?
GREGOR
You first, Edvard.
EDVARD
Perhaps we could both go at the same
time...
GREGOR
(a short laugh)
I think not.
(with a flourish)
After you...
A GUN COMES INTO FRAME, trigger cocked, the barrel placed to
Gregor's temple.
SAM (O.S.)
After you, asshole.
Gregor stiffens, as we PULL BACK ON Sam, who has snuck up on
Gregor and gotten the drop on him.
SAM
You might have been one mean technical
spook, Gregor, but you wouldn't have
lasted a week in the field.
CUT TO THE GUNMEN'S POV: Looking into the Tunnel - It's dark,
they can't see a thing, but they've heard Sam's voice and
they know something's wrong.
EDVARD
Gregor, are you alright?
DEIRDRE (O.S.)
Gregor's fine...
CUT AWAY TO REVEAL: Deirdre -
She's snuck up on the Gunmen, weapon drawn.
DEIDRE
(continuing)
...but I think you're in a bit of
trouble.
The Gunmen reach for their pieces and as they do -
VINCENT (O.S.)
Don't even think it.
CUT AWAY TO REVEAL: Vincent - And his piece is also out --
the Gunmen are trapped, and they know it. Now we notice that
- The Ancient Geezer and his Tour Group are coming towards
us. Meanwhile, back in -
THE TUNNEL -
Sam is grilling Gregor furiously, his gun still to Gregor's
head.
SAM
Don't talk to me unless you tell me what
I want to hear, understand?!? You have
no choice in this, don't think about
winning, think about staying alive. I
want the item, and if you don't give it
to me, I'm gonna kill you.
GREGOR
(a panicky hiss)
I don't have it with me...
SAM
Bullshit!
GREGOR
I swear...
SAM
Then where is it?
GREGOR
I sent it to myself in Paris.
SAM
Sent it where?
GREGOR
A post office box.
Suddenly Gregor runs forward, towards the exit. Sam runs
after him, tackling him just as they reach - THE OUTSIDE,
where the two men roll into plain sight of - The Gunmen, who
are still covered by Vincent and Deirdre. Now we notice -
That the Ancient Geezer and his Tour Group are really close,
no more than ten yards away, as - Sam has Gregor pinned face
first on the ancient stone of the theater. He looks up at
the others, and that's when it happens - Edvard looks at Sam
and recognizes him.
EDVARD
(stunned, announcing to the
group)
Do you know who he is? He's with
Interpol, the Internation Police. He's
a cop.
A SLOW MOTION BEAT.
Vincent and Deirdre don't know what to make of this, their
heads turn to look at Sam, and in this instant - The Tour
Group walks into their midst and - The 2nd Gunman reaches for
his piece and - Sam FIRES his gun at the 2nd Gunman, and with
the sharp report of the pistol we move back to REAL TIME, as -
The Crowd panics, screaming, and now Edvard is reaching for
his weapon, as - Sam shoots again, killing the 2nd Gunman,
and now - The Crowd is still screaming and running as -
Gregor shoves through the crowd into the exit, as -
Deirdre pushes through the crowd, and now she's made it into
the tunnel. Now we go -
OUTSIDE THE THEATER -
Where Larry has heard the shot -- his piece is drawn, but
he's been ordered to stay in the car. In frustration he
slams on the steering wheel, as we see that - Behind Larry,
the Watcher is slowly closing in, knife poised to strike as
we go back -
INTO THE THEATER -
Edvard tries to get to the exit, but there are too many
Tourists in his way, and he proceeds to shoot several of
them, including the Dad we saw earlier. Seconds later,
Edvard has vanished into the tunnels, and now - Vincent and
Sam meet in the middle of the crowd. There is time for a
QUICK BEAT, while Vincent glares at Sam.
VINCENT
You're a cop...you're a fucking cop...I
should kill you.
SAM
But you can't.
And now Sam runs into the tunnel, after the others, leaving
Vincent for a fraction of a second to sigh, and then follow
Sam into -
THE TUNNELS -
It's like being in the tunnels and ramps of a sporting arena.
Except that everything here is made of stone and the only
light comes from the sun which streams in through the exit
openings which are spaced far enough apart that they provide
just barely enough light for us to see. Now we do a SERIES
OF QUICK CUTS - Sam running, followed by - Vincent, while -
Edvard takes a wrong turn down a dark hall and comes to a
dead end. He turns around, looking for a way out as - Gregor
sees the final exit ahead of him as we go -
OUT IN THE STREET - Larry is still behind the wheel of the
Citroen, anxiously looking at the exit, not realizing that -
The Watches is almost on him, and now we're back -
IN THE TUNNELS -
Deirdre comes running around a corner, and now she's almost
reached the exit as -
OUT IN THE STREET -
Gregor hits the street running. He doesn't notice the
Citroen parked ahead, because he's never seen it before, but
as he runs by -
The car door swings open and Gregor runs straight into it.
He smashes into the door and falls to the ground, injured.
Strong Hands reach out of the car and pull him in. It's the
Watcher, and let's give him a name now because he needs one:
SEAMUS REILLY. Seated in the front seat is - A very dead
Larry. Seamus has cut his throat from ear to ear.
SEAMUS
(to Gregor, with an Irish
accent)
If you want to live you'll do exactly as
I tell you.
THROUGH THE BACK WINDOW - Deirdre appears, exiting the
theater and running towards the Citroen as we go back to -
INT. THE TUNNELS - SAME TIME
Vincent, gun drawn, moves warily down one of the tunnels.
Outside we can hear the dim sound of an approaching siren.
Vincent turns a corner and - A GUN jams itself into his face.
It's Edvard.
EDVARD
Where do I know you from?
VINCENT
Vienna.
EDVARD
Of course...I remember. I quite liked
you, I'm sorry to have to do this.
Edvard's finger tightens around the trigger, when -
SAM (O.S.)
Hey...
Edvard is startled by the sound of Sam's voice. Even as he
squeezes off the shot, Edvard turns to look at Sam, and as he
does so, Vincent strikes out at the gun, sending the shot
awry, causing it to - RICOCHET wildly, whining around the
room, until it - Rips through Sam's side, a nasty wound but
not fatal, as - Edvard tries to fire another shot but it's
too late, because - Vincent fires a single shot to the head
that kills Edvard.
EXT. OUTSIDE THE THEATER - MEANWHILE
Deirdre has reached the Citroen. She looks in and sees
Seamus and Gregor. Lastly she looks at the dead Larry. She
sighs in disgust, but otherwise doesn't react as if
surprised.
DEIRDRE
Cold cocking the poor son-of-a-bitch
would have sufficed, Seamus, don't you
think?
SCANT SECOND LATER -
Larry's body hits the street as the Citroen drives off,
Deirdre behind the wheel just as - Sam and Vincent run out of
the theater, with Vincent helping a wounded Sam who bleeds
from the wound in his side. They arrive at the street only
to see - Larry, lying dead in the street, even as the Citroen
speeds away from them, turning the corner before they can
even think to raise their guns.
VINCENT
That double-crossing bitch.
Sam isn't even capable of saying that much -- he just stares
after the departed Citroen with a look on his face unlike any
we've seen in the film: "how the hell did that happen?" But
there's no time to ponder this because they've been joined by
- A COP. He's a local guy, he directs traffic and busts
drunks in the town square -- and he's scared shitless,
holding his gun in both hands, trying not to tremble, as he
stares back at - TWO GUNS, Sam's and Vincent's, and they're
both pointed at the Cop. LONG BEAT. In the way off distance,
another siren can just be heard. Sam and Vincent glare at
the Cop, who strains with all his might to control himself,
but he can't because Sam and Vincent are death waiting to be
served. The cop knows he has three seconds to make up his
mind. Two. One. The Cop puts his gun on the ground and
steps back, raising his hands in the air. Now - Sam and
Vincent stumble into the street, and are instantly almost hit
by - A CAR speeding around the corner, its Driver oblivious
to what's going on. The car screeches to a halt, and the
Driver curses loudly in French. And then the next thing the
Driver knows - A Gun is in his face. The door is yanked open
and the Driver is yanked out, as we -
CUT TO:
EXT. A BACK ROAD - LATER/EARLY EVENING
The town of Orange is just visible below us as the
commandeered Car drives up into the hills. Vincent is behind
the wheel, while the wounded Sam sits in the passenger seat.
Gritting his teeth, Sam peels back his shirt to get a look at
- THE WOUND, and it's small but bad -- the ricochet ripped a
small raw hole in Sam's side. The wound bleeds, but
moderately so -- no major organs or arteries have been hit.
VINCENT
That makes twice now you've saved my
life.
SAM
I didn't save your life back there.
Risked it, maybe -- but I didn't save
shit.
VINCENT
You see it your way, I'll see it mine.
You need a doctor.
SAM
(hopeful)
You know one around here? Somebody you
trust?
VINCENT
No...I thought I'd take you to the
hospital.
SAM
(sharply)
No hospitals. I'll fix this myself if I
have to.
VINCENT
(he can't believe this)
Fix it yourself?
(a thought comes to him)
Why are we even doing this? There's no
need to run, Christ...
(he can't disguise his disgust)
You're a cop.
SAM
Not exactly.
VINCENT
You're with Interpol -- you're a cop.
SAM
If I was a cop, a real cop, I'd have
busted you a long time ago. This isn't
about you, it's about the job I have to
do.
VINCENT
And what job is that?
SAM
My job, Vincent, a job you don't need to
know about. I can't go to the local cops
-- they'd never be able to get close
enough at this point. It's me or nobody,
and I've been on this job too goddamned
long not to finish.
BEAT. Sam takes out his own pack of cigarettes, offers one
to Vincent and takes another for himself. They smoke for a
second, before Vincent speaks.
VINCENT
It looks to me like we're all that's left
of our group.
SAM
We? There is no we in my world now,
Vincent, just me.
VINCENT
I'm going with you.
SAM
This doesn't involve you, don't you
understand? I can't even guarantee you
any money out of all this.
VINCENT
It isn't about money for me, not
anymore.
SAM
You don't have to do this.
VINCENT
(with great finality)
Yes I do.
Sam gives Vincent a look and shakes his head in disbelief --
Vincent's loyalty and sense of honor is something he's never
seen before, and Sam can only smoke in silence and consider
this as we -
CUT TO:
INT. A CHEAP BACK ROOM - NIGHT
A PEEPHOLE slides open, and we look through it into -
INT. AN ADJOINING ROOM
where Gregor sits, bound and | 
