Ronin may be an un likely title for a contemporary Hollywood movie,but to the creators of this gritty action adventure,it made perfect sense.
Taken from ancient Japanese legent,Ronin is a term used to describe Samurai warriors who-after allowing their masters to be slain-were forced to wander the land,looking for work as hired swords or bandits.
Now,in the aftermath of the Cold War,in a world in which alliances have shifted and international tensions have relaxed,a new breed of
Ronin has emerget:former covert agents who sell their unique and deadly abilities to the highest bidder.
The movie's fascinating premise began to form when,at the age of 15,J. D. Zeik(who co-wrote Ronin with Richard Weisz) read James Clavell's
Shogun,the novel that first introduced him to the masterless samurai concept. Years later,he was planning to use the "Ronin" title and basic idea in a modern-day story when a key element fell into place
. "In Nice",Zeik recounted, "I stared into the sun and saw the silhouettes of five heavily-armed Gendarmes crossing the Promenade des Anglais
. That image made me realize that I wanted to set the film in France"(original theatrical press materials)
Zeik's unusual title and premise moved quickly through the development process,but even after the film was well into production,there were discussions about changing the name
. Some felt it might confuse audiences,but director John Frankenheimer always liked it uniqueness.
As Frankenheimer explained in Star Interviews,he disdains titles that too clearly describe a movie's premise,and he belives that two-or-three-word titles often cause films to be more easily confused with one another.
In addition to its cimplicity and appropriate "vagueness",the name further appealed to Frankenhemier because it was a title that could stay the same around the world-it was unnecessary to translate for foreign release.
Above all,the title Ronin lends resonance to a suspenseful,action-packed adventure in which its heroes are every bit the modern-day equivalents of the legendary Samurai warriors. The result is a film that is both classics and fiercely contemporary in attitude,power and epic scope.
THE C HASE IS ON
Although Frankenheimer acknowledges the many recent advances made in digital special effects technology,he chose not to utilize them in executing the thrilling
chases and explasive action sequences in Ronin. Instead,he filmed the stunts "live" to heighten the level of reality
Frankenheimer's background as a race-car driver was crucial for his staging of the spectacular high-speed pursuits.
Awareness of the vehicle's handling characteristicks enabled him and car stunt coordinator Jean-Claude Lagniez to devise car chases unlike any seen before As Frankenheimer said:"We're really going to raise the bar . So the next time somebody wants to do one of this things,they are going to think twice about it"(Star Interviews). Lagniez,an accomplished race car driver himself,supervised approximately 150 stunt drivers for various sequences in Ronin.
They drove at speeds up to 120 miles per hour,and 80 cars were intentionally wrecked diring the course of the production.
During the filming of Ronin,Frankenheimer found himself relying on techniques he had refined over 30 years earlier for the magnificent racing sequences in Grand Prix(1966).
The camera mounts and positions were almost identical to the ones he had used in the earlier film
To further boost the reality and suspense of the chases,Frankenheimer placed the actors inside the cars for several high-speed shots.
"I wasn't prepared for how frightening it would be",Jonathan Pryce recalled. "I told John Frankenheimer after we shot the first of this, "I've done Shakespeare,I've done Chekhov and now I've done Fear!"
There was no acting required on my part,believe me. .. "
One spectacular pursuit takes place inside a Paris tunnel that is remarkably similar to the location where England\'s Princess Diana was killed in a 1997 automobile accident.
The filming took place in a different tunnel,however. "Paris has lots of tunnels, "Frankenheimer said. "That's part of the thing about the city I wanted people to see.
A crash in a tunnel in Paris is about like someone having a crash on a freeway here. It happenes all the time "(Rocky Mountain News,9/27/98).
Frankenheimer spent 23 days filming action sequences after the conclusion of principal photography.
Although such scenes are commonly shot by a second unit director,Frankenheimer insisted on directing them himself to ensure that they would match the realistic visual style he had created in the rest on the film.
Ronin was filmed in a stark and minimalistic style,contrasting with the slick and polished sheen of most Hollywood action movies.
Half of the shots were done with a Steadicam hand-held camera,giving Ronin a realistic documentary look.
Frankenheimer instructed costume designer May Routh to design clothing that was anonymous and functional,devoid of colors and flourishes that would clash with the film's gritty visual scheme.
Ronin's sense of realism extended to the scenes of war in the Paris streets,for which cast members were trained in the methods and practices of actual guerrilla warfare units.
Technical advisor Mick Gould,a real-life battle instructor,taught the cast how to realistically handle and fire the weaponry seen in the film.
ON LOCATION IN FRANCE
Frankenhemier was quite comfortable shooting Ronin in France. Not only is he fluent in the language,but he had actually lived in the country for seven years. He had also shot several films there,including The Train(1963),Grand Prix(1966),The Impossible Object(1973)and French Connection 2(1975).
The film's first spectacular car chase was filmed in the narrow streets of Old Nice,which was closed off from all activity for the duration of filming. Nearby locations also included the luxurious Hotel Majestic in Cannes,the ancient village of La Turbie,and the town of Villefranche.
In Paris,Frankenheimer utilized several well-known locations for many of Ronin's memorable scenes. He filmed at the Pont Alexandre 3 bridge,the Pere Lachaise cemetry and along the upscale Duquesne,Segur and Breteucil avenues. The spectacular car stunts were staged on the Pont de Garigliano bridge,La Defence,and in the Champerret Tunnel.
The climatic was filmed in Paris' Zenith arena,where nearly 2,000 extras were used in the chaotic sequence.
In a world where loyalties are easily abandoned and allegiances can be bought,a new and deadlier terrorist threat has emerget-free agents killers!Featuring "high-octane action "(Gene Shalit, "Today"),a "first-rate cast"(L. A. Daily News) and exhilarating car chases that "are nothing short of sensational"(The New York Times),Ronin is "the real deal in action fireworks"(Rolling Stone) directed by "a master of intelligent thrillers"(Roger Ebert).
The Cold War may be over,but a new world order keeps a group of covert mercenaries employed by the highest bidder. These operatives,known as "Ronin",are assembled in France by a mysterious client for a seemingly routine mission:steal a top-secret briefcase. But the simple task soon proves explosive as other underworld organizations vie for the same price. .. and to get the job done,the members of Ronin must do something they've never done before-trust each other!
With pleasure,Platon Murenin.
Great Works from John Naughton, His Works & Literary Impression & Assessment about Robert De Niro 's Filming Career in North America
Robert De Niro is – as Bananarama so acutely observed – waiting. He has dogged my waking moments these past four months, ever since GQ Editor Dylan Jones kindly asked me to watch all his films and report back. De Niro has made – give or take the odd cameo – 100 movies. He’s got a birthday coming up – his 77th. I was in lockdown. The stars were aligned. The curtains were drawn.
But let’s be clear: this was no hardship. For me – and I’d wager for most moviegoers of my generation – De Niro is the greatest. Not was. Is. My coming-of-age coincided with his arrival on the scene in Hollywood. Not only did he star in an extended run of unforgettable films, but he dominated them with a new kind of performance that took method acting to previously uncharted levels. He got a New York cab licence for Taxi Driver, learnt Italian and lived in Sicily to prepare for The Godfather Part II, put on 60lbs to play Jake La Motta in Raging Bull, learnt the Latin mass for True Confessions and the sax for New York, New York. He was the hardest-working man in Hollywood.
And also the coolest. The mohawk, aviator shades and M65 field jacket he wore in Taxi Driver defined style for the punk generation in the same way that James Dean’s quiff and red Harrington or Marlon Brando’s biker jacket had for rock’n’roll. In the 1970s, when all we had to worry about was nuclear holocaust and no future, De Niro was our man on the frontline, filing reports from the city that, like Travis Bickle, never sleeps. He epitomised urban alienation and outsider status for every teenage trouble tourist. For me, De Niro was New York and New York was De Niro. Both were impossibly exciting.
In 1975 – the year when Taxi Driver was shot – New York was broke. It applied to the federal government and US president Gerald Ford for a bailout and was refused, prompting New York’s Daily News to print its greatest-ever front page, a banner headline that simply ran “Ford To City – Drop Dead”. New York was dirty, dangerous and cheap. This last fact, in particular, made it a hotbed of artistic creativity. Power cuts and looting proved the birth pangs of punk, rap and the rise of artists such as the Greene Street collective and later Jean-Michel Basquiat. Central to and product of this artistic flowering was De Niro, who, in his first decade as an established actor, delivered a fistful of performances that seemed to define the city throughout the 20th century and pay homage to the place that created him.
He was Vito Corleone around the end of the First World War, making people offers they couldn’t refuse in The Godfather Part II, and was the less celebrated but no less brilliant Noodles in Once Upon A Time In America, scaling the crime ladder in Depression-era NYC. Jake La Motta – AKA The Bronx Bull – had his rise and fall in the 1940s and 1950s, while Johnny Boy made blowing up mailboxes for no reason look like a lot of fun in late 1960s Little Italy. Bringing matters so up to date it seemed more like documentary than drama, Travis Bickle – soundtracked by Bernard Herrmann’s dread-filled score – would go north of Central Park at this time of night, any night. De Niro was NYC and NYC was De Niro.
Like Jimmy Cagney had been for my dad, so Robert De Niro became for me. He did New York, he did gangsters, hell, in Mean Streets he even had his own Pat O’Brien in Harvey Keitel, but, like Cagney in Yankee Doodle Dandy, he was versatile and could turn his hand to a musical such as New York, New York or comedy, albeit with a dark twist with characters such as Rupert Pupkin in The King Of Comedy. In the 1980s, he had his pick of parts and for the most part he chose wisely, alternating cameos in the likes of Brazil and The Untouchables with more demanding fare such as The Mission and Angel Heart. In 1988 he made one of the all-time great comedies, Midnight Run, which saw his real gift for comedy given full expression and which – for better or worse – provided him with a template for the latter part of his career.
But as the 1990s dawned, De Niro returned to his outsider roots, teaming up with Martin Scorsese and the magisterial writer Nic Pileggi to create one of the greatest New York gangster movies with Goodfellas. At times, watching De Niro films back to back I feel – not unlike Coolio – I’ve been spending half my life living in a gangster’s paradise, but never more so than with Goodfellas. It is a model of economic writing, multilayered characterisation, blessed with the greatest (and allegedly most expensive) soundtrack of all time and rich in the lore of this thing of theirs, replete with references to Apalachin and various Joes and Jimmys, invariably of the Crazy and Mad variety. It is a beguiling, endlessly watchable concoction. Or as Jimmy Two Times (not to be confused with Nicky Eyes) might say: Goodfellas is a work of unadulterated genius, a work of unadulterated genius.
In the 1990s, crime paid for De Niro. In 1995, working with Scorsese and Pileggi again, he gave us the underrated Casino and, in the same year, Heat, playing opposite his contemporary – and only rival – Al Pacino for the first time to stunning effect. Two years later, he teamed up with Quentin Tarantino in Jackie Brown in what remains the director’s second greatest film, delivering a very different type of criminal to any he’d played before. Invariably, he collaborated with great writers and directors, regularly with brilliant results. Tight, efficient thrillers such as Ronin, written by David Mamet in all but credit, were the result.
And so to the new-ish millennium. A lot of people get in quite a tizz when they talk about De Niro’s career in the 21st century. They point to this or that dud and talk about him destroying or, worse, “sullying” his reputation, as if an actor should keep his or her career in aspic. Sure, he’s made some bad films in the past 20 years, but why should that detract from what he has done in the previous 30? Does De Niro’s appearance in Dirty Grandpa somehow make Taxi Driver a terrible film? Or is his appearance as a gangster in The Family so heinous that it negates all enjoyment of Cape Fear? Obviously not. They even criticise The Adventures Of Rocky And Bullwinkle, And there “they” have a point: making a defence for that would require Johnny Cochran at the top of his game. Guess what? Nobody’s perfect.
In reality, it’s the same situation that one sees with Mick Jagger – born within a few weeks of De Niro in the summer of 1943 and whose vocals have so often soundtracked the actor’s on-screen actions. There is no roadmap for a 76-year-old frontman of the world’s biggest rock’n’roll band and neither is there one for an actor who has had a flourishing Hollywood career of almost 50 years. You have to make it up as you go along. There will be missteps along the way, but he’s been involved in plenty of great films in the past two decades – Meet The Parents, Limitless, Being Flynn, The Good Shepherd (which he also directed), The Irishman, Silver Linings Playbook, American Hustle, Joker, What Just Happened, to name but several. Arguably, his influence has never been greater given both his unrelenting work ethic and his impression of Robert Mueller on Saturday Night Live, which has introduced him to a younger demographic. And, personally, I like Machete and who in their right mind would ever turn down the chance to be shot by Lindsay Lohan dressed as a nun?
Does he bring the same intensity to his craft that he once did? No, obviously not. He was 56 when the new millennium dawned – an age at which some people are eyeing early retirement. Give the man a break. He’s not going to gain 60lbs for his next role. Or if he does, he won’t lose it in a hurry. Also, like Michael Caine, one of the few actors to have enjoyed a longer career, De Niro knew tough times before he made it. Unlike many of today’s stars, he was neither Mouseketeer nor child sensation, but a man staring down the barrel of 30 before he got his first break. That might make you think carefully before turning down a role.
Besides, there is a resolute, stoic “never complain, never explain” defiance De Niro has carried about his person throughout his career. He has never seemed unduly bothered by either the praise or the brickbats he has received from critics and has remained largely aloof from the whole business of interacting with the press. Indeed, he has turned the business of saying nothing to the press into the kind of art form that the tight-lipped members of the Cosa Nostra he has so often portrayed would surely admire. He doesn’t exactly take the Fifth when dealing with the media, but it’s not far off.
Though it is a constant frustration to journalists, it’s easy to see why De Niro cleaves to the code of omerta, for there is much in his private life that would be picked over endlessly by the media. When De Niro made his breakthrough in the early 1970s, it coincided with his father, Robert De Niro Sr, coming out as gay. Keeping that on the down-low would have been a priority at the time and perhaps the pattern stuck. Certainly, his personal life has endless fascination. Consider, for instance, the insight offered by Mean Streets’ producer Jonathan Taplin in Peter Biskind’s Easy Riders, Raging Bulls of De Niro in the mid-1970s.
“Bobby always had girlfriend trouble. He picked these incredibly strong girls, top chicks, always black, and then he’d fight with them all the time.”
By rationing biographical information and insights into his emotional landscape, De Niro has achieved something that very few film stars manage: he has allowed the public to fill the void with their own imagination and become bigger and more glamorous in the public consciousness as a result.And that is the very definition of a star.
In this respect, he is also undoubtedly helped by his leading-man good looks. How do you describe his looks? It’s not just that he is handsome – he obviously is, he’s a film star, and the kind of film star British girl groups sing about. (On that note, Bananarama did apparently consider serenading Al Pacino, but this name didn’t scan as well.) But more to the point, De Niro always looks right. Whatever the role, whatever it demands, he looks the part. Whether its’s Deep South psycho Max Cady in Cape Fear or the slaver-turned-Jesuit, Mendoza, in The Mission. Part of that is down to meticulous preparation; part of that is God-given. When he played opposite Bill Murray in the excellent Mad Dog And Glory, in which he is the mild-mannered crime scene photographer Wayne Dobie, while Murray is the high-rolling mob boss Frank Milo, the costume designers apparently couldn’t get anything to look right on Murray and couldn’t get anything to look wrong on De Niro.
That influence on the world of fashion is echoed by his influence in popular culture. De Niro’s performances are deeply embedded in the public psyche and continue to resonate. Not least with maniacs. On 30 March 1981, the day that John Hinckley attempted to assassinate Ronald Reagan, the FBI questioned De Niro, Scorsese and screenwriter Paul Schrader because Hinckley cited Travis Bickle as his inspiration. Hinckley was obsessed with impressing Jodie Foster and had watched Taxi Driver 15 times. More recently, in Andrew Hankinson’s brilliant, unsettling book You Could Do Something Amazing With Your Life [You Are Raoul Moat], we learn that the Geordie murderer, on leaving Durham jail, immediately availed himself of “a gun and a haircut like Robert De Niro in Taxi Driver”. Last year’s Joker, which features an excellent cameo from De Niro himself, draws strongly on the themes of The King Of Comedy and Taxi Driver. If Joker had been a record, it would have had to pay royalties. And let’s not get started here on how indebted The Simpsons’ writers are to De Niro. Let us just say, as Bart once did in a thinly veiled reference to The Deer Hunter, “What part of diddy mao don’t you understand?”
De Niro’s place in popular culture is undisputed, but his rise to stardom was far from preordained, despite his obvious talent. Nessa Hyams, casting director on The Exorcist and Blazing Saddles, has spoken candidly of how much of a struggle it was for De Niro before his breakthrough in Mean Streets. Words to encourage any aspiring thespian.
“You couldn’t get De Niro arrested,” she told Peter Biskind. “We schlepped him into every reading for every director we could and he wouldn’t talk and we’d go, ‘But he’s so talented,’ and the director would go, ‘Thank you, next!’”
The turning point, of course, was the relationship he forged with fellow New Yorker Martin Scorsese, which has seen the pair collaborate on nine films thus far in their careers. Like all great artistic relationships, each provided the other with something they craved. For Scorsese, De Niro’s middle-class upbringing and his exposure to a bohemian world of art and literature was the stuff of the director’s childhood fantasy, while for De Niro, Scorsese was authentically of the street and could make him appear gritty and tough in a way that belied his upbringing. It was the perfect match. Nor was their relationship simply professional. When Scorsese’s drug habit had taken him to death’s door in the late 1970s, De Niro was instrumental in bringing him back from the brink, forcing him to work on Raging Bull and thus reviving his career as well after the crushing failure of New York, New York.
There hopefully will be more Scorsese-De Niro collaborations. Killers Of The Flower Moon, adapted from David Grann’s acclaimed story of the murder of Osage Indians in 1920s Oklahoma after the discovery of oil on their land, is one which looks likely. There should have been others, notably The Departed, for which Scorsese was desperate to get De Niro to play the role of Frank Costello, which ultimately was taken by Jack Nicholson. That would surely have been a good fit. He also (wisely) turned Marty down for the title role in The Last Temptation Of Christ. And whether he would have cut it in Tom Hanks’ role in Big or as Hannibal Lecter in The Silence Of The Lambs, as once looked likely, we will never know.
I have a theory about actors. No matter how brilliant they are, they’re nearly all replaceable. Meaning if the excellent X didn’t exist, there’s the incredible Y or unbelievable Z waiting in the wings who would take his or her place in a heartbeat and be just as brilliant. There are thousands of great actors. Which is not to denigrate their craft or pretend it’s easy – there just are. There are far fewer great musicians, artists and comedians. I think this is why actors are traditionally so insecure. They know there were a dozen people back at drama school every bit as good as them. But I have a list – and it’s a fairly short one – of actors who are not replaceable, who, through a combination of looks, talent, intelligence, great application and an equal amount of luck, have managed to bring something to their art that no others could and fashion careers that prevail over time. De Niro is on that list for all those reasons, but he has done more. Time magazine once called him the “Phantom of the Cinema” and with his shape-shifting, weight-shifting approach to his craft, it is no overstatement to say that he has redefined what we can expect of an actor.
In a rare insight to his working methods, he once said, “My joy as an actor is to live different lives without risking the real-life consequences.” Guided by this simple principle, De Niro has lasted the course and starred in more classic films than any other actor alive and, therefore, Robert De Niro is not just on my list, he’s top of it.
30 June 2020, John Naughton, Source
Epic film from the gone decades / Filmed in Paris also the Car Chasing Scence / In time of film production and release one of the most fast & spectacular car chasing movies ever done & created.
vehicle approaching) (indistinct chattering) Une bière, s'il vous plaìt. Merci. (door opens) (French) We are closed. Just a small drink. The toilets ? (telephone) (door opens) (French) A quick drink and then l'll leave. (lrish accent) Why are you rushing off ? - Hmm ? - l said, why are you rushing off ? (French) l don't understand. The man from Bristol called ya. - What man ? - The man in the wheelchair. (car horn) (vehicle pulls up) What were you doing back here ? Lady,... ..l never walk into a place l don't know how to walk out of. Then why would you get into that van ? You know the reason. Make yourselves at home. You've come a long way. - Thanks for coming. - What's the job ? There's some people who have something we require. - And we want you to get it from them. - lt involves shooting ? You must be tired. We'll tell you more tomorrow. Seven fat years and seven lean years. - That's what it says in the Bible. - You ever kill anybody ? l hurt somebody's feelings once. Don't l know you ? l don't think so. l'd remember. Okay, two-hour shifts. l'll watch the front, you guys watch the back. Merci. (truck horn) You awake, then ? Hmm ? How we doin' ? Yep. You labour or management ? lf l was management, l wouldn't have given you a cigarette. l am the tour guide. Over there is the Eiffel Tower. Over here, the Louvre. Over there, les toilettes. What do l call you ? - My name is Vincent. - Sam. As per the agreement, your salary will be $ a week... ..with a minimum of four weeks' work. On the successful completion of the mission,... ..you will each receive a bonus of $ . And by the way, my name is Deirdre. - The broad outlines of the mission are... - Who are your principals ? For you, there's no one but myself. Huh ? And what can we infer from your charming lrish lilt ? - Anything you like. - Where's the equipment ? Tell me what you need, make a list, and give it to Vincent. - Some of the equipment's quite technical. - lf it's in Paris, l'll find it. This is what we're after. We need to take it intact from several men who'll be intent on preventing us. - How many men ? - You American ? l think the group will be between five and eight. No more than eight. - You don't know for sure ? - Not now but l will know before the event. lf you don't know, why say between five and eight ? There's two to three cars. The group's travellin'. - They're not in Paris ? - No. Where are they ? - You'll find out soon enough. - What's in the case ? Our plan, in broad strokes, is an ambush. lt's to hit the car, to take them in transit. - Transit ? City ? Country ? - Right now, as l said, l don't know. But we've to move very quickly. We'll start with this: Ambush and assault on two to three vehicles,... ..five to eight men, and our objective is the safe retrieval of this case. Tell Vincent what it is you'll need. What do we know about them ? Are they French ? Who are they ? All you need to know right now is that they're very unpleasant. - You've done this kind of thing before ? - You know... How difficult can it be ? We have no idea how these men will be armed ? lt seems they'll be very well armed, indeed. Where are we going and how are we getting back from there ? lt'll be in France, and the group will disband at the RV point. - (French) What does she mean ? - After that, we're on our own. - lt's a military term. - That's right. Larry, tell Vincent what you'll need. Something very fast. Audi S- . Something that can shove. l'm going to have it for you by the afternoon. l'll also need a nitrous system. l've got the specs. What do you use, weapons-wise ? - Hmm ? - Weapons. - l'm a... l'm a weapons man. - Weapons man. - Yeah. - Okay. They tend to settle the argument. So what do you favour ? Well, you know. lt's a toolbox. You put the tools in for the job. What ? You know, l actually favour the old . . . Old gun. lt served my country well. A long time. Your country ! Not done too well, have you, last few wars ? Perhaps not, but at least we don't go around whining about it. You ex-military ? No, l got my job through the New York Times. - (French) Don't let him get you down. - lt don't mean nothin' to me. l say what l think. Are you ex-military ? Boys at Hereford ? l'm sorry, but l'd like to go backwards. The line of retreat is... She just told you. We meet back at the RV, disband. l understand. l'm just trying to get a vague notion of the opposition. We're gonna cause some animosity. How many will be coming after us ? - You worried about your own skin ? - Yeah, l am. lt covers my body. All your concerns will be addressed before we leave. - Electronics and commo. - Not more than three cars ? That is our information. - Can you get me a simulator ? - What's a simulator ? Gunpowder. Sound only, no lead. Sounds like a pistol. Quite diverting. Listen, l'm also gonna need some bigger injection jets. The Bosch is not gonna do it. They have to be custom-made. We going north ? We going south ? l'd like some new clothes. - Vincent will sort you out. - l'll take care of it. - So what brought you here ? - A fella that doesn't work so well. The man in the wheelchair ? How did he get there ? That was in your neck of the woods, back in the late unpleasantness. Good reflexes. Oh, yeah. They die hard. - lnterrogation. - What ? - Methods to withstand interrogation. - You've done that ? We were taught to hold out indefinitely. - Nobody can hold out indefinitely. - Ah, is that so ? Everybody has a limit. l spent some time in interrogation... once. - They make it hard on you ? - They don't make it easy. Yeah, it was unpleasant. l held out as long as l could. All the stuff they tried. You just can't hold out for ever. - lmpossible. - How'd they finally get to you ? - They gave me a grasshopper. - What's a grasshopper ? That's two part gin, two part brandy, one part crème de menthe... Fuckin' smartass ! - Can you find this place ? - Of course. l know it. That's where they wanna do the exchange. You're gonna exchange for cash ? - You know these people ? - My people know them. Your people have done business with them before ? Or these people just gave your people a number ? Larry. Okay. lf we're gonna do it, let's do the goddamn thing right. - Hey ! - l'm busy. Okay, come on. Let's go. The answers to your questions l'll know when l get back. - l'll go with you. - Go with them. Who does this girl work for ? Well, she works for our betters. lt seems that's what we're meant to know. Always a waiting game. - What ? - lt's a waiting game. Hey, wait. Would you not do that, please ? Bad for the night vision, yeah ? There they are. - You have the list ? - Yes, l have it. Give it to me. Money ? Okay. You follow my lead. Just make sure you watch my back. (French) Don't make any sudden moves. Just because we're buying guns doesn't mean we didn't bring any. Don't worry. Everything's fine. You want to back him up ? What would l profit from your death ? - Well, you'd have the money. - l have the money already. l'll watch the back. - (French) Have you got it all ? - Oui. - You're sure ? - Ofcourse. Come and see. There it is ! lt's not all here. - Vincent. - What ? lt's not all here. - C'est tout ? - Ah, non, non, non. Le patron va contr^oler l'argent. Vous aurez le reste de la marchandise. Tiens. ll est là dans la voiture, avec le patron. He said the rest is in the other car. The boss wants to check the money. (French) lfhe agrees, we have no problem. Here, take the car keys. Go on. Take them. Come on. Come. Okay, give me... Give me some of the money. Give me some of the money ! - Okay. - You aren't going in there ? - Yeah, l am, and so are you. - Why am l going in there ? - Why ? To protect me. - There is no protection there. lf it's a come-on, we're fish in a barrel. Why do they want you in there ? - What are you, crazy ? - You know, you think too hard. Nobody ever told me that before. But l wouldn't go in there. - What is it, Sam ? - l don't like it. Look at it. Okay, okay. Okay, let's just do it. Let's just do it and be done, yeah ? You don't wanna go in there. - l'm getting paid to go. lt's that simple. - Okay, come on. Let's go. lf anything goes down, get next to one of those guys. lf there's a sniper, he'll be afraid to shoot his own guy. - Let's go ! - All right. Stop ! (French) Stay where you are. So, everything's fine. (boat horn) Shit ! l can't see ! l can't see ! Have some of this ! Fuckin' arsehole ! - Fuckin' have some more, you bastards ! - (siren) Come on ! Come on ! - (gunfire continues) - Let's go ! - No ! You goddamn... - Come on ! Let's go ! - ls anybody hurt ? - We're fine. Almost a bit of raspberry jam back there, yeah ? A bit of raspberry jam back there ! (tyres screeching) Got the swag, kept the money. Job well done. That's a fact. That is a fact. (siren) Slow down. Slow down. l think l have to stop. Thank you. (Spence coughing) Why did you take this job ? My friend, l need the money. (French) The money is here. That's what this is, you know ? Money. Yeah, but who are our employers ? You're right. (Tannoy announcement in French) Excuse me. Excuse me, monsieur. (lrish accent) The Russians are bidding for the case. The case is in Nice. They're trying to sell it to the Russians. They're staying at the Villa Belle Mer in Nice. - The team isn't ready. - Whatever the team is, you do it now. The Russians have decided to bid. We need to move now. Excuse me. l have the information. We'll be movin' very soon. lt'll definitely be in the nature of an ambush... ..somewhere between here and here. We'll anticipate a three-car convoy with a backup team. We will try and stop the target before they can get away from us. - What's in the case ? - That information isn't necessary. ls it heavy ? ls it explosive ? ls it chained to some unlucky bloke's wrist ? - Are we gonna have to chop it off ? - All right. l don't have to let you know... Then the price has got to go up. l'll get you the case, but the price has gotta go up. lf it's gonna be amateur night, l want $ . l want it up front. l want it in a bank account. l want another $ when you get the case. (dialling) Okay. We've got shooters here, shooters here. l'll tell you an old trick. Hey. - What's your problem ? - Draw it again. Draw it again. You're the ace field man. Draw it again. lt's a simple diagram. Just draw it again. Draw what you saw. Draw it again ! Draw it again. Two shooters. Car comes through here. Shooters across from each other, kill each other dead. - Oh, my. Where'd you learn that ? - ln a regiment. - What regiment was that ? - The nd Special Air Service. What's the colour of the boathouse at Hereford ? What's the colour of the boathouse at Hereford ? - l don't like your attitude. - What's the colour of the boathouse... - Fuck off ! - What's... You got the gun. l'm unarmed. Do something. Go ahead. Do something. Do something. Do something. Tell me about an ambush ? Don't tell me about an ambush ! l ambushed you with a cup of coffee. You'll get your money when we get the case. - The others, too. - That is what l understood. Come on. We've gotten the word. We're movin'. Put this near the front. Careful ! Careful with that ! So what colour is the boathouse at Hereford ? How the fuck should l know ? This'll complete your compensation. Thanks for your time. Feel free to leave when we're gone. Do l need to suggest that you forget us ? Because we will not forget. (computer beeping) - Morning. - l see you're reviewin' our problem. Well, either you're part of the problem, part of the solution,... - ..or you're just part of the landscape. - lndeed. What's in the case ? Something we're paying ya for. - You and the girl are in front of the hotel. - The name's Deirdre. Deirdre. Wait outside the hotel for the target. He leaves the hotel for the villa, the villa for the hotel. He activates his cellphone. How do you know he's gonna use his cellphone ? - He'll use a phone. - How do you know ? - l'm gonna call him on it. - How do you know he'll have it with him ? He's waitin' for a call. His people will call him to tell him the location of the meet. - Okay ? - Okay. The villa, the hotel, the car, the stop light, to guys. How good's their... How good's their security ? - l can't tell you. - Well, let's find out. Where are they ? The last report, they were at the hotel. - The case is at the hotel ? - We presume that it is. - That's interesting. - Why don't we do it now ? - lt's tempting. - lt's a good plan. Let's stick to the plan. Everybody wants to go to the party. Nobody wants to stay and clean up. - Please. - The only thing is that the map... ..the map is not the territory. Let's go look at the ground. Bring some money. We're gonna do a little shopping. Listen up. You're my wife. Be who you wanna look like. lt's just a game. Just a game. Man and a woman going for a walk. Piece of cake. Relax. Relax, darling. You look good cleaned up. ls that the hotel ? Put your arm under mine. Put your arm under mine. Why aren't they at the villa ? Why are they down here ? Fun and games ? Pretty girls and beer or what ? (indistinct chattering in French) (French) Can l help you, sir ? No. We're looking at the menu. Merci. Uh, excuse me ? Do you speak English ? A little. Could you take a picture of me and my wife ? lt's very easy. You press like that. - Sure. - Like that. That's it. Focus like that. Okay ? We're gonna do it over here. Can you get that palm tree in ? We wanna show we're on the Riviera. - How many do you want ? - Just snap away. Very good. Again. Again. Get the background. Take a couple of my wife, alone. (French) Take my luggage up right away. Thank you. Can we take one picture of you with my wife ? One picture with you ? That's it. So ? Well, they're good. Guy goes for the case, other guy's protecting the principal. Nobody panics. They're good. - So what have we learned ? - Can it be done ? lt can be done. We should have two more men. - We don't have two more men. - Go to your handler. - There is no handler. - Let me go. There's no handler. There's only me. Listen, you want the case, we're gonna need some more men. There's no more help, there's no more men. Are you afraid ? Of course l'm afraid. You think l'm reluctant because l'm happy ? We've made a good plan, and we're gonna stick with it. What do we do ? We wait. - (French) So, who are they ? - Our employers. (knocking on door) - Qui est là ? - lt's me. They've gone back to the villa. - Did they have the case with them ? - They did. - Did you get the other cars ? - Got 'em. - And how do they run ? - They'll do fine. (telephone) Yeah. Well, what does that mean ? lt would be nice to do something. We are doing something. We're sitting here, waiting. (scoffs) lt's not gonna happen today. The buyers are out of town. Tomorrow at the earliest. You know what ? The hell with 'em. Let's go put 'em to bed. - We've got the report. - lf l take the report, l got nothing else. l can go see for myself. They at the villa ? l'm gonna go take one last run over the route and tuck 'em in. l'll come with ya. So how did you get started in this business ? A wealthy scoundrel seduced and betrayed me. Same with me. How 'bout that ? Take out the map. Take out the map. lf anybody looks, we're... So who are those guys inside ? You tell me. Ex-military, Northern Sov Block, somebody or other. - They need a job. That's my excuse. - ls it ? Cops. - (beeping) - System activated. - (tapping keyboard) - System check. Repeat system check. There he is. He's being good. He's activated his phone. (tyres screeching) l'm in position. (speaking French) - They're passin' me now. - Target is on the way. Hell of a time to be workin'. What do you want for Christmas ? My two front teeth. May your wish be granted. (bell tolling) Target is metres from the traffic light. (simulated gunfire) (speaking French) Come on ! Come on ! So far so good. Target on the right road. Sam, escort car. - Four tenths of a click in front of you. - Got it. Larry, you should see them in... four seconds. Two cars. l got 'em. (speaking French) Target has escaped. l repeat, target has gotten away. Target heading for Vieux Nice. Through the market, then straight. (screaming) Right at the fork, Maréchal Foch. Okay, you're in front of him. - Cut him off at the end of the port. - Roger that. l got it. He's coming from the right. He's yours. (screaming) (groaning) (siren) - l'm hit ! Take the case ! - Up the other end ! - Get the fucking case ! - Get the car up the other end ! Take this ! Get out of here ! l'll see you at the safe house ! Hey ! Get rid of the case ! Get rid of the case ! Arrètez-vous ! - Where is Gregor ? - Gregor fucked us. (gunfire) (choir singing in French) (knocking, door opening) - How is it out there ? - A lot of heat. A lot of heat. - How you feeling ? - Okay. - Thanks for before. - Don't mention it. Could you clean the paint off this ? - You got a pack of Camels in there ? - No, you smoke too much. (French) We must get out ofhere. l'm gonna need your people to help us. - And l need you to find the case. - All right, call your guy. When we bring in the case, he'll help you. - How can l bring him the case ? - Well, Gregor has it. - Why ? - l presume to sell it to the Russians. Why the Russians ? Why not you ? lf we had the money to buy the case,... ..we wouldn't have hired you to steal it, would we ? - Go to your people. Talk to them. - You want the case ? We find Gregor, we find the case. - How do we find Gregor ? - How'd you find him in the first place ? l found him through your friend, the cripple,... ..who gave me nothin' but a bunch of fucking lames ! You and Spence and the whole sorry lot of you ! We can find him through his cellphone. (Larry groaning) Can we trace his cellphone ? (tape ripping) They can triangulate it, if we had that equipment. Who has that equipment ? Who has that equipment ? Tell me. Who has it ? All right. All right. Give me the number to his phone. So, how does the day find you ? How do they say it in French ? En pleine forme. This was supposed to be a social occasion. - Life is uncertain. - lt is indeed. But, Gregor, we have so much history together,... ..l was sure you wouldn't mind. - Besides, the world these days is so... - Unsafe ? Exactly. l'll show you how unsafe it is. (children laughing, chattering) See that little girl down there ? Have you lost your mind ? Why did you do that ? To make a point. l don't know her, but l was ready to blow her brains out. But you, l don't particularly like you. Just imagine what l'll do to you if you try anything. Now give me my money. Put down the gun. - l never liked you either, Gregor. - Where did that come from ? l should have made you strip. - Now where's my package ? - lt's right behind you. (female vocalist singing in French) Whoo-hoo ! (Russian) Clever girl. You liked it ? My little sun. You make me so happy. (telephone) ls it done ? lt's done, Mikhi. (woman) Natacha ? Gregor ? ls that you, Gregor ? Much to your disappointment, no doubt. lt was a mistake. lt should not have happened. Well, if it happens again, l'll turn around and sell it to the lrish. - Don't do that. - Then don't make me. My price just went up °/ . l want the package, Gregor. What do l have to do to get it ? Just wait for my next phone call. l'll find a place where l can tilt the field in my favour. (siren) Excuse me. Excuse me. Excuse me. Could you tell me how to find a post office ? Do... Do l know you ? l'm sorry. Do l know you ? How did you know l speak English ? You got an English newspaper. Sorry. - l'm sorry. l beg your pardon. - lt's all right. Uh, what do you need a post office for ? 'Cause over here, they use them for different things. l need your help. - l thought you left. - l did leave. - You did leave ? You're out ? - That's right. Can you help me ? l need your help. What's the number ? Yeah, the post office is, uh, just down to your left. - Up on the left ? Thanks. - On the left. - A friend of yours ? - We went to high school together. Everyone's your brother until the rent comes due. Ain't that the truth ! (French) Yes. Yes, on the terrace ? Facing me ? l see him. Yes, l'll get him. Hang on, please. Excuse me, sir. Are you Sam ? Yeah. Telephone for you. Yeah, good to see you, too. lf his position changes, l'll let you know. Gregor's in a town called Arles. He's at the arena. (telephone) (woman) So this is the amphitheatre of Arles... ..which was built at the end of the first century AD. lt is built with limestone. l know those men. (woman) And you can see this dominant yellow colour... ..which is actually caused essentially by a lantern. We're not sure that the walls were actually yellow. And so, now we will continue... ..and visit the Roman baths down this way. (tour guide speaking French) (telephone) Yeah. (Gregor) Thank you, gentlemen. That'll do nicely. lt's Sergi. l remember you. (Russian accent) Yes, Gregor, it's me. - How have you been ? - Well. These are trying times. - l'm sorry about the unfortunate incident. - Oh, yeah. lt was excessive. And more to the point, it was foolish. l couldn't agree with you more. Mikhi did it without consulting me. Yeah, he's turned rogue and can't be controlled, is that it ? Excusez-moi. Je cherche la vieille maison de Van Gogh. - l don't... l don't... - Oh, English. Sorry. Such a fool. l was looking for Van Gogh's old house. So what could have been conducted in a collegial atmosphere... ..is now fucked into a cocked hat. - What do you think ? - (Sergi) l think we'll meet your price. Yeah. Yes, so let's see it. Let's see it now. Where do you have it, in your belt ? - Let's see it ! - Show me the case first. You're great in the locker room, and your reflexes might die hard,... ..but you're weak when you put your spikes on. - Gregor ? Are you all right ? - Gregor's fine. But l think you're in a wee spot of trouble. - Where is it ? Where is it ? - l don't have it with me. Where ? l mailed it to myself. A post-office box in Paris. Hilfe ! Help ! He's robbing me ! (crowd shouting) (Vincent) Pardon. Pardon. Pardon. Avancez ! Pardon. (gunfire) (groaning) Stop. - Where do l know you from ? - Vienna. Of course. l'm sorry to have to do this. Hey ! - Christ. - Drive. (siren) Stop ! Descends ! Vite ! Descends ! - l'm gonna have to take care of this. - What do you want to do ? Uh, get to a doctor or a veterinarian's office. l'll just boost what l need. - Could you do that ? - Of course. l can do better. - How is it ? - l'm leakin'. l'm sorry. That girl sold us out. She sold us out. (dogs barking) - (French) Ready, Jean-Pierre ? - Everything's ready. Get my legs up. Careful. Are you sure you can do this ? Yeah. l once removed a guy's appendix with a grapefruit spoon. - Have a drink. - No booze. No. Easy, easy, easy. lt's just below the surface. All right, let's do it. Just douse it with alcohol. (opens bottle, liquid pouring) Take the gauze and wipe away as much of the blood as you can. Keep it clean so l can see it. Yeah. That's it. All right. What we're gonna do is routine. l've done this many times before. There are no vital organs, arteries. lt's okay. You won't kill me. Just make sure you get the bullet... - ..before you pry it out. - All right. Take that scalpel. The upper part. Over here. Just cut up there. Just a little cut. (grunts) Okay. Got it. Now take the clamp. Take the clamp and open up... the hole. Just put it in there. Put it in there. That's it. Put it in. Just... Now open it up. Spread it. Spread it. Okay. Okay. Now get the other... Get the other clamps and get the bullet. Remember, don't take it out unless you really got it. (groaning) (groans loudly) (sighs) Do it again. Do it again. Just try once more. (groaning) - (panting) - l'm sorry. When he pulls it out, put the gauze in. There's gonna be a lot of blood. Put the gauze there. Fucker sprayed his bullet with Teflon. He was trying to stamp me ''paid in full''. - ls that why it went through the vest ? - Yeah. You think you can stitch me up on your own ? lf you don't mind, l'm gonna pass out. (child crying) You gonna kill me ? No. l'm not gonna kill ya. (beating continues) Why would l want to kill ya ? (panting) - l gave you a job. - l did my job. So how'd it go wrong ? l thought you wanted the case. Oh, we'll get the case. We'll get the case, eh, Gregor ? Don't you worry about the case. What l want's an explanation. An explanation ? For what ? You bollixed it up. - l bollixed it up ? - You hired him. Through your fucking contact ! - You didn't do your homework. - Why did you have to kill Larry ? Oh, Larry, is it ? l was clearing up your mess. My mess ? Oh, well, you take over, then. - Eh ? - But you can't, can you ? lt's you that's hiding, isn't it, Seamus ? lt's you that can't show your face. Who else thinks that ? Who you been talking to ? lsn't that the reason why l'm doing this job ? You're a good girl, Deirdre. Do your job, eh ? (French) He's tough, your Yank. You're right about that. But who is he ? That's not important. Didn't he work for the ClA ? He used to. Not anymore ? He's on the run. You're sure ? l know what he can do. l've seen him. Why would he carve himselfup ifhe were still ClA ? He makes a call and it's taken care of. And you ? How are you ? We need some information. We need to find some people in Paris. Who ? An lrish man and woman,... ..a German, an ex-KGB. They're professionals. They're in hiding. This is really important to you ? He saved my life. Bon. l'll find them for you. Where's the case ? lt will come tomorrow. l'm sure. Well, l'm sure it will, too. Let's go. Let's hope so, for your sake, anyway. Are you feeling better ? Yeah, enough to move around. Thanks. My hobby. One grows old. l knew a lot of fellas, friends of mine,... ..they just wanted to live to open a bar. Had they lived, would they have done it ? - Then they were spared their disillusion. - Yeah, that's right. Who were these people ? Friends of yours ? - l wouldn't hurt a friend. - Was that my question ? That's right. Well, who are you ? A fella like you, trying to make it to retirement. At the end of the day, we're likely to be punished for our kindnesses. You don't have to worry about me. l won't hurt you. The ronin, do you know it ? samurai whose master was betrayed and killed by another lord. They became ronin, masterless samurai,... ..disgraced by another man's treachery. For three years they plotted, pretending to be thieves,... ..mercenaries, even madmen. That l didn't have time to do. And then one night they struck, slipping into the castle... ..of their lord's betrayer, killing him. Nice. l like that. My kind of job. There's something more. All of them committed seppuku,... ..ritual suicide, in the courtyard of the castle. Well, that l don't like so much. - But you understand it ? - What do you mean, l understand it ? The warrior code, the delight in the battle. You understand that, yes ? But also something more. You understand there is something outside yourself... ..that has to be served. And when that need is gone,... ..when belief has died, what are you ? A man without a master. Right now l'm a man without a pay cheque. The ronin could have hired themselves to new masters. They could have fought for themselves. But they chose honour. They chose myth. They chose wrong. Seppu... Seppu... what ? Yes, seppuku. Disembowelment. The sword goes in here. (slicing sound) (Sam) Are you sure this address is good ? (Vincent) Jean-Pierre gave it to me. Under the bridge by the river... How did you know it was an ambush ? Whenever there is any doubt, there is no doubt. That's the first thing they teach you. Who taught you ? l don't remember. That's the second thing they teach you. All good things come to those who wait. - Why is Gregor still alive ? - He's taking them to the package. How ya doin' ? What are you... What are you gonna do to me ? Let's just be calm for one more moment. One more moment. Why ? Why ? You know why. No. You don't wanna do that. You can't. Get back ! Get in the fucking car ! Why didn't you shoot her ? Take the tunnel, now ! (Deirdre) Oh, Christ ! Eh, merde ! (siren) (horns honking) (tyres screeching) (horns honking) Come on ! Come on ! All right, you fuck ! (Deirdre screaming) (coughing) (gunfire) (shouting in French) (groaning) (Vincent) Where could he be ? - Where could he be ? - Hmm. The lrish and the Russians are looking for him. So where does he go ? He goes to the Russians to make the deal for the case. Gregor ain't comin' in unless he can figure out a safe exchange. He knows they'll kill him for the case rather than pay him for it. He's got to work it out soon before the lrish find him. So where does he go ? You go to what you know. He's KGB. He goes to one of his old safe houses. No, they're all blown. Where does he go ? (sighs) So, you're on the run. Where do you go ? Hmm ? Where's he been ? Where's he been ? Where's he been ? Where's he been ? (chattering in French) He made the fake case. He had the fake case made. Gregor. He had it made. He had to have had it made. ln Paris, before we went to Nice. He didn't have time to have it made. He bought something that looked like it, then spray-painted it. Where did he get the spray ? He never left the room. Where did he get the case ? (Vincent) Excusez-moi, monsieur. lt's a case for ice skates. Why ice skates ? And why would Gregor know an ice-skate case ? He didn't have time to have it made. He didn't have time to have it made. The Russians made it. The Russians made it. We're following the wrong people. We don't have to find Gregor. We find the Russians, they will take us to him. (Russian) You've lived in Paris a long time. You know the people. - l get around. - You meet the new Russians. You know how it is. Ex-spies. Now it's Mafia. Under diplomatic cover. KGB ? Ex-KGB. (French) Heavy hitters, gamblers, lots ofmoney, big cars. (Russian) They live like tsars. Throw money away. Fur hats are expensive. - And bodyguards. - Expensive coats, Dr Zhivago. l have a lot of work, no time. l understand. All right. Let's go. Okay. (French) lt will be fine. The guy is gonna reach out. ls he any good ? Jean-Pierre says if it's Russian and it's in Paris... (speaking Russian) (French) lfl wanted to find Russians in Paris this week,... ..l'd go to the ice show. (crowd chattering) (applause, cheering) - Bonsoir, Pierre. - Bonsoir. Je vais payer pour votre soeur. Oh, merci beaucoup, Mademoiselle Kirilova. (French) l'll trade you a cigarette for a favour. The favour is, steer clear ofthose guys. Who ? The Russians ? They sure throw their money around. Bonsoir. - ça va ? - Salut. - Bonsoir. - Ah, bonsoir. The Russian is seeing Natacha Kirilova, the star of the ice show. He spends every evening in the audience. How did you find that out ? We went to high school together. (clapping) (Russian) Mikhi, is everything all right ? Everything is fine. Sweet girl. Go. Go on. (applause, cheering) (PA system in French) Ladies and gentlemen ! We are veryproud to present... ..two-time Olympic champion and three-time World champion,... ..Natacha Kirilova ! (applause fades) (applause, whistling) (applause) Let's go. (Russian) Wait out here. Yes, he is. Hello, Mikhi. - The meeting is not till later tonight. - The meeting's now. (crowd applauding) You have the money ? Well, we were going to go back to get it before the meet. l don't think so. You have the money ? l might have the money. Where is the case ? No, you have to do it. l couldn't live with myself. l have the money. We conclude this now and part friends. Okay ? Where is the case ? l'd like to be paid now. No doubt. Now tell me the other part. The other part ? l'm leaving. l'm taking my fee and l'm leaving. l have a person with a rifle in the stadium. l've worked with her for years. She never misses. l will call. l have to call within seconds... ..to say that l'm leaving,... ..and then in another minutes to say that l'm safe. Should l be unable to call, your friend will be shot. seconds, Mikhi. - (French) We need to get inside. - You can'tpass without badges. seconds. seconds. (gunshot) (French) There were two ofthem. They were looking for those guys. Just a minute, sir ! (camera shutters clicking) (French) l am a Chilean citizen, as you can see from mypassport. Merci. (chattering, shouting) - Mama ! - Shh, shh, shh. Katchev ! Qu'est-ce qui se passe ? (screaming) Stay with him. Get out of here. Get out of here ! Get out of the car. Walk away. Walk away ! Walk away ! Go. Go. - l will if you will. - Just go. Come with me. Forget about the case. l didn't come for the case. l came for your boss. l came for Seamus. l came for him. Just get out of here. l never left. Don't you see ? Get out of the way ! Get out of the way ! (sirens) Get out of the way ! (French) This way is blocked. l can take you in or leave you here. There. That's him with the case. (French) Sir ! Over here, please. Wait ! Wait ! (screaming, shouting) (French) There are more back there ! (panting) (Seamus) Stay where you are ! Stay where you are ! Don't move ! Shut your fuckin' mouth up ! Shut your mouth ! (gasping, sobbing) You stupid shite. - You're a dead man. - (gunfire) (radio) This is the BBC World Service. lt was announced today, after almost years... ..ofbloody and seemingly intractable civil conflict in Northern lreland,... ..that a peace agreement has been reached between... ..the predominantly Protestant government ofthat British-ruled enclave,... - ..and the lrish resistance... - (overlapping radio reports) ..have told CNN that it was the apprehension and slaying... ..in France ofthe lrish terrorist Seamus O'Rourke, byparties still unknown,... ..that contributed a stability, largely allowing... ..the negotiations to proceed to their historic conclusion today. O'Rourke had earlier been denounced by the lRA,... ..the military wing ofSinn Fein, as a rogue breakaway operative. Well, then, good knowin' ya. Hmm ? - l'm sorry ? - You said something. l said she would not be coming back here. Yeah. She would not be coming back here, would she ? l can't even put my hand in my pocket to pay the bill. l'll get it. l'll get the next one. What was in the case ? l don't remember. Lesson number two. Keep in touch. Let's go. (Vincent) No questions, no answers. That's the business we're in. You accept it and move on. Maybe that's lesson number three.