"CASINO ROYALE" (2006)

~W" B~d:Qfl~:9ovel by 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()\ t h e Pa k.1stan1 ' team fielding, British team batti_R~~ he grandstand is orow.ded. T.he bowler hurls the b~J_'\~t- e batsman hits it up in the a.ir, arcing it tow~: th~ stands. The crowd reach for it, one person cat~~~~~~ throws it back.

Standing next to the thro~~i7~2/2 dark, well built man, applauding the shot alo~\_ ~t:111'everyone else. Call him FISHER. He glances b~. ~~~a rowdy group of fans and SPOTS

a man watc.hing h.1.·.~·······-<::....h....s a~e in silho.uette: BOND. Fisher reacts, pushes thro' .:.\':-1e crowd, away from SILHOUETTE.

/''•·~·······

y

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

// '))_ ·")/ BOND '''~(~)) M... really doesn't mind us ma.·king a "·'Y little money on the side, Dryden. } She would just prefer it wasn't by

i,/elling secrets.

A. roar frottl the crowd: The batsman has been bowled out. F';i.sher jUTI)t'.'/S over the edge of the stand, moves down 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 show he ¾'l~f~~nly unnerved.

DRYLJi?:>~ (,,smiles" tt:f9~over) You aren '.t a.:::~~~et fan by any cha.nee, A.re~~o'i:jy ~ \" -:/

-:::, ~'

Fisher races}':~ a i)¥rrow staircase, :Lea.ding to a balcony restaurant •tv,::,·"I;ts._:Jr a dead end. He pushes through a side door, runs __ld~w:?i<:.along corridor, bursts into a

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

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.ating face - his eyes never~J!l.""ave the door. Suddenly, a burs.t of 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~yi L · abs him, 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$ ~o h~!"~Ylh. other ~n a confined space until the stall partitiOJl_-fl. "t<51ld like dominoes. They fall into the shower room. ~i~~Vfights like a madman until finally Bo.nd forces.h~"""" .. ~ into the basin, now overflowing with water. ,,;:i;{~~olds him under until the body stops writhing and tRllicK-i"irg. Not a clean kill by any means. He lets the b~y~~de to the floor, steps back, consideri~g the•d ..~.....~-- an..).~ Hating him for making this feel so much like ... ki_~~ g:,.:,JJ

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

:,}l~~"Mc1de you feel it, did he?

,(~ ).: ..\ )? ( sees the 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.

l3ond heads to retrieve his gun. Senses movement. Glimpses Fisher's reflection, aiming a pistol at Bond's back.

Framed against white tiles, Bond whirlsscarn1 fires one 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{J1ace is 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 few boast carbines, but most carry machete(::: .YAlow one of the youngest carryin_g two bottle~ i,£?1rla Cola running through the mud until he disappears ~o'y"~

DARK SHACK d( e:JY"

The boy hands the dri~s"t'lsl a man silhouetted against the wi_'ndow. Call him"4TE~N\})¥'ANN0. He thanks the boy in his native tongue; the ~Y..::i?~ams and sits at his feet.

/-=~\==:::~

Obanno hands a co~ to a man hidden in the shadows, his da. rk_, gold-r~·~e_ d gl"asses glinting. Call_ him MR. WHITE. Obanno loo~,~~the open window and we see his face and understand_:w~y .e is the feared leader of the Lord's Resistan~~--_~tm'v-, He gazes at the Twin Star helicopter in the/~e~~:~,Jearing.

/")t:~~ OBANNO ~-f" )J I think the Lord wants me to have ,'·,:-r '/ aTwin Star. 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~lkcross the long table at Le Chiffre, who doesn't ~j~t~ a\~at.

LE CHIFFRE t . : \~ } 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 rate ot'<::,_~eturn. t:!; y

Le Chiffre ~?r~\z~J\this was the wrong answer and clearly doesn't gi vle~-~''<;tamn. Obanno smiles.

rCY>~-j J >~- 1 OBANNO t~~ 1--✓want no risk 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 large mahogany desk. We can see A~St.«i~ &thedral out the window.

Sir, you ~-e:::lfnow you' re betting agaiefc'°'\-J::.lr. _ arket. No one expects this st~~ to go anywhere but up.

~---,,',)) «:;Ji".·....:_:;.; LE CHIFFRE ~) '\<•. )) (hanging up)

, .. /.,, JU:st do it. ,//"" ) . '-"y 21 {~(/ri~)itSHACK 21 "; /1/ M:c. wi:;°ite watches as the 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' s on the move. --, '\:, \ / ).'7 . BOND [' . /,... . ~( 1 •t '~(-\\ .•.. Stop touching your ear /;~~-Y

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

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

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

Realizes his mistake ~<:t~•~Je. Bomber spots at him. Spooked, he charge(_o~,~\i~aping into the pool and running. Carter races afte~.!~~2dlrawing his gun. Bond sees this.

/"'i-·"'--~ ~~,,, BOND Pui-..zt~e .g;::oody gun away! I need 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~5Linto panic, people diving in all directions. ~b?J;hl:+Valready racing down an alley, through the shacks, ~~n for the jungle beyond. Bond has taken a short cut ,.·e roofs, 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::·ont of him.

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.ed to 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.·ty men run .t..ow.•a·'·..."-.,'l~.7 .t":::ir'e shoots one, sending the other diving for cov ~~Now he climbs t~e girders, moving ir:i,credibly f~:\f:::. Vi'l'ig an amazing display of "free running". (~~'>

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

B.omber reaches the fift:q(~':-00~ to find. h.i.s path blocked by angry workers. One ct~' him, swinging a wrench. Bomber kicks him in the g(~s ,, '-q):- shing him back against an uprig~t. He bo1;1_:ri~.:~""1';'.~ard, ylung~ng off t~e structure, dragging a wela::i~g.n····~,with him. His body. ricochets off a girder and crashe to the ground. The welding rig lands next to him, t~\'_e g ·' cylinders exploding in a ball of flame.

Now Bond i_J:::(~e,-t;:{ng near, running across narrow girders, obliviouEtf~io:i:iJ.e danger. Bomber has climbed to the top floor. /'k~;,es more security men charging across the roof. H.~Uf'···~~ tb' see Bond,. gun in han. d, climbi. ng an upright, · 1}~ l<μt'mself up onto his level. Bomber fires at Bond wtt f6u91s behind the upright for protection, dropping his gun ~,s;:/he does so, 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.

24 CONTINUED: ( 2) 24

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•gainst the ironwork, stunning him~·~~Het~'k the moment to leap off the crane arm, over a 30 f~· @,P~::e?'r1to the arm of a second crane below. If that s~'ii enough, he now jumps from there onto the ro~ 125,£:· :e')building, another yawning gap. Bond can hardly bel)fe.y~ J t. Bomber picks himself up and "free runs" over ~-:13~rjJs of sloping roofs, putting a barrier between him /H~.ciP)lrsuing security men.

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

Now Bond does the jump, ba~.,.-~m~ing it,. l.anding awkwardly onto the second crane. H)., fl$~ to the roof is even worse, careening off the top o1t'.'~J:r'ff't shaft, falling heavily onto the roof. Bombe:i;;,:::~i· down a set of stairs, swings across the outsi·d· ec. ~..of. (.(~th.·, uilding, land. s on the floor beyond. He pulls u, ~y .tly. Coming at him from the other side is JiJ'"~,:~::::.:i;:_entless as ever.

Bomber charg~ to~ds an empty elevator shaft, runs down a side wal~½~~~fS off the back and lands o.n the floor below. Borid,N: a'ps down a stairway, cuts him off. This time Bo~; ti· nowhere to go, so he jumps out of the b.u.ildi···.[· ~· nt9 a rising co.nstruction elevat··· or four floors

... d • ~ ot onto a scissor lift. Grabbing a wrench he ~s~'s\j e~)the high pressure hoses, dropping the lift at fri9'\1'b:~ning speed. Before it reaches 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>

\~. '/ MILITARY A'lt{l~JRt'iI,:.• 1 i,

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

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

Bond bursts through theR96i'iil'.nd heads for the Bomber.

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

(. °'~ BOND l'-' '{~y• 1" <J

Bon.d kneEf~)~~er in the stomach, dropping him. The. Attache goes f9JP'1-i~gun but two lightning blows from Bond stop hi~. ~·\ Sc~i?fYing up. the gun he grabs the retching Bomber by t;J }J;:1.11-Vof the neck, hauls him out the door onto a n.iN~,nv)above a 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.er piping, kicks it over. t.h~~~. dge of the balcony. The weight of the piping tears o:(f: -~front of the scaffolding, brings it crashing down/411 · ~ f the soldiers co..ming. up the stairs. Bo.nd.'....f15uyi.~.. 11{~glires'mber in front of him, runs through the sprayi~~~t~r and pushes him through a door. :~~(1·· >

A large busy room. Mostly w~~~~retarie .. s, typists, etc, Bond fires his gun i~-5?~~~the/air, sending everyone screaming and yelling t~~ ®)fur. He hurls Bomber through a window, bouncing him f :.r"oof onto the ground below, losing his backpa/4 orr•t:~(')"ay down.

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

In seconds Bond.~;-·jolned him, scoops up.the backpack, grabs the st~•tJ::1ed ~mber and heads for the metal gate at the rear..<:£ I""< ~f's legs suddenly give. out.· and he collapses to the grolml. ~~ond lifts 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,~61 ted, Bond is finished and Bomber knows it. l_jc t~!t'nf~)"smiles and spits in Bond'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~ns down another alley, pulls Bomber's wallet andt:~.elJ[<r'~ m the backpack. In the wallet he finds some~111$,,o~s:v - a playing ~ard r~pped in half, the QUEEN OF HE~R('~~)) Hie stuffs it intq his pocket and checks the ceft::,~n°'i;_Le..·"' recent messages. One text message, one word: /<"\' )l

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

Unsure of its meaning, he ~Ji~'s:~€0.darknei,s as the emergency SIRENS grow LOX~~;~rw LOUDER.

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

A beautiful 110 ;f~~Sil:i."1:lseeker at anchor, a motor launch tethered along~'"'~•- .. ~.

'~ ••·····

An elegant t;:'~~~':~¼oom that hosts a high stakes poker game. MADAME wqf.;:ai-::EJ1derly Chinese woman, throwi, in her cards. No':_:h!{.e~":::-, just two men battling for the pot.

~(;:}}.£~)!' dabs his 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' s dangerous looking henchman, av_.proaches and whispers in his ear. Le Chiffre rises with a smile.

Issued to Production Dec 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·" ~)

Just before he bangs it clos~'~-_';i7ead the headline: "British Agent Executes E~/ . '?/4ployee", accompanied by a blurry high angle phott~?~:::~ id firing his weapon.

?'J ((_~

Tl_le papers boast_i.:e~.1~.J::-.in#s li1:e. "Our Secret r:iurder Squad" with freeze fr..C~s.:tl~ the high angle security camera of a fuzzy Bond, 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-..ptack falls into frame, the. same photo - - "MI6 Kills 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 (fast and 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:~{Jop keyboard.

""<:,\~

CLOSE ON SCREEN: f'· <~:;,

' .··y

An image of a cell phone acc~~tbofs a mass of detail.

A hand pulls a SIM CARD~{?~'l'r s phone and inserts it in a reader attached to ~e<:::t~top.

Someone is tracing-1e~~y data on the text message 'ELLIPSIS'. Fir~_t:_:§\J::'te;7displayed is th sender's cell 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~.~~pm JULY 6, 19 .12pm JULY 6. 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,}'.zooming closer on 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 Production Dec 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 the Mworld was ~~'0<tliing.

Exactly: one bombmak~r~·je are trying to find out J!efZ~~ientire network of terro ;,J..:tt't"',g:;ir6ups is

financed and Y?8{ff1*Yus one bombmaker! H~~l}'~Jzhe big picture, wouldn't yo1v::,E3i~?J The man isn't even a ~{ueKb~·-~ver! He's a gun for hire, ~ti<l::. anks to your over- deve ¥e~a: :etJgger finger we have no idea whQ~~ired him or why! 1v~~sud¥nly realizing) ~'fl~ pow the hell did you find ?~~\,.rire I 1 i ved? •) ((1.1/~ V 1~\. '\_( / BOND "",i;-,'!lie same way I found out your name. ''·y'When you recruited me 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 is never going to make a .d..e···Jl't·;···.~,..'i.·1~J1:fs1/armor, tries a different tact. ~-- )\ )7

M /~~~(:\ ,· ./

Bond, this may be too rrrg\:fy<:~r a 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~~) ifalf monk, half

-~ M A.~\f~ug .•~.}an kill. I need you to ~' ~~9.ur ego o~t of.the equation c!l~.~idge the situation ~~~ssionately. I have to know I ;-\? ;:,,#.tru13t. you, and t1:1at you know

;. . r ..."-. tfo to trust. And since I don't ,~ )) "";;:1k.nowthat, I need you 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 and passengers disembark from the plane. Bond steps off and rolls up the sleeves of his white shirt and takes in the view. Expensive boats cross the harbor; one of them is LE CHIFFRE'S SUN SEEKER, gliding under the two bridges that connect Nassau with Paradi/(~/sland.

James swerves around the corner of thirw~a~: blacktop. Lying on the seat next to him is ~:~-ri::oMeld displaying the map he copied from M's computi1~,,tJte route of the cell phone that texted the bomber. ('' . ,,

/J'

Bond pulls up among. swank,¥~/i(9'~: A couple of attractive. women carrying ten.nis r·~i[<e'tcs./give him a second look. He hands his key to th;e y;;;,;·t..i:\-who also wears a white shirt and black pants. ,~~~~~} drives around the corner.

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

~ \;:J FAT GERMAN (f.r~'vc::iu going to take this 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 a machine and jumps to 7:13 pm .

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

r! ; 'lC0' J.

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

through th~ f<;1otage $.S people come a:r:i. ~o.~':;;- an el<;J.erly woman, a kissing coup. le, then a ~....~s.:J; "'..:l;ston Martin pulls up. A beautiful woman we will COl)le. ,to) know as SOLANGE climbs out 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.s handheld - - 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:¥s one of the security guards is no longer visible. nd ✓ slips out of the office.

/ . . - .

Bond heads\~~9own the hall. The SECURITY GUARD turns the corner v~:"-,,.d°':'ci1imestoward him.

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

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

/~9 )7 Bloody valot SECURITY GUARD

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

Issued to Production Dec 20, 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)\ ps out of the water. 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 rr"'" ~~ )' He's logged into our,,;: ~~e;:u~e website. (now the bad ~A,wr~},,,'/ Using your name,' v,"p~<i?word.

M ff(_~_-) How the 1}.·elf(:~.q~s 7 he know these things? V~\,.\S,~vI/ '\'\ • .•. ./ /~-;:~::::~~').VILLIERS I'll d~y best to find-- J'/, "V \•--,;·""$, M ..f•~~i}t.il be wasting your time . .. ~hW'--:1'.s he looking at?

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 as he st~s. t~dhd notices that Dimitrios uses his Aston Martin k'>'K_og lo::1/protect hi~ cards. The othe~ players similarl t~u~fY chips and lucky coins to protect theirs. Bond lciq~-~'.:"'·b'.is hole cards: a pair of kings. Dimi trios bets. .f':"'":-:::}

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

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

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

Dimitrios, los;i{ri~~:s:tt},1-;:s as a Bond wins another pot.

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

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

ff::, ,~ ~r. Dimitrios? /-.1/ ;),,"-'.)! ··,~) l Deal. 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 in his pii/:e'L ,':~' It's alright - give ~j.fu:::a)chance to get even. /'1C'<".;/ ••"'.. '·, )/

Dimitrios throws in his kc,1~,.iJ~~ - triumphantly turns over a pair of kings - three ~~ 'a1.1J. Bond flips 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'~s and tosses it to him. An attendant har:ids Dinr~lkfi'Gi:tl a note. He reads it as 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 leaveson 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 Then perhaps we could ~v1::?;,~'adnk at my place. -,~( ) _,:::::~ SOLANGE · )) ... Your place? ... _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'rcle and stops.

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

Th»:.~?4.!~t opens her car 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 takes a card from a deck on the table, a~~~ f spades, rips it in two and hands one half of then~- ;i::"Gt:-o Dimitrios.

·, ')) LE CHI~°E~,;/ The money is waiVpff~ the same place. Jc.l\Z--::!JV

4 I\

Solange and ~onci ___';)_:1~~.. fie~..':::: ~droom floor; her still in bra and heels, himk~T'.t::'~aring an unbuttoned shirt.

\'-/4 \1/ BOND

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

''".. ~ '\:_'-._ltke if we undressed. ~2.:.\ v ::;h~<1o~s up 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 something personal?

tJ~':::j SOLANGE ,(r)~( ~ (moving lower) l~ Nt5w would 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.

58 CONTINUED: ( 2) 58

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

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

She gets 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)}s in 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:rb and 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 at night. Signs for the Body World exhibit boast that it is open 24 hours.

Bond steps up to the ticket kiosk, watching Dimitrios hand his overcoat and zip bag to the coat check girl. Bond watches her hang up the coat and hand him ____a«J ...· g.

r"> /;ih

He follows Dimitrios down the stairs to ~ ·· ·1}S3/'it below.

((;?")7 t/

0 s --~ t,~ f ·~\......

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

Bond follows Dimitrios a,,icJa -:0:~stance. Dimitrios pauses at a poker table, four d~at:1<)1~9-yers mid-gam_e. Dimitrios slips a cell phone from ✓~s~po'9j~t, types a text message then ·,~.· puts it away. D_~::U:i~rctsdcasually drops something onto the poker table_, sef~-s:l::b~ nearby faces, the_n weaves 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~~)fane touches, or even seems to notice, the tag.

Bond2'~enses something 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.

Issued to Production Dec 20, 2005 28.

Bond runs, gets to

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:fgs into his 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 to his ear.

MAN I S ~(3,,}/'

What ? ) ~i>))<;,•/

Bond hangs up, already .11}(~:o.g.,

The man tosses th~~h(~~'\\i't?' the trash bin and scans the street behind h~ltl'. ~~-~:;l;:~im CARLOS. He hops into a cab. Bond follows. ,r~·:.~:'\,

t-,e··,~~J

Cars, busew;-,•,p~ile. It's busy. A cab pulls in. Carlos get.s ou~r.· ..w.t./..~i'tig the zip bag and pays the cabbie.Bond's cab pa,8 · ~09'te way behind. He slips the driver ahundred do);-1:N.·f··.~te··; follows Carlos into the terminal. ~ ).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 (the five 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 him back his keys. He retrieves the coat and zip bag from the x- ray machine as Bond moves through the metal detector.

r ~--JI/;~

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

£."("~"-'._ ✓;/

Carlos goes into a chan~{Jg;r:dtm and closes the curtain, He unzips the bag, pu&l):s.~·~~} a security uniform.

A~ \ j b

/'- :··'.· "'

Increasingly w.;;~ia, :Bond scans the people moving to and fro in front \'Q.f hio/'eyes. Then he notices the zip bag in the hands qt/·~~1'menswear shop assistant, looking for its owner. It.'._l;:~:g-en and clothes are bulging out the top. Bond. looJi'~tS~:Jway - r:iothing unusual - pas. sengers, s~opping staff a~~a~ed security men. Then the other. Heading fo~.a) ,,,~:'<.ACCESS" door across the other side is a security ~- )_:Tf-~,/difference is he's not wearing a side-arm. Bond nld'\r'€(6.~s.:Piftly but Carlos is at the door, punching a 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. He steps back to allow a mail cart to pass - glances back at the ' 1NO ACCESS" 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 security v~Ri2J)e~ are parked up, their drivers, smoking and chatting.;~(< ~/(_~/))

• '' t /2"

t- . '~ ,'

Bond calls on his handheld as he ,~s~

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

/'\(

Carlos enters, switch~s::Ql~j:he light, grabs a 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~~'f1ier office and snatches up Villiers' desk phone . ~->~~) . ,< , (,(, VILLIERS

// ';') ,'-;:'He' s at Miami airport. /_~\_,,.· )) t "\, ;/ ''-,,_,,,:./ M }/ (into phone)

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's moving against the tide, struggling to make headway. Now the security men have arrived, yelling at everyone to stay calm. Nobody's listening. Bond may hear M's voice but he chooses to ignore it.

t>"r;~~--. ;

Security vehicles screech to a ha~(ou side. As the security men are running up, Car~c,'s'is going down. Bond is now at the top of the stair.s,,,"a~inst the wall, letting the men rush past, trying to1~b::~"'¥ght of Carlos. The spraying water 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-to handheld) F~~~e~larms have been triggered, (Q}···p..;til::tl.klers are on, 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 scream tf3~s't:·:i?'evealing Bond pounding down the side of the ro~d. ((:<~"•i~/

Carlos pulls up ~~t to a fuel tanker standing beside a long haul je,,Jpiner))"' The driver is connecting the hose when Carlo~~J) out.

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

"::::<\t,~ "f·:tre emergency, can't you hear the ~,)L.J 1)"alarm? !

The'S,.,Jrtled driver rewinds 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 row 91:>\parked mobile stairways. As it passes, Bond charges up f'£~tj]-6l~aunches himself into the air and lands on top of';-ih'e·1¾2i"i:v er.

~~~ '1\/

CARLOS " , . (?~ /'

sees Bond through the back windoJ~~!CH1'~renches the wheel, weaving the tanker, trying to th(<?'W·~:±:Ni off.

Carlos heads straight for a ~b~),foving to its gate, drives under the wing. Bond has ~~~/ up onto it, run across and jump back onto the tlfl~rfb avoid being swept off.

As he lands he loses g:~"f<stGting, falls over the side, manages to grab a ;<1ftrt(t_ ,')_~¥n barely hold on. Carlos sees this i:r:1 his win9 ___t:ll~JS:c:KO-i':;::~ead~for a:r:i approaching tow tug. He deliberatel)i,!'l..c.ra::9:)-{l the side of it. Bond has to let go or be crushed~';:~.

1'1 V

He hits thl'.~~~d, rolls and is on his feet running towards the stoppedA~ow<i':ug. He throws the driver off, leaps aboard and driv~~a.1't~r -the tanker, now heading towards the "live" runway ru..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 Production Dec 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-nker emerging from the wreckage of the ~~~e_train hits the severed back half of the bus, spr'<._nri:i,(~(~\t off to one side. The impact shatters the. w_in_~J_-ii_~dl>~d causes the tanker to go into a sideways sk~~-'~~tJ:W.Ling it.

Carlos hits the starter, punches '__.J::_~_:h. t~~~~lerator. Bond, seizing the 1;1oment, is off the tF(fw"._\"ef, runni1:g for the tanker. As it roars off he leaRS·01»1 the running board, 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. Gun shots ring out

as the men open fir_ e. (-:.::_":te~OMMANDER screams into his radio:

/'.'.~,•//

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

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

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

T h~::-N\l:"+,~er is a most out 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~~~ ~.·~~e flash past, the airliner rushes towards him. :_/._(~~ty

Carlos reaches under the seat, feelin9(t,,,Yo0the cell phone. Bond aims under the tanker at th~i+C~<;<t;(i-e, shoots. It explodes, the tanker weaves. Ca;"jl.. oo..:13,•.qg):l-ips the wh~el, keeps control. Bond blasts the other ~~~ck<if{re, but still the tanker holds its course. Carl~•i,,,·~:_jland finds the cell phone and pulls it out. The~(i-e,'<i;:l(most on top of the 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(~'§.kids sideways, the wheel rims sending up shower~1~f(~P)r~s. Carlos is hurled against the door'. drops ..~!.1e'~'-ho1,i..,iz., The tanker grinds to a halt, half an inch f:)(~~1JJ;t'?irliner.

The door opeQ~ an~ shattered Carlos staggers out. He reaches in.~i e;,tpe cab, pulls out the cell phone, puts his finger on _t:l~ ~~fton. A shot rings out. A surprised look crosses .;~ff&-&e.

He/,:Q,l"()..6~(,t·.b.'..fhe ground revealing Bond standing behind him, ~t 1-ai~':tt. ·~t)d SECO~~y VEHICLES ; Scream up and surround Bond, men aiming weapons, shouting for him 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.tand looks ~~ii.Villiers approaches with a :uard, ~;'):'.'y1[ocks the

A helicopter lands at the bacly;9,f\~~ ;arge colonial house. Bond and Villiers step out, ~~e::'P)i'st an ambulance and 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 stops dead at the sight.

/~··················t1

Qut~~ th\ibody count you're stacking

~"~~?

Bond can•j_,;s~'e.ik.

\)~.)

/'• ~~ .·.. M (CONTID) /<);;1:\')>"She was tortured first. 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.

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 to tf?' 1::(2) wherever they needed it . sa2~7-m~7' tY took a disliking to. him afte_f(D.~ ~,ert Storm and cut off his ~1--> '<: '/

Bond tries hard not to show evenr(~:}~)1e of remorse. M sees a man approaching with a !3r,)':e:fjlase, snapping on rubber

gloves. . is(·"'y'i··

M (cl;:,,?~ Oh good, you' r,&f~xf/. ( to Jam7,'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. ')/M shows 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.

98 CONTINUED: ( 2) 98

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.1f or do you 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_-_-_-~-')Yl ike it when they find out it '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 Production Dec 20, 2005 39.

98 CONTINUED: ( 3) 98

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~Js in the distance. Bond steps onto the deserted plat,;\~~-))

JOHN BLISS reaches for an ~P~y;:~m a fruit plate. As he raises it we notice the l~~~~-eomputer on his tray, the DVD player showing a co~~~i¥:'.lrecorded card game -- split screens of 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~~r B~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{.¢)hing strides purposefully to board the train. Hi···s··y;.,...~,rlc!l{ her every move. She disappears and he load~ t~~e~tVDVD.

Bond looks up from h~s. menu to(,~se~Jghe b~auty from the p.latform enter the dining ca~~~y wearing a no-nonsense but well-fitted suit. She~·J- ..~.-~1?o his table .

VE~~ p;) I 'm the mon~y:-:;'.,~~-7 4 ~~y

EveryC~n~f it.

Vesper sits, \'tj;arts'))a' look, Bond feigns innocence. She hands over ~<;1::l.i..,~Jness card, the type every bureaucrat has.

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

Issued to Production Dec 20, 2005 41 .

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

As the train rattles through the t'~~.V~:\~Olandscape Bond and Vesper are finishing the mea;1,,>,~, JI

VESPER . Cl:)J,./ Oh, so, you're tel1//(ng'¥it's a matter of probab.~") 7····t·~~':.~nd odds; I was worried the:r; (:'W1'sVsome chance 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 II Auf·f::'ing II? ''. '') f'~/,J BOND

<\f:,'\ - (can play right back) /(j. t~~--~7You know the 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. ~ would normally have

/('--.).'" '\ \7said. only child, b1:1t by the way "-, \ )/ 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.

103 CONTINUED: ( 2) 103

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

4, 1v~PtlR.

,,~' --beall~-~!_tti~~~::Now, having just m~t

you Y-.~~lifu:;' t go as far as calling you a '--~d-hearted bastard-- ~ 'Y., •, /,,.~ V BOND j,,~"-~1mrse not- -

{;>~)) j VESPER .,~.,~'-iu~it wouldn't b~ a stretch to 'i?'i~agine that you 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.

103 CONTINUED: ( 3) 103

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.sper can't help but notice the heav··•i.·a1v.·..)a QDec.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<tical and financial ruin/>( ..

V ~~'> It's so ~~:Jling, as a citizen, to ki;;{~:Etr~,. you are concerned about m~taxes. ~ )/ N "-"-,.1, VESPER r:t°'~tc:ret agents pay taxes?

J e\~'-._ . BOND

/<..:;:.}d~:sunfair as 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 , ::: ))

Only when the roma~t·""~¥ been necessarily brie?/•>"-; :!-kit Mr. Arlington BeechC> ~<ji,E ssional . gambler. You ~~e'•.M1'ss Stephanie Broadchest. if_ :~<'•'\,':! /4 ,( "'\ // ..... ~~~\\zEi~ER

Oh,, I a,~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 and Vespef;\;> ;\'·/

1) ,I.( A v Fpt;:l~T,WSK CLERK

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

James ]:C/::l:_l-d:··-You' 11 find the re~at:§lzfn under "Beech. "

He enjoys ~~~g Vesper react. The receptionist has the paperwo~t?aJ't::.:l!ng and slips it over the 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 the butt<;,:~~ aff~<~ doors close. As Bond smarts from the remark the~\l~Jf· skips up with a manilla envelope.

,1· ::::···::,::, ··~~ ....ilRONT DESK CLERK Mr v)3oncf~7 This was left for you.

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

Sh5l::.rnpl.Jlc.:b f. He opens the manilla envelope and tips the 9_6i:it~h~;-~nto his palm: a key on a fob: Aston Martin. '--~f 1

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\:/u two are. Are you thirs~_'(-7..:0~

Bond takes two glasses of ~~.~.l~~~e from the waitress.

B~Q~~ ....) Unquench"!b 1 if.':~~'\.~ (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.d th~ stroll toward the bar.

J/,-, -~~~~~1 MATHIS Q~~,inow, I used to hate husband '1)~-a_ wife covers. Before she stuck / ..~ t'll out here, M would consistently ))'pair me with a defected Latvian · wrestler or the Scottish shot- putting champion.

Issued to Production Dec 20, 2005 49.

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

Mathis never turns. Bond glatlfe\,9,ft to see a MAN with a BUSHY MOUSTACHE sitting wijJ"z~~t'han much too young for

him. ,C'(?~ 1

fl'iA.X~ (CONT I D) The man,A_it:(._1:1re 2 shoe-brush. on his face ·,,,..~e'-~J;_~μ,.iht about trying to buy lB,,~_J3e:ty~ces but frankly couldn i't~ afford to out-bid Le Chjf~fre .)1/

Behind MatJ~~!rcE VEHICLES scream up into the square. Mathis ~- )a_,t"rl~;heard the brakes screeching but he doesn't look. . ' -~ of uniformed cops jump out and charge the te,r~~ t>nd glances 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. (to Vesper) 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:ef being

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

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

'·' . )}

Vesper takes her drink and wcz1'1@.w~;vto the edge of the terrace to take in the vieo/q>~v)/

For someone ~i{~~;2s at the Treasur~ t~~ '·'b '?fl has nerve; didn't flinc11. ___ct~~ >:}.:-'ttle show. /,~- .. . ::.~', ~~ BOND Yej•f_ I w~dered where you were 1'.?~N~~ji th that .

rP@::~~:Jto know ~;~I!ho you can trust

/.f:~:0.t~urider pressure.

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 .

112 CONTINUED: ( 3) 112

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~::.~ garment bag ~~~~-the room, hangs it on the h(:k~~the back of the

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

:tiskR Somethi~\!~~~:ttfuct me to wear? /'~ - ~ '· / ;::,~,.. . . :.~OND I need\\~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 \<tbjir cards. 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 ...

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.

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

She still hasn't looked at him;-'"_>,(jfa:;,y·-Bond likes the answer. He considers, takes it and e:ii~t_s~'0~he smiles at her image in the mirror and goes bac. ~~"'~~-h-k.

n ~ ;) ·

116 IN HIS BATHROOM t'\ •::, 116

James pulls on t.h~~a~~_"})/ctamn if she isn't right. We thought he looked ~:'§:d<iri his last tux, he looks amazing in this one. N~:::n:e::~es the difference, 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.ry laugh bursts from Vesper's lips as she walks ~Y}!· ;~d realizes he's been observed in this private mCJTI:!&,zit~)He looks back at the mirror 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 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~-1Jriil five communal cards, twq:Jcfn\ ~1?e hole, minimum stake $19;+·,Q,~/2.y Monsieur Mendel here rep;i:;~91=¥ the Banco de Credito Mon~~negiio, holding the stakes. /Z (:·\ ,~1

As the BANKER (MEN~J<~:1:,)1.ks, we examine the players: an Argentinean bi14:'~:0na:;tt1=, Gallardo; a long-haired Japanese software king, Fu"~tu; the deposed African dictator, Infante, as ~~l aiy"an American, Wolpert; a Russian, Kaminofs1:Yi\v..l'✓-_fa~"'":-,_~hinese woman ~ram the yacht, Madame Wu, and Italia~&i mogul Tomelli and a German countess, Graf in M9"fljt.__clf'1tl..

~) ~-,!)

~- /~ .:.. MENDEL ,r::<(-)J:)'yMonsieurs et Madame, you have 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"~~-~ho takes a squirt from his inhaler. For a fractiof:l.)f:'-;# second his eyes glaze over. 1:_f~;}

The Dealer distributes sini,~~)ds.

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

A Jack falls in f_ro)~ o'f ond. 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 -~lind of ten thousand dollars, a

r J( tle blind of five.

121 ~j1c~)zuTs: 121

Th~.;(-fas are 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~:~~:~ffre gazes 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.ng so strong. Or he's bluffing. ~-,. <·:_:/

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

Bond sees Le Chif~~e's eye twitch -- only once and ever so slightly. L~hiflp!'e's finger comes up to hide it in a "thoughtful~<~~J.

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

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

The card is a 9. The finger presses tight against Le Chiffre's cheek.

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.

121 CONTINUED: ( 2) 121

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 11 Gf'.-: :~:::,\.

~ -MATHIS Jv/5~gse I don It have to tell you ~ ~autiful you look; half the ~ f)~pμi~ at that table are still

/-:·, !~(~~a;;tching you.

/' JJ.-\ 2 7 VESPER r~(l v How's he doing? )/

The last card ('the river') 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.

121 CONTINUED: ( 3) 121

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~'\both black 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, throws J.,!-s~~Wds away, provoking a buzz in the crowd. Le Chiff~•~%i{ believe his luck, rakes in the chips, a glin~:oJ:';t)-1.umph as he eyes Bond. In forcing him to show t.,;1~ \J(i3.!'f)/~f twos, Bond has stripped him naked, and Le Chiffr~ r ai.:fs this in his eyes.

(t_c,~~~ Please~~eni;t:t:he barman over.

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' dry martini. /7 ) \ ')/ ,-~~ ) ) , BARMAN '--"-JI Oui, 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.

121 CONTINUED: ( 4) 121

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 to himself, havingr_ s\iecjl~ded in riling him.

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

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

'·"' ~ ):-"?' BOND BJ,Vb\~~me.

As three tlih_~Jplayers at the table bet and raise, Bond gets up[a:~~-y,alks over to / 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 you mean, higJe11I? ;;:(""y":p BOND ::: '-<,_> A twitch he has(r)t~,~ when he bluffs. /;\ ~- --- "-"-- ~( ltvi~)(R Bluf~/?--~~~ar the best hand.

'\<-- -BOND

b°"~ire:Vand he'd know that. When ~ Q!-1'1t~de that first big raise he ,,fl ~w~ trying to scare me out, he had

f'<<,J \ y (another subject: ) -,~:(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.

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?ressing the silver disc onto the bas Q8~Me replacing

:: , Chiffre turns back a heartbea~1~~ :nd picks it up. Bond moves off toward the bar l~tC'5)lnMathis and Vesper.

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

Mathis exits. Ja~ {;_;:~ ¥n arm around Vesper's waist and watches discretely ~i)._'.::lfer shoulder. In the background 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:ne to her neck. Her body reacts involuntarily.

-"v BOND } (as if 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(')._~Ls es)into his ear:

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

James and Vesper 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~you have a package for TI!~A,". ' _lr",'<;:J

The concjf,ej.g~.linds the manilla envelope Bond took from the ca£~\a~4Jn.ands it to Bond. They punch the elevator

b':'/1:;:zf:,~ 126 fi:rg'·)/LE)CHIFFRE'S SUITE 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 I would take a hand for thi ....~)·· ..;.;·~., ~> betrayal, but you need it t~'1?l)t 1V cards . ~{ <\" . ✓

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

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

~ ····-

The screen dis ay:s:::1;1~hree dimensional "range finder" - 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,,s his finger into the 4th floor button. Vesper ht1Bl\1'11m his silenced Walther.

rfc'\'.:-/)

BS?\1''•~.· - 13 0

t~~og,) the elevator, moves off in the direction the finder tell:•t:!im, then realizes 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· .ht door. Unsure what to do -- break the door down/'¥r·~~ · t happen. He decides on breaking it down. The·n·····p~.i&'-i"h~e'ii):::'.esper is still waiting for the elevator. r-.... -,~{JV

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

She sees the sign for the ~()r..' w~l, right near Bond. She hurries toward it. Bond /i~~n~) • ack to the suite door.

,l\ \ "-~t

Obanno swings the ~~•r--_.Jharp machete down from over his head and ... st0Ffa~ma7~a half an inch from Valenka's arm. Holding it there;\...be. turns his head and looks at Le Chiffre.

·1 ✓-· \"-f~"- / OBANNO J:1o~a"-~ord of protest. rf"?) ,Jto Valenka)

,;:-::·-!~~"~0{~ should find a new boyfriend.

O~~nJ;~:~1,s'ses her roughly, laughs and tosses her after Le efu~'f6:i.'~Obanno nods to'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.

Issued to Production Dec 20, 2005 64.

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'\' mwings closed behind them as James grabs the hl.@e'1?I~· s,t~r and jams a hand into Obanno's mouth to keep h'.h~ f om calling out.

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

She takes off down the stt/~ :s/ makes it to ...

THE FLOOR BELOW ✓~ (:~:Yy

She yanks on tl;ifE~·aa.cia±..~ locked - looks up in time to see James flipped ove "'the banister, landing with a back- cracking thu:t<°n t i)i! stairs beside her.

Obanno lea~~~! the railing, machete in hand, as Vesper runs ~or ffl}'lt·::t··~l~ fe'. bou~din$ down the stairs two at a time, 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

Issued to Production Dec 20, 2005 65.

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~neap in the corner - - Obanno atop Bond atop 'i.[~~¥)3=.=. t>ail facing upwards Obanno turning blue from the chok~',~<?1'· - - sees:

/:::.,:~'-,_ ".·... )9 I( • /

I BOND S SILENCED WALTHER . (. >:_;j).

f' .."."-.v

on the floor where it land···d·..:, ···,'G;r.~bs it and

FIRES /;,~~ ·-> /

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

wildly over his s~~laer)) 1"1'he bullets barely miss Bond and.vesper. Ther_ g'&-R~~:jfue wall just centimeters from their heads ancl'.~ica¢4~t madly around the concrete well. Vesper can't even {~rm a scream in her throat.

BOND t?~, v

uses all ~2:"sPc~rength to force 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:t gger and JUST OFF CAMERA the bullet finds its 1}):~~!:.-)):'ood spraying over Bond's shirt 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.

135 CONTINUED: ( 2) 135

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. do we glimpse that he is having 9 l ~-~ dfime with the killings. He looks down at the counr~r,t&'Bt-ces he's leaving red hand prints on the white·······m!'.:t:···9···,l_·Th~7 li,(c(shes his hands again. " . \Q'})),

/', ' ". re.:·~,-~~--::,

we move with Bond as he adjust,£l'~its))shirt identical to the one he wore this morning .(:-,~FI~.-.)(otices a fleck of blood on the black jacket sleevei?:~ ~up a napkin without pausing, dabs the red off.J~a \'p. nds the used napkin to a

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

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

He arrives at ~he~t-~b'i,~in time to see one of the other players lose.\'~ Le ')'l2hiffre. Le Chiffre collects his chips, but his eyei-G/a~e on Bond as he takes his seat.

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

:~ ') ?-~, I""hope our little game isn't causing

/'~-· , y>you to 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.

// BOND Shhhhhh. 1-fi)~i~) ,, ~ 1~ /,/ v r·~ \..> VESPER (looks at him ...,r,,..,.t::r\°'J~ a mO,lj.~~J(-r\·\'•..✓ You're all wet. (i.!"'··".·..'~ j) ~/ . BOND f~ J Shhh. t·( ~'· ,,·•.,,, J/ VESPi{~ ;•)/v I couldn't getf:(t~~:61.Lood off. It Is sti.11 wx~•i',.1J1y nails. ,t'.f, (( ·"~ V

Bond looks at her fi:B,_~J'.:~: not a trace of blood. He puts each finger in/4-~.'s~.-~h in turn, not sexually, but as if to clean them. A 9 of course the non-sexual aspect of it is incredibl]:"<sexy .'-~ When done ....

J:('°'~~ BOND

~~r~r? -~..",,/ VESPER (looks at 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.

MATHIS 1flt·bN~[~) Being dead doesn ',:t)rrl~~one can't s~ill be helpfu,1> ((( !jp.~ actual phone will be a gold/"l~i:ne/I 1 m sure.

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

Bond tur1~:a_)~~exits back into the casino.

d,=~-'.)

141 IN~"'tf°'J;~L·.:: LE CHIFFRE 'S SUITE - - DAY 141

~~fj)fe stands behind a fluttering curtain, watching the~ne.

CLOSE ON HIS EYES. A RED DOT. A BLOODY TEAR. Then he turns and 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~'6kat him. His face remains hard. f~fr,\··/)

,\ )'

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

-,~)' WOLJ; If) Three hundred tt:~o sM-i.d.

Bond watches Le Cl;4ff ·\) He pushes in his chips. Bond follows suit. A_ _rn~'\~~_:ri:,;;1/justwent in.

/.v . - -~

The card is turn~~over. A KING. Exactly what Bond was hoping for. ~kE CH~Y'FRE is implacable - but his finger is still pres~J0~Ahis cheek.

t""\_~-:;

The fivel~~r':;lface-up are A-J-J-K-K.

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

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

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.

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. If you(I'l=':tl:i!tiffing

He is silenced by Le Chiffre ~-s,.yftghis money in. For a moment, Bond has doubts. ~::.~. '~. ,, ·

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

Eyes locked on /1'_E=_~~.,_l:::;r:tJ', Bond shows his cards .

FulJ~ou1Jt, Kings on Aces.

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

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

~::;,\ t~You m1;1st have thought 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, controlling hl~jelf.

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

him. t<:>fc1 . VESPER (~,'<--~,) ~~ :,_,:)) ' I'm sorry. ,-k·---.,"\;"' {~' ,<:;? BOND rf· -. :\'--' ( stops her Jif)ri'N-¥aving) "Sorry?" Use tJ?l\'.iat:Th a sentence. "Sorry Le C~if·i' in,, is going to win and go g.( f nd~ g terror and killing people_~n"~u Ji s and ~upermar~ets?" "Sor~ ...cni:N,ren are going to die as the~~alk past stray shopping ba~ or ij)ifrked cars?" That kind 9~"'8.~Jy? /:~\3 VESPER ,(( (~PJ winning. is not going to stop

,:.:::-)1",::-.._~errorist bombings. If you think /( ):_·,")/it is, then you are arrogant. '-~f 1) ,,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.

144 CONTINUED: ( 2) 144

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

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

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

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:19 a break. Bond spies him joking with Kratt an? two me .-~~-:have the look of trained killers; reinfor~)~~g's,

Ba9Js;:\w{l~ '";James, a waiter clears a nearby table and puts t;~~,.if !f'li7setting on the bar: 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 if you I lt'~~)re me ...

WOLc5ltt~ ... You' re not p~y'ing in? ~---. "-;,

Bond gives him a ~k/.(·-~fpert gets the picture. Bond is still coiled and datt, ~~;Ys.

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

/-<) r."~-tu keep 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:

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

A BARMANplaces two of "Bond's" drink4~·n···1~¥tray, one with a lemon slice, one without. He W~fP~·:'PO::'.'ietrieve some water. Which is when we notice i~~~k~ seated on the stool next to the tray. Behind the ba•·!i]l:i~~~Yback she slips some powder into the drink with t~ ..ek··.l mtflJjland stirs. The barman returns with two glasses of ~~t.s'\,iYng water as THE WAITER approaches to take the tray:~-;,) '(>,_1 V

)\(. ~v

Follow the waiter to thEt~ta.ca/'table, where she places 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

~-- \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)over by passing cars. He finds his Aston MartincJJark's1 in a dark corner, unlocks it with a push of a butts; rr;j)opens the door and falls into the seat. He sla~~( h~;,f ist into the glove compartment, tears out the f'Nl':i':i:,g and grabs the MEDIPAC. He closes his eyes for j ll;S\lt?a:l's¥cond - -- opens them - - sees:

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

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

passing the car -""1::~---.EN:~--,§:,rV•t in the deserted parking lot a second ago - - 1/~*s.::b~~ked out again.

'"'

BOND ', K~ ~

considers J~i~ to them for help. Doesn't. He forces himself~~~ y conscious, rips open the medipac -- finds a surg~· a%-P edle attached to a wire and an electronic b?l!~~-_v__· t: e needle into his arm and attaches the lead ~'V~,l)1) ox to his handheld. It instantly makes 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.

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!~~yt:/ - -unless you 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 from the pouch. ~". l''f( to ~ctor 2) °i.<Jr'h,,ze.~Jnow what it is yet?

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

~).l!i~~ PARKING LOT

B~~lls out a portable DEFIBRILLATOR, it HUMS as the char~e builds ... COMBIPENS of different 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 heart Is gon;te7'~!

D~tidrt::::;/)12 (V. 0.) There's onlif:t·~rt\EL, for one charge before ~:~~~Jf V~mt !

(Continue totjft~t as needed)

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

,_()~T.aJ}.e the blue combipen Bond. Mid-

~ \t,\ n~ck. Into the artery. That'll /Z.)~J 'y·'counteract the digitalis. ;.,•,,~( '\ Bonc:1-)"' bs himself hard in 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 it with you.

DOCTOR #2 Oh, you 1 11 know.

Bond pockets the handheld. Vesper is almost speechless.

Issued to Production Dec 20, 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.

throws his cards in . ./"_:l.··.~.'~&μtof money. Gets up wearily. 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 the red combipen from his pocket. Puts a foot on the sink counter - and jabs the combipen into his leg.

Back at the table. Bond and Le Chiffre preternaturally alert, Infante and 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-four million in the t-/,.\ i_(.,j already. p~-) '))7 · ·

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

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

Fukutu looks again at his ~ardij:¥• ~::_c;_~~;all in with everything he has left. Nin1 ✓~· es: $9m.

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

Everyone matches his betilc ~:~ V

MATHIS & VESPER ~~ (CONT'D)

Poss:i.<~~~::t~ph, possible full house, two pa~? Sixty million in the p-~o.t~ Th\'s· hand is getting 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 ...

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 .

165 CONTINUED: ( 2) 165

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 Chiffre must have u,~_-_,J"ii~'{~~h~use. Bond's flush will be bei~/!i.μ.')) Bond's been trying to bluff afct:lte.'.:dias nothing to bluff wi:(;3:'•< ;!!~' 11 fold and keep what he ha;~~-;,.,>·

BOND c'~/~/

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

All w, .. ~:-:--, -,,~ ·········•·

THE DEALER ~ Y

counts up ~~chips.

~-)-~)) v )\·- ,p~- . ! DEALER

/,-:;·'.'."::0::-(~•ref'n million dollars.

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

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

Issued to Production Dec 20, 2005 82.

165 CONTINUED: ( 3) 165

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!?erior fu~l hous~> ·•&es, full of sixes .... Mister ;El~r0 ..•

Bond places his cards dol~;v;;_ Le Chiffre grins.

It woul~~e~~~F~~~sh is the low ha: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.

165 CONTINUED: ( 4) 165

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, she reads it, then:

Mathis ~s1~;~::icans have made cont~tiw:ifth Le Chiffre. He's~·iarng~i-;_:; his suite; they're going t extract him at midnight. )/' BOND w I think I'll call this

,,-·ttrft'J esper. VESPER

,/("'if:~~""'''Because of the bitter aftertaste?

/~<JV BOND )7

Because after you've tasted it ... it's all 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,~owed by an ironic smile. 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. I wouldn't do it ..~~'~11 if it did. ~ ,J

/::, t~( s:Je/ I don It v~!i~=ve you .

B~:;?s)lles, admits nothing. \'v

Issued to Production Dec 20, 2005 85.

166 CONTINUED: ( 2 ) 166

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

As h e waits,. h e starts to f ee 1 u ~-t,~':;::,,e::a::::;\ He scans t h e c 1 u b,

1c:/

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

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

Mathis? _ ,:it

'\\.

He gets up. -s,tri~)f through the candlelit room, a feeling

of dread g11qw-~~J ..

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

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

~~~J-»)7 Thei'~.o/ to his side - 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:

THE ASTON ~

~))/r

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

BOND' S HEAD £~;{( ~-~ .j)

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

;;•1(""··y

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

drag him from the Aston .~Eli.:t-Jded by the headlights from :w::::s, Bond~:~(~~close, BLACKNESS, UNTIL.

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

BOND I s ;)~>-1-::-1

er~~) ~~ ··as he is pulled into ...

~~,{AR

and "'·ltossed onto the floor of 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

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

KRATT /" . ((~ ···'

~;!c~fo;~~ clothes off Bond's bo~:~~)l~e lies naked on

LE CHIFFRE _£zc;:::;;Y

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

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

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

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

/;:::·\·· ".-~,. uldn' t want to fall asleep on -<<-)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, there will be little lef)l\ <)../~ to identify you as a man. Thetfc ~/CJ only question remains, will. ;f'3·Y·.~"' L> yield in time? , ::<~:•~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 11 then f:9"o rse ins~rt

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

--~\~\rt~~ Bm, ~"-1::f~.V.e~~,little itch there, 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) {, ", Triat was good, but a little to the '\7left. · (he hits 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.

169 CONTINUED: ( 2) 169

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:?ies not to

re,.

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

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

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

~ 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. goes BLACK... and as he 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's knife flash open. He kneels behind the chair, apparently to slice off his 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 see a man in SHADOWSstride out of the room where Vesper was being tortured. BLACK AGAIN as ...

Issued to Production Dec 20, 2005 90.

169 CONTINUED: ( 3) 169

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',"~~eep his eyes 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-

A FACE of anoth~~~ti~nt, a woman on a parked gurney, stares backl~~ ~on~7as he passes -- SOLANGE, lying dead, eyes locke ! ~'"'h}S, her look asking why he did this to her. Bon~. ~ es his head to keep watching. It's the last imag;e:;,~R-· sees before he PASSES OUT again. From BLACK ~~J11PSE:

A~ HONY of VOICES as the medical team swirls in and most y out of focus around Bond. A BLURRY NURSE, masked head to toe, puts a mask over Bond's nose and mouth and asks him to ''count backward from one hundred.'' James slips uncomfortably into BLACKNESS. Then GLIMPSE:

A BLUR OF IMAGES... A NURSE pumping James' 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 BLACK ft,l-9:[:i:rf~

/--{("'-~ ~,/ VES P 5);Ri)'('\f'>.p,?9) - -drug induced ,9()~~a]\.'!-:time to heal. r:IC, -~✓;

FLASHES of blurred im~{)_'}·i;hts, now interrupt the 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.

172 CONTINUED: ( 2) 172

As Mathis turns and empties the plastic glass, pours in more ice chips ... Bond checks the trolleys, spots SCISSORS on a nearby table. He stretches out of the bed for them ...

Bond grabs the scissors and goes CRASHING to the floor, his world tumbling upside down and GOING BLACK as everything CLATTERS and SMASHES 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.!:{g in a wheelchair taking in the breeze from/a~~c:J Mathis sits opposite him.

Why the~~f~:::-:d{;.e two of you alive . ... . .... ,,~ "\~·······- ..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; what he is doing, he could be putting anything in thi$-,\,j'.iid Bond knows it. )/

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~~Ei out. The two men lift him and w~isk ~im_throu~~Jrfi.j ~'pAn door and onto a stretcher, covering him in a s1:Kl:\~ ))An Mi6 "attendant 11 in white wheels him away. .. (:~.,,"'

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

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

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

/~---::~~

Bond wakes in a ~den lounge chair. His stubble has turned into quite.~a ~=...l ~immed beard. Vesper sits beside him, more beaut' ~~Pian ever.

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 something to 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.

174 CONTINUED: ( 2) 174

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

I Im afraid n~~~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. He turns to Bond:

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

~~. ~ap enter it .

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

She looks at him. He smiles. She is touched to point of tears. Forcing them away, shetypes in P-E-R. Mendel closes the briefcase.

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

Issued to Production Dec 20, 2005 96.

174 CONTINUED: ( 3) 174

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:·±nJ out .

She shi ts back onto er c i;r\,~;,/'Loo s at him and speaks the truth with a smile, ;t(~'.J,}1z:l.mmer.

tf~:...E~.E.J You ar..·e·:gc·.~.·.t¥,~:t "to let me in there, are 271:1?anl01J:': e got your armor I back"'am.:f'":that s that.

Bond considi~her~then lifts his hand, crooks his little finger and ~*,ops her closer. She leans in, they kiss tenderly. w"fi:e speaks the truth in a whisper.

✓::::-;, "'1 ,(r)~)) ,. BOND

/'.::'\ /~"' ~-~ave no armor left. . 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, overwhelmed by this simple, brave declaration, and finally kisses him -- tenderly, then deeper.

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?e t[cJ:'.e,1i)~round we've been holding on is flung open an1--,~Q.Jl~dned YOUNG 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>£urtive glance back. In the foreground an un1;1sed ~11\t:c9r¥falls and knocks over another tray, resulting tl;l~ 'ru:'.LG'ther burst of Vesper's laughter, which quick~·:~u)-:9-s to gasps of 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-~~ewt just 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 her waist.

Issued to Production Dec 20, 2005 98.

The two tumble and bob in the water as they talk, the hints of their naked bodies under the rippling water only make this that much more delicious.

As if considering it for the first time:

BqefQ'Z:J (looks ar:~~

Huh. ~~~-~~ it) / '"""·•-·--·-·"- '·

He swims for th~~-~ch~ she races him.

178 ON THE BEACT1:.Jit:~~ / 178

~-~ "'-"-;;

James s~;.~)_, ~t.:'l~he waterl_ ine, rests on the sand.She swims in and. 1sJ)herself up 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 ~-cafin honest job. Think it wi~,.:::n:a;::. :, to be you, I don'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 a message into his handheld:

"I HEREBY TENDER MY RESIGNATION WITH 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:,.es have one darkened lens. Vesper studies him°"~?r\ a moment, then he lifts the camera again and pointf¾t<:j:'ust over her head.

1:::--))

Vesper turns and follows his Ji{~-?'~eesa fabulously bedecked wedding party ste~p:,1/":'s:~f~om the church steps into their waiting gondolas. {'~)(_~,¥ solved.

James catches her loo~.ifi,~~ the wedding party and smiles. Vesper blushes an~o s nitfk to paddling.

"~ . )

They are nak~ ag~ and Vesper surfaces from the sheets and covers 'l"r1)1:~Jully fighting Bond off.

(_j}~J VESPER ,(('Z_,<i1Jlenough. Stop. I can 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 snaps a 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 (he grabs her, ~~e:::);/ escapes) fi:::·,'---:.\,,1' Ah! No, no, I A~)t~ get to the

bank(fi~~:t o/~~~~~;EfJit?

They'.11.~, ..us~\, b... \ bpening. How much do you fi t.'Et::··e need to float for a moiac€Ji,t:::~::::...

\,,h ~ -~AMES

l~~~~J plenty.

«;;,>;~) VESPER r:_te~<No!) I. intend to pay for my half of

~:··\ '~- cnfr aimless wanderings. ;<<") i::: y Sfi~(f~~s her t-shirt on the floor and tugs it on. Bond prop.$-.}umselfagainst the end of the bed and pullsthe covets around him, studying her as she dresses.

Issued to Production Dec 20, 2005 102.

181 CONTINUED: ( 2) 181

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~hes her eye. 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~:_~~~ieads for the bar.

As they reach THE FRONT STEPq'.2t~;};;;)i

;;::.~ " ,,,

Someone you ~~~RZ __1v <- ""'Z:"'--t t ((vE~iR No, I j_~~a:.1&.Jhim on the canal. /,- . ·:c, ' -.BOND It~~ a s*j,,fll town. Meet you back /l~~j half an hour?

They kis~r~:n~,~he takes off toward San Marco square. Only when s2r;~g~ne does Bond betray his suspicions. He steps ba5,k· ·t•~ 'THE HOTEL. ,f<(~l )_\!/;P . Bo~, a1/Jlroaches the concierge and slips him a bill. ~y

Issued to Production Dec 20, 2005 103.

Bond walks to where he can see GETTLER, who stands at the bar talking animatedly with a tall man who is showing him a pocket 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\~ .... In a Lift .... IN A... {I_~, ...

James reacts at his own stupidit}C'-0-fe:~tra~ the call.

James enters and walks to thEt,/6,1-~~~, hoping to catch a glimpse of Vesper in the bu1·"--R~~za. No trace of her, but Gettler, the man withr, ~)'f'¥nama hat, 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 ' s better; 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 Production Dec 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~lheld as he exits the

,,.,~":Y

room. : r~~v'

L C '···1

Bond takes the stairs~:-~.~.~- Negs threatening to give way under him. He se~fch s ~f¥°per's cell 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>·text message on Vesper's phone reads "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,flash of her dress and an aluminum briefcase disappeari~ )l9:t_\o an alley. 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\:f funeral launch, rolls onto parked gondolas andf'.}J~p:~ onto the opposite bank. I"( ',;-.>·

:··,~..._,~,.,,.1✓

DEEP IN THE BACK STREETS 8~M9f-KING VENICE

t:C .../

the part tourists selt{:l:~-~S:~. Cans of slop are emptied onto a garbage sc~. a~\ity flaps over rusting lawn furn~ture, boats -~~~,el:l'.,Yup awaiting repairs to their rotting hul 1 s. /,z:.::··:: ::::,

James stops;~e;io ~fy ways to go and no sign of his quarry. Sounds echC\'::/iJ. i?-round him, water lapping, children's voices bouncing o~~~ls. Then the distinctive click of Vesper's shoes on r,sjio#eJ Bond slides his Walther from its holster and e.a~~.<iP::l!o the pitch black corridor between buildings. H~-::,:~.e~ on the 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.

TALL MAN digs for a weapon. Without breaking his stride James puts two slugs in Tall Man's chest, knocking him down. Gettler pulls Vesper in front of him; his stiletto flicks out of its handle and the tips digs into her neck.

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:~.~nd drags her 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. Loses his 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! buildings open off a tiny square, their faca~des(1~\~'1'ogether by wire girdles.

A woman in~ near~;~M~;kyscreams_at him as he checks the doors. He finds' ~.c .i,tQ!<,edframe, kicks open the door, steps into darkness an~~-

'):t'

...~ ,.))

... PLUMMJ~t ~· grabs something in the dark, gets his wind b1<!t~~~9 swings himself back up to the doorframe. Ou~we~~e··old woman is still screaming at him. Now he

~~1-~~ In b~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/'•~le into

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:ATER POURS 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~· at Bond, almost gutting him as the HOUSE TILTS a ~BRJ.CKS and SUPPORT STRUTS fall all around, th_yc:a..t~ ~ngto brain them.

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.

Issued to Production Dec 20, 2005 108.

the surface. The two enemies fight and gouge at each other as timbers, bricks and and jagged tiles puncture the surface of the water and embed themselves in the muddy bottom.

The two surface and scramble to the partially flooded first floor, now at 45 degrees and tilting fast.

/)

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'., hewn spear out of his side and drives it into Ge}bl~r\'s throat. As he dies, Bond hears the safety cabltE:};l.l;i~\/4 give way and the 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}'-?.-~~?. She slams it shut just before Bond reaches it a~ctd~~v~~Ythe hook home to lock it.

~---.\,:,}I

Bond looks at );{e~T=wl:fut the fuck is she doing? She forces something into hi~,hand -- the necklace.

\'.vt }/l \'~1.-'"~-~ VESPER 111s,vu1,i- see him- - ;-,-''('--)

Bond yi~~~~ -the accordion 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 sees Bond coming and backs away. Bond grabs the gate and pulls on it with all his might, trying to force it open, 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

As even their small purchase ~f.iapp~ars underwater, 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~ies to pull him away . from her - - fax:-~:: ::::::tt~bangs his fists on her chest, 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 Production Dec 20, 2005 110.

M -- he was kidnapped and they blackmailed her, threatened to kill him unless she cooperated. 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:( in which case she died 1tlty~ng' to free a 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 ... If you 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'.' 9 e'j,f.' why you weren't killed i~-, ··ha.·\i) basement? (beat ) 1,/('"',:z.:"' It 's obvious, i si:3:,~~t.p?Y She made a deal. She d;t1/~9JM the money to save your ?,/2~ 'e.:. Perhaps she even hoped ~h:ey~9uld let her live, leave y9~ t~~\n peace. But she was a smaNt g~r/2.; I'm sure she knew/4~-w:~ going to her death.

Bond takes tl\l.i;s i~ut doesn't respond. He pulls the plug from his e'l':('~~tosses the 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 stand of cypress trees we spy a car pull up into the courtyard of 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~-=::.Javing a trail of 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'gui tar strains of the FAMOUS BOND THEME. CUT TO BL:}t~J-EDITS ROLL.

((j'>'--::'-J - THE END -

~('~:}) )./