RONIN Page #15

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, a**hole.

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.

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