"CASINO ROYALE" (2006)

~W" B~d:Qfl~:9ovelby Ian Fleming

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Snow on the ground. It's the middle of the night. A car pulls up outside the ultra-modern building. DRYDEN gets out and moves inside.

Deserted except for the guard at the recep~-~ desk. Dryden mutters a greeting and heads for the eleva ~~.

-{rl(~)

We're in.~AHORE, PAKISTAN, a gam~.~:J{~-··~-ogress,i()\thePak.1stan1' team fielding, British team batti_R~~ he grandstand is orow.ded. T.hebowler hurls theb~J_'\~t-ebatsman hits it up in the a.ir,arcing it tow~: th~ stands. The crowd reach for it, oneperson cat~~~~~~ throws itback.

Standingnext to the thro~~i7~2/2dark, well built man, applauding the shot alo~\_~t:111'everyoneelse.Call him FISHER. He glances b~. ~~~a rowdygroup of fansand SPOTS

aman watc.hingh.1.·.~·······-<::....h....sa~einsilho.uette:BOND.Fisher reacts,pushes thro' .:.\':-1ecrowd,awayfromSILHOUETTE.

/''•·~·······

y

Sleek surf~~~iit only by the skyline beyond. DRYDEN enters, ma1(~,'(Juicklyto a hidden safe without bothering to turn qfi~::tp'eJlights.Hestopsdead when he sees it ajar. Dr~~.enJ:~~~)and sees Bond sitting in the shadows.

// '))_·")/ BOND '''~(~)) M...reallydoesn'tmind us ma.·kinga "·'Y little money on the side, Dryden. } She would just prefer it wasn't by

i,/ellingsecrets.

A.roar frottlthecrowd: The batsman has been bowled out. F';i.sherjUTI)t'.'/Sovertheedgeofthestand,movesdown the

T"CJNNEL

passing the new batsman on his way out. He ducks around a corner into a dark corridor, leans against the wall. The ~oor at the far end of the corridor opens. Fisher spins to see BONO walking toward him. Fisher bolts.

Issued to Production Dec 20, 2005 2.

Dryden switches on his desk lamp and sits, as cool as an autumn evening. In that same motion he flicks open a hidden panel in his desk, revealing the butt of a semiautomatic.

Dryden tries not to showhe ¾'l~f~~nly unnerved.

DRYLJi?:>~ (,,smiles"tt:f9~over) You aren '.ta.:::~~~etfanby any cha.nee,A.re~~o'i:jy ~ \" -:/

-:::, ~'

Fisher races}':~a i)¥rrowstaircase, :Lea.dingtoa balcony restaurant •tv,::,·"I;ts._:Jradeadend.Hepushesthroughaside door, runs__ld~w:?i<:.alongcorridor,burstsintoa

/;.~.,',';.,})

RE/~~~oi'\~f/d)•./ . ,

J,~s)b~?- ..H~whirls,drawing a guμ, pointing it back at tfie~~~?' waiting for Bond to appear,

Dryden grabs the pistol, levels it -- Bond still hasn't moved.

He pulls the trigger. Click. Bond holds up the magazine.

Issued to Production Dec 20, 2005 3.

Fisher backs up to a washbasin, turns on the tap, throws water on his swe.atingface - his eyes never~J!l.""avethedoor. Suddenly, a burs.tof cheering from outsid.e.C~.B~ii~her instinctively brings the gun up. A seco~> ·~, behind him, crashes ope.n. Bond. He spins b.....u..j:·.·y.a~yiL·abshim, knocks the gun out of his hand. t: /.J{J l,,

Fisher attacks. The two tumble ~~ilie stalls. The fight is chaoti~,both men tryin$ ~oh~!"~Ylh.other ~na confined spaceuntil the stallpartitiOJl_-fl."t<51ldlikedominoes.They fall into the shower room. ~i~~Vfights likea madman until finallyBo.nd forces.h~""""..~into thebasin, now overflowingwith water. ,,;:i;{~~oldshimunder until the body stopswrithing andtRllicK-i"irg.Notacleankillby any means. He lets theb~y~~de to the floor,steps back, consideri~gthe•d..~.....~--an..).~Hatinghimformakingthisfeel somuch like...ki_~~ g:,.:,JJ

\"f ))"' J'f'l~.d BOND N~ ..wa..d.l . y,·1

:,}l~~"Mc1deyoufeel it, did he?

,(~).:..\)? (seesthe truth in ~(. )J Bond's eyes) )JY Well, no worries, the second is--

Bond raises his silenced Walther and fires, cutting off the words before they reach Dryden's lips.

Bond holsters his weapon and heads for the door.

l3ondheads to retrieve his gun. Senses movement. Glimpses Fisher's reflection, aiming a pistol at Bond's back.

Framed against white tiles, Bond whirlsscarn1firesone shot from the Walther, We are looking alongthe inside of the barrel of Fisher's gun. - -

.. -

Issued to Production Dec 20, 2005 4.

Red blood starts to flow down the screen. This is the iconic James Bond logo.

13 MAIN TITLES 13

Photos from Bond's CV, including his stint in the SAS, intercut with a high tech printing press. The sequence ends with crime scene photos of the two killings, Dryden and Fisher. After each killing, Bond's ID badge is stamped with a O - until it is laminated as 007. A hand places the ID badge in the folder with the photos and the unseen clerk carries it off into the bowels of MI6.

,(il~i]

Superimpose: GULU, UGANDA. Pouring raJn(-,.~1:b{J1aceis overrun wi~h agged, battle-sca red ~:\~J?,Mf ~ rebel ~rmy.

A great maJority of them are chi~>-·dr.sturbingly thin, some as young as ten, everyone ofAt e~\armed. A fewboast carbines, butmost carry machete(:::.YAlow one of the youngest carryin_gtwobottle~ i,£?1rla Cola running through themud untilhe disappears ~o'y"~

DARK SHACK d( e:JY"

Theboy hands the dri~s"t'lslaman silhouetted against the wi_'ndow.Call him"4TE~N\})¥'ANN0. He thanks the boy in his native tongue; the ~Y..::i?~amsandsitsat his feet.

/-=~\==:::~

Obanno hands a co~ to a man hidden in the shadows, his da.rk_,gold-r~·~e_dgl"assesglinting. Call_him MR. WHITE. Obanno loo~,~~the open window and we see his face and understand_:w~y .eis the feared leader of the Lord's Resistan~~--_~tm'v-,Hegazesat the Twin Star helicopter in the/~e~~:~,Jearing.

/")t:~~ OBANNO ~-f" )J I think the Lord wants me to have ,'·,:-r'/aTwinStar. C)/

Issued to Production Dec 20, 2005 5.

Three SUVs pull up in the distance. Out of the first steps a man we will come to know as LE CHIFFRE. Bodyguards climb out of the rear two and remain by their vehicles.

Obanno sits next to his grizzled LIEUTENANT, flanked by some of the fiercest-looking rebels one would ever want to see. The room is dark, the light fighting ~:(~way in through the cracks in the boards that cov x("t:),:J.ewindows

that run the length of the room. ObannO("'ita.:tt~lkcrossthe long table at Le Chiffre, who doesn't~j~t~ a\~at.

LE CHIFFREt .:\~} Our friend will have to£~((v~ that I have provided reliabi/'.'¢~~:Jtng services for many ~.t·"""F!jeedom fighters over the ~r-$~"

OB I:\'[~~V Do you believ0~n,rrJd, Mr. Le Chiffre? ~=<·~~~ /4 ) 1/ ......~~~'fil·CHIFFRE No. A~e:t~ye in a reasonable rateot'<::,_~eturn. t:!; y

Le Chiffre~?r~\z~J\thiswasthewrong answer and clearly doesn't givle~-~''<;tamn.Obannosmiles.

rCY>~-j J>~- 1 OBANNO t~~ 1--✓wantnorisk in the portfolio. 2/ LE CHIFFRE Agreed.

Opanno nods and three metal boxes are placed on the table. One of the men opens the closest box, displaying the money. Le Chiffre takes a hit from an inhaler.

Issued to Production Dec 20, 2005 6.

Le Chiffre climbs into his SUV as his bodyguards load the metal boxes into the center one.

As they move off VALENKA, Le Chiffre's beautiful Russian bodyguard, dials a satellite phone.

She hands the phone to Le Chiffre. [( 'f·:/)

rf""""".\\/

I ha~!n~~ep~~~:t. Sho~~~h~~ million shares. f-~~"':/

A dignified, grey-haired~il,~'>;its behind a largemahogany desk. We can seeA~St.«i~ &thedral out the window.

Sir,you ~-e:::lfnowyou'rebetting agaiefc'°'\-J::.lr._arket.Nooneexpects this st~~ togo anywhere but up.

~---,,',)) «:;Ji".·....:_:;.;LECHIFFRE ~)'\<•.))(hangingup)

,../.,,JU:stdo it. ,//"").'-"y 21 {~(/ri~)itSHACK 21 ";/1/ M:c.wi:;°itewatchesasthe suvs are swallowed up by the jungle.

SUPER: MADAGASCAR. We're watching a fight to the death between a cobra and a mongoose. The arena is a derelict empty swimming pool; the audience hundreds of screaming men, urging the animals on. Beyond this, a cluster of crowded shacks and deserted buildings, housing their near starving families. From a second floor we see a man looking down at the spectacle. James Bond, almost unrecognizable, part of scenery. He keeps his eye on a disheveled young man amongst the excited crowd. The youth wears a small backpack and has a white livid burn scar on his right arm. CARTER, Bond's team mate is also in the crowd watching.

Issued to Production Dec 20, 2005 7.

Two chirps. Bomber flips open his cell phone, reads what must be a short text message, then stands and pushes through the crowd heading in Carter's direction. Carter's hand goes to his earpiece. ,t·~'\

CARTER {{~\(~-e~·: He' son the move. --,'\:,\ / ).'7. BOND ['./,....~(1 •t'~(-\\.•.. Stop touching your ear/;~~-Y

Carter automatically reaches l.}P'~.;--_--3)1,ouchhisearpieceagain.

f.'1(~"-"'~.Jl

Sorry? CART..~-lf"·_-__J_~.""~Y)\l/ A(,)"•·/} t,'\'·j

Realizes hismistake ~<:t~•~Je.Bomber spotsat him. Spooked,he charge(_o~,~\i~aping intothe pool and running. Carterraces afte~.!~~2dlrawing his gun. Bond sees this.

/"'i-·"'--~ ~~,,,BOND Pui-..zt~e.g;::oodygunaway!Ineed r~"~tve.

Carter g~j?#Wjump in the pool, trips and falls headlong onto tl1f-~.t,~om.The gun fires wildly in the air, sending th»:·~c.;i:-b~5Lintopanic,peopledivinginalldirections. ~b?J;hl:+Valreadyracingdown an alley, through the shacks, ~~n for the jungle beyond. Bond has taken a short cut ,.·eroofs, leaps down, is right behind him. J

Bomber leaps over the hulk of a burnt out car, his agility amazing. Bond tries to keep up but is losing ground.

Emerging from the foliage, Bomber almost collides with a rusty chain link fence. Behind it, a large building under construction. He is over the fence in a flash. Bond follows, lagging behind; cut off as a digger passes in f:i::·ontofhim.

Bomber is now through a gate, dropping behind a stack of gi,rders. He pulls a gun, looks back. Nothing. Suddenly a foreman's hut in front of him disintegrates.

lssu.edto Production Dec 20, 2005 8.

It's Bond driving the digger at full speed, coming straight for Bomber. Bomber shoots, shattering the windshield. But Bond doesn't flinch, a ruthless determination driving him on. Bomber runs for the building, the digger charging over the girders, catching him up.

Behind them, a security vehicle races through the gate, siren screaming. Climbing to the first floor level of the building, Bomber barely makes it as Bond rams the digger's bucket into the concrete floor, tearing it up, right behind Bombers legs. The digger stalls and Bond leaps through the shattered windshield and climbs the arm. He ducks as bullets ricochet off the metal. ~<2

Bomber, having stalled Bond, climbs the f./4fiJ.r?a)s

fram.ework. Two securi.·tymenrun .t..ow.•a·'·..."-.,'l~.7 .t":::ir'eshoots one, sending the other diving for cov ~~Now he climbs t~e girders, moving ir:i,crediblyf~:\f:::.Vi'l'iganamazing display of "free running". (~~'>

Bond, realizing he is going to(Jo.ge)Jhim,runsup the arm of a mobile crane, leaps off/t:i~'9fci,landson top of a stairwell, four floors up.{? ",~'>,

B.omberreaches the fift:q(~':-00~tofind.h.i.spathblockedby angry workers. One ct~' him, swinging awrench. Bomber kicks him in the g(~s,,'-q):-shinghimbackagainst an uprig~t. Hebo1;1_:ri~.:~""1';'.~ard,ylung~ngofft~estructure, dragging awela::i~g.n····~,withhim.Hisbody.ricochetsoff a girder and crashe to theground. The welding rig lands next tohim, t~\'_eg·'cylindersexploding in a ball of flame.

Now Bond i_J:::(~e,-t;:{ngnear,runningacrossnarrowgirders, obliviouEtf~io:i:iJ.edanger.Bomberhasclimbed to the top floor./'k~;,es more security men charging across the roof. H.~Uf'···~~tb'seeBond,.gunin han.d,climbi.ngan upright, ·1}~ l<μt'mselfupontohis level. Bomber fires at Bond wtt f6u91sbehind the upright for protection, dropping his gun ~,s;:/hedoesso, J/' With the security men closing in, Bomber leaps through the air, landing on a huge slab of concrete, being lowered into position from a 200 foot crane. Bond hauls himself back up, sees Bomber climbing like a monkey up the wire cable, heading for the top of the crane. Bond makes the precarious leap onto the concrete block.

Crowds of workers are riveted by the spectacle. They watch as aond goes after Bomber, two small specks hundreds of feet in the air. Bomber is at the top, climbing into the arm. Bond knows he has to get up there f&st so he kicks the quick release lever on the side of the pulley mechanism.

The concrete slab drops away, releasing the tension on the cable which rockets upwards, taking Bond with it. When it reaches top, he grabs onto the metal ribs of the arm.

Issued to Production Dec 20, 2005 9.

The concrete slab shatters as it hits the ground. Bomber sees Bond right behind him, climbs out onto the top of the arm. He raises his gun aiming for Bond's head, pulls the trigger. "Click".

Bomber hurls the empty gun at Bond, who catches it, throws is straight back, hitting him between the eyes, dropping him. Bond goes for him but is kicked back into the metal struts. They fight like men possessed, neither giving any quarter, two hundred feet up. One slip and,~ey would plunge t'?their d':'aths.Bomber ~inal~y sm_~~!if?·Bond's head a•gainstthe ironwork, stunning him~·~~Het~'k the moment to leap off the crane arm, over a 30 f~· @,P~::e?'r1tothe arm of a second crane below. If that s~'iienough, he now jumps from there onto the ro~ 125,£:·:e')building,another yawning gap. Bond can hardly bel)fe.y~Jt. Bomber picks himself up and "free runs" over ~-:13~rjJsofsloping roofs, putting a barrier between him/H~.ciP)lrsuingsecuritymen.

'"("\."".;>'

Now Bond does the jump, ba~.,.-~m~ing it,.l.andingawkwardly onto the second crane. H).,fl$~ to the roof is even worse, careening off the top o1t'.'~J:r'ff'tshaft,fallingheavily onto the roof. Bombe:i;;,:::~i·downasetof stairs, swings across the outsi·d·ec.~..of.(.(~th.·,uilding,land.sonthefloor beyond. He pulls u, ~y .tly. Coming athim from the other side is JiJ'"~,:~::::.:i;:_entlessasever.

Bomber charg~ to~ds an empty elevator shaft,runs down a sidewal~½~~~fS off theback and landso.nthe floor below. Borid,N:a'psdowna stairway, cutshim off. This time Bo~; ti· nowhere togo, sohe jumpsout of the b.u.ildi···.[·~·nt9arisingco.nstructionelevat···orfourfloors

...d •~ ot onto a scissor lift. Grabbing a wrench he ~s~'s\je~)thehighpressure hoses, dropping the lift at fri9'\1'b:~ningspeed.Beforeitreaches the ground, he's leap~/off,running after Bomber.

Two trucks are at a security gate waiting to pull into heavy traffic. Bomber runs past them, heading out the gate; Bond emerges behind him. Speeding cars block Bomber's path. In a breathtaking show of agility he jumps the hood of one onto the roof of another, then across to yet another going in the opposite direction, turning up a side road. No such antics for Bond. Vehicles slam on their brakes, swerve wildly as he recklessly navigates the road. Bomber jumps off his car and runs around a corner, Bond sees a van turning the same way, jumps on the back of it.

Issued to Production Dec 20, 2005 10.

Bomber shows his ID to a security guard at the gate. He's oblivious to the approaching van with Bond clinging on the back. As he passes, Bond sees Bomber heading up the drive towards the embassy building. He curses under his breath; makes a decision. Climbing onto the roof, he launches himself over the concrete wall, lands amongst the shrubbery in the embassy gardens. Rolling onto one knee, looks back at the security gate. All quiet. Glancing up he sees security cameras attached to the building. He moves off.

DAY ..())..

A harried conversation in mid flow, in Fff\Nt~~Jh subtitles: (f:·>'<"?l>

\~. '/ MILITARYA'lt{l~JRt'iI,:.•1i,

~~~ ~~~~t work for us ;~~1!

BOMBERt✓(·~,j;;;, Just hide me! ~·"\"J J)Q7))v

Bondbursts through theR96i'iil'.ndheadsfortheBomber.

..'"' A_( (ivi~~RY ATTACHE Thi~ is...i~.~·.:;M;utuEmbassy!You can ~~e. lte:),,~.

(. °'~ BOND l'-''{~y• 1" <J

Bon.dkneEf~)~~er in the stomach, dropping him. The.Attache goes f9JP'1-i~gunbut two lightning blows from Bond stop hi~.~·\Sc~i?fYingup.thegunhe grabs the retching Bomber by t;J }J;:1.11-Voftheneck,hauls him out the door onto a n.iN~,nv)abovea courtyard. The Attache hits the alarm but~y. Klaxons wail.

Dragging Bomber with him, Bond sees guards running into the courtyard below. Embassy employees bolt from their offices.

Two guards grab their weapons, head for the door. On the CCTV screen we see Bond hauling Bomber.

Bond turns a corner, sees the guards appear at the far end of the balcony. Between them is some scaffolding, erected over a flight of stairs going down to the courtyard.

Issued to Production Dec 20, 2005 11 .

Bond throws Bomber to the floor as one of the guards starts firing. Two blasts from Bond's gun and newly installed pipe work next to the shooter's head ruptures. Water explodes, engulfing the hapless men. The soldiers have now reached the top of the stairs on the opposite side. They can't see Bond and Bomber because they're lying below the level of the solid wooden banister that surrounds the balcony. That doesn't stop them. They open up, shattering the wood and glass partitions above the banister. Glass rains down on Bond and Bomber. Bond sees soldiers in the courtyard running to the staircase below him. Grabbing some rope tied off to the scaffolding, he knots it around a bundle of•copp.erpiping, kicks it over.t.h~~~.dgeofthe balcony. The weight of the piping tears o:(f:-~front of the scaffolding, brings it crashing down/411·~ f the soldiers co..ming.upthestairs. Bo.nd.'....f15uyi.~..11{~glires'mberin front of him, runs through the sprayi~~~t~r andpushes him through a door. :~~(1·· >

A large busy room. Mostly w~~~~retarie ..s,typists, etc, Bond fireshis gun i~-5?~~~the/air,sendingeveryone screaming andyelling t~~ ®)fur. He hurls Bomber through awindow, bouncing him f :.r"oofontothe ground below, losinghis backpa/4 orr•t:~(')"aydown.

32 EXT, SERVICE~RE~~\~).:B:.i 32

In secondsBond.~;-·jolned him, scoops up.the backpack, grabs the st~•tJ::1ed~mberandheads for the metal gate at the rear..<:£I""<~f'slegssuddenly give.out.·andhe collapses to the grolml. ~~ondlifts him up as he hears the sound of weapons h€i~n1'~ocked. He turns, holding Bomber in front of him ..,[r)~e,facing them are at least a dozen soldiers, w~~ .P{l,~61ted, Bond is finished and Bomber knows it. l_jct~!t'nf~)"smilesandspitsinBond's face. He walks away, du(( t1.).1ns. '<',_,.{ V BOMBER

(taunting) What's your name? Huh? I'm never there when they die. I don't get to know the names. I want to know who died here today.

Bond fires into the surprised man's chest.

Issued to Production Dec 20, 2005 12.

Before the body hits the ground, he fires again, hitting the side of a calor gas bottle, one of many stashed in a cage nearby. The cylinder explodes, blasting other bottles in all directions, detonating some as they fly through the air. Soldiers dive for cover, some flung back by the blast from the fireball. When it's over they slowly stagger up. One of them is the Military Attache we saw earlier. As he moves forward, surveying the wreckage, we focus on a CCTV camera bolted to the fence. The Attache peers through the smoke looking for Bond. He's nowhere to be seen.

/.-/),!,_~

Bond jumps from a wall, heads down an alle~(('))p~nsdown another alley, pulls Bomber's wallet andt:~.elJ[<r'~m the backpack. In the wallet he finds some~111$,,o~s:v-aplaying ~ard r~pped in half, the QUEEN OF HE~R('~~))Hiestuffsit intq his pocket and checks the ceft::,~n°'i;_Le..·"'recentmessages. One text message, oneword: /<"\')l

(C" ,~jl 'Ellipsis', .. /)) 1r·,'.\;;;.,

Unsure of itsmeaning, he ~Ji~'s:~€0.darknei,sasthe emergency SIRENSgrow LOX~~;~rw LOUDER.

34 EXT,LE CHIFFRE'S lACr~~~~j'UNSET 34

A beautiful 110 ;f~~Sil:i."1:lseekeratanchor,amotorlaunch tethered along~'"'~•-..~.

'~ ••·····

An elegant t;:'~~~':~¼oomthathostsahighstakes poker game. MADAME wqf.;:ai-::EJ1derlyChinesewoman,throwi,inhercards. No':_:h!{.e~":::-,justtwomenbattlingfor the pot.

~(;:}}.£~)!'dabshis eye with a handkerchief, which stains r~ft)t~e touch. He notices the other remaining player, a re{*ied Croatian General, looking: J/

The General blanches. Le Chiffre pushes in all his chips.

The General tries to read Le Chiffre, can't. He throws in his cards. Le Chiffre pulls the chips tow~rd him. KRATT, Le c_•_:hiffre'sdangerouslookinghenchman,av_.proachesand whispers in his ear. Le Chiffre rises with a smile.

Issued to ProductionDec 20, 2005 13.

Le Chiffre bangs the door open, his smile gone. Kratt steps into the doorway as Le Chiffre finds the laptop open on his desk to CNN.COM.

LE CHIFFRE ~~tl-- No. It's all the time I have tf/'(l.j anyway. Give our guests f.i.·vf!:~..:,"'-',,,(: minutes to leave or toss t~E\~ ~)/ overboard. ~(-~'- :J

CLOSE ON LAPTOP r·" ~)

Justbefore hebangs it clos~'~-_';i7eadtheheadline: "BritishAgent Executes E~/ .'?/4ployee",accompaniedby ablurry high angle phott~?~:::~idfiring his weapon.

?'J((_~

Tl_lepapersboast_i.:e~.1~.J::-.in#sli1:e."OurSecretr:iurderSquad" with freezefr..C~s.:tl~the high angle security camera of a fuzzyBond, gun~imed at a man with his hands in the air then the folNwingS~rames of the shot fired and the bomber falling....~~t'e,t.'.<1-..ptackfallsintoframe,the.samephoto- - "MI6Kills Lr:~d Prisoner." RISE UP TO SEE:

~> _)

THE HOq~kcJr PARLIAMENT; the familiar icon now hiding ~±~?-~;br(crete skirt.

38 ~:(H~b§E OF COMMONS -- PRIVATE CORRIDOR DAY 38

The1?or bangs open and M strides out, red-faced. VILLIERS, an aide, has to scramble to keep up with her. He has never seen her this angry; the words fly out her mouth. As she struts down the hall toward the exit the committee members spilt out of the door in the background.

M (fastand furious:) Who the hell do they think they are?! I report to the Prime Minister, and even he is smart enough not to ask mewhat we do. Have you ever seen such a pile ot self-righteous, ass-covering prigs?! They don't care what we do, they care what we get photographed dotng. (MORE)

Issued to Production Dec 20, 2005 14.

M (CONTID) (as if it's Villiers' fault:) And how the hell could Bond be so stupid?! I give him Double O status and he celebrates by shooting up an embassy?! Is the man deranged?? And where the hell is he?! In the old days if an agent did something so embarrassing he'd have the good sense to defect. Christ, I miss the Cold War. /?

And she slams out through the exit door. .~,~ .,

..,~(.1~v

In a darkened room, fingers opercl;'.t,er:a:~{Jopkeyboard.

""<:,\~

CLOSE ON SCREEN: f'· <~:;,

'.··y

An imageof a cellphone acc~~tbofs a mass of detail.

A hand pulls a SIM CARD~{?~'l'r sphone and inserts it in a readerattached to ~e<:::t~top.

Someone istracing-1e~~y data on the text message 'ELLIPSIS'. Fir~_t:_:§\J::'te;7displayedisth sender'scell phone number; tfi~:~pMBER UNREGISTERED.7

FINGERS TAP ~: I~ow ALL ACTIVITY OF NUMBER I

t'af''~"

ON SCREEN, ~J~e¥ta tells us: Incoming calls: 0. Outgoing: o. SMS ~i-~_tμrJd:o_.SMS sent: 1. Handshakes: 18.57pm JULY 6 ,:,(?1~.~~pmJULY6,19 .12pmJULY6. Local Cell time - BAgll;f.l€'~"'·•

,(~~m~di-fzooms into the three pulsing cellular zones the phob~~~ssed through - on the Bahamas. Bond calls up a 3D MAP,}'.zoomingcloseron those zones: a road passes through them, leads to only one place - a COUNTRY CLUB.

BOND inserts a MEMORYSTICK and copies the zone map and related documents. Hearing a NOISE in the hall he quickly pockets the memory stick and closes the laptop.

Footsteps outside, then it opens to reveal M, a newspaper under her arm. She looks to see:

BOND sitting at the bridge table, close to the desk, expertly shuffling cards, flipping them back and forth, under:

M You've got a bloody cheek.

Issued to ProductionDec 20, 2005 15.

M Or yourself! You stormed into an embassy! You violated the only absolutely inviolate rule of international relationships! And why? So you could kill a nobody! We needed to question him, not kill him. For God's sake, you're supposed to display some sort of (:<>.~

judgment! ..l~JJ,

tt, tV0

I mistakenlyB~~~ught one le~~~~- {;J maker in theMworld was~~'0<tliing.

Exactly: onebombmak~r~·je are trying to findout J!efZ~~ientire network of terro;,J..:tt't"',g:;ir6upsis

financedand Y?8{ff1*Yus one bombmaker! H~~l}'~Jzhebig picture, wouldn't yo1v::,E3i~?JThemanisn't even a ~{ueKb~·-~ver! He's a gun for hire,~ti<l::.anksto your over- deve¥e~a: :etJggerfinger we have no idea whQ~~ired him or why! 1v~~sud¥nlyrealizing) ~'fl~ pow the hell did you find ?~~\,.rire I 1ived? •)((1.1/~V 1~\.'\_(/ BOND "",i;-,'!liesamewayIfoundout your name. ''·y'Whenyourecruitedme I thought M was a randomly assigned letter, I had no idea it stood for--

M --Utter another syllable and I will have you killed. I knew it was too early to promote you.

M At least there won't be any question who to bury. You're a secret agent, for God's sake! Can you at least (MORE)

Issued to Production Dec 20, 2005 16.

39 CONTINUED: (2 ) 39

M (CONTID) try not to tell every single person you meet your real name?! Do you have any idea how hard it was to keep it out of the international press?

M sees she isnever going tomake a .d..e···Jl't·;···.~,..'i.·1~J1:fs1/armor, triesa different tact. ~--)\)7

M /~~~(:\,·./

Bond, this may be too rrrg\:fy<:~ra blunt instrument to ~1'.l:..~~E,1tand, but arrogance and i~~~wareness seldom go hand-i~~p~)

B<>f4(5~:J ~,. (amused;f·~"'~ ~~t,,;Jl~~) ifalfmonk, half

-~ M A.~\f~ug.•~.}ankill.I need you to ~' ~~9.ur ego o~t of.the equation c!l~.~idgethe situation ~~~ssionately. I have to know I ;-\? ;:,,#.tru13t.you,andt1:1atyouknow

;..r..."-.tfototrust. And since I don't ,~ )) "";;:1k.nowthat,Ineedyou out of my ~i )) sight. Go and stick your head in ·.>V the sand somewhere and think about l' your future.

(re:newspaper) Because these bastards want your head. And I'm seriously considering feeding you to them. (as BOND EXITS) And Bond,.. (he pauses, looks) Don't ever break into my house again.

He exits as M burn13. She sits at her desk, opens her laptop. And only now wonders if her laptop was the real reason Bond was here.

Issued to Production Dec 20, 2005 17.

Superimpose: NASSAU, GRAND BAHAMA ISLAND. A sea plane lands and taxis toward a small terminal. Beyond we see the gleaming ATLANTIS HOTEL.

The door opens andpassengers disembark from theplane. Bond steps off and rollsup the sleeves ofhis white shirt and takes in theview. Expensiveboats cross theharbor; one of them isLE CHIFFRE'S SUN SEEKER,gliding under the twobridges that connectNassau with Paradi/(~/sland.

James swervesaround the corner of thirw~a~: blacktop. Lying on the seat next to him is ~:~-ri::oMelddisplaying the map he copied from M's computi1~,,tJterouteof the cell phone that texted the bomber. (''.,,

/J'

Bond pulls up among.swank,¥~/i(9'~:Acouple of attractive. women carrying ten.nisr·~i[<e'tcs./givehimasecondlook. He hands his key to th;ey;;;,;·t..i:\-whoalsowearsawhiteshirt and black pants. ,~~~~~} drives around the corner.

Bond.stalls, t,/i~-.g.n.·~shoe,glancesupand spots several surveillance came~- A Jaguar pulls up and a fat, arrogant GERMAN in ~e~da }-fortsstepsout and spots Bond.

~ \;:J FAT GERMAN (f.r~'vc::iugoingtotakethis or make

-· t~\~~)wait?

,,/()J::\)' BOND "'-~{J) Right away, sir.

The~ man tosses Bond the keys and disappears inside the Casino. Bond glances down the line of cars parked out front, including the one marked Security near the end. He drops into the Jaguar and pulls out. Bond circles a row of prestigious cars, turns and backs at high speed into a wooden guard rail, cracking it and slamming it into the bumpers of the row of parked cars. A dozen CAR ALARMS SCREAM at once. Bond steps out and walks to the entrance. People spill out, no one paying any attention to the man on tpe sidewalk. Bond mounts the front steps.

Bond enters the club, passing others who are running out in response to their car alarms. TWO SECURITY GUARDS barrel out of a back corridor. As the guards disappear out the fron~ door, James slips down their corridor,

Issued to Production Dec 20, 2005 18.

He stops at the security office door -- checks the handle. Locked. He jimmies it.

Bond enters, locks the door behind him and puts his handheld on the desk and turns to the MONITORS. On one screen, the security guards are dealing with the screaming Fat Man and the other car owners out front.

Bond quickly locates the DVD library, finds a disc labelled JULY 06, feeds it into amachine and jumps to 7:13pm .

ON THEIR COMPUTER SCREENS: .,~:)};~

r!; 'lC0'J.

Simultaneous feeds from several earner~.;)~~{~ttles

throughth~ f<;1otage$.Speoplecomea:r:i.~o.~':;;-anel<;J.erly woman, a kissing coup.le,then a ~....~s.:J;"'..:l;stonMartinpulls up. A beautiful woman we will COl)le.,to)knowasSOLANGE climbsout of the passenger side{"'E~n:n we'11 call DIMITRIOS steps out the driverJ~i:ao~r. He flips closed his cell phone. Bond freezew1€t*)image and looks at the time sta.mp -7: 14.22.He cw·s~>-~1.shandheld - -the phone called ended at 7: 14:22p);l?~:::JY

Bond throws one more t:ythl the frozen screen, then glances up at the live mo~to ,-~J:¥soneof the security guards is no longer visible. nd ✓ slipsoutof the office.

/ .. -.

Bond heads\~~9own the hall. The SECURITY GUARD turns the corner v~:"-,,.d°':'ci1imestowardhim.

(y '·<:1 "(?~~)) BOND t '--D'd find who did it?

/;~) """-.,1you

/~9 )7Bloody valotSECURITY GUARD

They pass and Bond turns into the main entrance hall and approaches the front desk and chooses the pretty female clerk,

Issued to ProductionDec20, 2005 19.

~<2 RECEPTIONIST \, Mr. Dimitrios.

t:z~:J RECEPTIONIST rtJh~Jhave a home just up the beach. J)S::-~

47 EX:J,::::;::'{la\,~:;;_LATE AFTERNOON 4 7 /!- \)...i>' Bd:Q.,:,.-,s)\psoutofthewater.A quick glance down the beach rev · SOLANGE riding through the surf on a magnificent hors~ She slows and dismounts at her house. Bond offers a smile. She returns it without thinking, then leading her horse, disappears. Bond looks up in time to see Dimitrios step onto his balcony and gaze out at the bay beyond.

He towels off from his shower and uses his computer to search a SECURE WEBSITE database for DIMITRIOS. He has a hit:

ALEX DIMITRIOS, officially listed as a government contractor in Iraq, Afghanistan, Chechneya, Rwanda, Nicaragua, El Salvador, going back to the 70s. Dealer in arms, information, ties to death squads and right wing paramilitary groups.

Issued to Production Dec 20, 2005 20.

Villiers stands over a computer operator, a phone to his ear.

She wakes and answers.

M What?

VILLIERS /2 He's in the Grand Bahamas. ,~)cc;0:J M -~. f-/ Youwoke me to share hi~ half~~)/ ., plans? f.~ '\\./

VILLIERS rr"'"~~)' He's logged intoour,,;:~~e;:u~ewebsite. (nowthe bad ~A,wr~},,,'/ Using your name,'v,"p~<i?word.

M ff(_~_-) How the 1}.·elf(:~.q~s 7 heknowthese things? V~\,.\S,~vI/ '\'\•.•../ /~-;:~::::~~').VILLIERS I'll d~y best to find-- J'/, "V \•--,;·""$,M ..f•~~i}t.ilbewastingyourtime . ..~hW'--:1'.shelookingat?

v~c;;'~ bedside computer to life and plays catch-

"-Y VILLIERS } Alex Dimitrios.

M That slimy bugger?

M's screen changes in sync with Villiers' and BOND'S ACTIONS which WE SEE INTERCUT.

ON M'S SCREEN: an old photo of LE CHIFFRE, listed along with a dozen aliases. The red stamp over the photo reaqs EXECUTED, 1998 - IRAQ.

Issued to Production Dec 20, 2005 21 .

M ...Le Chiffre.

Bond weaves through the crowd; no tuxedos in vacation casinos anymore, he sports a simple polo shirt. He spots the high rollers section, recognizes DIMITRIOS. Bond saunters over and places a large stack of chips on the table.

No one speaks. Bond is dealt in ashe st~s.t~dhd notices that Dimitriosuses hisAston Martin k'>'K_og lo::1/protect hi~ cards. The othe~players similarlt~u~fYchipsand lucky coins toprotect theirs. Bond lciq~-~'.:"'·b'.isholecards:a pair of kings. Dimi triosbets. .f':"'":-:::}

DIMITRIO,5,-~-:.- 0 Five hundred. dC"~J •.,~'J,

T~e player to Bond's righ~~~¥s. Bond feigns disappointment and tossEf~~liisjcardsin.

52 LATER: /~ ~~:;)')/ 52

Dimitrios, los;i{ri~~:s:tt},1-;:sasaBondwinsanotherpot.

n_Ij( . ~?' TH~RD PLAYER 't~cy<?5?nstruction.Yourself?

r>'if?'~:~expor~~ND What about you,

ff::,,~~r. Dimitrios? /-.1/;),,"-'.)! ··,~) lDeal. DIMITRIOS

As they start another hand, Bond eyes Solange drifting toward their table. She joins Dimitrios, kisses him on the head.

Stung, Solange moves off to the bar, hiding her humiliation. Bond watches her as they play.

53 LATER: 53

Dimitrios, almost out of chips, waiting for the river (last) card to be turned over - only he and Bond are in the pot. A king turns up.

Issued to Production Dec 20, 2005 22.

He brings out a checkbook.

Dimitrios grabs his key ring.

BOND ~;:f :\~> • • • '.,<-->"';'~.)·! (pushing inhis pii/:e'L,':~' It'salright -give ~j.fu:::a)chance toget even. /'1C'<".;/ ••"'..'·,)/

Dimitrios throws inhis kc,1~,.iJ~~-triumphantlyturns over a pair of kings -three ~~ 'a1.1J.Bondflips up a pair of aces -with one alreag~.~,7-he board -three aces - Bond wins. Dimitrios 94~n~ ~rtieve his bad luck. Bond takes the keys . "-~'<.::}

/~;:••······:::-::}'-... --~,"'.BOND (CONTI D) An1vfhe~let ticket?

Dimitrios _Jm~'i'~sand tosses it to him. An attendant har:idsDinr~lkfi'Gi:tlanote.Hereadsitas Bond stacks his ch~~~ .f~(\,1\:•·J

walks to his wife, at the bar, who

~f~~{{f~:~u~~:s:~a Bond watches as he says something to hi~ ·e and leaves on his own. She waits a moment, not know·ng what to do, trying to save face, then pays for her drink and exits.

Solange waits at the curb. The valet pulls up in the Aston Martin and she instinctively opens the passenger door. Bond opens the driver's side and Solange realizes her mistake.

She closes her door and steps back.

Issued to Production Dec 20, 2005 23.

Solange laughs. Considers.

/4) SOLANGE ('0 Perhaps. rG)~"l/'.}

BOND v~t Thenperhaps we could ~v1::?;,~'adnk atmy place. -,~() _,:::::~ SOLANGE · )) ...Yourplace? ..._1/(\~}i?1ose?

BONI)tf.)/)7 Very. J~~ '<.:,

A ~3:~-fcm ...One_d~~~=':.:-T'" /:,",'....':,

She drops into t~passenger seat, Bond guns the engine, drives aroun1v..the'g:i'rcleandstops.

\"\',t~~-.. }~~j BOND ')~~ i~ ever so humble.

Th»:.~?4.!~topenshercar door. Solange laughs.

55 E v(MA INA -- NIGHT 55 ,v A ta){ drops Dimitrios off. He's met by Kratt.

Kratt shows Dimitrios onto the yacht, where Valenka waits topside. She shows him below, Prelap:

Issued to Production Dec 20, 2005 24.

Kratt joins them, a menacing presence in any room.

Le Chiffre stares at him,making ~\tf~,j:~ion. He takesa card from a deck on the table, a~~~ f spades, rips it in two and hands one half of then~-;i::"Gt:-oDimitrios.

·, ')) LE CHI~°E~,;/ Themoney iswaiVpff~ the same place. Jc.l\Z--::!JV

4 I\

Solangeand ~onci___';)_:1~~..fie~..'::::~droomfloor;herstillinbra andheels, himk~T'.t::'~aringan unbuttoned shirt.

\'-/4\1/ BOND

,~~~~ (Ci;,"'<:·!) SOLANGE tf ~feAh. Just think what it would be

''"..~'\:_'-._ltkeifweundressed. ~2.:.\ v ::;h~<1o~sup at him, lying over her. She smiles, amused.

")'7

Issued to Production Dec 20, 2005 25.

She begins kissing him again.

~:~ ..... BOND f~ •(i/(2 The nature of his work? .·•~)\y ·t,

SOLANGE f:,~--.•·~.J A mystery, I Im afraid.;i m)zlso afraid you ~lept with...~l?:~~J~rder to get to him. .c ··)J t~-~~)•r/

How afraid? BO:~~> ~/"

Not enov4f ~~~-~

Solange startsh"Z\ssi~~h~r way down his chest and lower.

"~. · •~ BOND o/'~\~Js~ you somethingpersonal?

tJ~':::j SOLANGE ,(r)~(~ (moving lower) l~ Nt5wwould seem an appropriate time. <:ty BOND Does "ellipsis"mean anything to you?

Her cell phone rings. She sees it's her husband.

She answers it, still lying under Bond.

Issued to Production Dec 20, 2005 26.

Bond stands and walks to the phone in the ~~D_a room. She rolls over and watcheshim. Bond sp~k~~(r1,;1 thephone:

BOND (CONT.D) e ))v · Yes, Bond, suite 119. a,.~o,S:"le/of chilledBollinger R.D., ,);_;i,!:!ae. ~ rt"'~'/

Shegets up and heads for the ba~hr~om.

,rV'<'-,>/ BOND (&J~\r5) And Beluga cavifa,(;,~~chopped egg and onion. t_1(,_.··., ,<---,..,"'~'-4

The bathroom d:::.~(~~t/( CONT'D)

No, fo&r;:me. - ~'v

Bond h~~~:~ls beautiful Aston and takes off.

efo~~sJ)}sin the back seat, his eyes on the cab in front. '-...,.Y'

City lights stretch out ahead, as the first cab passes under a floodlit sign: DOWNTOWN MIAMI.

Dimitrios sits in the back, expressionless. Next to him lies a zip bag.

It's busy. A huge sign over the facade reads BODY WORLD EXHIBITION. The cab pulls to the cu:rband Dimitrios steps out holding the zip bag. As he pays the fare the second cab pulls in. Bond steps out and hands the driver some money.

Issued to Production Dec 20, 2005 27.

He follows Dimitrios into the building.

A vast area, crowded even though it's late atnight. Signs for the BodyWorld exhibitboast that it isopen 24 hours.

Bond stepsup to the ticketkiosk, watching Dimitrios hand his overcoat and zipbag to the coatcheck girl. Bond watches her hang up the coat and hand him ____a«J...·g.

r"> /;ih

He followsDimitrios down the stairs to ~ ···1}S3/'itbelow.

((;?")7 t/

0 s --~ t,~f·~\......

~~~~~i~!~~ b~~i!s ~u~i~~~ ~jg~!!~i~~fih~h:!~i~~:y glory. T.hecadavers are posed in eve~~"y::~jettings,without velvet ropes or any other sort of b rl-e,r>'"betweenthemandthe gawking'crowds. _v """)c':f')/•

Bond follows Dimitrios a,,icJa-:0:~stance.Dimitriospausesat a poker table, four d~at:1<)1~9-yersmid-gam_e.Dimitriosslips a cell phone from ✓~s~po'9j~t,types a text message then ·,~.· puts it away. D_~::U:i~rctsdcasuallydropssomethingontothe poker table_,sef~-s:l::b~nearbyfaces,the_nweaves through the crowd headin~toward the exit. Bond doesn't follow.

I"<' ),7'

Instead he ~·~\?rs to the poker t_able,close enough to see the co~,~fiuk tag sitting atop one of the hands on the tabl.~-}ir_l{~a."keeper".Bond moves on without pausing an~:.~i?~ ~,Jark spot a distance off to watch.

~~PJk~P up to the poker exhibit and inspect the bodies, b"Ltt~~)fanetouches,or even seems to notice, the tag.

Bond2'~ensessomething beside him, turns -- just in time -- slips under the arm that holds a stiletto that was meant for his back and grabs Dimitrios' wrist, twists it, forcing the knife back towards his stomach. They remain locked, a test of strength, neither face betraying any effort. All this amongst crowds of people, totally unaware of the drama being played out in front of them. Bond suddenly glances away, diverting Dimitrios' attention, then turns him with an arm lock, thrusts the knife into his back. Taking him by the shoulders he sits him down on a seat. Joining him, Bond pulls the cell phone from the dead man's pocket - flips it open and checks for sent messages, Just one.

ELLIPSIS

Bond scans the faces around the poker exhibit -- then looks down at the table -- and sees that the tag is gone!

Issued to Production Dec 20, 2005 28.

Bond runs, gets to

THE CLOAK ROOM

no one in line, looks to the spot where Dimitrios' coat was hanging; it's gone, along with the zip bag. Panicked, Bond runs to entrance and looks

66 OUTSIDE 66

where hundreds of dark figures come and go, many in overcoats. Bond struggles with the thought of losing his prey...suddenly flashes on the answer. He..g:fgsintohis pocket and pulls out.. . .((,_)J,

(,(('i0;,}

:::;:R::s~p::L:n:H::s redial. !!?+o's~~ ~:: ear and watches the crowd. One ring. Two,.'iinij.A dark-coated figure crossing the road lifts-~~?~~i'phone tohis ear.

MAN IS~(3,,}/'

What ? )~i>))<;,•/

Bondhangs up, already .11}(~:o.g.,

Theman tossesth~~h(~~'\\i't?'thetrashbinand scans the streetbehind h~ltl'.~~-~:;l;:~imCARLOS.Hehopsinto a cab. Bond follows. ,r~·:.~:'\,

t-,e··,~~J

Cars, busew;-,•,p~ile.It's busy. A cab pulls in. Carlos get.sou~r.·..w.t./..~i'tigthezipbagandpaysthecabbie.Bond's cab pa,8· ~09'tewaybehind. He slips the driver a hundred do);-1:N.·f··.~te··;followsCarlosintotheterminal. ~ ).1.•\/

-~\'f/ Carl®s feeds a ticket into an electric check-in machine. Be takes the boarding pass, moves away. Bond crosses to the same machine, inserts his Nassau return ticket, glances at Carlos who is standing at the window of a money exchange.

Carlos hands over the half card (thefive of spades) to the teller, who picks up a leather bag, opens it, revealing a wad of bank notes. From an inside pocket he pulls out the other half and joins it to the one in his hand. A perfect match. He passes over the bag and Carlos moves away heading for "DEPARTURES". Bond, following, sees him hand it off to a 8LONDE GIRL as she brushes past him. Ignoring her, Bond stays with Carlos.

Issued to Production Dec 20, 2005 29.

Stepping up to the metal detector, Carlos suddenly "remembers" that he is carrying his key ring - hands it to the security guard who checks it. Hanging from the ring is a tiny flashlight. In an adjacent line, Bond is having his boarding pass checked. (The reason he bought the ticket). He watches Carlos step through the detector, without setting off the alarm. The guard hands himback his keys. He retrieves the coat and zipbag from thex- ray machine as Bond moves through themetal detector.

r~--JI/;~

People everywhere. Bond.keeping sight~•ltta~J;:'.es:.~now walking into a duty free emporium. He inspect~::}i.~_.b<l\:ttlesof perfume on display. Bond gazesup at~,"e~dlpartures screen acting "normal",but not before cta-:1;J;:o~\\•seeshimreflected in one of the display'svanity mi~~rs~ A passenger cart crosses in front ofBond, moment(ti:J,y::::'.blockinghisvision. When it clears,his quarry ha~r,:.,zani•g;)hed.

£."("~"-'._ ✓;/

Carlosgoes intoa chan~{Jg;r:dtmand closes the curtain, He unzips the bag, pu&l):s.~·~~}asecurityuniform.

A~ \ j b

/'-:··'.·"'

Increasinglyw.;;~ia, :Bondscans the people moving to and fro infront \'Q.fhio/'eyes.Thenhe notices the zip bag in the hands qt/·~~1'menswearshop assistant, looking for its owner. It.'._l;:~:g-enandclothesarebulgingoutthe top. Bond.looJi'~tS~:Jway-r:iothingunusual- pas.sengers,s~opping staff a~~a~ed security men. Then the other. Heading fo~.a),,,~:'<.ACCESS"dooracrosstheother side is a security ~- )_:Tf-~,/differenceishe'snotwearing a side-arm. Bond nld'\r'€(6.~s.:PiftlybutCarlosisatthedoor,punchinga keypad. He ~~is it and goes through. The door swings shut leaving Bond J/stranded.

Carlos moving past offices down a long cor:i:-idor.Hesteps back to allow a mail cart to pass - glances back at the ' 1NOACCESS" door.

Struggling to contain his frustration, Bond's eyes settle on the keypad next to the door. He pulls out Dimitrios' cellphone, brings up "ELLIPSIS", punches the letters into the keypad - the door opens and he is through.

Issued to Production Dec 20, 2005 30.

Turning into another corridor, Carlos passes a couple of security officers walking the opposite way. He looks up, sees a CCTV monitor. The image shows Bond walking down the long corridor he has just come from. Carlos quickens his pace...

...and moves down some stairs, sees security men coming out of a locker room. Opposite is a canteen. Clearly this is where the security department is b~jc"tl.More stairs lead down to the outside where securityv~Ri2J)e~ areparked up, their drivers, smoking and chatting.;~(<~/(_~/))

• '' t/2"

t- . '~ ,'

Bond calls on his handheld as he,~s~

r1"'"/ BOND .,I'.·•)) It's Bond forher. ts.ffj~'n,J;/ ,'-,~,/ ,,,j,J

/'\(

Carlosenters, switch~s::Ql~j:helight,grabsa broom and b!a~!!s~~: r~~dle A~:~~:,~ glass bulb of a fire sprinkler -

✓ ·········•·····C>~

Iv> };/

Villiers OD;',/~~dset in front of his computer. M approache~~L~~'f1ieroffice and snatches up Villiers' desk phone .~->~~) . ,<,(,(, VILLIERS

//';'),'-;:'He'satMiamiairport. /_~\_,,.·))t "\,;/ ''-,,_,,,:./ M }/ (intophone)

Do you have any idea ...?!

Fire alarms scream, water gushes out of the sprinklers. Bond takes the phone from his ear, runs towards the security area but freaked employees spill into the corridor blocking his way.

Drenched security men run out of the locker room and c~nteen, heading upstairs to help evacuate the area. The men from outside join in. One man seems completely unfazed by the chaos.

Issued to Production Dec 20, 2005 31 .

Carlos calmly goes into the locker room, takes a gun from amongst the discarded clothes and equipment, puts it in his belt.

Panicking people barge past Bond. He'smoving against the tide, struggling to make headway. Now the securitymen have arrived, yelling at everyone to stay calm. Nobody's listening. Bondmay hearM's voice but he chooses to ignore it.

M /2 (over thephone) )~,-J)/~ Bond! BOND! [~(,··f?J

t>"r;~~--.;

Securityvehicles screech to a ha~(ou side. As the securitymen are running up, Car~c,'s'isgoingdown. Bond isnow at the top of the stair.s,,,"a~instthewall, letting themen rush past, trying to1~b::~"'¥ghtofCarlos. The sprayingwater makes it al1~wpossible.

M ff(~:~) (throug~::~5i·'.r\t:1!,leld) BOND. ~ctT H stooDY PHONE TO YOUR E.A.R~..~•:.1'L ME WHAT THE HELL IS GG"i'~ON:l:,

"'<'.',,)/BOND l"i"~•-tP-tohandheld) F~~~e~larms have been triggered, (Q}···p..;til::tl.klersareon,Somethi.·ng's ~wr4ng. There's no target here. '-.,,,,,-• M do you mean there's no target? It's an airport, that is a target!

Carlos is moving to one of the abandoned security cars.

Bond moving down the stairs.

Bond sees Carlos getting in the car. He charges down, taking the stairs two at a time. As he races through the doors, the car speeds away, its blue light still flashing.

Issued to Production Dec 20, 2005 32.

The hangar doors are opening revealing the nose of a huge gleaming airliner. A temporary grandstand is being erected. Catering vehicles are arriving, their ID's being checked by security.

Villiers has found something on his computer.

M What about it? ({;")\

The largest~!~~~i:;e fv~~)):c:rld. I~'s being unveiled to~a"y~t/Miami airport. r::" )' l( •;:,,),,

,(.,l'v l\' JI

Two fire engines screamtf3~s't:·:i?'evealingBondpoundingdown the side of the ro~d.((:<~"•i~/

Carlospulls up ~~t to a fuel tanker standing beside a longhaul je,,Jpiner))"'Thedriverisconnecting the hose when Carlo~~J) out.

,:::,~;J CARLOS f~~ this truck out of here! It's a

"::::<\t,~"f·:treemergency,can'tyouhearthe ~,)L.J 1)"alarm?!

The'S,.,Jrtleddriverrewinds the hose. Carlos goes to the trucf,s petrol tank, opens it and, unseen by the driver, takes out the small torch we saw on his key ring earlier. He twists the base, igniting a tiny red light, drops it into the tank. He pulls out a cellphone. On the screen an equivalent red light flashes.

Bond has moved onto the tarmac running under the parked planes. Behind him more fire engines and police cars heading for the emergency. He pulls up, gasping for breath. Pivoting slowly, he scans the area, looking for the security car. No sign. Then he sees it. The fuel tanker in the distance, blue light reflected in the cab windows. The car is hidden by the tanker but the reflection gives it away.

Issued to Production Dec 20, 2005 33.

The tanker driver jumps into the cab, starts the engine. The passenger door opens and Carlos drops in beside him. Before the driver can utter a word Carlos breaks his neck. He opens the door, kicks the body onto the tarmac. Putting his gun and cellphone on the seat, Carlos drives off...

...heading towards the runway. As the tanker picks up speed Bond races to meet it. Carlos sees him, puts his foot down. The tanker heads towards a row91:>\parkedmobile stairways. As it passes, Bond charges up f'£~tj]-6l~aunches himself into the air and lands on top of';-ih'e·1¾2i"i:ver.

~~~ '1\/

CARLOS " ,.(?~ /'

sees Bond through theback windoJ~~!CH1'~renches thewheel, weaving the tanker, trying to th(<?'W·~:±:Nioff.

Carlos heads straight fora ~b~),foving to itsgate, drives under thewing. Bond has ~~~/ up onto it,run across and jumpback onto the tlfl~rfb avoidbeing swept off.

As he landshe losesg:~"f<stGting,fallsover the side, manages tograb a ;<1ftrt(t_,')_~¥nbarelyholdon.Carlossees this i:r:1hiswin9___t:ll~JS:c:KO-i':;::~ead~fora:r:iapproachingtowtug. He deliberatel)i,!'l..c.ra::9:)-{lthesideofit.Bondhastolet go or be crushed~';:~.

1'1 V

He hits thl'.~~~d, rolls and is on his feet running towards the stoppedA~ow<i':ug.Hethrows the driver off, leaps aboard and driv~~a.1't~r-thetanker, now heading towards the "live" runwayru..O'"····.

87 ~5):i~~R ON OTHER SIDE OF RUNWAY - NIGHT 87

At•(,,~ vehicle is being hooked up to the airliner. Out:M~~ the activity has increased. Network TV vans can be seen, camera platforms are being erected.

Bond maneuvers alongside the tanker. Carlos rams into the side of the tow tug. Bond is almost thrown off, recovers, slams into the tanker, trying to turn it away from the fast approaching runway. Carlos is hurled across the cab. The cell phone falls to the floor. He grabs his gun, starts firing down at Bond. Bond rams the tanker, throwing Carlos back. Security vehicles are racing towards the scene.

Slowly the airliner is being towed out under the guidance of ground crew.

Issued to ProductionDec 20, 2005 34.

Cutting in front of Bond, Carlos swerves around a row of freestanding gangways. Suddenly a moving baggage train crosses in front of him. The tanker hits it, dead center smashing the cages, spraying luggage into the air. Bond manages to steer around the front of the train, saving the drivers life.

At the same moment an empty "caterpillar" bus going in the opposite direction crosses his path. Bond throws himself onto the floor. The tow tug goes straight through the middle "concertina" section, cutting the b-u~~n two. The t':1-nkeremergingfromthe wreckage of the ~~~e_train hits the severed back half of the bus, spr'<._nri:i,(~(~\toffto one side. The impact shatters the.w_in_~J_-ii_~dl>~dcauses the tanker to go into a sideways sk~~-'~~tJ:W.Lingit.

Carlos hits the starter, punches'__.J::_~_:h.t~~~~lerator.Bond, seizing the 1;1oment,isoff the tF(fw"._\"ef,runni1:gforthe tanker. As it roars off he leaRS·01»1therunningboard, gets inside_t~e cab. Both m_~~~yt pummeling each other.

They re oblivious to the..~r>/y·

-~v·~

Security vehicles, now ~1$s·'::·:61ehind.Gunshotsringout

as the men open fir_e.(-:.::_":te~OMMANDERscreamsintohisradio:

/'.'.~,•//

Hold/~~1Jr::t'l:-.re! '\

But the dama~ is~ne. Fuel is spurtingout bullet holes in the tan1t:(~

-0 ~-:.1. 1 f h h

Th~::-N\l:"+,~erisamostout o t e angar.

The~ker is close to the runway. Bond and Carlos are fighting in the confined space of the cab. Carlos slams him against the broken windshield. To his horror Bond sees a 747 touching down. They're on a collision course. As the tanker crosses the runway, the frantic pilot just manages to lift the plane, skimming the top of the tanker. The security vehicles have come to a halt, panicked by what they have just seen.

Security men are yelling instructions, telling the workers to move. The Chief Security Officer is listening to urgent instructions spilling from his radio. He can see the tanker heading straight towards them.

Issued to Production Dec 20, 2005 35.

Carlos tries to use his gun but Bond smashes his hand against the dash loosening his grip. Bond takes it. Carlos grasps Bond's wrist preventing him from firing. He gasps as Bond grips him in a choke hold. Despite this he makes a deliberate move to steer the tanker towards the airliner. He smashes Bond with his elbow and heaves him through the shattered windshield. Bond manages to cling onto the edge of the screen with one hand and still keep hold of the gun in the other. Carlos thumps his boot onto Bond's knuckles. He lets go, almost drops under the tanker, manages to get a grip on the fender. With his legs draggi~~-on the concrete he can barely hold on. Panickin~~~ ~.·~~eflash past, the airliner rushes towards him.:_/._(~~ty

Carlos reaches under the seat, feelin9(t,,,Yo0thecellphone. Bond aims under the tanker at th~i+C~<;<t;(i-e,shoots.It explodes, the tanker weaves. Ca;"jl..oo..:13,•.qg):l-ipsthewh~el,keeps control. Bond blasts the other ~~~ck<if{re,butstill the tanker holds its course. Carl~•i,,,·~:_jlandfindsthecell phone and pulls it out. The~(i-e,'<i;:l(mostontopofthe airliner. He's about to Pf?>.¥~μ~ button when Bond shoots out the front tire. t:f)~::.J!.,.

The tanker yaws vi_·oler;,,t:}1(~'§.kidssideways,thewheelrims sending up shower~1~f(~P)r~s. Carlos is hurled against the door'.drops..~!.1e'~'-ho1,i..,iz.,Thetankergrindstoahalt, half an inch f:)(~~1JJ;t'?irliner.

The door opeQ~an~ shatteredCarlos staggers out. He reaches in.~ie;,tpecab,pulls out the cell phone, puts his finger on_t:l~~~fton. A shot ringsout. A surprised look crosses.;~ff&-&e.

He/,:Q,l"()..6~(,t·.b.'..fhegroundrevealingBondstandingbehindhim, ~t 1-ai~':tt. ·~t)d SECO~~y VEHICLES ; Scream up and surround Bond, men aiming weapons, shouting forhim to put his gun down. He does so and raises his arms.

Issued to Production Dec 20, 2005 36.

He hangs up, takes a hit from his inhaler, turns to KRATT.

)~~)!~:i'h

Bond waits alone behind bars. He hears f t~.·.ei.tandlooks ~~ii.Villiers approaches with a :uard,~;'):'.'y1[ocksthe

A helicopter lands at the bacly;9,f\~~;arge colonial house. Bond and Villiers step out, ~~e::'P)i'stanambulanceand police vehicles to the bac~-~qo'-Qx;Y

(.,1-r~V

An MI6 CSI team c~s(~h~\\~ime scene. Solange lies lifeless on the."".~~~~§;;Jpet.Bond stopsdead at the sight.

/~··················t1

Qut~~ th\ibody count you're stacking

~"~~?

Bond can•j_,;s~'e.ik.

\)~.)

/'• ~~ .·.. M (CONTID) /<);;1:\')>"Shewastorturedfirst. As you'd "'-:;r"i already killed her husband she "0/ must have been the only one left ) to question. Did she know anything

that could compromise you?

M Not your name, what you were after ...

We can't tell if she believes him, but she turns and walks out the back. Bond finally breaks away and joins M...

Issued to Production Dec 20, 2005 37.

IN THE BACK YARD

Where Bond is once again in full emotional armor. M walks him around the pool.

M Dimitrios worked as middle man, always knew how to put his hands on weapons and people who could use them. Worked with anyone who had the money. For years he was tied to a man we knew as Le Chiffre; private banker to terrorists and ~~ organized crime. He invested th~{) ;:.· money and gave them access totf?' 1::(2) wherever theyneeded it. sa2~7-m~7'tY took a disliking to.him afte_f(D.~~,ert Storm and cutoff his ~1--> '<:'/

Bond trieshard not to showevenr(~:}~)1eof remorse. M sees aman approachingwith a !3r,)':e:fjlase,snappingonrubber

gloves. .is(·"'y'i··

M (cl;:,,?~ Oh good, you'r,&f~xf/. (toJam7,'s-'""--· Roll up ,;jou~~~¥ve.

He does so. u:,{~~~-~~f~llowing the man in the rubber gloves swabs his ~~m and prepares something that looks like a stapl!v~un.')/Mshows Bond file photos of Le Chiffre.

J:~~, M (CONT'D) ,(,t!~~ian,we believe. Chess {(~pr~digy, bit of a mathematical

?'\~(Jeni1;1s. Loved to prove it by A.r)]...,playing poker. ,:V-,.....y--,\

B~~£tches the technician load a pea-sized pod into the g~~~d fire it into the backside of his wrist. THWACK!

The technician exits.

M Yes. (and on) When they analyzed the stock market after 9/11 the CIA discovered there had been massive shorting of airline stocks. When the stocks hit bottom on 9/12 somebody made a fortune. (MORE)

Issued to Production Dec 20, 2005 38.

M (CONT'D) The same thing happened this morning with Boeing stock -- or was supposed to. With their prototype destroyed the company would have been near bankruptcy. Instead, someone lost over a hundred million dollars, betting the wrong way.

il$i)~--)\ So, we k_now.!~~~7~:'11 be. You want a ~a:f(,y:1u.1fordoyou want to s/~~~~~ ge?

'~ M We~ant ~ alive. Le Chiffre 'ff~;-f have 100 million to lose .

rci\~J)he was playing the market with

/.-/(),i_-_-_-~-')Ylikeitwhentheyfindoutit's "-~ }1 gone .

M h~s back INTO THE HOUSE, Bond walks with her.

M If he loses this game, he'll have nowhere to run. We'll give him sanctuary in return for everything he knows. We're putting you in the game, replacing someone playing for a syndicate. According to Villiers, you are the best player in the service. Trust me, I wish that wasn't the case.

They are standing over Solange's body.

Issued to ProductionDec 20, 2005 39.

M (CONTID) I would ask if you can remain emotionally detached, but I don't think that's your problem, is it Bond?

Satisfied, she turns on her heel.

M Don't worry about keeping in touc~.1/\ we'11 know where you are. \),), (r){//))

A helicopter lifts off. A train~---.w;'·-~_l~Jsinthedistance. Bond steps onto the desertedplat,;\~~-))

JOHN BLISS reaches foran ~P~y;:~m a fruit plate. As he raises itwe notice the l~~~~-eomputer on his tray, the DVD player showing a co~~~i¥:'.lrecordedcardgame -- split screensof the player~~&~~~ and poker hand. A stack of disks with player~~af~s !e beside the computer. The door opens and B_ol:d~€~ into his compartment.

/\~----.'.i30ND

Mi_1~~rB~ss?

)'Z:~~1 BLISS (,J~~~door was locked. ,(?~----··

B_;)~~~~s•" is cell phone and presses an autodial button.

~~ )J )/ BOND \~1/ An eye for detail, I'm sure you're Y an excellent poker player.

(re:DVD player) Though a little homework never hurts.

Three dark-suited serious types turn the sharp corner in the corridor and stride toward the door. Upon seeing them:

Without a pause the lead man chloroforms Bliss. They lift him and whisk him out the door.

Issued to Production Dec 20, 2005 40.

Bond closes the door behind them, plunks down on the seat and watches the play, taking a bite from Bliss' apple.

Bond has a drink in his hand and Bliss' portable DVD player on his lap, studying the technique of one of the players. He rubs his eyes and glances out of the window as the train pulls into a station. .((·/2..,

ON THE PLATFORM a BEAUTIFUL WOMANin casi~1_'ci{.¢)hingstrides purposefully to board the train. Hi···s··y;.,...~,rlc!l{herevery move. She disappears and he load~ t~~e~tVDVD.

Bond looks up from h~s.menu to(,~se~Jgheb~autyfromthe p.latformenter thedining ca~~~y wearing a no-nonsense butwell-fitted suit. She~·J-..~.-~1?ohistable.

VE~~ p;) I 'mthemon~y:-:;'.,~~-7 4 ~~y

EveryC~n~f it.

Vesper sits,\'tj;arts'))a'look,Bondfeignsinnocence.She hands over ~<;1::l.i..,~Jnesscard,thetypeeverybureaucrathas.

«)>~J VESPER ~T~ Treasury has agreed to stake you 'inthe game.

Issued to Production Dec 20, 2005 41 .

Bond studies her with a smile, si.gnals.th{)~~~...jf.

As the train rattles through thet'~~.V~:\~OlandscapeBond and Vesper are finishing themea;1,,>,~,JI

VESPER .Cl:)J,./ Oh, so,you're tel1//(ng'¥it's a matter of probab.~")7····t·~~':.~ndodds;I was worried the:r;(:'W1'sVsomechance involved. /-!C<:) ········'~ ~1 (~a~ , Only if ~,~~.JGmes that the person with/4~~1:r~{:hand always wins.

\'v;·~ VESPER ~~,~~~t would be what you call IIAuf·f::'ingII? ''.'') f'~/,J BOND

<\f:,'\- (canplay right back) /(j. t~~--~7Youknowthe term. Then you may '~(j have also heard that in poker you '~,.l/ don't play your hand, you play the

man across from you.

Issued to Production Dec 20, 2005 42.

·,~,·

aren't overwhelmingly supportive of this plan of action.

/;::::~-1:1,S.ytr:ogance.~wouldnormallyhave

/('--.).'"'\\7said.onlychild,b1:1tbytheway "-,\ )/ you ignored the quip about your ~ / name and your parents I would go

with ...orphan?

Vesper pretends not to be both stung and impressed. Bond pretends not to gloat. She sizes him up.

Then this trips off her tongue at light speed:

Issued to Production Dec 20, 2005 43.

BONI:J~';/)~ ( z . --Omega. ,,.£~.·•.....

4, 1v~PtlR.

,,~' --beall~-~!_tti~~~::Now,havingjustm~t

you Y-.~~lifu:;'tgoasfaras calling you a '--~d-heartedbastard-- ~ 'Y., •,/,,.~ V BOND j,,~"-~1mrsenot--

{;>~)) j VESPER .,~.,~'-iu~itwouldn'tb~ a stretch to 'i?'i~aginethatyou think of women as disposable pleasures rather than meaningful pursuits, so as charming as you are, I will be keeping my eye on our government's money and off your perfectly formed ass.

Issued to Production Dec 20, 2005 44.

And he watches her walk away, breathless and in wonder.

SUPERIMPOSE: MONTENEGRO as a train arrives at a town in the hills, dominated by the fading grandeur of the CASINO ROYALE.

_rt~

Bond and his porter catch up with Vesper, ~~~ently rolling her own bags. They head for the~✓ait~tP)cars. Ve.spercan't help but notice the heav··•i.·a1v.·..)aQDec.t!policemen on patrol. ,,. ff J

BOND '.,-~.✓,,i~·\o',.- F'-..',.,/. Did you have a good sl~e~~'<>/

VESPER t~r~~y Yes, only occasi9;-1:,~./distu.rbed by nightmare~ °r;,~ciJ<ticaland financial ruin/>(..

V ~~'> It's so~~:Jling, as a citizen, toki;;{~:Etr~,.youareconcerned about m~taxes. ~ )/ N "-"-,.1,VESPER r:t°'~tc:retagentspaytaxes?

Je\~ '-._ . BOND

/<..:;:.}d~:sunfairas that seems.

V~~r))miles to herself. \";1/

The driver meets them and takes Vesper's bags.

Issued to Production Dec 20, 2005 45.

Vesper climbs into the back seat. Bond tips the porter and in return is slipped an envelope. Vesper notices.

Bond slides in the.other side, opens the envelope, which appears to contain two passports. Bond raises the privacy partition as he scans the accompanying note.

BOND ,:::))

Onlywhen the roma~t·""~¥been necessarily brie?/•>"-;:!-kitMr. Arlington BeechC>~<ji,Essional . gambler. You ~~e'•.M1'ssStephanie Broadchest. if_:~<'•'\,':! /4 ,("'\// .....~~~\\zEi~ER

Oh,, Ia,~ot. \v:> )/

t~'<:J

//)\'::"v"Ohno, I don~~~PER

'<~~~../), BOND

(re;note) We've been dating for several months, hence the shared suite.

Issued to Production Dec 20, 2005 46.

BOND ,/? Single. ~;i~t,.;l t,\ tie/2

r .~f?J~7 c

The town car stops at the main e~:~:l(n\•·

~~- l

The beautiful FRONT DESK CLE~(~ up from the reception desk to see Bond andVespef;\;>;\'·/

1),I.(Av Fpt;:l~T,WSKCLERK

~~t~::~~~:el Splendide.

James ]:C/::l:_l-d:··-You'11findthe re~at:§lzfnunder "Beech."

He enjoys~~~g Vesper react. The receptionist has the paperwo~t?aJ't::.:l!ngandslipsitoverthe counter.

t~'- ·- ✓ FRONT DESK CLERK )/''Welcome,Mr.Bond.

Vesper glares at him, signs.

Vesper snatches her key and storms off toward the elevator, where Bond catches up.

Issued to Production Dec 20, 2005 47.

She hits thebutt<;,:~~aff~<~doorsclose. As Bond smarts from the remarkthe~\l~Jf·skips up with a manilla envelope.

,1·::::···::,::, ··~~ ....ilRONTDESK CLERK Mr v)3oncf~7Thiswas left for you.

t~'~":1 BOND lJJiA'~you .

Sh5l::.rnpl.Jlc.:bf.Heopensthemanillaenvelope and tips the 9_6i:it~h~;-~ntohispalm:a key on a fob: Aston Martin. '--~f1

Bond strides up to the brand new gun-metal grey Aston Martin. He slides in and quickly checks it out. He pulls a note out of the torn envelope, reads it.

He pops the glove compartment and pulls out the interior lining, revealing a gun and something labelled MEDIPAC. He takes the gun and closes the compartment, drops the gun in the manilla envelope, seals it and strides back to the hotel.

Bond and Vesper breeze along in the Aston.

Issued to Production Dec 20, 2005 48.

She keeps her attention focused on the scenery, pointedly ignoring Bond. But she can't resist glancing over just once and Bond catches the look, before she returns to the passing scenery.

The Aston snakes through the narrow streets and arrives in the town square. They park and walk toward a restaurant, passing armed militia and men in dark glasses. One man pays particular attention to them -- call him MATHIS.

New Money types lunch. Mathis waves at ~tki\\;1~)

MATHIS -..(I)\,/ - Over here. 0-/r ·, / (as they approach)cr-._,_·,J;-~··· Renee Mathis. I know ~•• jt\:/utwo are. Are you thirs~_'(-7..:0~

Bond takes two glasses of ~~.~.l~~~efrom the waitress.

B~Q~~ ....) Unquench"!b1if.':~~'\.~ (to~es:i{e_r-.'.i\V ;~. \' )I You,J~-~~'.'-:~;--:.7

She gives him a~kand takes the champagne. Mathis offers her his arm ~u.dth~ stroll toward thebar.

J/,-, -~~~~~1 MATHIS Q~~,inow, Iused to hate husband '1)~-a_wife covers. Before she stuck /..~t'llouthere, M would consistently ))'pairme with a defected Latvian ·wrestler or the Scottish shot- putting champion.

Issued to Production Dec 20, 2005 49.

1~-(~ MATHIS · , (che?kshis watch) ______~{}'" And possibly shorter -,?l;\~];s:,10:t.Va very subtleman. He's Jl~tf;}g overmy left shoulde~·f:~~)<;;,

Mathisnever turns. Bond glatlfe\,9,ftto seea MAN with a BUSHY MOUSTACHE sittingwijJ"z~~t'hanmuch too young for

him. ,C'(?~1

fl'iA.X~(CONTI D) The man,A_it:(._1:1re 2shoe-brush.onhis face·,,,..~e'-~J;_~μ,.ihtabouttryingto buy lB,,~_J3e:ty~cesbutfrankly couldn i't~affordtoout-bid Le Chjf~fre.)1/

Behind MatJ~~!rcE VEHICLES scream up into the square. Mathis ~- )a_,t"rl~;heardthebrakesscreeching but he doesn't look. . '-~ of uniformed cops jump out and charge the te,r~~ t>ndglances at Mathis, concerned that the cops 3/~j.,b<·~ for them. Mathis seems oblivious.

~") MATHIS (CONT'D) - I hate to say it, but the accountants

seem to be running MI6 these days. (toVesper) Not that I have anything against accountants. Many of them are lovely people.

Standing beside James, Vesper has also noticed the phalanx of approaching cops but is determined not to panic.

Issued to Production Dec 20, 2005 50.

The men surround the Police Chief and lead him away. Mathis only now glances in that direction, making eye contact with the DEPUTY who appears to be in charge.

They pay no attention to the former poJ~'a_~hf:efbeing

manhandled into the car. , --~ ))),

/r~✓c··-,;\',, You'11 excus~E;!~R {:,_'::::))

'·' .)}

Vesper takes her drink andwcz1'1@.w~;vtotheedgeofthe terrace to take in thevieo/q>~v)/

For someone~i{~~;2s at the Treasur~ t~~'·'b'?flhasnerve;didn't flinc11.___ct~~>:}.:-'ttleshow. /,~-...::.~', ~~ BOND Yej•f_Iw~dered where you were 1'.?~N~~jiththat.

rP@::~~:Jtoknow~;~I!ho you can trust

/.f:~:0.t~uriderpressure.

t~·wy:ch her, her back to them.

\) MATHIS (CONT'D)

Beauty, brains and courage, almost an irresistible combination.

Issued to Production Dec 20, 2005 51 .

Mathis laughs and drinks with Bond.

Vesper drops onto the seat in her spacious bathroom. She dumps her makeup onto the counter, looks at herself in the mirror and considers the job at hand. As she opens her first bottle there is a rap at the door. «/\

n\C) .J VESPER re \l,;:::,,2 Yes? "" 1, rf;;)i)/'·

The bathroom door opens and Jame~~\/1~l:l~::.~garmentbag ~~~~-the room, hangs it on the h(:k~~the back of the

BOND lf,:~5) Something Ipick¢;;,~,4t a little place nearby. t!s;_l\~J,)V

:tiskR Somethi~\!~~~:ttfuctme to wear? /'~- ~ '·/ ;::,~,....:.~OND Ineed\\~u looking fabulous, so h whe~you walk up behind me ~~s me on the neck, the players wfrom me will be thinking {1..'.~your neckline and not about \<tbjircards. Do you think you can handle that?

He exits and we FOLLOW BOND back to

114 HIS BEDROOM 114

where he stops dead. He sees...

A GARMENTBAG

Lying on his bed.

115 BACK IN VESPER'S BATHROOM 115

He pushes open the door, the garment bag from the bed hung

Issued to Production Dec 20, 2005 52.

from his finger. She doesn't turn from the mirror.

I have a tuxedo.

BOND /2 (how?) ...It's tailored.

VESPER ~~<I ',~ _/ Oh, I sizedyou up the~ f,re<::w~ met. 0,~ ) {~ ~"-/

She stillhasn't lookedat him;-'"_>,(jfa:;,y·-Bondlikestheanswer. He considers, takes itand e:ii~t_s~'0~hesmilesather image in themirror and goes bac.~~"'~~-h-k.

n ~ ;)·

116 INHIS BATHROOM t'\ •::, 116

James pulls on t.h~~a~~_"})/ctamnifshe isn't right. We thought he looked ~:'§:d<irihislasttux, he looks amazing inthis one. N~:::n:e::~esthedifference, and is amused that she actually\~howed him something. He turns away from the miry~ anq7turns back.

He doesn't)~~ Vesper pause in the open bathroom doorway, catchi:g)~:~tt& the act.

An,,;;::h"vo~~ntcl.rylaughburstsfromVesper'slipsasshe walks ~Y}!· ;~d realizes he's been observed in this private mCJTI:!&,zit~)Helooksbackatthemirror and considers himself. ' ,)' 117 IN V)§PER'S BEDROOM 117

She lays the garment bag on her bed and sits on the edge of it, shakes her hair out, and then looks back toward James' room. And considers him anew.

118 IN JAMES' BEDROOM 118

James opens a deck of cards and fans them expertly across a table.

Bond saunters across the street from the hotel and arrives at the elegant, if time-worn, Casino.

Issued to Production Dec 20, 2005 53.

Bond passes through the metal detector, moves through the busy casino and enters the velvet-roped salle privee. He eyes LE CHIFFRE, who approaches.

BOND

We certainly wouldn't want wthhoa___:.~·~a(l_/_~_-r

Bond steps past and joins the others ~ 1l1·,;7the dealer. f;;)~ L-

DEALER ~ ~ :i~zJ

Ladi~~~;~dt~:!~1:~~~~t~~)me is no limit Tenez Les C~-1Jriilfive communal cards, twq:Jcfn\~1?ehole, minimum stake $19;+·,Q,~/2.yMonsieur Mendel here rep;i:;~91=¥theBanco de CreditoMon~~negiio,holding the stakes./Z (:·\,~1

As theBANKER (MEN~J<~:1:,)1.ks,weexaminetheplayers: an Argentinean bi14:'~:0na:;tt1=,Gallardo;along-hairedJapanese softwareking, Fu"~tu; the deposed African dictator, Infante,as ~~l aiy"anAmerican, Wolpert; a Russian, Kaminofs1:Yi\v..l'✓-_fa~"'":-,_~hinesewoman~ramtheyacht,MadameWu, and Italia~&i mogul Tomelli and a German countess, Grafin M9"fljt.__clf'1tl..

~)~-,!)

~- /~ .:.. MENDEL ,r::<(-)J:)'yMonsieursetMadame,youhave each ·,V ). deposited ten million dollars. \';/ Further buy-ins of five million Y will be by electronic transfer.

The money will remain in escrow until I return and the winner of the contest enters his or her password into ...

He opens an attache case with a screen and cowled keyboard.

Issued to Production Dec 20, 2005 54.

He swivels the machine away from the others. Bond steps up.

Bond thinks of a password, smiles, punches the keys.

TIME CUT:

Le Chiffre takes a seat at the table, Bond deliberately takes the seat facing him. The banker closes his case and the remaining players take their seats.

,/2'. MENDEL (CONT'D) .(())/-; Gentlemen. When I return, one1:l?f'{/)) you will be the winner of a«(·:.,)~\(:/ considerable fortune. Goocl,\Ufc:J;Y

The players nod - except for Le ~..··:i:,.·,i"~~-~hotakesasquirt from his inhaler. For a fractiof:l.)f:'-;#secondhiseyes glaze over. 1:_f~;}

The Dealer distributes sini,~~)ds.

DEief~1h:r) High cardd[:b)k~'y J:(((,j )c

A Jack falls in f_ro)~o'fond. Le Chiffre meets his eyes.

/,'( \, ~ DEALER (CONT'D) I~z,Mis~·r Bond . Monsieur Ga 11 ardo, ~~eApersienne;Signor Tomelli, iNJpersienne. That is to say, a -~lindof ten thousand dollars, a

r J( tle blind of five.

121 ~j1c~)zuTs: 121

Th~.;(-fasare shuffled. Bond cuts the cards. The cards are ¥ealt face-down.

Rather than examine his own cards, Bond watches each player, looking for reactions. No-one gives anything away.

Bond notices Mathis at the bar. And the game commences.

Fukutu, the first to have to bet, folds his cards. The next player is Infante, the exiled dictator:

Le Chiffre nods and puts in the same. He betrays no emotion. ,,~- Bond looks at his cards. TWO RED ACES. The briefest of glances, no reaction, aware of Le Chiffre's eyes upon him.

Issued to Production Dec 20, 2005 55.

The three players to his right fold.

Tomelli, the Italian, throws his cards away.

The Dealer lays down the FLOP. While all other eyes are on the three community cards, Bond's are on the players' reactions to them.

Gallardo is neutral. Infante is visibly, if almost imperceptibly, disappointed. _.(/?.'

Bond shifts his gaze to Le Chiffre to ser(l::~_,_·J;,i~Chiffre is doing the same thing, looking at Bo:@'?/~,;}'J:Ureaction. Bond smiles, looks down at the flop> .~1r,~E¥hearts. 9-8-

:~llardo knocks. Infante knocks;::1~:~~:~ffregazes at the impassive Bond and: J<.iJ

/,(',,>-,;,v LE ClfE:F\.F'~~)/ Fifty thousand/:((~(?)i/

An audible reac~ion. J3-iu~~y~s Le Chiffre. He has a flush or th~ee of a k1.n,;K(to(~e')P!i'.ay1.ngsostrong.Orhe's bluffing. ~-,.<·:_:/

/;_,~::::f'>,

Bond sees Le Chif~~e's eye twitch --only onceand ever so slightly. L~hiflp!'e's finger comesup tohide it ina "thoughtful~<~~J.

Bondpusqfej>l~lty thousand intothe middle of the table. An eve11{r~gyr reaction. Things got serious fast.

g~{~ti:~~~d Infantethrow away their cards. The Dealer n~-(l.ai down the next common card ('theturn'). Again, Bo~ esn't look,watching Le Chiffre's reaction.

The card isa 9. The finger presses tight against Le Chiffre'scheek.

Bond looks at the card. So now there's a pair out in the open. Could Le Chiffre be holding the other nines? Doesn't matter anyway, because Bond has already decided to go all the way and find the meaning of the finger by the eye.

Le Chiffre bets:

Bond looks up and is distracted at the superb sight of VESPER entering in that stunning dress, walking up from behind Le Chiffre, her eyes on Bond and Bond's on hers.

Issued to Production Dec 20, 2005 56.

She pauses for effect some distance behind Le Chiffre, then moves around behind Bond and bends over to kiss him on the cheek.

She moves off. Le Chiffre impatiently st~Git~~...v,iscards.

After a moment: ' -~-~~)~ \\/

DEALER f,:j(<\\._j ....Mr .Bond? , , )) "'·'-! f/ Oh yes, sorr~~ND ;;.:f:::::.•:·7

Bond matches the bet. '(i>)~;/

()\\./, /"r'<..:./

WITH VESPER AS SHE JO~J{S,~HIS:

~" \ ~) "'.:--.:v"E;~'PER He 11Gf'.-::~:::,\.

~ -MATHIS Jv/5~gse Idon Ithave to tell you ~ ~autiful you look; half the ~ f)~pμi~ at that table are still

/-:·,!~(~~a;;tchingyou.

/' JJ.-\27 VESPER r~(l vHow's he doing? )/

The last card ('theriver') is dealt. All eyes are on it, except for Bond and Le Chiffre: watching each other.

It is the 2 of hearts. Le Chiffre slowly takes his hand from his face. No twitch to be seen.

Issued to Production Dec 20, 2005 57.

Vesper and Mathis watch Bond carefully. Everyone is mesmerized. Bond pushes in two hundred thousand.

Le Chiffre stares back at Bond. He wasn't expecting that.

Le Chiffre now lays his cards down. He holg~'\bothblack 2s. Le Chiffre has a full house. (\');/.

_(J (//)1 DEALER (CONT' D) ~£~"'-"-(.1' A full house to Monsieu( L':~~~ii'.:?e. (to Bond) l.'k<',.j Monsieur Bond? C~<~':}

Bond shakes his head, throwsJ.,!-s~~Wdsaway,provoking a buzz in the crowd. Le Chiff~•~%i{ believe his luck, rakes in the chips, aglin~:oJ:';t)-1.umphasheeyesBond. In forcing him to show t.,;1~\J(i3.!'f)/~ftwos,Bondhasstripped him naked, andLe Chiffr~r ai.:fsthisinhis eyes.

(t_c,~~~ Please~~eni;t:t:hebarmanover.

The Dealer i~v('.~~at surprised at this request, but indicates~f'\..~!barman to come over. Le Chiffre watches all this w-~~~Nstering irritation. The barman arrives:

lf.C~~)., .1:3OND(CONT' D)

,,:::::l..v•""·A'drymartini. /7 ) \')/ ,-~~ )) , BARMAN '--"-JIOui, monsieur. ')/

He's about to go:

The other players and even the dealer have been quietly mesmerized by this performance. As the barman starts off:

Issued to Production Dec 20, 2005 58.

Le Chiffre's patience is at an end, he looks about to burst. The barman starts away, and suddenly:

/i TOMELLI ~=·\)/ Can I have one without the lem,'1111?((//)I /,-'-.'~l// LE CHIFFRE f_j;>;)/l, ✓ Is anyone interested i:ri~p-1'.:ri.g) poker?! ./'"\ ,) r-;~~,_~":::·)

Bond smiles tohimself, havingr_s\iecjl~dedinrilinghim.

·._I(,~,'\; t' ~"'------? WOLP~:R,~·,;::>.-,,1/ (to1;1on<:1)l~-())V Someone is in,~('-ht1rr'y.

The Dealer distriWte[i~~- Le Chiffre quickly throws h~s cards away,,.~i~~~t.:.~:JIwiththem.Theplayer to Bond's right calls. FJ-~_:frt~gs.

'·"' ~ ):-"?'BOND BJ,Vb\~~me.

As three tlih_~Jplayersat the table bet and raise, Bond gets up[a:~~-y,alksoverto / t,'\ 'r,~--)P,.R,'<)7 ~v;-/ )\ . whe~;#esper and Mathis are waiting for him. He puts his arm around Vesper, kisses her - it lasts a little longer than he planned. Both of them can't help but briefly be aware of that fact. As their lips part:

-~

Issued to Production Dec 20, 2005 59.

121 CONTINUED: ( 5) 121

He kisses her again, but this time she slips it.

BOND ~ It was worth it to discover his...z.·-.)../,}··• tell. /,(?~t'j (tastes his drink) ····-~ le Hm. Have to think up a nalTl~~-fY - it. t::z_✓r-~::.

MATHIS rt;:'.~~f What do youmean, higJe11I? ;;:(""y":p BOND :::'-<,_> A twitch hehas(r)t~,~ when he bluffs. /;\ ~- ---"-"-- ~( ltvi~)(R Bluf~/?--~~~ar the best hand.

'\<-- -BOND

b°"~ire:Vandhe'dknow that. When ~ Q!-1'1t~dethatfirst big raise he ,,fl~w~trying to scare me out, he had

f'<<,J\y (anothersubject:) -,~:(JJ Did you get it?

MathYsslips a small silver disk into Bond's hand. Bond puts his drink on the bar and returns to the table. Mathis watches him go. Not wanting to be seen doing the same, Vesper purposely turns her back so that she is facing the bar.

Vesper sneaks a peak as she tastes Bond's drink.

122 THE CAMERA RISES OVER THE POKER TABLE 122

Cards are shuffled, dealt and discarded. Jackets come off, players drop out, money changes hands. Bond's chips stay about even, he's playing cautiously.

Issued to Production Dec 20, 2005 60.

Le Chiffre is slowly losing. We can sense the pressure building.

ANGLE ON BOND

he notices KRATT step up and whisper in Le Chiffre's ear. Le Chiffre doesn't respond; Kratt moves off.

The players shuffle to their feet. Bond s~'1\, counting his chips. Le Chiffre stands, turns and1'&'a~~8\.Kratt to approach; Bond stands and palms Le Ch··~.-f.-7.~,§,l\~ler, I?ressingthe silver disc onto the bas Q8~Me replacing

::, Chiffreturns back a heartbea~1~~ :ndpicks itup. Bond moves off toward thebar l~tC'5)lnMathis andVesper.

MATH~• ../:,~;;;✓ Well, think I'_~~?wrt on the morning's frivA?~i-'~s. --."""-·

Mathis exits. Ja~ {;_;:~¥narm around Vesper's waist and watches discretely~i)._'.::lfershoulder.Inthebackground Le Chiffre lea,,7n:~bt and heads for the exit.

);'\'.~ VESPER

~~~1

Bond doeqfrJ~~~spond. He finishes his drink, sees he's being ~~bey by another of Le Chiffre's stooges: LEO. He puJ±~~er toward him and runs a hand up the full length Sf~~~if_;;j)v:netoherneck. Her body reacts involuntarily.

-"v BOND } (asif she just spoke)

Really? That's naughty.

As she reacts, he takes her hand and leads her to the exit.

Le Chiffre uses his key and enters his suite.

Issued to Production Dec 20, 2005 61 .

Dark walls, little light. Valenka sits on the far side in a pool of light. She looks up at Le Chiffre as he approaches.

She puts a hand on the back of his neck, kisses it, whispers:

VALENKA ,~ ,c, I'm sorry. (·))•-1c t~~ 'tf)

A hand juts out of the darkness and yi~~{~,,rtb ck! Before Le Chiffre can react a garotte is fli 9dh~ver his neck and cuts off his windpipe. ObanyY(')._~Lses)intohisear:

-,,".:1~'\, OBANNO A_-_-._,.~,)} (C.--,.. Where isMY MONEY?! ·,<:)' Jc''::--,.",:_,;Y t ',~':!

James andVesper enter ~~m{Je street, playing up their "honeymooners"role, ~~~~yound each other. While walking, ~~~~-flips out hi~~:{!~Yd. They stop at the CONCIERGE

/~~:-.~~. ~- BOND I l.\,.e,:J_iev~youhaveapackagefor TI!~A,". '_lr",'<;:J

The concjf,ej.g~.lindsthemanillaenvelope Bond took from the ca£~\a~4Jn.andsitto Bond. They punch the elevator

b':'/1:;:zf:,~ 126 fi:rg'·)/LE)CHIFFRE'SSUITE 126 """,'/z, Obanno chokes Le Chiffre. Obanno's LIEUTENANT restrains Valenka, holding a machete to her neck.

They step into the elevator and Bond hands her the envelope.

Issued to Production Dec 20, 2005 62.

Vesper does, sees a silenced Walther inside. James pushes a wireless earphone into his ear, punches the top floor button and watches his handheld as they rise.

Obanno tightens the noose again, Le Chiffre is in agony.

Obanno tosses him to the floor. -~

OBANNO 1:_fi>~)~fJ Iwould takea hand for thi....~)··..;.;·~.,~> betrayal, but you need it t~'1?l)t1V cards. ~{ <\" . ✓

~~sh~!~~e~!~hands out to his ~~~Jj~~~t, who hands him

t!c'->."';JI OBAIDiO::((:~r.t•D) (toValenka())(¼(~,)2' Hold out your /4,-lfi::'m~"' ,:.:"'';:1

~ ····-

The screen dis ay:s:::1;1~hreedimensional"rangefinder"- an X indicating f ir shifting position and blinking dot indicating L~hif e -- both on a 3D grid. As they rise he can get~<~ o idea where they are in relation to each other. Borio.__~a,,shisfingerinto the 4th floor button. Vesper ht1Bl\1'11mhissilenced Walther.

rfc'\'.:-/)

BS?\1''•~.· - 13 0

t~~og,) the elevator, moves off in the direction the finder tell:•t:!im,thenrealizes what he's hearing over his earp:l'.ece:

He turns back to Vesper.

Vesper backs uncertainly toward the elevator bank as James moves off. By the time she turns, the elevator door is closing. She makes a grab for it; too late.

--~-,,-"···

Issued to Production Dec 20, 2005 63.

The Lieutenant raises her arm for her.

132 OUT IN THE HALL 132

/!

Using the directional finder James finds t;{(·\~J·.htdoor. Unsure what to do -- break the door down/'¥r·~~ · thappen. He decides on breaking it down. The·n·····p~.i&'-i"h~e'ii):::'.esperis still waiting for the elevator. r-....-,~{JV

BOND ';:~('))·... (stage whisper) {_~ '<:;, Take the stairs! r.··,•·]) , ✓~{'-~~:./'

She sees the sign for the ~()r..'w~l,rightnear Bond. She hurries toward it. Bond /i~~n~)• ackto the suitedoor.

,l\ \ "-~t

Obanno swings the~~•r--_.Jharpmachetedown from over his head and...st0Ffa~ma7~a half an inchfrom Valenka's arm. Holding it there;\...be.turnshisheadandlooks at Le Chiffre.

·1✓-· \"-f~"- / OBANNO J:1o~a"-~ordofprotest. rf"?),JtoValenka)

,;:-::·-!~~"~0{~shouldfindanewboyfriend.

O~~nJ;~:~1,s'sesherroughly,laughs and tosses her after Le efu~'f6:i.'~Obannonodsto'his Lieutenant and they head out. ".'-,,,y ,, 134 OUT I THE HALL 134

James, listening to his earpiece, realize they are coming right out the door! He turns and grabs Vesper, who is running toward him, and pushes her into the alcove of a BUTLER'S PANTRY (which leads to the STAIRWELL) and into a deep kiss. She fights for a second, sees THE SUITE DOOR OPEN and melts into the kiss, grabbing the back of Bond's neck.

OBANNO

steps out of the suite, his Lieutenant on his heels. They spy the lovers; Obanno smiles to himself and continues past toward to the elevator.

Issued to Production Dec 20, 2005 64.

HIS LIEUTENANT

glances back in passing and spots THE WIRELESS EARPHONE in Bond's ear. He makes a grab for his gun.

BOND

Sees it happening out of the corner of his eye, shoves Vesper toward the stairwell door and fires a silenced round into the Lieutenant's chest. Vesper bolts for the

135 EMERGENCYSTAIRWELL 135

She smashes through the door just a second~~ Bond throws the Lieutenant's body in after he;tt·P{:;·~rtbeat later OBANNO's MACHETE just about take~:>J)'f'f'"'J·:n!E(s'arm. His Walther falls over the rail. The~~oj'\'mwingsclosed behind them as James grabs the hl.@e'1?I~·s,t~randjamsa hand into Obanno'smouth to keep h'.h~fom callingout.

f(~ ::;. JAMES "'·) (toVesper) lt'~;} Run ! ~,/,,\y',.J ')✓ )\

She takes offdown the stt/~:s/makes itto ...

THE FLOOR BELOW ✓~ (:~:Yy

Sheyanks on tl;ifE~·aa.cia±..~locked-looksupintimetosee James flippedove "'thebanister, landing with a back- crackingthu:t<°nt i)i!stairsbesideher.

Obanno lea~~~! the railing, machete in hand, as Vesper runs ~or ffl}'lt·::t··~l~fe'.bou~din$downthestairstwoatatime, gla~cirt~·?Y--up JUSt in time to see:

~~~~)7

tu~~=Yover the railing above and plummet toward her. The;ti~nd just a few treads away, flailing at each other, the machete drawing blood, as

VESPER

runs on down.

FLOOR AFTER FLOOR

the action is repeated, with one man being thrown or pushed over the railing above her and the other clambering after him.

BASEMENT FLOOR

Vesper rounds the last railing and flings herself at the exit door - it won't open! She looks up;

Issued to Production Dec 20, 2005 65.

THE MACHETE

twirls through the air, coming straight for her! She moves and it slices past her, embedding itself in the concrete floor!

VESPER

slams herself into the chained emergency door over and over again, in a blind, unthinking panic. Suddenly

BOND AND OBANNO

c:"<.

come crashing down almost on top of her, f~.bt:i,~for their lives. Bond rights himself and grabs obrf~heit?::~behind in a neck lock. Obanno shoves Bond bai,ko/ar4,,s\~~they stumble into Vesper and trip, falling [il·Ji~neapinthe corner - -Obanno atopBond atop'i.[~~¥)3=.=.t>ailfacingupwards Obanno turning blue from the chok~',~<?1'·- -sees:

/:::.,:~'-,_".·...)9 I( •/

I BOND S SILENCEDWALTHER .(.>:_;j).

f'.."."-.v

on the floorwhere it land···d·..:,···,'G;r.~bsitand

FIRES /;,~~·->/

/~~~-<','.,/:>

wildly over his s~~laer))1"1'hebulletsbarely miss Bond and.vesper. Ther_g'&-R~~:jfuewalljustcentimeters from theirheads ancl'.~ica¢4~tmadlyaround the concrete well. Vesper can't even {~rm a scream in her throat.

BOND t?~, v

uses all ~2:"sPc~rengthtoforce the gun in Obanno's hand up to the~a~e man's neck, forces the large man's finger to puJ,i·\t t:tgger and JUST OFF CAMERA the bullet finds its 1}):~~!:.-)):'oodsprayingoverBond'sshirt and Vesper's face.

Ob~Qslumps. Bond pants for air, he and Vesper pinned under the giant's dead weight. When he catches his breath he forces the body off theirs and stands, sees a BIN under the stairs and kicks open the padlocked hasp. He turns to look at Vesper, sees she's in shock, but needs her help. Bond rips off his bloodied tuxedo shirt and wipes the blood from her face. She lets him do it.

She nods unconvincingly.

Issued to Production Dec 20, 2005 66.

He prompts her up the stairs. After the first flight she runs.

Below, Bond drags the huge man toward the bin.

Bond tosses his bloodied shirt, pulls off his jacket and focuses to slow his breath. He washes the blood off a cut wound on his arm -- the blood swirling down the sink. He sticks on a quick bandage, wipes the blood off the countertop and the sweat from under his arms, then finally leans on the sink and stares at himself in_yl~mirror. Only r:iow.doweglimpse that he is having 9l~-~dfime with the killings. He looks down at the counr~r,t&'Bt-ceshe's leaving red hand prints on thewhite·······m!'.:t:···9···,l_·Th~7li,(c(sheshis hands again. " .\Q'})),

/','". re.:·~,-~~--::,

wemove with Bond as he adjust,£l'~its))shirtidentical to the onehe wore thismorning .(:-,~FI~.-.)(oticesafleckofblood on theblack jacketsleevei?:~ ~up a napkin without pausing, dabs the red off.J~a \'p.ndstheused napkin to a

passing waiter. /~~~--~:I

i1;~~'/ Thank yf~ ~~:~,f;, / ....:•;,:.

He arrives at ~he~t-~b'i,~intimeto see one of the other players lose.\'~Le')'l2hiffre.LeChiffre collects his chips, but his eyei-G/a~e onBondas he takes his seat.

/,~.~/1 ~->.~) LE CHIFFRE 1.(?@rJ)Bond,yo1;1changedyour shirt.

:~')?-~,I""hopeourlittle game isn't causing

/'~-· , y>youto perspire. ✓ -~v

Le Chiffre's smile fades. Bond is dealt in.

It's hours later, Bond lets himself in, undoing his tie to reveal a very creased shirt. In the shadowed bedroom he sees Vesper's gown on the floor, an empty wine bottle on the table, hears her shower running.

Tired and jaded, he doesn't think too much of it, pulls off his shirt -- yes, he has been sweating.

Issued to Production Dec 20, 2005 67.

He glances back at Vesper's suite, listens to the shower running, and senses something's wrong.

VESPER'S BATHROOM.

He enters, can't see her, now is becoming concerned. He sees a leg protruding from the shower. He turns the corner and finds her sitting in bra and panties, clutching one knee to her chest, oblivious to the pelting water. James drops to the floor of the shower, throws his arms around her and pulls her to him, letting the water run over both of them.

// BOND Shhhhhh. 1-fi)~i~) ,,~ 1~/,/ v r·~ \..> VESPER (looks athim ...,r,,..,.t::r\°'J~ amO,lj.~~J(-r\·\'•..✓ You're allwet. (i.!"'··".·..'~j) ~/ . BOND f~ J Shhh. t·( ~'· ,,·•.,,,J/ VESPi{~ ;•)/v I couldn'tgetf:(t~~:61.Loodoff. ItIs sti.11wx~•i',.1J1ynails. ,t'.f,((·"~V

Bond looksat her fi:B,_~J'.:~:notatraceofblood. He puts each finger in/4-~.'s~.-~hinturn,not sexually, but as if to clean them. A 9 of course the non-sexual aspect of it is incredibl]:"<sexy.'-~Whendone....

J:('°'~~ BOND

~~r~r? -~..",,/ VESPER (looksat them) Thanks.

Vesper realizes she is, gives a small little-girl nod. Bond reaches up and turns the hot water tap higher. She appreciates the unusual, and charming, choice, in that he fails to acknowledge anything odd about her behavior. She rests her head on his shoulder. The two sit there in the warm "rain," not saying a word.

Bond steps up to Vesper's bedroom door, sees her sleeping naked under her sheets, the rest of the bed pristine -- she slept alone. Bond checks his vibrating phone for a text message, closes Vesper's bedroom door and exits.

Issued to Production Dec 20, 2005 68.

Bond finds Mathis looking down at the hotel parking lot.

He takes out a phone and Bond follows his gaze to the forecourt: two policemen are questioning Le Chiffre's henchman LEO at his parked car. Mathis d;;?~);t·

A phone RINGS nearby the trunk of the ~~r?f/r;::is as surprised as the cops as they open it ~05f~9:dG'ANNO and his LIEUTENANT'S CORPSES, phone trilli~y}rt one of their pockets. ~<✓( -<~)

Bond and Mathis smile as Leo is t~~μ-d,;:u~fed.

MATHIS1flt·bN~[~) Being dead doesn',:t)rrl~~onecan't s~ill be helpfu,1>(((!jp.~actualphone will be a gold/"l~i:ne/I1 msure.

1'.~(~:~¥;~✓ Nicely_?~~;<:) ,✓~~ --~kTHIS Ho~-,'~ou~~girl?Melted your cold h<;;.z:r:vet. k •;:"-1 "" "··-"

Bond tur1~:a_)~~exitsback into the casino.

d,=~-'.)

141 IN~"'tf°'J;~L·.::LECHIFFRE 'SSUITE- -DAY 141

~~fj)fe standsbehind a flutteringcurtain, watching the~ne.

CLOSE ON HISEYES. A RED DOT. A BLOODY TEAR. Then he turnsand disappears, the curtain left fluttering as before.

SHOTS OF -dealt hands being lifted, chips being tossed in the pot, hands thrown away.

The Argentinean goes all in with his remaining chips. And looks disgusted as he is beaten. He's out. Leaves.

More chips going in, more cards dealt to the weary players. Another player tosses his cards down, gets up angrily. Out of the game.

Issued to Production Dec 20, 2005 69.

Four face-up cards: A-K-J-J

Bond holds ACE & KING OF HEARTS. He sees Le Chiffre's finger go to the side of his face to hold his twitch in place.

MATHIS & VESPER

watch from the rail.

MATHIS ~ Look. It's the tell. He's ..hlj)/,;)) bluffing. My God, James was••=t~ ~~(}

Bond looks to Vesper, who tries to srn~~~-:«_Jii1~'6kathim.His face remains hard. f~fr,\··/)

,\ )'

AT TABLE (C~>~~}

•'))

The American, Wolpert, pushe~j~~d a lot of chips:

-,~)' WOLJ;If) Three hundredtt:~osM-i.d.

Bond watches Le Cl;4ff ·\)Hepushes inhis chips. Bond follows suit. A__rn~'\~~_:ri:,;;1/justwentin.

/.v .--~

The card is turn~~over. A KING. Exactly what Bond was hoping for. ~kE CH~Y'FREis implacable -but his fingeris stillpres~J0~Ahis cheek.

t""\_~-:;

The fivel~~r':;lface-upareA-J-J-K-K.

W~}'Pef~a:tes at them. Knocks the table.

~~IJ:s.'\jcVESPER '<,A' )/

AT TABLE

A large stack of chips moves forward.

Finger still clamped to hide any twitch. Bond smells blood. He's got him. Slowly counts his chips.

Issued to Production Dec 20, 2005 70.

MATHIS & VESPER

Vesper reacts: My God.

AT TABLE

Bond pushes everything in:

Le Chiffre stares back at him. Wolpert f'cla~rp.!:~))~/~../.seems happy as he throws his cards away. HeQ'y.)7 t· Bond:

~ WOLPERT !,,,t,.~.'••,',\,,·.·•......,-""~ I hope you got better tll'·rtli\· straight, pal. Ifyou(I'l=':tl:i!tiffing

He is silenced by Le Chiffre~-s,.yftghismoney in. Fora moment, Bond has doubts. ~::.~.'~.,,·

DE.it . ~) ,·,' Mister B~nd,f~u~ave been called. "i (( \)

Eyes locked on/1'_E=_~~.,_l:::;r:tJ',Bondshowshiscards.

FulJ~ou1Jt,Kings on Aces.

Bond waits ~~te reaction. Le Chiffre merely smiles:

~)((5';::~ LE CHIFFRE

~::;,\t~You m1;1sthavethought I was /~ ti:))"))"bluffing.

~:,~;s over TWO JACKS. FOUR OF A KIND.

A great hushed reaction in the room. Bond is devastated.

Bond sits silent, frozen with defeat. Cleaned out.

Bond steps out onto the terrace, looks out over the moonlit hills. His world in disarray. How could he have been so wrong? He had Le Chiffre all worked out.

Vesper and Mathis watch from inside, almost embarrassed to be watching him, neither knowing what to say.

Issued to Production Dec 20, 2005 71 .

Vesper finally joins him. Bond is still reeling. Not wanting to show her this he pulls himself together.

She was afraid he'd say that. Beat. He turns to look:

It hangs there. He is still, controllinghl~jelf.

BOND {rJ\\~] Imade amistake. Iwas im·••.Pf;.}_r:_..~S,sit,'f;;J maybe arrogant, but I c~n.b:\¥.v

him. t<:>fc1 . VESPER (~,'<--~,) ~~:,_,:))' I'msorry. ,-k·---.,"\;"' {~' ,<:;? BOND rf·-.:\'--' (stopsher Jif)ri'N-¥aving) "Sorry?" Use tJ?l\'.iat:Thasentence. "SorryLe C~if·i'in,,isgoingtowin and go g.(f nd~ g terror and killing people_~n"~u Ji s and ~upermar~ets?" "Sor~...cni:N,renaregoingto die as the~~alk past stray shopping ba~ or ij)ifrkedcars?"That kind 9~"'8.~Jy? /:~\3 VESPER ,(((~PJwinning.is not going to stop

,:.:::-)1",::-.._~erroristbombings.Ifyouthink /( ):_·,")/itis,then you are arrogant. '-~f1) ,,vf BOND )/ Not all, just a few is good enough

for me. And if you or your friends were in the building when it disintegrated, it may be good enough for you, too.

Issued to Production Dec 20, 2005 72.

He lets go. She turns and walks out off~~ i{rto.

Bond enters the bar, frustrated i~~~;;cupied.

(;_---..-,•":·;\ BOND di::~-,"'·) Vodkamartini. :::;-;<:::-,.·~"

BA~i&to,~V Shaken or stir,e~ / ',, J"''•,",.,,' /4"'•,.;).>'

Do I ~?~~~,Fr give a damn??

~~r~!~~~ h~:ti~f1::eh~!u~~f!~sa!st~~yh~:1~ a:~;efrom the table,J"t,,ill:kN:19abreak.Bondspieshimjokingwith Kratt an? two me .-~~-:havethe look of trained killers; reinfor~)~~g's,

Ba9Js;:\w{l~'";James,awaiterclearsanearby table and puts t;~~,.if!f'li7settingonthebar:plate, cutlery, steak knife. Ba ~m~.e his decision, palms the knife and slides it up the 4eve of his jacket and rises, as Mathis approaches with sympathy.

But Bond is already moving.

Bond walks, determined, focused on Le Chiffre - who is walking

Issued to Production Dec 20, 2005 73.

away down a corridor, in the company of Kratt and several bodyguards. It's suicide and he's okay with that. His

fingers get a grip on the handle; readies to slip it out...when WOLPERT cuts across his path.

That got James' attention. Wolpert indicates the hand in which Bond cups his knife. ?~

(C~ J WOLPERT (CONT'D) r-f t1/~ You should have a little faij·~~""~-f✓ I've been watching your pla Q hy Forgetting that one unJtv::5:_jfiC·;a;r:(cl, I think you have him. c~\,)

BOND ·.·'-)) Had. Now ifyou Ilt'~~)re me ...

WOLc5ltt~ ...You'renot p~y'ing in? ~---."-;,

Bond giveshim a ~k/.(·-~fpert gets the picture. Bond is still coiled anddatt,~~;Ys.

/~;:•:-:::~---..__, '\~ WOLPERT (CONT'D) L--~' I'~ been losing steadily. ~' at going to last much longer. '£~ 1 '1gota better chance. (fj)~:~beat)

/-<)r."~-tukeep going.

fo~if~/s this in. "'-'v} V WOLPERT (CONTID)

Just one thing. If you pull it off, the CIA get to bring him in.

Sitting down for the next session, they are removing Bond's chair when Bond stops him. Le Chiffre looks surprised.

Issued to Production Dec 20, 2005 74.

Bond smiles. Le Chiffre returns it.

SHOTS OF:

AN EXHAUSTED PLAYER FOLDS (DISSOLVING BEFORE OUR EYES)

BOND RAKING IN CHIPS (CLAWING HIS WAY BACK IN)

BOND AND LE CHIFFRE EYEING ONE ANOTHER, BON~<qNFLINCHING

A BARMANplaces two of "Bond's" drink4~·n···1~¥tray,onewith a lemon slice, one without. He W~fP~·:'PO::'.'ietrievesome water. Which is when we notice i~~~k~ seated on the stool next to the tray. Behind the ba•·!i]l:i~~~Ybacksheslipssome powder into the drink with t~..ek··.lmtflJjlandstirs.Thebarman returns with two glasses of ~~t.s'\,iYngwaterasTHE WAITER approaches to take the tray:~-;,)'(>,_1V

)\(.~v

Follow the waiter to thEt~ta.ca/'table,wheresheplaces the glass without the lemin~t~ront of Tomelli, who looks to

~~o~~r~~YB~~~~~~~~~1~;J/pf:~:-hi~h~a~~:~esW~~: ~~~e~a;~.

149 MOMENTSLATER: ""~-. . 149

V J/

At the tab~,r~ond takes a sip ofhis drink, confidence growing. H.~~c~ eyes flick toVesper, watching, wondering how he_~qt:>,,b~into thegame. A hand isdealt, played. Bond c~~1)lis cards, closeshis eyes -- justa blink. /:.•){"'"...

~-- \7

op~--){s eyes again and it's a COMPLETELY DIFFERENT HAND. He :~tzes moments have passed! He's disoriented, losing focus. Things are taking on a yellow tint, coronas forming around lights. Bond shakes it off, trying to clear his mind, sweating. Smells the glass; realizes he's been poisoned.

Bond shoves his chips in and walks away. The players are more than a tad surprised. Le Chiffre shrugs. Bond passes a table, casually takes a glass and a salt shaker and keeps moving on slightly unsteady legs. VESPER is one of the few who notice.

Issued to Production Dec 20, 2005 75.

The MAN AT THE BAR near her snorts disapproval.

She writes it off to that as well. Bloody arrogance.

He bangs open the door, pours the entire cellar into the glass, fills it with hot water and knocks--~-t..ack.The effect is quick - he throws up into the si k~ ~·»

() ,,,'//) '\(''\//

(~ I/

Ash white, heart pounding, blear~~~~.:a2nd stumbles across the street, narrowly missing bein~~~~uri)overbypassing cars. He finds his Aston MartincJJark's1ina dark corner, unlocks it with a push of a butts;rr;j)opensthedoorand falls into the seat. He sla~~(h~;,fist into the glove compartment, tears out thef'Nl':i':i:,gandgrabstheMEDIPAC. He closes his eyes for jll;S\lt?a:l's¥cond---opensthem- -sees:

fr,/'\(\,/)',,j

A LOUD BUNCH OF D~K~N<~~TS

passing the car-""1::~---.EN:~--,§:,rV•tinthedesertedparkinglota second ago - -1/~*s.::b~~kedoutagain.

'"'

BOND ',K~ ~

considers J~i~ to them forhelp. Doesn't. He forces himself~~~ y conscious, ripsopen the medipac --finds a surg~·a%-P edle attached toa wire and an electronic b?l!~~-_v__·t:eneedleintohis arm and attaches the lead ~'V~,l)1) ox tohis handheld. It instantlymakes a call.

J A TECHNICIAN who was chatting with a CO-WORKER turns to his COMPUTER SCREEN as it RINGS and CLICKS TO LIFE, DOWNLOADING DATA. The co-worker joins him.

TECHNICIAN

The co-worker flies to his cubicle, snatches the phone.

Villiers opens the door without kndtkmg, M looks up, tired.

-~;,;;_!......._,

Issued to Production Dec 20, 2005 76.

Two DOCTORS now hover over the technician, studying the figures racing over the screen.

DOCTOR .....ff!~~y t:/ - -unlessyou do exactl:il~f(a))~r) tell you. A~•,,) (:\~'::/ BOND ·:·,··} I'm all ears. t!c<:;;-.>:, :,~"-//

Mand Villiers watch (~~~'1lcreen and listen.

,/f \ " {/ ~'0,_·:JO.clOR(V. 0.) Remo.te~ue:~~fibrillator fromthe pouch. ~". l''f(to~ctor2) °i.<Jr'h,,ze.~Jnowwhatitisyet?

t(:t~;:_J DOCTOR 2 /-\)~~::J-11scanning.

~).l!i~~ PARKING LOT

B~~lls out a portable DEFIBRILLATOR, it HUMS as the char~e builds ...COMBIPENS ofdifferent colors spill onto the floor.

Bond does so. Puts his finger on the red button, waits, it still reads CHARGING.

159 INT, MI6 MEDICAL HOT ROOM 159

DOCTOR #2 Ventricular tachycardia. Digitalis. What the hell do we give him? The

·•-~,-•

kit has amphetamines, antihistamines--

Issued to Production Dec 20, 2005 77.

DOCTOR #2 Lidocaine! That'll work. Bond--

CHARGED. Bond tenses.

DOCTOR #2 (V.O.) Don't push the red button! Do YOJK hear me? Don't push it yet. . ')\:::))./._>n /'(\\~<J

Bond reacts. ...(?.)~ L,,,

M listens to the doctors argue.(~'>"-)

DOCTOR.tl~~J) His heartIsgon;te7'~!

D~tidrt::::;/)12(V. 0.) There'sonlif:t·~rt\EL,foronecharge before ~:~~~Jf V~mt!

(Continue totjft~t as needed)

"-?",,' Q~:~~: BondfOCTOR #2 (V. 0.)

,_()~T.aJ}.ethebluecombipenBond. Mid-

~ \t,\ n~ck. Into the artery. That'll /Z.)~J 'y·'counteractthedigitalis. ;.,•,,~('\ Bonc:1-)"'bshimselfhardin the neck with the blue combipen.

Bond tries but it doesn't fire, one of the leads has come off. He reaches for it, tries to reattach it.

M (V.0.) Bond? ...

But the VOICE FADES and he blacks out, comes to, blacks out, slipping away.

Issued to Production Dec 20, 2005 78.

M (V.O.)(CONT'D) Bond! Push the damn button!

His eyes flutter open again... and like a dream, VESPER is over him.

He looks up at her. For a moment she hesitates...then bends down and finds the lead, attaches it and fires the defibrillator. A huge jolt of power goes through Bond and he spasms.

life,

pulls

You okay?

Me??

M (O.S.)

DOCTOR #2 (0. S.) The red combipen! Take itwith you.

DOCTOR #2 Oh, you 1 11know.

Bond pockets the handheld. Vesper is almost speechless.

Issued to Production Dec20, 2005 79.

Bond smiles and heads off.

Le Chiffre can barely stop his mouth from dropping open as a pale but very determined Bond returns to the table.

LE CHIFFRE

looks most unsettled.

CARDS ARE DEALT

(-;>,>

WOLPERT

r•fC~)

throws his cards in ../"_:l.··.~.'~&μtofmoney.Getsupwearily. Gives Bond a half~i \~-JrYhe walks away.

ONLY FIVE PLAY~-:::r;rl~:NOW,THE MARATHONSESSION TAKING ITS TOLL ON ALL LE CHIFFRE ...

More cardst·~~•fPILE OF CHIPS INCREASING ...

DISSOLV~~)'.))~NE PLAYER TO HIS CHAIR BECOMING EMPTY.

EV~.~T~'EJER IS EXHAUSTED. He PACKS UP. ANOTHER BREAK. /'( )J,.';!' 164 BO 'ra\.( BATHROOMMIRROR, SHATTERED. 164 ')/ BondYpulls thered combipen fromhis pocket. Puts a foot on the sink counter -and jabs the combipen intohis leg.

Back at the table. Bond and Le Chiffre preternaturally alert, Infanteand Fukutu tired, hitting the espressos.

Bond puts a million dollar plaque in, beside him Fukutu is already in with the small blind: a $500,000 chip.

The community cards are laid down: Ah 6s 8s

We see Le Chiffre's hand: Ac 6h. He already has two pairs.

Issued to Production Dec 20, 2005 80.

Bond looks at his hand: 7s and another low spade which we don't see clearly. Possible flush.

Fukutu has Ks and Qs. Possible flush.

Infante holds 8c and 8h, so he has three of a kind.

The others match the bet.

VESPER & MATHIS .K/,(J

MATHIS ,\)\)/.✓./» Twenty-fourmillion in the t-/,.\ i_(.,j already. p~-) '))7··

The next community card is laid&~=-•·S;·_·

,Jc:,........-,

Fukutu looks againat his ~ardij:¥•~::_c;_~~;allinwith everythinghe has left. Nin1 ✓~· es: $9m.

(,,:~-....~:,....

Everyonematches his betilc~:~ V

MATHIS &VESPER ~~ (CONT'D)

Poss:i.<~~~::t~ph,possiblefullhouse, two pa~? Sixty million in the p-~o.t~Th\'s·handisgetting out of ~ ~~-

BOND AND lf:,_j)p'1.FFRE ' ._(J'(~)) ey»~nt-...~e·another. /C\:2.\ /J' WO! R)J ~'?;'/ come& from the bar to watch ...

THE DEALER

deals the last card. The Ace of Spades.

MATHIS & VESPER

As we glance at the cards with Le Chiffre and Infante we see both have full houses - Le Chiffre the better one.

But Infante is confident. He goes all in with his last five plaques.

Issued to Production Dec 20, 2005 81 .

Le Chiffre smiles at Bond.

Bond stares at the community cards, then back at Le Chiffre.

MATHIS & VESPER:

/) VESPER He's going to do it again, isn't~Y__"'i\ he?

MATHIS /fl)~ \/ Le Chiffremust have u,~_-_,J"ii~'{~~h~use. Bond's flushwill be bei~/!i.μ.'))Bond's been trying tobluff afct:lte.'.:dias nothing tobluff wi:(;3:'•<;!!~'11fold andkeep what he ha;~~-;,.,>·

BOND c'~/~/

pauses a longti:~ §unts up his chips and plaques.

All w, ..~:-:--, -,,~ ·········•·

THE DEALER ~ Y

counts up ~~chips.

~-)-~)) v )\·- ,p~- .! DEALER

/,-:;·'.'."::0::-(~•ref'nmilliondollars.

~-S)f VESPER ,'.,# react!.<unbelieving.

BACK AT THE TABLE

Le Chiffre eyes Bond. Considers his cards again. Hesitates. Then with a smile, he pushes his remaining chips forward.

A stunned silence in the room. A mountain of plaques and chips on the table.

Issued to Production Dec 20, 2005 82.

FUKUTU

shows his spades flush.

INFANTE

beats it, lays down his pair of eights.

LE CHIFFRE lj,C>~)?:::;J

lays his down. Shows his Ace and Six:0~1f~ouse too. No need for the poker::::E:ny l~~)l'l!<Vgrins wolfishly.

A su!?eriorfu~l hous~>·•&es, full of sixes....Mister;El~r0..•

Bond places his cardsdol~;v;;_ Le Chiffre grins.

Itwoul~~e~~~F~~~sh isthe lowha:1d..'i<. ,?,~~·-·\OND My~lu~fs. But not my straight

~~~

The Deal~iar~~nges Bond's cards over the community cards.

,(i)~..:J

/ 'l.C .. DEALER

,z~y ~~~~ ~~~~~gh eight of spades, the

Now it•s Le Chiffre's turn to stare at defeat. A SMALL RED GLOBULE APPEARS IN THE CORNER OF HIS EYE. He takes his hanky, wipes it away, looks across at Bond balefully.

Getting up, Le Chiffre pushes past observers as he walks out, vanishes from view.

Bond gets up too. Moves to Wolpert.

Bond moves on to the bar, where Vesper waits.

Issued to Production Dec 20, 2005 83.

NIGHT '2

G)' ;,1/i

WE FOLLOW TWO OF BOND'S SPECIAL MARTINisj~J~ arrive at his patio table, looking out over som~~~a~&f.

/;-,J/i.,,

It's four in the morning. They ha¼~,r bster and caviar in front of them. A band is playi~~n<t' e corner of the club. The lights are low. Tht':~a~e is lit by candles. A few couples are dotted abo~(~ ;•tables. It's romantic.

;{,;),y"

Vesper takes a TEXT on h~~~.:P,)11,shereadsit, then:

Mathis ~s1~;~::icans have made cont~tiw:ifthLe Chiffre. He's~·iarng~i-;_:;hissuite;they're going t extracthim at midnight. )/' BOND w I think I'llcall this

,,-·ttrft'J esper. VESPER

,/("'if:~~""'''Becauseofthebitteraftertaste?

/~<JV BOND )7

Because after you've tasted it ...it'sall you want to drink.

She laughs at him and his charming, corny line.

Issued to Production Dec 20, 2005 84.

And he loosens up. Her smile fades as her thoughts drift. She fiddles with her necklace.

BOND ")~i2 ~~~-you didn't It ~as g~vezi¾, -~

(sees her admit 1t)~"-J(··<~-:!) Well, he's a lucky mane~<~))

Vesper exhales, almost a laug~r:-~t;:3,~owedbyanironicsmile. A moment, then.. . . /,(___~y-

,{;:;y0>" You can forg~~~a:J½. that easily, can't you? «:~~men last night,

~u~n~~--~~}bo:~~:c~~~~ k~~ling them~,::;:-_\,

\'v:'~ BOND ~~l¾'<.:[llYjob.Iwouldn'tdo it ..~~'~11 if it did. ~ ,J

/::,t~( s:Je/ Idon Itv~!i~=veyou .

B~:;?s)lles, admitsnothing. \'v

Issued to Production Dec 20, 2005 85.

The moment is punctuated by a ANOTHER TEXT arriving on her cell phone. She looks at it:

She's go}:::::: ::n:h:a: :::::e:efo::-~J1j the waiter.

o>~ ~- ' 11t k BOtNhD r . "'(~ I a e ano er. v-~Jr-:~,/)

As he waits,.he starts to fee1 u~-t,~':;::,,e::a::::;\Hescansthec1ub,

1c:/

looking at the other couples,f:h'Y(jis eyes go to the exit.

t'•~·•'-,~ BOND~.'~~g:},6) (to t1;1-ewairS1,(/~Lit to himse~ · ..,

Mathis?_ ,:it

'\\.

He gets up. -s,tri~)fthrough the candlelitroom, a feeling

of dread g11qw-~~J..

FORECOUR)~)":z'!J..

~~~.ili~~kens his pace, down the steps, staring into the

~~~J-»)7 Thei'~.o/tohisside -a FAINT CRY. His head spins. In the gloom, a door slams on a DARK SEDAN. The engine growls and the sedan shoots out of the shadows, raking up pebbles as it fishtails off the forecourt.

Bond just catches sight of Vesper in the back before a hand pushes her down.

He runs to the Aston Martin, ROARS after it.

The lead car quickly disappears from sight -- no other cars on the country road, as Bond screams along the two- lane blacktop, twisting through the the countryside, downshifting as he hits a slight hill and stomping on the accelerator so that all four wheels leave the earth.

Issued to Production Dec 20, 2005 86.

As the front wheels crash down to earth he sees:

VESPER

lying in the middle of the road, directly in his path! She props up on her elbow, sees the car about to make impact!

BOND

throws the wheel to the right.

THE ASTON ~

~))/r

veers sharply, narrowly missing ~er. Itt::~zitif:cJJkditch and flips, smashing upside down into a~J~y ~:;;r

BOND' SHEAD £~;{(~-~.j)

hi tsthe windshield and CRACKS ii%rNt~e blacks out. We COME UP FROM BLACK as his eyesr,:::f)tJ::~jleropen...

;;•1(""··y

KRATT AND ANOTHER THUG {())-~';)/

drag him from theAston .~Eli.:t-Jdedbytheheadlightsfrom :w::::s, Bond~:~(~~close, BLACKNESS, UNTIL.

digs intothe ba&~f his hand; his hand pinned to the dirt by Kratt'sb~~- ~ENKA removes the bloody tracking device and snaps-~~~fe shut. BLACKNESS AGAIN.

BOND Is;)~>-1-::-1

er~~) ~~ ··asheis pulled into ...

~~,{AR

and "'·ltossedontothefloorof the back seat. Just before his eyes close again he glimpses LE CHIFFRE climb into the front seat, a cell phone to his ear.

Le Chiffre snaps the phone closed and nods to the driver, who takes off into the night, the second car following. Bond's eyes close again and everything goes BLACK.

The cars brake, kicking up a cloud of dust.

Issued to Production Dec 20, 2005 87.

Bond's eyes open as he is dropped on the floor by the two THUGS who dragged him in, his hands bound behind him. The first thing he sees is

KRATT

cutting the seat out of a cane-bottomed chair. Bond's eyes flick to...

VESPER

/,(

being dragged byValenka and another thug ~,jl room at the far end of the basement. The door clos_e_i{~beri[r~them.

KRATT /" .((~ ···'

~;!c~fo;~~ clothesoff Bond's bo~:~~)l~e liesnaked on

LE CHIFFRE _£zc;:::;;Y

leansagainst a table, filf~J'tlhh the kind of junk one findsin a basement. ~~~s.~ carpet-beater in his hand.

A~('G,~KIFFRE You've ta ri.<¢odcare of your body/~"SU:C:.f:siwaste. :\,~

Bond is liftj~akE¥1 onto the cane chair, his feet bound.

t< '~J BOND ·1r~E:Y:~u•regoingtobringa table ~) • well, I'll have a coffee.

/;:::·\··".-~,.uldn'twanttofallasleepon -<<-)i:::v)/you.

VAi~~ returns.

Le Chiffre spots them, hands them to her and she walks off. Bond catches a glimpse of Vesper with the door open. She sits naked, her back to us. Valenka closes the door.

LE CfIIFFRE I'll need your attention here.

Sitting across from Bond, Le Chiffre flicks his wrist upward. We hear the impact of the carpet-beater. Bond convulses in agony.

Issued to Production Dec 20, 2005 88.

Another flick of the wrist. Bond shrieks and slumps.

enough, therewill be little lef)l\<)../~ to identifyyou as a man. Thetfc ~/CJ only question remains, will.;f'3·Y·.~"'L> yield intime? , ::<~:•~V

He strikes,Bond bites his lip r~)han scream.

LE CHIFF~lE~(~~T'D) Ms. Lynd will give f!,f'1:f·account number, if she hi~i''t ready -- and I wi 11then f:9"orse ins~rt

my own. All Jt:'~ ./fromyou is the passwor~:;:,0

--~\~\rt~~ Bm, ~"-1::f~.V.e~~,littleitchthere, would ~~"mind?

lV:<f'f')/• d . b

Angered, L~,,~re hits even har er. James grimaces ut doesn't cry~~~-

rf;y\\"'0 ~)~. } BOND (CONT' D) {,",Triatwas good, but a little to the '\7left. · (hehits again) Yes!!! Thank you, perfect. (recovers) Now you can tell all your friends that you died scratching my balls.

Issued to Production Dec 20, 2005 89.

Le Chiffre goes to hit Bond again. Bond's whole body tenses in anticipation, eyes squeezed tight - but the blow never comes. He opens his eyes to a sadistic grin.

Bond recognizes this harsh truth. HEARS a scream from the room at the far end of the basement. Bond ~:i:?iesnotto

re,.

react. r,\'.}//.,

r,1l1,'(••J LE CHIFFRE (CONT•~;f<::\,'t~;'.'. Give me the pas~word and,I ~~..11..~~ least let her live. Dq'~\1.tl:'J~Q.(1/ enough and she might evr1,'{le)Jin one piece. (~)'';':..

He brings the carpet-bea;tz~~:up'underBond.

~ KZ~~kiFFRE

;~~ /~~~,af;~hI~~~g-to tell me,

Le Chiffre b :¾ng~s leg up, kicks Bond square in the

chest. Th~~~Jf tips backwards and Bond's head hits the floor. Hi ~or,.11J.goesBLACK...andashe opens his eyes to fight for{~~p~iousness he only sees FLASHES of the followi~(~~-~ ,,:<\t.~ •. /I ))• / LE CHIFFRE (V.0.) (CONT'D) ,;.~~(j). (over BLACK) ')/ I am going to cut this short. } Bond sees Le Chiffre'sknife flashopen. He kneels behind the chair, apparently to slice offhis genitals off screen.

Bond BLACKS OUT and we HEAR the sound of a silenced weapon. One shot,then a grouping. Bond struggles back from the EDGE and through a dutched and partially blocked camera we seea man inSHADOWSstride out of the room where Vesper was being tortured. BLACK AGAIN as ...

Issued to Production Dec 20, 2005 90.

BACK UP and we see Bond's tortured point of view. MR. WHITE, the man with the shadowed face stands over Le Chiffre.

H~ fires a si~ence? shot. Le Chiffre disa_~~-~- from Bond's view. Mr. White fires two more shots do~~ i:~(/,hat we assume is Le Chiffre's head. p>~ 1/:_::.

White turns to look at Bond. Bo:r(~17a.t1',"~~eephiseyes open. We drift to BLACK and SIL~~~,))Then GLIMPSE:

Bond's head must be on itsf·~~; we see what looks like blurred legs moving f';'st,{i~- torsos, god-awful-hospital-

O

green walls, accompanieq(~~ ir:,t:ARBLEofVOICES:An E. R. NURSE monitoring his ?~a~/ a RESIDENT barking orders, ;~~~~- with theF:~~~~~~,':A. paging someone. AND VESPER Is

A FACE of anoth~~~ti~nt, awoman on aparked gurney, stares backl~~ ~on~7ashe passes -- SOLANGE, lyingdead, eyes locke! ~'"'h}S,herlook askingwhy he did this to her. Bon~. ~ es hishead tokeep watching. It's the last imag;e:;,~R-·seesbeforehe PASSESOUT again. From BLACK~~J11PSE:

171 J~J~)~¼~~~~NG ROOM -BOND'S POV 171

A~ HONY ofVOICES as themedical team swirls inand most y outof focusaround Bond. A BLURRY NURSE, masked head to toe,puts a mask over Bond's nose and mouth and askshim to ''countbackward fromone hundred.'' James slips uncomfortably intoBLACKNESS. Then GLIMPSE:

A BLUR OF IMAGES...A NURSE pumpingJames' leg toward his gut, noticing his flickering eyes.

Issued to Production Dec 20, 2005 91 .

He jabs a needle into James' arm. Notice that Bond's stubble is quite thick. He catches a blurred glimpse of VESPER. She sees his eyes fluttering and moves closer.

Then MATHIS steps in close to her and take~~~ by the arm. JAMES' breathing becomes panicked./~\ tc</:J

✓• "'"'t::J

Not ~t:~ely ~:~~l~;o~~Jlrr J )/ .

Eyes close and we're in BLACKft,l-9:[:i:rf~

/--{("'-~~,/ VES P5);Ri)'('\f'>.p,?9) --drug induced,9()~~a]\.'!-:timetoheal. r:IC,-~✓;

FLASHES ofblurred im~{)_'}·i;hts,now interruptthe darkness. ~\ ~::::.:JJ

/ :·=:~:yAMES (V. 0.) ...Not~.

~"',A . VESPER (V.O.) -! 1 ~t the doctor. /.>~ 3

As LIGHf ~t}~ns with its blurry shapes ...

<))~~ .. JAMES /.~vz··y Don't trust him. "'f The hapes take focus it's Vesper hurrying out of the recovery room. Suddenly MATHIS appears right beside him.

James sees that he is cocooned in hi-tech foil 'sheets' held off his lower abdomen by a blanket of air, with drips and monitors connected to him on both sides.

Issued to Production Dec 20, 2005 92.

As Mathis turns and empties theplastic glass, pours in more ice chips...Bond checks the trolleys, spotsSCISSORS on a nearby table. He stretchesout of thebed forthem ...

Bond grabs the scissorsand goes CRASHING to the floor, hisworld tumblingupside down and GOING BLACK as everything CLATTERS andSMASHES to the tile around hi·m~•/.s)OVER BLACK:

MATHIS (V.O.) (C0~1tb tC/(1 Any ideas? ~()~ t.

Bond opens his eyes to see 1A1fa~~{in a robe, a few days stronger, but still weak,c1/tt:\\i.!:{ginawheelchairtaking in the breeze from/a~~c:J Mathis sits opposite him.

Why the~~f~:::-:d{;.etwoofyoualive . ........,,~ "\~·······-..10ND Whe\?-~is'))o'he? t>-..../;)""'·,' L\ "<:~ MATHIS {fo1.~~~ing.And I'm supposed to get

....!'\,'... ~~{t~k~~pours liquid from a container, stirs...we only gl'\nips'e;whatheisdoing, he could be putting anything in thi$-,\,j'.iidBondknowsit. )/

Bond spots TWO MEN walking toward them along the porch, behind Mathis. Professionals, by the way they walk. They could be coming to kill him or just collect the body.

Issued to Production Dec 20, 2005 93.

Mathis' suddenly understands.

Suddenly there's a needle jabbed into~a:b\,.§,'lc;;.eck.He

tries to mouth some words but quickly , s~~Eiout. The two men lift him and w~isk ~im_throu~~Jrfi.j~'pAndoorand onto a stretcher, covering him in a s1:Kl:\~))AnMi6"attendant11 in white wheels him away. ..(:~.,,"'

James closes his eyes and dr~~-~~ik to sleep. BLACK. A MOMENT. (?/'--V

v~(~ dlv.o.) Hey. ( ('-~)/

',-_,,-,'174 EXT. CLINIC PORCH~\AN:§::lERDAY 174

/~---::~~

Bondwakes ina ~den loungechair. His stubble has turned into quite.~a~=...l~immedbeard. Vesper sits beside him, more beaut' ~~Pianever.

rf)/~::IJ.J BOND ~:) you alright?

A moment, now admits.

Issued to Production Dec 20, 2005 94.

She climbs onto the arm of his chair and drapes her arms around his neck.

BOND ,,,(i..;;J"'-"71,. Would you say you are warmi:~tJj) me? t,_~~\·--~-·

~ ;~~•~;!~licated woman.

K~~J BOND ,tJbf1is somethingto fear.

~\ '</ VESPER \;!So,where would you like me?

Vesper turns to see Mendel, the Swiss banker, approach with a briefcase. She shifts back onto her own seat, but doesn't try and hide their closeness.

Issued to Production Dec 20, 2005 95.

Mendel doesn't crack a smile. He opens his briefcase, under:

BOND /2 (sharing Vesper's n ~).\>i) game) /"\.__t✓ /); Didn't bring us any chocolat~f')")"-.'/f;;,, anything? v ~) /' -~' ,')

I Im afraidn~~~DEL ;~~~,jf . (to Vesper) ,.:)l If you would type i~(t~~v&ccount number? ft::.•"·',)/ \~(_c})1/

She types the number i~:f.Z~l.ie/Jencryptor.Heturnsto Bond:

/4'.(~Mmro···;~f(coNT,D) And ~~'✓-'-.:~'f)s'l:~Sword? r,~ . '- ''\,...BOND ,~to ¥sper!

~~. ~ap enter it.

Q( ~:::~ VESPER, ~~-J7ould, darling, if I knewwhat rt:was.

She looks athim. He smiles. She istouched to point of tears. Forcing themaway, shetypes in P-E-R. Mendel closes thebriefcase.

Mendel walks off. Vesper hides the fact that she is a littleoverwhelmed by the password. Finally ...

Issued to Production Dec 20, 2005 96.

BOND « Well, that's because you know wh~"))., I can do with that little fingKt· 1''(]

VESPER " _ (;?0,7 t;/ I have no idea! 1,I'~ 'J ""'·"(\\'. BOND (C~~'~•;!I But you are aching tfh:l:·±nJout.

She shi ts back onto er c i;r\,~;,/'Loosathimandspeaks the truth with a smile,;t(~'.J,}1z:l.mmer.

tf~:...E~.E.J You ar..·e·:gc·.~.·.t¥,~:t"toletmeinthere, are 271:1?anl01J:':egotyourarmor I back"'am.:f'":thatsthat.

Bond considi~her~then lifts his hand, crooks his little finger and~*,ops her closer. She leans in, they kiss tenderly. w"fi:espeaksthe truth in a whisper.

✓::::-;,"'1 ,(r)~)),. BOND

/'.::'\/~"'~-~avenoarmorleft.. You stripped /!:)L:) yit off me and tossed it away. ~f ~ Whatever is left of me ... -~# Vesp}i'sees the the fear, welling in his eyes.

She looks into his eyes, overwhelmedby this simple,brave declaration, and finallykisses him -- tenderly, then deeper.

RAIN OUTSIDE.

Issued to Production Dec 20, 2005 97.

The two lovers, locked in a passionate kiss, stumble through the porch door and onto the hospital bed, Vesper landing atop him as the two desperately pull off each other's clothes, their lips parting only long enough for a garment to pass over a head. Bond is now CLEAN SHAVEN.

Vesper's hand slides down across James' stomach. We cut to their faces before her hand finds it's mark. Her coy smile tells us what we need to know, as does James.

He rolls her over and the two tumble recklessly off camera onto the floor, with a clatter of falling trays, a scream and a burst of off-screen laughter. In th'.:{fqreground another piece of hospital equipment t?pple)~ap/~hey destroy the room from below screen. The door in tf?et[cJ:'.e,1i)~round we've been holding on is flung open an1--,~Q.Jl~dnedYOUNG NURSE bursts in. Her face changes in6\@n~}y when she sees what we can't. /~,(;<\'--/)

~\ ); YOUNG NURSC '°'~,J Oh, scuzzi, scuzzi.·r:-··'::..-).'' t{'~"--';,/1

And she disappears with on.l~~~~4>£urtiveglance back. In the foreground an un1;1sed~11\t:c9r¥fallsandknocksover another tray, resulting tl;l~'ru:'.LG'therburstofVesper's laughter, which quick~·:~u)-:9-stogaspsof consuming pleasure. ~\, ~-) " ,~,·

Anchored in t<bea~ful lonely bay. James climbs up out of the holq-v~~ying Vesper. Both are naked, and damn if James' arml:3-~~ewtjust in the wrong places, so all we get is teas~lo(e>J"--0

t.:k,~:.::::j

y"No. No, that's not going to happen. James, I'm serious. This is my serious face. Do you see it? You're good at reading people, what does this face say?

Vesper screams as James flings her over the side and then dives in after her.

Vesper surfaces and throws back her hair. James comes up beneath and behind her and wraps his hands around herwaist.

Issued to Production Dec 20, 2005 98.

The two tumble andbob in thewater as they talk, thehints of theirnaked bodies under therippling water only make this thatmuch more delicious.

As if considering it for the first time:

BqefQ'Z:J (looksar:~~

Huh. ~~~-~~ it) / '"""·•-·--·-·"-'·

He swims for th~~-~ch~ she races him.

178 ON THE BEACT1:.Jit:~~/ 178

~-~"'-"-;;

James s~;.~)_,~t.:'l~hewaterl_ine,restsonthesand. She swims in and. 1sJ)herselfup onto his chest.

~' ,, )';1 BOND Well, I suppose M won't miss me for at least a day or two. She has her hands full sweating Mathis.

Issued to Production Dec 20, 2005 99.

~~~u~~rto~qft~~t ~~:i1•~~~n~f us has to ~-cafinhonestjob. Think it wi~,.:::n:a;::.:,tobeyou,Idon't think ~~now what an honest job islt' ~7'

But Vespe;:.~-~ longer playing the game. She turns Bond's face towgfj>~~ and looks into his eyes.

/~~)~:)) I·,. VESPER ~)?You're serious.

Vesper smiles, deeply touched, and reaches for him.

She kisses him deeply.

·- 179 EXT. YACHT UNDER SAIL -- DAWN 179

Vesper steers their small yacht toward the shimmering city

Issued to Production Dec 20, 2005 100.

in the distance --VENICE.

Bond types amessage into his handheld:

"I HEREBY TENDER MY RESIGNATIONWITH IMMEDIATE EFFECT."

He presses SEND.

Their yacht motors down the narrow canal. Vesper looks up at a passing building, a subsiding palazzo held in place by floats and an undignified girdle of sca.fJ_-,..ding. Something about the image is disquieting._'l~,J__/:>~

rl\ tr::2

A tourist in a Panama hat stands near~~~0,il:::,anapping photos, pointing his camera in their fl~J11tion.When he lowers his camera she sees that r/.t:'~(1-i:J-s:.i:,.eshaveone darkened lens. Vesper studies him°"~?r\amoment, then he lifts the camera again and pointf¾t<:j:'ustoverher head.

1:::--))

Vesper turns and follows his Ji{~-?'~eesa fabulously bedecked wedding party ste~p:,1/":'s:~f~omthechurchstepsinto their waiting gondolas. {'~)(_~,¥solved.

James catches her loo~.ifi,~~the wedding party and smiles. Vesper blushes an~o s nitfkto paddling.

"~ .)

They are nak~ ag~ and Vesper surfaces from the sheets and covers'l"r1)1:~JullyfightingBondoff.

(_j}~J VESPER ,(('Z_,<i1Jlenough.Stop.Ican barely

y:, t~'-w~k as it is. If you hadn't ,,,()J.<')7noticed,it has been quite a while

~'")J for me.

y JAMES For me, as well.

Vesper looks at him and then bursts out laughing. James takes just a little offense to this. Slightly defensive:

She snorts she's laughing so hard. Searches the covers:

Which makes James even more defensive, which she finds endlessly charming, seeing this small flaw in this otherwise

Issued to Production Dec 20, 2005 101 .

almost perfect man.

She snapsa photo.

And he goes after her. She scrambles ~Ff~~eh5ed and out of the endless tangle of covers. ~)) I/

l'····, ·; VESPER '~fc~~ Had. You gave it up f1_t5::~:-~) remember? ,·,.-·)1 (hegrabs her, ~~e:::);/ escapes) fi:::·,'---:.\,,1' Ah! No, no, I A~)t~ get to the

bank(fi~~:to/~~~~~;EfJit?

They'.11.~,..us~\,b...\bpening.How much do you fi t.'Et::··eneedtofloatfor a moiac€Ji,t:::~::::...

\,,h~ -~AMES

l~~~~J plenty.

«;;,>;~) VESPER r:_te~<No!)I.intendtopayfor my half of

~:··\'~-cnfraimless wanderings. ;<<")i:::y Sfi~(f~~s her t-shirt on the floor and tugs it on. Bond prop.$-.}umselfagainstthe end of the bed and pulls the covets around him, studying her as she dresses.

Issued to Production Dec 20, 2005 102.

As James tries to read her unreadable smile, Vesper's cell phone rings. She finds it in her upside down purse -- checks the read-out. Her face changes for just a second.

r,;,~);/.:2._~

Bond and Vesper step out of the elevat<;>r[:l~rttf;cii:1arm.As

they walk toward the front door somet~l~"--Ge.,,t~heshereye. Bond follows her second glance, not~~~:.~j Y

The MAN with the Panama hat and ~(d~k;ned lens talking to the CONCIERGE. The man turns~:_~~~ieadsfor the bar.

As they reach THE FRONT STEPq'.2t~;};;;)i

;;::.~",,,

Someone you ~~~RZ __1v <-""'Z:"'--t t ((vE~iR No, I j_~~a:.1&.Jhimonthe canal. /,- .·:c, ' -.BOND It~~ a s*j,,flltown.Meet you back /l~~j half an hour?

They kis~r~:n~,~hetakes off toward San Marco square. Only when s2r;~g~ne does Bond betray his suspicions. He steps ba5,k··t•~'THEHOTEL. ,f<(~l)_\!/;P . Bo~, a1/Jlroachestheconcierge and slips him a bill. ~y

Issued to Production Dec 20, 2005 103.

Bondwalks towhere he can seeGETTLER, who standsat the bar talking animatedlywith a tall man who is showinghim apocket watch. Satisfied,Bond heads back to the elevator.

James' handheld rings just as the doors close. Answering it:

Hello? Ho{~~~, I'm in the ~f\~ ....Ina Lift ....IN A... {I_~, ...

James reacts at his own stupidit}C'-0-fe:~tra~thecall.

James enters and walks to thEt,/6,1-~~~,hopingtocatch a glimpse of Vesper in the bu1·"--R~~za. No trace of her, but Gettler, the man withr,~)'f'¥namahat, and his tall friend weave through thef\Er ·JI.James turns away from the window and looks arou~-~~~~~room. He notices Vesper's cell phone on the/4fbre. ¥or some reason this strikes him as odd -- she's nev~ ~~,tit behind before. His handheld rings and he a#~rs::J-:t:.

, ~ JAMES

~N~ ,.-,°"'~)\.~ t?')',.; M (O.S.) ,\1~~; that' sbetter; it sounded as

✓,:·\t~ if'you were in a lift. /( \) "! /"-"-.z··-,i)i, JAMES ~/y That is odd.

He picks up Vesper's phone, looking at it with curiosity.

M (O.S.) I got your note.

M (O.S.) We'll talk about that later. Right now I have a lovely man from the Treasury here wondering if you're ever going to deposit the winnings.

This hits James like a sledgehammer, but he betrays nothing.

Issued to ProductionDec 20, 2005 104.

She plays to a nervous senior TREASURY OFFICIAL.

M Yes, I told them not to worry. So you'll be depositing it today. /,)

t,C ~1(']

James thumbs buttons on Vesper's phone((;Y~ l.>1

JAMES l~C-~~,\'.::::1 On my way to the bank ~gl~'.J}ow.

James disconnects and dials h~'J1;:arF~lheldasheexitsthe

,,.,~":Y

room. : r~~v'

LC '···1

Bond takes the stairs~:-~.~.~-Negsthreateningtogive way under him. He se~fch s ~f¥°per'scell for messages.

'il·";~,,:7 /-=.-~~lMES (i~ his handheld) Mj· end~ please.... Mr. Mendel, ~~ ~ Bond. I'm having a little _t_lr~~~accessing the funds I ~~ ited in my account. ,fr)\."'-...!)

T.h&::l:"?..£bt>·textmessageonVesper'sphonereads"WAITING ~~,.W~f~~". The stairwell starts to spin around him.

188 INT\~KER MENDEL'S OFFICE 188

y

Mendel taps his computer keyboard.

Bond reads Vesper's text reply: COMING NOW.

Issued to Production Dec 20, 2005 105.

James breaks into a full run.

Assaulted by the noise and swirl of the crowd, his blood boiling, Bond careens through the crowds as he approaches Saint Marcos Square. He finds the BANK, looks inside -- no sign of Vesper. He steps back into the square, searching for a trace of her in the crowds. He spots ,f,flashof her dress and an aluminum briefcase disappeari~ )l9:t_\oanalley. He takes off running. Follows her into.t~( lr.c</J

THE MAZE OF CANALS AND ALLEYS ((j>)0/t,

in time to see her disappear on j~{i{<-~de of a canal. James leaps onto the roof of a p'f~:μ;t\:ffunerallaunch, rolls onto parked gondolas andf'.}J~p:~ontotheopposite bank. I"(',;-.>·

:··,~..._,~,.,,.1✓

DEEP IN THE BACK STREETS 8~M9f-KING VENICE

t:C .../

the part tourists selt{:l:~-~S:~.Cansofslop are emptied onto a garbage sc~. a~\ity flaps over rusting lawn furn~ture, boats -~~~,el:l'.,Yupawaitingrepairsto their rotting hul1 s./,z:.::··::::::,

James stops;~e;io~fy ways to go and no sign of his quarry. Sounds echC\'::/iJ.i?-roundhim,waterlapping,children'svoices bouncing o~~~ls. Then the distinctive click of Vesper's shoes onr,sjio#eJBond slides his Walther from its holster and e.a~~.<iP::l!othepitchblackcorridor between buildings. H~-::,:~.e~onthe silencer as he nears the mouth, and sees:

cTu~;) lo THE TALL MAN

from~e hotel bar stepping in from the opposite direction, approaching Vesper, who waits with the large metal briefcase.

JAMES

steps into the light. The three turn as they hear:

TALL MAN digs for a weapon. Without breaking his stride James puts two slugs in Tall Man's chest, knocking him down. Gettler pullsVesper in front of him; his stiletto flicks out of its handle and the tips digs into herneck.

Issued to Production Dec 20, 2005 106.

Vesper's eyes widen as James raises his weapon to fire. A fraction of a second before he can pull the trigger ...

TALL MAN fires his automatic weapon, spraying the courtyard as he rises, revealing a torn shirt over a Kevlar vest.

James dives for cover. Gettler grabs Vespey:~.~nddragsher into the narrow back alley, along with he.r,~zr"ii.)¾case.

( ✓\~(?;

191 BRIEF ACTION SEQUENCE: ··...(l~ t:;, 191

Bond under automatic weapon fire,t:;;~ff.•:i!OJrdy.Loseshis silenced Walther in canal; kills;za~_JJan.

Bond heads off after Vesper aJ?J~~ler.

192 THE NARROWALLEY {?)t."'~)ct'v 192

Leads to a dead end - -9fier.a1!buildingsopen off a tiny square, their faca~des(1~\~'1'ogetherbywire girdles.

A woman in~ near~;~M~;kyscreams_at him as he checks the doors. He finds'~.c .i,tQ!<,edframe,kicksopenthedoor, steps into darkness an~~-

'):t'

...~,.))

...PLUMMJ~t ~·grabs something in the dark, gets his wind b1<!t~~~9swings himself back up to the doorframe. Ou~we~~e··old woman is still screaming at him. Now he

~~1-~~ Inb~shafts of light coming through the slatted windows, he c¥n just make out that the floors have been removed. Huge inflated balloons lie in their place, to stop the house from sinking while the foundations are repaired.

Half goat, Bond navigates the inch-wide stone shelf that lines the walls, all that's left of the floor. Following the distant, creaking sound of swaying metal, he reaches...

THE REMAINS OF A CENTER STAIRWELL

surrounding an elevator shaft - just a black pit below. Looking up, Bond spies the cage swaying two stories above...

James eases his way up the skeletal stairwell frame, searching the shadows for Gettler.

He reaches the top floor and approaches the elevator cage.

Issued to Production Dec 20, 2005 107.

Vesper lies on the floor, propped against the far wall, her mouth bloodied. She sees the hatred in Bond's eyes.

James slams the accordion elevator door shut.

Vesper:s eyes widen. Bond twists in time ~)t';,~~ th~ blade ~n his back. He grabs Gettler an~,(th~itf:;1/'•~leinto

the void. ....~/~ L . They land on the balloon two flo~~Co~}), Gettler's knife puncturing the rubber surface. A"'-~~ opens, the gigantic air bag splits and the two men p~t~~:: nto the basement, wrapped in yards of suffocatinrzt~l~~tic. THE WHOLE HOUSE CREAKS LOUDLY, a terrible NO~~ ~~--

··,~,.✓

The place drops a few feti((~1~)A:ATERPOURS IN.

E~~!I;~Lvf~~!J~l::~~1~~n!Nvi~~aG~~r;f1~~t ~~~~! ~~e level of the othe~'8,tilting and sinking...

v V

Gett.le.r~e;.'~.;t,1~·atBond,almostguttinghimasthe HOUSE TILTS a ~BRJ.CKSand SUPPORT STRUTS fall all around, th_yc:a..t~~ngtobrainthem.

f~{:j)oRIES ABOVE - THE CAGE

thre¥tens to break away from the landing. Vesper lunges for the accordion door but the cage gives way, swings hard and smashes into the far wall before swaying halfway back.

A HUGE CEILING BEAM ABOVE

jerks out of its mooring, tips and falls. Vesper SCREAMS as it PUNCHES A HOLE RIGHT THROUGH THE ELEVATOR CAGE.

BOND

hears the crash, looks up just in time to leap out of the way as the beam smashes into the flooded basement.

GETTLER

seizes the advantage, grabbing Bond andpulling himunder

Issued to Production Dec 20, 2005 108.

the surface. The twoenemies fight andgouge at eachother as timbers,bricks and and jaggedtiles puncture the surface of the water and embed themselves inthe muddy bottom.

The two surfaceand scramble to the partially flooded first floor, now at 45 degrees and tilting fast.

ABOVE THEM

The elevator cage swings, smashing the door open. Vesper holds on to keep from falling out as the safety cable threatens to give way.

/)

BELOW .((~~/,

t!\·)'{//))

Gettler grabs a shard of fallen timbe·~~~~g,rl~s it into Bond's gut -- not fatally but enough 6??~~se serious pain. Bond screams, falls back, yanks ttc:1~1(:bglJ'.,hewnspearout of his side and drives it into Ge}bl~r\'sthroat. As he dies, Bond hears the safety cabltE:};l.l;i~\/4givewayandthe cage fall another ten feet. 1.··,-.....))

ff"'•,'-.7 t:·,~·

~::;:rr:~:: ~~n~h!o~~r~gf{l~~# a~~~~~ ~~r~~= ;~:nd~:!~e. door. She uses all her ,,~-(~th to fling herself across the cage and grab .the}'-?.-~~?.Sheslams it shut just before Bond reaches it a~ctd~~v~~Ythe hook home to lock it.

~---.\,:,}I

Bond looks at );{e~T=wl:futthefuckisshe doing? She forces something into hi~,hand -- the necklace.

\'.vt }/l \'~1.-'"~-~ VESPER 111s,vu1,i-seehim-- ;-,-''('--)

Bond yi~~~~ -theaccordion door, it won't open.

t,' '')7 BOND Pull on itl

The cable snaps and the cage plunges two stories and sinks.

The house threatens to topple into the canal.

\;~

James fights through the murky water, desperately chasing the sinking cage.

Issued to Production Dec 20, 2005 109.

In the elevator,Vesper seesBond coming and backs away. Bond grabs the gate and pulls on itwith all his might, trying to force itopen, desperate to get to her.

Vesper swims across the cage, reaches through the accordion door and pulls James' head toward her. And kisses him.

She breaks away and opens her mouth, taking in water.

Bond reaches through the cage, grabs her and yanks her to him -- forcing the air from his lungs into hers. She frees herself and looks at him. If she could cry under water she would. She opens her mouth again, gulpj~~n the muddy water and drowns herself. >G,~/'li

L'(\ \'1/]/

James yanks open the door, grabs her ~p~~~~ml:~or the surface. As the house falls around t1\~r)fi€finds a ledge, pulls her up and pounds on her er~...-~~-·-,~~1a:dlytryingtoforce the water out of her lungs. ((;·,\.)}

As even their small purchase ~f.iapp~arsunderwater, Bond finds a window and pulls her1~t>7th him onto the shore.

James pulls her onto ~hi~~J,blestones and seals his mouth over hers, desper~{el~ ~f~ng to bring her back to life. A crowd gather~,..:PCJ~-~'.__ct,'~se':;:;:Ysomeo1;-et~iestopullhimaway. from her - -fax:-~::::::::tt~bangshisfistsonherchest, crying out... ~

~ )/

WIDE SHOT t~~JE TRAGEDY

A pair~{~).~glasses with gold rims drop down in the corner ·~~ frame, held by the unseen man who stands ju~,o ·screen in extreme foreground. MR. WHITE taps the ';Y~S$~s~~ainst his leg, then turns and walks away ...leaving Bd~Jf another day.

The same spot where we saw the lovers swimming. Bond's yacht bobs softly in the clear water. He sits on the bow, his portable computer in his lap, an earbud in his ear.

Alone at her desk.

Issued to ProductionDec 20, 2005 110.

M --he was kidnapped and they blackmailed her, threatened to kill him unless shecooperated. Mi5 should have caught it ...

INTERCUT AS NEEDED:

201 BACK WITH BOND 201

our friends. ~()J,,, ;{) ,e1/))

On the screen are the candid photos of{~J~R.,,a,d1/Vesperand their brief time together. (j!))Y

BOND f:~{(<~,j

Is he sti 1 alive? ,~~~~ M ,f:;_-v1) We don't know. 1;~',~Vwe know he was probably ini~~{,,il"J:(inwhich case she died 1tlty~ng'tofreea man who ~~;~e~:b,~rom the start.

How are.X~ <m,:fug?

:~~~~~s elsewhere) ~,,~ft her cell phone. She must ~"Riown I'd check it. ft)\ :0

/())~~~ ~e; ~~~:tre you

"·,:zy At least this clears Mathis.

) BOND

No.

M No?

M You don't trust anyone, do you James?

Issued to Production Dec 20, 2005 111.

M Then you've learned your lesson. Get back as soon as you can, we need you.

M ...Ifyou do need time ... rf/2...

BOND £!~<:~~ Why should I need more time? ::::[~(!) job is done. The bitch i~ ~~~ V

James? Di you ask yu[i'.'9e'j,f.'why you weren't killed i~-,··ha.·\i)basement? (beat) 1,/('"',:z.:"' It's obvious, isi:3:,~~t.p?YShemade a deal. She d;t1/~9JM the money to save your ?,/2~'e.:.Perhapsshe even hoped ~h:ey~9uld let her live, leave y9~ t~~\n peace. But she was a smaNt g~r/2.;I'msure she knew/4~-w:~ going to her death.

Bond takes tl\l.i;si~utdoesn't respond. He pulls the plug from his e'l':('~~tossesthe laptop into the Aegean.

202 ON THE O~~D OF THE LINE 202

M X~~~~ie phone, knowing she's just sacrificed a man ~ c:t¼:~~)?aspy,and for the briefest of moments, not nM~s}J"ily happy with herself.

203 UNDE)~ATER 203

The laptop shorts out and the last image of Bond and Vesper disappears. It lands on the bottom of the rocky bay.

204 ON BOARD THE YACHT 204

Bond watches it disappear. He looks down at the few personal items of Vesper's that remain and wonders if he has the strength to throw them in as well.

Then he picks up her cell phone, hits a button, checks the address book...and understands why she left the phone, and is overcome with emotion. ,,..,.,_,,'

Issued to Production Dec 20, 2005 112.

Through the standof cypresstrees we spya car pull up into the courtyardof a villa. A man steps out with a briefcase, Mr. White. His cell phone rings, he answers it.

TIGHTER SHOT -THROUGH A TELESCOPIC SIGHT

The cross hairs go from his head to his knee·/,~;--which explodes as it is struck by a SILENCED R09KfiJ,,

/'\)t<//))

ANGLE ON COURTYARD ...(('~ f:.:J

Mr. White crawls toward the front/.~:Q;?fOl"j~-=::.Javingatrailof blood. Feet step into the frame, ~~d-ing his path. White looks up to see: ((;,,>,.j

BOND /J,(~~;ji

,'--:·-v

He flips closed Vesper's S ?-C)vKone,aims his pistol.

t~~ .j

:~;~;~~(James, Bond

And as the CAME~\~creams up to the heavens WE HEAR, for the FIRST Til.1'1.1:f,th?y'guitarstrainsoftheFAMOUS BOND THEME. CUT TO BL:}t~J-EDITS ROLL.

((j'>'--::'-J-THEEND-

~('~:}) )./