"SPECTRE" (2015)

UNTITLEDB24

Screenplay by

John Logan

Revised

Neal

• October 17,2014

t screenplay isa named copy made available to the reader t must not be photocopied or its contents divulged to any

with the utmost careand confidentiality.

acopy of this draft screenplay be lost or misplaced, please ediately report this to the Bond 24 Production Office or Eon roductions Limited.

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c 2014 Danjaq LLC and United Artists Corporation. All rights reserved.·

GUNBARREL -BOND -BLOOD.

Thesound ofDRUMMING.

IRISOPENS on the eye-socket ofaSKULL.

It's theDay of theDead.

Pull back from the skull mask to reveal coffins,hearsesand death masks.

Drummersaccompany the vast procession.

Revellers stream downa road toward an enormous ahuge party is happening .•.

... we note heavily-armed POLICEGUARDS here and there.But the atmosphere isone of celebration a xcitement.

In this sea ofREDand BLACK, SUIT AND BLACKMASK,who is moving

This is

Now theman bumps into so FOLLOW THEMAN HEBUMPED

It's JAMES

He is ismasked too.His arm is round

the parade,and head into

AN HO

cut through the swirl of costumed guestsand visitors g arounda vast atrium whichforms the lobby of the

through the colourful stained-glass windows

step intoacrowded elevator as the doors shut.

She nuzzles at hisneck.Hishands slide down her back.She offers little resistance.

/ The others in the elevator pay them no notice.Everyone's too excited and pre-occupied with the festivities.

2 •

ThewQIDanreachesintQher cleayag~iand pulls out aROOM KEY.Dangles it invitingly in front of his face.Giggles.

The doorsopen and the couple leave.

The couple pass more revellers,then ,~key in the lock,and they enter.

The girl(Estrella)removes her mask.She is gor

And now the man removes his mask.

They kiss.

She fixesthem both

Like you.

As she his coatand hat.

assassin.

With ond, Estrella takesa sip of her drink, crawl bed, and turns to see him opening the window:

follow himOUT OFTHE WINDOW.

Dangerously high up,hejumps ••.

Landson a rooftop.

He keepslow,walking coolly along the very edge of the roof, the street clearly visible below...In the distance we can see thecrowded square.Thedrumsmore distant now..•

He reaches his destination,and stops.Looksacross the way atsome apartments.Day of theDeadFLOATSandSTILT-WALKERS passing between...Now he ducks behind alow wallon the rooftop.

Takes out his WaltherPPK,and an additional piece of equipment.Clips the piece onto the hand grip of thegun a satisfying clunk.Insertsan earpiece.

Bond now tests hisgear- raises thegun, points the crowd.

We seea faint laser beam emanating from beneath

A laser microphone.

We see the laser pick outa couple in thecrowdThrough Bond's earpiece we hear:

Bond smiles, shifts y,past empty rooms to another block -wh the apartment he's looking for.

Bond

The apartm erving has several windows through which w goings-on.A SUI~ERman nervously paces, drink r MEN in the back round.

A DOO

IN

Man crosses toward hisapartment door,drink in

sit to see TheMan In The White Suit we met earlier: Sciarra.

-~ Jin Italian,subtitled) Yes. It'sQver tnere.

Sciarracomes in,heads toa table wherea case isopen-the lid blocks our view of the contents.The man looks at his watch.

Jin Italian,subtitled) When is lift Qff?

Jin Italian,subtitled.)_ Eighteen hundred hours.Thenth,,e_ _qgverno;i;:sozillbe"dns.t-

~SCIARRA (inItalian.subtitled)

There areSTILT-WALKERS passing and his target- he waits for his moment ..•

And

subtitled Pale Kin.

th name.

AIMON SCIARRA-

ROOM.The Suited Man pourstwo drinks.

SUI'l'EPMAN. (in Italian,subtitled) A toast,my friend. (Raises glass) To Death!

BONDFOCUSES,STOCK STILL ASTHEMENDRINK - FINGERONTHE TRIGGER --THEN --

Suddenly,down in the street,FIREWORKS ..•

~Rocketsstart screaming past Bond -

In as lit secondSciarra turns to the window ducks-

Bond shoots.The window ex lodesfrom the

He's missed!

Now the Suited Man starts returnin associates.

Unseen b Bond Sciarra walks cooll oom -

Fra ents of the wall fl fire.

lhe Suited Man drops behind for cover,as bullets continue tosmash thought • He is near the case. Reaches to firearound t it -

Bond takes the dir THROUGHTHE CASE- shoots and - KABOOM!The

shakes the building to its

of glass raining down into the street, car screams.Then an awful silence.

Now SECOND NOISE.A creaking sound.

looksup slowly, realising ...across the street,the uilding begins to shift and tilt ...and then slowly, orably begins toFALL --TOWARDSBOND!

topplesdown on him,Bond runsanddives--

buildingSMASHES into his rooftop--

A massive concussion.Dustand rubble everywhere.

Butsomehow it has missed Bond.

Then...Bond's rooftop begins to tilt upwards.Bond clingson ashe is literall~cantileveredupwardsbytheweight of the fallen building --

ThenBond releases hisgrip,and slidesdown the roof, landing on alower floor.

He landson his haunches.Looksaround, trying to orient himself

Exposed wires crackle around him,water gushesfrom pipes.

Then he feels theground begin to tilt again.Instinctively he drops hisgun,and grabs ontoan exposed pipe as--

This entire floor collapses as well!

He holds onto the pipe,swinging down dangerousl twenty feet .

And lands--On his feet.At ground level.Th ollapsed building allaround him.

He picks hisway through the debris.

And now he opens the front 'lding- the only thing still standing-and at's left of it, straightening his cuffs.

Bond

bystander to.

as the two assassinssee each other.And

im ing badly,but he is strong.He barrelsheadlong now descend on the scene of the bombin.

reacts

~hind them, the wailing of police sirensastheyarri~e,at _thescene. ·.x;

8-10OMITTED 8-10

Nowwe·follow Bond ashe chases Sciarra through the crowds. Pushing through the chaos of costumes, floats,giantpuppet~~ ~htmarish.

,Up ahead,Sciarra pullson his mask.Looksar2undL~

Bond sees Sciarra take outaMOBILEPHONE from his Makesa call.

F9stedon walls,severalPOSTERS for the theESTADIOAZTECASTADIUM.

Bond is on him tr him in hi _through the heaving mass of people.

They turna corner,and we craneuto reveal-

noise of the celebrations masked

At isa mass of Drummers

ahead.He checks over his

closer.

and look

called for his vehicle .•.

crowd begin to scatter.

OF DOWNDRAFT,and Bond...watches as the helicopter close to the ground, directly in front ofSciarra.

climbs into the helic

The helicqpterstarts to ascend.

Bond is running,and getting closernow-

Using every last ounce of strength,Bondlea~tl_

Grabs onto the landing skids,hangson,the pilot struggling ,withthe lopsided weight.

Thecrowd watchfrom below asBond hauls himself up.Yells and screamsfrom below.

ThePILOT wrestles with the controls,asSciarrakicksout,_ trying toEushhim out of the cabin •.•

But Bond claws hiswain.And now ~he helicopter ..•

The helicopter is gaining some height. ,controlofSciarra.He..holdshim helicopter.

rabs

almostUPSIDEDOWN. noise of the

lets o •..and the helicopter's

anq grabs the pilot .••

in the square gasp,as the helicopter again dangerously.

at incredible seed.

pilot swings at Bond, but Bond manages to wrestle the

o rolsfrom him.

He throws the pilot out ashe pulls himself back in.

The pilot falls likea stone to the ground below.

Bond takes control.

BACKIN THE SQUARE

Thecrowd watch,as- just in time-the HELICOPTER arrests 7..tsfall,andIevefsoff.

Now we see the helicopter gain altitude. Until it liftsup

BACKTO BOND.Steel as he looks out over Mexico Cit )etting sun.

~cellphone rings.He answers.:...:_

EST}3.ELLA(Q.:~ ~ohow's theyiew, James?

,.BQWl_

oes to ks out across the sun •••

INTHE CHOPPER·

He RING he holds in hispalm.

ring.

OF THE ANCIENTSILVER RING-THE

AND

the Octopus take usona floatingjourney

The drowning Vesper,

The sweat-drenched Le Chiffre,

The oil-soused Agent Fieldsfrom Quantum of Solace,

The insane Silva,

The dyingM -

Bond is caught in the middle,torn and confused-

Now,funeral mournersmix through into the desert-

The octopus tentaclesbecome Bond's veins-

An injection of blood courses through them..•and becomest red in the Union Jack -

The flag wraps itself around aBulldog whichSHATTERS revealan envelope ...

Inside the envelope,a picture of Bond.

Grey early morning London.

A solitary figure walksup Whitehall.

It's Bond.

A hi h shot asBond court ard.

He enters the front

fall silent.Analysts

He cl CAMERAS high up on the walls,every twent

between desks ofSECRETARIES who type faster as

e reachesMoneypenny's desk.She's wearing her dictation headphones.

Moneypenny regardsBond levelly.She carries on typing.

IfBond is snubbedhe doesn'tshow it,or thatheknows what's next.He knocks briskly on M's doorand enters.

Moneypennyglancesat thedQQr.

A newspaper hits the desk. Its headline:

Bond sits in front of M's desk.

M (~ ~tartanywhere you like.

~ond glances at thepaper~

M (CONT'D) Takeyour:time,,u.007,Butin five minutes the Head of the Intelligence Committee, walk through that door, to explain how one of decided to potter off on hisown and caus incident.

than a whole

ERATINGON MY AUTHORITY.

at 007 in utter consternation.

M What?!

~'s bloodboils.

M )\reyou even listening to me?

shake up in the history of British Intelligence-

18A ~NT.OUTSIDE M'SOFFICE,MI-6,WHITEHALL -DAY -INTERCUT;

MONEYPENNY

Back inside M's office.

M -as soon as the ink drieson this merger,MI-5 will be just itchingf an excuse to scrap the00programme forever.And you just hande ON A SILVERBLOODY PLATTER

M, his blood

fly like

yrules.

ahead,his ·awtensin.

Ji._ _Reasons,Bond?Ihave a list: Arrogance.Insolence.Mania. Paranoia.BorderlinePsychos~s.Have I missed anything?

ae is standingoverBond's chair now.

..M (CONT'DL Admitit. Since she died~Qu'vebeen a loose cannon.You couldn't save her,you blame yoursel.

A beat.Bond stands.And facesM.

..!!§fi~~sM with a calm smile.Mstiffens~

Are you threatening me,007?

For a moment it looks likeBond mi smiles.

SUDDENLY--- The door opens.AMANen and charismatic- and about thesame age

M regains hiscomposure. It's not

M (CONT'D Ah. Excellent.Co like you of MI-5.

They shake hands.

to finally meet you, rd a great deal about deal ..

C ~rustme, 007. We're all about the small details.

M (J2.ointed)_ 007 was just leaving.

C It's perfectly alright,M.I appreciate candour. (MORE)

18B. CONTINUED:(2) 18B

C (CONT'D)

sharing opinions across departments, bringing Intelligence out of the Dark Ages,into the light.

M That will beall,007.Report toQ tomorrow.

BOND walks out.

M looks afterhim.Unfinished business.

A large stucco fronted house.

A figure appears.Framed int

Bond.

Bond, CLOSEUP, into the street below.

Takes

looks round.

The It'sMoneypenny.

her inside.

ee the flat.Bare.Anonymous.Stuff still in boxes.On kitchen counter,a single bottle of scotch stands

entinel.

The scotch bottle on the counter is the only decoration.

She handsover a slim box file.

Bond tosses it on the counter next to the sco ch.

She looks athim.Then:

Why the

He looks at her.

21 CONTINUED:(2 ) 21

Bond studies Moneypenny.He putsdown his scotch. theremote and turns on theTV.A disk starts

A face appears .•.IT'SHER •..

••..M.Moneypenny is transfixed .•

M (JUDI) If anything happens you to do somethin called Marco Sciar don' tmiss the

The image

Jesus.

montbsago.

You want

She smiles.Justt infrom the bedroom.

back to

Money e doesn't leave her face,but it changes.

nny goes to leave.

Moneypenny smiles.And leaves.

From the window,Bond watches asMoneypenny street and walksaway.

Behind him,a woman's shapely bare legs pass.We reflected in the window,wearing only a bedsheet

Bond doesn't turn.Did he even hear?Then, afta pause:

The magnificent old river

A RIB

On it

Nice quiet break.

They PRESSIVENEW BUILDINGONTHEBANKSOF THE THAMES ooksup at it.

The boat heads into an opening in theembankment

Their voicesecho in the tunnel:

And MI-5 ,M'sfeel'

What do

Bond as the tunnel narrows.

y reacha small quay.The underground river flows off into darkness.They step off the boat.

They head along a corridor.

They turn a corner.

They reach a door.Tanner knocks.

A large zen-likeroom.White til imple desk,various half completed and eccentric inv ieabout. Piles of books and scientific periodic the effect.

room with one chair inside and machinesand screens.

himself,preparing ashe talks.

Reluctantly,Bond takes off hisjacket.He sitsand slips his arm intoa small MRI-type scanner on onearm of the chair.

A VIOLENTSOUND LIKE A STAPLEGUN

Bond reacts in pain asTHESCREENSLIGHT UP:

Instantly we seeMEDICALGRAPHICS sh electrical signature entering Bond's bloodstre

We location: itzooms in on

CONT'D) douts?We can monitor signsfrom anywhereon the verything from stress , emotional responses,fatigue s, to blood pressure,caffeine ke ...alcohol levels ••.That sort thing.

More screensSHOWSKIDNEYFUNCTION,BLOODSUGAR, etc .•..

Q looks at the screen of readouts.

Further down in thenew Q-Branch environment.

Bond andQ walk past a series of old brick arches vehicles,(boats,cars, etc ..• ) all in differing assembly or disassembly.

MECHANICS work silently.

They now reach an arch which hou - under reconstruction (after its destru

Q laughs . Bond doesn't.

At large freight elevator descends.

On it beauty:The new Aston MartinDBl0.

dmiring,already anticipating the pleasure.

Bond's face.Stopped in his tracks.Q brushes past.Walks overtg a small table.Picksupsomething.

He handsBond an understated,black-strappedOMEGA WATCH.

They walk out through the facility.

Given our if I said my mind.

privacy I

at Bond fora beat.

Q holdsBond'sgaze. A couple ofQ-Branch personnel pass by.

29 CONTINUED:(2 ) 29

Bond listens ..•

Bond smiles.

Please

Bond after him.Unnerved •..

ack BULLDOG(theone left to Bond by the traight at us.

that it sitson the coffee tableamongst The sound of rain outside.

on the floor.He has theSKYFALL fileopen in front

s a slug of scotch.The bottle is nearly finished.

PAPERSAND A FEWCHARREDPHOTOS.

An image of Bond,ten years old,with his mother and father, Skyfall lit up by the sun behind them. All smiling.

Bond looks at the photo, his facea mask.

Another drink.The next item:

TEMPORARYGUARDIANSHIPPAPERS.Bond'sname briefly visible.

LEGALDOCUMENTS.

He leafs through and comes toANOTHERPHOTO:

A thirteen year-old Bond withaTALLMAN;thetwo of them in mountaineering gear on asnowy peak •.•

A faint smile comes to Bond's face.

He replaces the items,closes the box.

Now he turnsand looks at that Bulldog on the table ••.

,M (JUDI)(O.C) Jf anzthinqh~P.J2JWSto meoo7,Iaeed you to dosomethin~.Find a man called Marco Sciarra. Kill ~don'tmiss the funeral.

BOND'S EYESARE RESOLVED.Heknows

The start of another day.

The room is dark. of a workplacecoming to life. The door unl penny enters,shakes her wet umbrella,takeawa hand.Stops at the sight of somethingon~er

A gift-wra orchid.

How t get there?

Sheu

the desk.Opens the parcel.A box.Containing a A CARD with the words:

YOU'

then, M comes in,parksaWHEEL-ONFLIGHT BAG by the - and notices theopened wrapping paper.

M What's that?

She makesa choice,putting thebox ina drawer.

M Not your birthday is it?

M heads into his office.

Q too is starting his day.Is about to swipeac the workshop door-when he sees the door is aja

An ASSISTANT is behind him ashe heads in,suspic they walk along:

Q presses the ator. It begins its descent.

Q watches the elevator. not the car.

It is aBOTTLE ICE BUCKET.

Q's face.

xpansive aerial shot of the Eternal City.Burnished by ate afternoon sun.

below we see the Aston cutting through the trafficand ring the city.

STREETS OFROME -LATE DAY 35

Bondsweeps along,enjoying the car.The modern muscular Aston issomehow right athome amidst the ancient stone.

Bond takes in the interior.FOURTOGGLESon the dash: 'Atmosphere','Exhaust','Air','Backfire'.

Bond looksdown at them.

He pullsup ata cemetery,bathed ina late afternoon mist. A number of other cars already there.

Tall leafless trees line the steps that lead up toa forbidding looking Chapel.

Bond observesMOURNERS spilling downalong flight of steps away from a chapel.They look pretty tough,mostly sui unreadable.Possibly Mafia.We sense Sciarra must have important.

Centre-stage,theWIDOW(LUCIA),black veil cove -the funeral service clearly over.The black cl stark contrast to the white marble steps.

As she comesdown the steps,she turnsand loostraight at Bond.She is very beautiful.

She holds hisgaze forasecond.

White marble colonnades surro walks around the colonnade,observing the closer.

~-s,:tand.before name SCIARRA .......-.·--~ A PRIEST Italian,soncludingthe ceremony:_

icommettiamo il corpo di a terrae dire addio

es closer.

on Lucia now.Her beauty stillradiatipgthrgygh_

a little behind her,stand whatseem likeTWO

She hearsan off camera voice.

She turns to look at him.Her face isa mask •.•

A flicker of curiosity:

Their eyes are locked now.

How see

No.

One of Sheknows it'sa signal to go.

ith Bond,intrigued.She headsaway with c es her go.

rpulls up outsideafabulous villa,Lucia gets out and ers the villa.The car drives off.

up behind Lucia.Thetwo bodyguards.

CAMERA movesdown the side of the villa as Lucia's silhouette passesfrom window to window,moving through therooms.The lightsgo on inside.Music spills out of the housefrom a stereo.

Now Lucia exits the back of the villa holding a drink,the music rising in volume as the doorsopen .••

She takesa sip asshe stands before her leaf-filled pool, the lights ofRome twinkling in the distance.

The bodyguards step out after her,both of them screwing silencers to their pistols.Thesound of the wind in the trees.

With the musicand the drink she's blocking out what she knows is happening.An execution.

Both bodyguards raise their pistols behind her veiled

CLOSEON LUCIA LOOKINGDOWNATHER REFLECTIONIN She is shaking.

WEHEAR TWOSILENCEDSHOTSand a body splashes in wrecking the reflection.

JAMESBOND

Steps out of theshadows.

Lucia looks at him,nobody behind ger. She exhales.Finishes her drink.

WIDER

Now we can see floats in the pool, the other lies

Bond comes to her.

you're time.There are e that willcome after uy me is five minutes.

Bond

poursthem both drinks.

He holds out the drink.SheSLAPSHIM hard across the face.

Then you

Ican to go.

crazy,Mister.

He li

her,his hand sliding down her back,unzipping

clothing areremoved,the following:

He is kissing her neck,her shoulders ..•

Bond continues to on.

make love.

CIA'S BEDROOM,ROME- NIGHT 41

a isnaked under the sheets.

dressed again,stands over her dressing table writing a

He crosses theroom and hands her the paper.

She smiles through tears.

He looks at her.

He makes to leave.

She hands to that worn bSciarra in Mexico.B

Bond

,LUCIA(CONT'D)

,;e.Q,ND Who's that?

You'll see.

Midnight ata magnificent but oppressive Palazzo.It looks dead from the outside.

The Aston drives into one of theenormous courtyards.The vast buildingloomsupon all sides.

JamesBond steps out,takes it in.Quickly notes there are EIGHTENTRANCESTO THEBUILDING- outside each one,a couple of carsanda bodyguard. It feels likea significant event.

He walks pastone entrance,notes the engraved word above the door:FORTUNA,then past another:MARS.The names of Roman Gods.He smiles to himself,has worked it out.

Stopsby the next entrance;DIANA,the Goddess of smiles.

A group of people are just disappearing inside.

A heavy set manWITH A SCARON HISCHEEK spotsB Approaches.

Bond is facingaway from the man.

Bond slowly turns.

I'm are you?

his palm upwards.The ring glints

his demeanour.

enter the gate,the man looks about.

A low ceilinged corridor,a closed door at the end.

At theend of the corridor the group wait,then A BELL SOUNDS.

The bell echoes ina magnificent room.Eightdoorsopen at thesame time,allowing the differentgroups in.Now everyone ,w;earsamask- identical to theone Lucia gave toBond.

Bond"m§.keshis way up to theFIRSTFLOOR GALLERY,looking down into the hall.

,Below, the huge hall isdominated bya vast

All the groups enter.Bond witnesses it all from up theshadows.

He watchesasTWENTYmen and women take theirse the table.Formidable businessmen and women of nationalities.Behind them their entourages stan in all.

As Bond looksaround him,he sees thaton the llery surrounding him arearoundSIXTY PEOPLE.Diffnt tiers of the organization.An overwhelming sense ofpo

Bond boldly standsamongst the

Then a hush starts to descend. are snuffed out, lowering the light.People sit of expectation. Beyond the table, all isshad

Smoke from the candles gh thegloom, GIGANTIC THIRTY FOOTDOORSOPEN - IOUS LEADEROF THE ORGANIZATION makes his

Bond watches the head of the table.He takes amome hered in theroom then speaks,his ar.

around the table.

BONDSTANDSIN THESHADOWS.LISTENING.

The leader reachesdownand picksupaSMALL AL BUCKET.

He pours the contents of bucket onto the table.

It's full ofEYEBALLS.More than

The eyes glisten in the candleli begins to intone.

How does eweb? How does the t:e child •. ? It keeps s everything.

He lowers or crying.

The Leader eyes.

~ z:ai:t.ru:._t.Cl...alLa.L..ua..We ":,('._ er to appointa replacement to rra.~ho willcomBletethe jobat

gisters thename again- as the Leader fixes hisgaze ~ heTWO MEN sitting beside one another at the other end of table.They both,ceremoniously,remove their masks. ~

oth are smartly dressed butone is noticeably larger.The firstguy, a SPANIARD,looks to the man on his left,HINX- who staresahead at the Leader.

43 CONTINUED:(3 ) 43

MisterHinx slowly gets to his feet.

Everyone's eyes travelupwards.He is smiling.

Suddenly,hegrabs his rivalaround the temples, his strong hands holding his skull.

The onlookers are enthralled.

Bond watches,from

The Leader watches

Hinx continues to smile, s the Spaniard completely off his feet.

The whole gathering , hypnotised,as Hinx'sthumbs move around to th s eyes,and finally force themselvesi~o

the Spaniard's choking gasps.

SUDDE hes, and in one move breaks hisneck.

gallery,in theshadows,as the floor.His lifelesshead fallsforwards dull thud.Blood poolsfrom hisgouged

getsup from his chair,he stands straight and

He smiles.Then---

BOND listens.

BOND keeps perfectly still.

He turnsand looks~

Bond freezes.

Behind th stealsa lookar.mmd___ him.Then his gunand_ 'aimsata

subtitled

Ever a moment in :theroom__ Tsa man awa

attention divertedBond tur

He leapsand smashes through the huge stained glass behind him -

COURTYARDS,ROME-NIGHT 44

Broken glassshowersdown into the courtyard.

Bond reaches out,and JUST grabs hold ofa ledge •

..H.e...looksbelml,dro~to thecou;r:tyard,.runs towards theDBlO as bullets begin to ricochet around his feet.

{CONTINUED)

Bond reaches the Aston,jumps in, his tyressmoke as he roars _away.•.

44A JNT. CARDENZb,ROME- NIGHT 44A

~ackin the Grand Hall,The Leader laughs guietly to himself .•.

Th screams out of the main exit, bla ,el?. from ever oriflceof the buildin after im.

He looks back.Aears to be safe .••

And then suddenly,with a roarin screams out of thearchway

Mister Hinx is inside.

Other carsnow join as MAIN ENTRANCE.

Where the He seesthe

The v gates start to close ..•

As Bo through them.

just makes it~btough,.

~s toget tbe gatesclosedandthe other-. halt comin within inches of the wide-e ed

XT. STREETS,ROME- NIGHT 48

On the streets ofRome,the race ison. Just thetwo of them.

Bond hurtles ontoa dual straight road.Pure speed.

It's the middle of the night.Few cars about.The Jaguar not far behind.

IN THEASTON:

Bond considers those four toggles.'Atmosphere','Exhaust', 'Air','Backfire'.

He never had the instructionson what the car is capable Improvising,he flips the'Atmosphere'toggle

APPEARINGONTHE REAR-VIEW MIRROR:'MUSICENABLED BRYCE'.

-and Dusty Springfield's Bond can't stop it.

But he doeshave more important matters-witHHinx closing •••He selects'Backfire'.

A small machinegun e car.

A-ha•••

Bond awaits thesound ofg beeping alarm •.•

e looks.Hinx isgaining.Bond ,surprisinghim.

on his cellphoneand.the music

merci

INTERCUT:

nny's new cell phone vibrates.She's in bed.Reaches ,takes it.A man is in bed with her,asleep.

Andnow Bond seesHinx hascome alongside,his smiling face looking at Bond through hisopen window ashe raises hisgun.

,BOND(CONT'D) Holgtbattbougbt,,.

Bond acts fast-slamson his brakes,makes another fast right turn as--

Instantly,the JaguarZOOMS past him,then brakes too. throwing the Jaguar into a180 spin,and screams offa pursuit.

Bond looks into his rearview mirror.Sees the Jaguaeeding behind him,a greater distanceaway,but still'npursuit.

Up ahead the road leads toa T-junction. Aro parked cars line the lower level street.

Bond accelerates,drives the Astona the step zooming over the top ofa parked

RIPS off the roof.The Aston

Too late forHinx onds behind Bond,Hinx follows,catching s eered-off roofon his windscreen.Giant cross the glass.

Bond looks in the

But ... 'ng.He simply sets the car going again, ling into the street.

Now B sharp corner,avoidingarow of parke go.

takes the turn.He overshoots,and clips the They fall like dominoes.

Hinx pursues.

STREETS OFROME -NIGHT -CONTINUOUS 52

Bond looks back in the rearview mirror.He just can't shake thisguy off!

A straight residential road lined with parked cars.Bond screaming ahead,corning at speed towarda tiny FIAT puttering along on itshomeward journey.

Bondzooms up to the rear.He's close.Very close.

Bond revs the Aston engine,trying to intimidate the FIAT DRIVER to speed up or move aside.No go.The Fiat remains at a constant slow speed.

we see the elderly driver.He's not going anywhere.

Bond seesHinx approaching behind him at speed.

Now Bond accelerates, fiercelyramming into the back of Fiat,pushing the tiny vehicle at high speed like it's

We see the old man's astonished face,as the travel at high speed.

Up ahead,anempty parking space approaches--

Bond deftly turns the wheel,shunting the Fiat the space.Perfectly parked,leaving the old m dazed wonderment.

BACK ONTHE ROAD

Hinx is gaining,Bond speedsaway, a street flankedby a huge vine-covered

For a moment race again.

Bond'sphone calling back.Bond quickly answers.

BOND

two cars cresting the brow ofa hill,leaving the crash back down ...

turn and onto--

NIGHT- INTERCUT:

Moneypennyisnow sitting at her desk in a dressinggown, looking at her laptop screen:abovea digitalmapof_~ _Mondsee,AustriaisaPHOTOGRAPH ofaman some of us will recognize as Mister Whitefrom Casino Royaleand Quantum o Solace.

Data files relating to him stream down the screen.

MONEYPENNY&BOND (simultaneously) Mister White.

It'sa surprise.A nasty one.

Behind her,out offocus oneypenny'sboyfriend enter. He standsinth

of the Vatican loosahead.Hinx still in

And she'sgone.

BACKIN THECHASE the Astonand the Jaguar hit theend street,and scream right past the Vatican entrance,dr all the way from one side to the other.

Bond swings the corner.

Speeds ontoa street running parallel with thiver Tiber. Hinx follows.

Now Bond tries another

A FLAMETHROWER flame. blanketin Hinx's car

Now the groun away,and they bang down steps on the Tiber

racing along the narrow path by the side dible speed.

The p rts to narrow. It'sa tight squeeze.The cars occasi eer to avoid obstacles,scrape against the wall.

~~:...!,Ji:-a;.i:t~e;£s..,in front of Hinx,~now they' re heading end -the approaching road too narrow to

off.Only a bridge ahead.The Jaguar behind him is trapped ••.

He eyes the only unpressed toggle-'Air'.

Not completely certain of itsoutcome he flips it.

Watcheswithan almost detached curiosity as part of the roof slides back-followed bya SECONDSEATBELT sliding over his chestfrom his left shoulder,crossing not unlikea parachute harness.Now the head-rest tilts back.

CLOSEON ONEOF THEDIALS

A countdown appears:5-4-3 ...

BOND

Looks about.Readies himself ..•as

ONTHE DIAL

2-1-

BOND'SPOV:

Theend of the roadzooming straight toward u

INSIDETHECAR: A BRIEFFLASHOF

THE ASTON FLIESUP,ARCS

AND CRASHESINTO

slowsas he reaches

the

The depths of the Tiber.Hissmile

A k makes its early morning rounds.

JamesBond driftsdown to earth,his black collecting behind him.

eleases the'chute,dumps the harness,and doesn't check 'de ashe calmly strolls past thegarbage truck.The busy

arbage collectors hardly notice him,ashesimply walkson

A huge UN-style meetingroom.Through large windowswe can see Tokyo spread out below .

progress.

A COLLECTIONOFMENAND WOMEN of many nationalities gathered. Placards:The United States of America,France,Germany, etc.

Mand Care amongst them.

~•ssimultaneous translation light flashes.

L MisterChairman,itI may?

__C (CONT'D) Fear hasmade us isolated.

M watches with interest.Where

behindM, sees something

Close 's laptop screen:A message sentfrom an MI-6 analys mage of anITALIANNEWSPAPER,ILTEMPO:

ow of Mexican bomb victim Marco Sciarra missing,two uardsfound dead at villa.'

read more.Sensing trouble ...

C (CONT'D) I say, again -a Nine-Eyescommittee will have fullaccess to thecombined intelligence streams of member states.More data,more analysis.The _security services of the world, united. Gentlemenalone,.we areweak_._ Together,we area global power.

M's face.Concerned.

An aerial shot picksupa dark Range Rover as itsweepsdown a longsnowy road,high in the mountains.

An otherworldly setting of haunting desolation.Grey and cold.

Bond climbsfrom the car.

HISPOV: across the lake,an isolated chalet.

Bond stands at the rear ofa small boat-opeing the outboard motor.

We see the boat from highabove as cross the water.

Bond carefully approaches th rawing hisgun.A security camera watches h' e wall.He knows he's being watched.

Bond steps onto •No soundsfrom within the buildin2.

s. PerhapsWhite isdead already?

Bond ough the house carefully.

ht filtersthrouh the windows castineerieshadows out the rooms.

a mess.There areTVsand RADIOS,everv:where,but are on andno other sins of recent occu ation.

stealthily around the house,notingtb§unl2.linking_ of security cameras tracking him on hisjourney.

All roomsseem to be empty.

He tries the basement door, it swingsopen.Bond looks in. Empty.

But now Bond noticessomething odd.Right next to the basement door,a panel.

And from beneath the wall,aflickekinglight.andver~ faintly. • • distantu~cokdedvoices .• ,

Is thereaPANIC ROOMhidden right iri front ofhim?He starts to trace back the wires of the security cameras.Finds the spot where they disappear.

Bond repeat-fires where the wireshead in,each shot more of the hiddenjunction box until itBURSTSINTO

The light beneath the wall dies .••

Thepanic room door locks automatically retract gently swingsopen.Bond speaks into the darknes

Distantly,a back-up generator starts.The lisin the panicroom flickerback to life.Illuminating•..

Mister White in a chair in

He looks older,bearded,dis e is surrounded by detritus- old meals, bla =~~newspapers.

There areTV SCREE re.All tuned to rolling news from around thew ters and crises.

Several the air ort attack in Rio

Bond He sees the air ort attack in Rio. The Tokyotrainbomb.

He is

d Mister White sit opposite each other,a chess table een them.A single televisionnow playson mute in the

Bond tosses the ring onto the chess board. It spins pieces,landing in front of White.White stares he picks it up and examines it.

He is clearlydisturbed by what he sees •••

He drops the ring back on the board.

Oh .•Come

thingsa man fears ath. If youknew him, s capable of-

t Bond levelly.With difficulty White getsup a bottle from a side table.

Bond listens,asWhite brings the bottle back to the table. Opens it.

He looks levelly back at Bond.

Bond doesn't blink.

So :wh.at

I

At th' He looks upon his old adver to affection.

azes levelly at Bond,chuckling.

stops laughing.

White shakes hishead anxiously.And Bond guesses--

so.

White stares at the chessboard.

Some of us might realize he is talking about Ves

White shakes hishead.

Your

Two lost killers.

Bond puts hisgun e table between them.Turns it so the handlef~es the barrel facesBond himself ...

White the gun.We stay on Bond's eyes, locke

~Bonddoesn't blink.

White stands.He walks behind Bond.

Bond doesn't turn.

White cocks the weapon.

He strokes the back of hisneck with the muzzle.

White puts thegun to Bond's head.

Bond hears the words.

With his other hand,White reaches toalow shelf, up A FRAMEDPHOTOGRAPHOFHIMSELFAS A YOUNGERMAN, ITH A YEAR OLD GIRL.Puts iton the table in front ofBo

I can't maybe you can.

He

e dancing ina 'ster Bond.Good luck.

Ands puts the pistol to his chin,throws his head eezes the trigger.

BLAM! umpsdown the bloodied bookcase,dead.His half of the in.The deal sealed.

contemplates the scene.

the photo frame,takes out the photo of the girl. it.Walks out.

shards of glass across the chessboard.

Back inTokyo, the vote forNine Eyes isnow in progress.

We are half way round the nine member states.Mis watching closely.The atmosphere is tense.

One by one,each member says'Yes'.The French.The Germans. The Japanese.C himself says yeson behalf of theUK.

Finally we get to theSouth Africans.A 'No'vote.

cis visibly disappointed.Mis relieved •..

BehindM,Tanner is still studying his laptop. news report,forwarded by MI-6:

'Speeding car crashes into Tiber.'

Tanner thinks ..•Forwards the message with anew

During theabove, m Tanner on his cellphone screen:

'AREWE

phone ...Nightt;i.~J through:

in London.

INTERCUT:

the spot.He walks swiftly from his lab into the room.

He looksup at the tracking screen.What he sees makeshim wince.

He makes his choice:

M WellI wantmy eyeson him whenI get back.Understood?

Q hears the callgo dead.

Nowwe see whatQ sees.The screen showing 007's

The tracker moves across the screen.At the top it reads:

'KITZBUHEL,AUSTRIA'

A snow plane cuts acrossa perfect

It could not be more serene.

The snow-plane descends ficent Austrian Alps.

Close to nature in Bond looks out over the beautiful

But all is focus.A man who hassensed the distant

plane.Surveys the scene.

and SoulSpa.

is set high in the mountains.A pristine collection uxurious glassboxesand pale wood perfectly situated st the stunning winter scenery.

series of expensive cars parked out front.And for the truly elite:a few more snow-planes.

It'sa very specialized clinic for the hyper-rich.

Thenew Centre For National Security sitson the banks of the Thames.

Inside,people busy with themselves with preparations.

C is finishing giving Ma tour of the building.While they talk,they walk around the concourse.The building is chic and very impressive.

C ... So with access to this central cable,we havea database that is the fastest in the world.

As they walk past screens being unwrapped,termi installed etc:

M George Orwell's worst bloody nightmare.

C (smiling) Glad you like it.

They have entered what is clearl o be C's office.

Huge windowslook ames.In the distance,the Shard is visible, ost of South London.

C sits standing.

lance isa dawjtb tbe information..•and who does it.

C If I didn'tknow you better I'd say you don't seem altogether enthusiastic about this building or Nine Eyes.

M looks across the table at c.

M Sounds like youknow me extremely well .

C Look,I didn't want to have to do this ...butI think you should takea lookat a transcript that our algorithmic scanning isolated.

C handshim abrown envelope.M opens it.

M's POV:Inside,a header of technical data aboutaphone call- cell frequency,place of origin(ROME), etc., ..

C (CONT'D) Maybe there'ssomething to be said for total surveillance after all •.•

And thena transcript ofa conversation between a (ENGLISH?)and aMALE(ENGLISH?): the conversation Bond and Moneypenny when he was in the Aston.

The last line: 'It's called life,James.Youould try it sometime.'

M looks back at him.

M You watchMI6

Bond

e behind the floor-to-ceiling windows oration thisroom needs.

Until across the room at her desk.

White's daughter is beautiful.She speaks into a TATIONPHONE under her breath,finishingup her noteson patient.

She crosses theroom carrying her clipboard, to the window, still talking into her dictation machine.Bond watches her intently.

She presses stop.

She walks over to the wall,and pullsdown

She looksupfrom her clipboard es hiseye for the first time;but if she catche ence,she doesn't show it.

My nam ne Swann.Our job to yze your needs both and physical to bespoke therapy to put toa rejuvenated and estyle.

She pauses slightly,but doesn't look up.

She looksup at him.He gives nothingaway ..

How, ifI

She looks

levelly.Returns to her questions.

She looks back athim,turns cold.

78 CONTINUED:(3 ) 78

She realiseswhat he means.Puts the paperwork down.

She regardshim,

his way just to hat yourenemy is

life is in I need your help.

MADELEINE

She turnsstone cold.

He stands,moves to her,she flinchesback.

She heads to the door,opens it.

Bond sees theRECEPTIONIST outside theroom.oesn't want to make a scene.

What does like you?

Bond leaves.

Madeleine stands,

within an internal courtyard,brooding on with Madeleine.

A B

looks at him with utter contempt.

Bond turns. It'sQ.Bond is in no mood.

Splendid. 1 world -just in case of unparalleled s on you hadn't notic 1 is breakin loose.

ks, they're part of ger.A single • Led by one man.

THE WINDOW-- Madeleine picksup her phone.Bond knows calling Security.

Bond fixeshim.

_Q_ Knew you?How?

Bond glancesup to see the messa on ground level.Security eye

Do one out.

Q wavers.

moment please?

Bond THE SPECTRE RING,presses it into Q'spalm.

the ring.Heknows it'ssomething •••

Q leaves,heading out the other door,towards the ski lift.

Thebarman arrives with his health drink.

Bond heads off.Security Guards behind him.

As he walks,he looksup toward ffice. He sees her looking out the window.

She watcheshim

And pullsdown the her legs ..•

SUDDENLY-- another her.A MAN.

And ang against the glass.The man has she is fighting him.

up toward the office--

him.

Bond

As he see Madeleine being dragged out of her office.

swingsa punch into one man's gut.He doubles over.The Guard comes at him.Bond grabsa chair and slams it o his face. It breaksas the man falls.Out cold.

e spins,as the First Security Guard,now recovered,comes oward him again.

Without pause he buttshimon~ebetween the eyes knocking him cold.The Security Guard drops likea stone.

Then Bond runs outside.

He immediately sees Madeleine being pushed into the back of a car.And looming over her-theimmense figure ofHINX!

But before Bond has time to react,AJ.'xOTHERTWOMEN areon him.

Bond deals with the men with deadlyprecision.Shoots the first man with hisowngun.Then turns iton the secon Swiftand deadly.

But still not fastenough,asnow he looks outd mountainsideand sees:

Down below,a car driving away,shadowed by Fora split second he spies the face in the leading car.

It's Madeleine,looking back athim.

She hasbeen taken.

A splitsecond of thought,

Meanwhile--

Q allows a half-fu to pass,steps into anempty one. He pulls out , examines the ring.

steps in

hes into the great white void.They're d. Just the two ofthem.A fact not lost

Q surreptitious glance.The man smiles politely.

away. The silence is unnerving.

s himself into his research.Pairsa small spectrum yzer with hislaptop,scans the ring-hiscomputer antly analyzing the stone's constituents, the octopus

attern, etc., ...

Then he bringsup Mister White's file ...

The carand thetwo support Land Rovers are speeding down the twisting mountain roadsaway from the clinic.

It's incredibly icy and dangerous.

They speed intoa tunnel cut into the rock--

Up front,theDRIVER and Hinx,who hasagun trained Madeleine in the rear seat.ANOTHERHEAVY is next to openinga small medical kit ...

TheHeavy opens the case.She seesahypodermic there.

He lifts the syringe.She kicks it hand.

The next second she throws herself picks it up and as they try tooverpower her, into the thigh of theHeavy next to her.

The carsemerge

Suddenly--

he front of the lead car.

We se ontrols of the snow-plane,banking round--

've overpowered Madeleine,but the spiked Heavy sinks to neesand sacks out.

is stirred to have seen Bond trying to save her.

out at thesky looking forBond.Where the hell from?!

Q worksaway on his laptop.A bloodhound on the scent.

He's running checkson every location White isknown to have visited plus all kinds of data related to that location e.g., who else had been at that hotel, train stationorairport withina similartimeframe -cross-referenced with the materials within the ring.Not surprisingly,LECHIFFRE'S IMAGECOMESUP .••

Suddenly the cable carcomes toa stop.Q looksup.

TheMan gazes back with unnerving uncomfortably, .looks out the' feeling likean eternity ..•

Oytside,the cable carhang s

Back to the Man, still staring •..

looks at him and back down at the screen aze

,boringinto the top of his skull.

Then,just assuddenl the own the mountain again.

The cars areon a alongsidea high valley.A steep drop beside

Bond soars them--

Hinx' smen fire--

the snow-plane.Theysmash and clatter

LAPTOP, the connections are starting to accumulate. IMAGEOF LECHIFFRE rsJOINEDBY VESPERLYND,DOMINIC E ANDTHEN...RAOULSILVA.

studies the information.Unnerved by the knowledge henow has he glances back up-at the worrisome man facinghim.

Then he's relieved to see that the cable car isabout to pass througha halfway station.

He closes the laptop,firms his gripon it,ready to delay his exit so the man can't follow •.•The doors open •..He tenses- about togo -when ANOTHERMAN gets on.Blocking his exit .. Shit.

They both smile athim now -gun-hands in their pockets.But just as the doors start to close,a bunch ofHIGH-SPIRITED SNOW-BOARDERS clamber in.TheMEN'S smiles disappear...

Bond quickly lowers the plane,below them now--

The bulletsnow hit the roof of the plane.

Still keeping abreast with the carson the road

Then Bond acceleratesand soarsup quickly--

They fire at him--

But he acceleratesahead of them,arcing the plane upand out of sight.

Inside the lead car,they look pears to be gone.

90 EXT, ALPINEROAD,AUSTRIA - 90

Now they

Ahead in dot, moving closer ...

It's Bond,

And he ht at them.Getting lowerand closer by the

They

He's give way--

His

game of chicken he will not lose.

d's plane dangerously low and close.

inx's driver veers off into the treesas the second vehicle follows,manoeuvering ahead of Hinx's car.

At the last second,Bond pulls up,barely missing the third vehicle as the driver loses control,SLAMSINTOTHETREES, BURSTSINTO FLAMES.

The remaining two cars travel fast in close formation through the forest--

Bond banks quickly.

And follows.

Right into the forest.

In contrast to thesound and fury of the pursuit-the serenity of the descent.

And then theMUFFLEDROAR ofa distantEXPLOSION.Bond snow-boarders turnand look.So do the men.Q takes hi chanceand moves so he's next to the door with t boardersbetween him and the men.

The cable car shuddersas it enters the ground st steps out.

Q moves quickly through thecrowd, ack to see the snow-boarders with all their gear,s s pursuers.

He keepsmoving,weaving hisway he crowds of skiers breaking forlunch,looking b ly, thetwo men prowling thecrowd forhim..

The cars twistand he hill,through the forest as Bond soars after 1 lingly close,in and out of the trees--

e slope,trying to shake offBond. lowing the carseven more closely.

Buth actional misjudgment.He steers slightly too fart ...Suddenly one of the snow-plane'swings clips and the end of the wing is sheared right off!

diately,the other wingdipsviciously,and Bond starts se control.

hting for control of the plane now,he instinctively rs off the other winon a passing tree--

now the wingless plane slams to theground,ripping off wheels and undercarriage-and now he's tobogganing down

the snow path in the fuselage of thesnow plane-- the cars in front ••.

Coming up faston Madeleine's car

Madeleine staring at Bond through the rear window.The speed of the fuselage is too fast,Bond rams into the back of Madeleine's car .••The car is propelled forward,forced to go faster behind theLand Rover to break freeof the plane.

Q hasmade it through the lunch-time crowds,starting to feel safe now.His surreptitious glances back suggest he's lost them.

A WIDESHOT showshim heading acrossa bridge towardsa lar hotel.TheHOTEL HORATIO.

The trees start to thin out.Up aheadBond cans about to break out into open terrain.Just as th burst outfrom the trees onto A WIDESKISLOPE--

Ahead, a giant forest ••.

The carsveer off to avoid it.But B eading straight for it.Madeleine's face staring at gh the rear window as the vehicles turnaway.

Bond uses everything he hast turn.The engines scream ashe pushesdown the on one of the propellers,and pulls with strength on the lever controlling the vertical

He just makes the

But no time to br now, in front of Bond, ahuge~NO

ct- he careersupthe wall of snow, ck down ...The tail of the plane hits the

snow ipped off. Fragments of plane litter the hills

away...

d sees they're heading fora small village.A collection arge Alpine barnsand outbuildingsand eventually

uildingsand sleepy streets.No way to stop the momentum

But seeing them drive around-a large barn,Bond sees his chance-

He hits the throttle hard and the plane crashes- through the barn likea missile,comes out toT-Bone the leading Land Rover.

SMASH!

It is destroyed as--

The fuselage of the plane spins toa stop--

Torn to bits.

Bond steps out from what remains of the plane.

Pulls hisgun-- as the car holding towardshim.

Hinx lungesforward,DEAFENING the driver:

OUTSIDE:

Bond aims.He's got one shot before the car bels into him.

BLAM!

Perfect.

The driver of the car jerks

Madeleine grabs hold--

Hinx yells in fury as--

The car spins motionless as

The car

hrough the windscreen head-first--

And f Snow cascadesfrom the branchesand burie

Bond car. Pulls Madeleine out.She is weak.

helps heraway.

As they move off,we lingeron pile ofsnow whereHinx landed.A hand twitches,he appears,shaking himself to his senses.He's alive ••.

Q.e.nters_hishotelroom,relieved.He closes the door behind him,.heads straight for thebathroom,locks the door.Safe.

He takes out hiscomputer. Sits.

And then,from outside the door

A dull thud.

Qfreezes,his fear-filled face instinctively knowing ursuers arenow in his hotelroom,on the other side door.

Madeleine's shakinghandclutchesa glass

Bond and Madeleine stand ata street bar.

She is in shock.Barely hearshim,

Another.

You lied kill me.

This man is wary of trusting him:

youknew.

spiesa TV in the corner of the bar:

IMAGES FROM A TERRORISTATTACKINCAPETOWN.

takes the information in.

Bond and Madeleine approach the door to Q's hotelroom.

Bond pushes it. Itswingsominously open.

Bond already has hisgun in hand,feeling the cold breeze from the shattered window.

A trail of blood between the window and the bathroom door.

Bond moves toward it,gun raised,his other hand motioning Madeleine to hang back.

The bathroom door hasbeen wrenched off its hinges.

Q's laptop is self-sabotaged in the sink.

Bond is shaken. This is his fault.

Madeleinecomes in.She can see the effect But Bond won't give up,reading the clues.The laptop is in the sink beneath the mirror.Hep inexplicably turnson the hot tap.

Then he moves to the shower,

What are

He doesn't reply.

Bond is

because the steam that hasnow formedon the i owing up wordsQ must have etched with his finger glass. They both stare.

'SPECTRE'

Moneypenny is sittingat.her desk.On her laptop we see images of Mister White.An internal MI-6 report of his death.

A buzz.She looksaround,checksno one is within earshot. Reachesdown and retrievesaphonefrom her drawer.

It'sdusk now.Bond and Madeleine walk across the brid the outskirts of the small town.The lights of Hotel recede in the distance.~ondtalks onthephone;

Moneypenny.deeplyworried.

She be an index she sees the name.

It's

She tries deleted'.

Shes zes.The door swingsopen.M walks straight past way into his office.

M Moneypenny- my office.Now.

the phonedown.

Moneypenny looks sick.

Bond holds hisphone.

He hangsup.He turns to Madeleine.

Bond looks at her.Of course •••

Close on M sitting behind

Moneypenny

secrets.But not es.You've been Bond to underminemy s?

that C gave him.Slaps iton the

Money he rack.In an impossible position.

his voice quieter:

M (CONT'D) I do hope it wasn't for love. Ifso- you've been madea fool.

his sears into her.And in recoiling from that pain she earns her answer:

Conspicuously not loyalty toM.Painful tohim.

M You are officially suspended as chief analyst pending an investigation into your actions.You've let medown, Moneypenny.

Moneypenny'sjaw tightens.

M Whofrom?

M isstunned •.

M You crafty bitch.

Sir?

M Not you.

went to those lengths ashuge. Bond didn't ould and couldn't trust. he trusted no one.

M

in Mone

M stares at her,processing this information.Weighing it up.

M That'sver_xinteresting,Moneypenny. But I'm afraid you remain officially suspended.

Shegoes to leave.Then:

M However,unofficially...you are now on filing duty.

MoneyEennyis confused.

,Ji_ Thepaper archive.

Then heopensa draw,pushesa bunc YS across the desk toward her.Looks at her le

Moneypenny gets his

sir?

Tangi beneath the setting sun.

walk through the heat and dust of the

leys arecrowded with touristsand market traders. als.Spices.Colour.

men drink strong coffee,smoke hookahs-and watch

ncongruous modern flat screenTVs mounted on the roughadobe walls of labyrinthine cafes.

Bond eyes theshadows watching foranyone watching them.

Madeleine leadsthem down an alley -

Quieter here.They're getting away from the crowdsnow.

The alleys getting narrower.

Bond checks the windows overlooking them. lines, the chaotic tangle of old electric

They enter A TINYALLEYWAY.

She looks up.He follows her gaze.A dilapidated abovea faded old hotel.'L'Americain'.

a dark stairway.

Tiled mosaic floor,lazy c steps through the door into th

Bond followsheri • She hasstopped still, taking it in: it'sshabby ful, with.stained glass, intricately carve pes of silk.

She g balcony window.Through the silken curtains, the ds out below.

looking through drawers.

Abruptly he pullsa piece of wood off the wall.Looking for something.Anything.Begins ripping the beautiful room apart.

She tries to stop him but he's determined.Pulls picturesand shelves off the wall.Trashing the place.

Bond moves into thebathroom.Checks the tightness of the fixturesand plumbing.Runs his fingersalong the grout of the tiles in theshower.

Bond findsa loose tile.Detaches it.

Bond turns

He holdsa dusty bottle.

He opens the bottle.

Thanks for

talking

He

to Bond.Takes the bottle from him.

es a huge pull.

She takes another pull.

She takesahuge pull.Swallow.HandsBond the bottle. takesa huge pull.Swallows.Hands it back.She doest same.Hands it back.He takes another huge pull.Hands back.She does thesame.Wipes her mouth.

She leans in to kisshim.He gently sways out the way.She laughs.

Shegoes in again to kiss drunknow - she loses her balance.He ca up...and carries her to the bed.

You sweet ..•

He puts

back -pillows.Tired from the emotion and the

She points to the wall.

She looks at the ceiling.

She sits up.

Don't you

Looks over at him with her drunk double v

laughs again,drunkenly .•She closes her eyes •..Music

loats in from th t d her mindswims ..

He listensas she drifts off.

,The music continues,haunting .•.

_DISSQLYE:

112-113 OMITTED 112-113

Standing proud on theThames, thehome of the Intelligence Service still bears the scars of Nothing hashappened to it since then-

Moneypenny is descendinga concrete staircase,indowlessand unloved.

She reachesaSTEELDOOR,uses the locks.As she pulls open the heavy door, as if she's broken a vacuum.•.

She activatesbanks of d fluorescent lights flicker into lifeina adingeerie light acrossa vast basement crowded unmetal shelves.

The forgotten Neglected.A daunting sight.

116A

Bond watching Madeleine.

She's troubled.Beads of sweat on them both.

is not lost on him.

slug of schnapps.Puts the bottle on the table.

mouse scuttles across the floor. It stops in the middle of the room.Bond watches it.

The mouse moves off througha hole in the skirting board.

Bond stares,thinking.Walks over.Hepoursthe last of the schnappsalong the skirting board. It seepsaway under the wall •.•

Alert again,he looks, realizing he missed something.

Comes over to the wall,taps it,feels hisway around.

116ACONTINUED: 116A

Looks to the sleeping Madeleine.He can't help this being noisy.

Turnsback.

AndPUNCHES the wall.His fistslams right through,allowing his fingers to geta grip.

MADELEINEWAKES

--to see the moonlit bruteBond tearing away.•.revealing A DOOR.

She getsup,rubbing her head asBond opens the

Madeleine isn't far behind him ashe flicksohe light inside the room.A single bulb.

They both take in the treasure on a deskand shelves,the stark reality of her father.

He

A range currencies.

Box afterbo~of osable cellphones.

Poisons.M ning equipment.A satellite phone.

Knive rrotes,knuckle duster.

The d life ofa man who can killand then carry

s into theroom.••

OLD MI-6BUILDING- NIGHT 116C

in the vaults,Mone movesalong the shelves.

Close on her hands as they movedownarow of files.They stop.Bingo.

She pulls outa file.

116DINT. SECRETROOM«L'AMERICAINHQTET, NIGH.T..-. 116D

Bond isnow exploring the secretroom.Bond is looking at the objects,in business mode.

On the other side of theroom,Madeleine spiesa photoalbum. Sfiepulls it down off the shelf.Inside:a photo of her parents in happier times.Photos of herself asa child.

While she does this:

Bond hasseen somethin .•.somethin iveshim pause:

CLOSEON

A PHOTOGRAPHONTHEWALL, in it we see thesame man in photograph~esaw in Bond's flat.Only this time them isn't standing with Bond,but another late teena

Bond stares at theimage. him, registers that he is

Now,Moneypenny sits in the vaults, atold metal desk.A sprawl of paper files in front of he typed reports,reams ofcomments in green

Shecomes acrossan old cheap camera,colours faded.

Moneypenny studies It'sfrom the late1980s because a younger just recognizable to us.And in one sun-shadow e might recognize the mysterious fi ure from Rome ..•

HOTEL- NIGHT 117A

~~-~~a piece of paper,on whichsomeNPMBERShave Bond-recognises immediately:

He.reache§ for the scanner,switches it on,reads the data .•.

11 7A CONTINUED : 117A

He grabsan oldMAP,unfolds it.

Tracing the co-ordinateson the map, .•• his finger traces rail line,pausing in bare desert.We holdona spot in the middle ofnowhere .••.

Moneypenny still holds the photograph.She looks

Thegroup of legionnaires stand beforeagaudy ha mural on theadobe wall behind them. It featuresan PUS STRADDLINGTHEPLANETEARTH,ONE TENTACLECLUTCING A JET FIGHTER.

Moneypenny looks closer ••.

Thename of the platoon:'LES

There aretwo oth

leavin ier.

hesas he removesa tightly rolled up tuxedo.Unrolls it move. Opens the door.A GUARD is passing.

He leaves.

Bond frowns,almost slightly confused.

The valet carries the tuxedo along the corridor,passing compartment next door.

Hinx is inside,reading a paper .•.

The train continues its journey into the sun.

Bond and Madeleine sit in thecompartment,opposite one another.

Bond takesa GUN appropriated from room,places it on the table between them -just with her father.

Ihate

ermy word I'd st thing todo is to protect yourself.

So he does.

He puts the cartridge on the table.Loads it.Unloads it.

She picksup the gun.And in the nextfew seconds,with amazing dexterity and speed she strips thegun,re-assemble it,reloads it with the cartridge-and points it straight Bond.

She ejects the car the gun to eject the slug in the spout,catc the gun back down on the table.Next to th

guns.

Bond

Bond closes the door after himself.

The guard passes.

He heads into hisown compartment.

Inside he hangs the suit on the back of the door, off his shirt, thinking about what just happened.

Slowly....He smiles to himself in the mirror.

The forbidding stone facade of the Foreign Office.

The lone figure of M moves swiftly along the~ement.

M walks intoa large wood panelle of many such faceless meeting rooms in Whiteh encounter a crowd of important looking pe of a meeting, talking animatedly.

One of them isC -who for M.

M rea n out-manoeuvered.

C missed it I'm afraid.Shortest eting Ican remember.

M South Africanson board,Itake it?

C And who can blamethem? (nods) I've been asked to head thenew group.And, look,I should tell you, I've spoken with thehomesecretar~. J:n_ligbtoftheinformationI , provided him with, he's left with no ...c.hciceputto closedown the00

operations in thenew building .

'.c....(.CDN.'I'.!.D) ..Its not personal.

c tries to leave.M stands in hisway.

M You'rea cocky bugger, aren'typu?

_c_ Whaton earth doyou mean?

M Imean...it's not bloody over vet.

And M walks off.C watcheshim go,steely •..

The train looks tiny beneath the vast African sky.

Thesun issetting- purple the horizon.

Bond sits in the dining in his white dinner jacket.

Madeleine She sits opposite him.

like that.

addresses the waiter.

The waiter nods uncomfortably.

She leans in, conspiratorially ••

He doesn't take hiseyes off her ashe addresses the waiter.

She doesn't either.

Make that

Slowly Bond smiles. butter wouldn't melt. The waiter 1

He goes.

Bond doesn't answer.She keeps looking at him.

He holds her aze. vement of the train .•

Once.

What

BOND

Bond looks at her.

The drinks are here.

She raises her glass.

She smiles.She raises her glass.

He raises his.

They

pair of

Befor eact.Hinxgrabs the underside of the table,

slamming into Madeleine,sending her e grabsBond, lifting him from the booth, against the carriage wall.Hinx'sthumbs start his signature move toward Bond's eyes ..•

nchesHinx withno effect,manages to pull out his They struggleand thegun goes off,shattering the glass ither side of the table.

ndeterred,Hinx lifts,spinsand throwsBond ontoa table, moves in again.Bond strikes out witha kick,but Hinx simply grabs him and hurlsBond'sbody into the service area --

Just as Madeleine,recovered,runs atHinx withan ice- bucket,swinging it over hisback -again,no effect.

Hinx turns,swingsa brutal slap to Madeleine knocking her to the floor.He turnsback toBond,sees him grabbing for the Walther,grabs him with both hands,ramshim forward, crashing through into next carriage.

Hinx barrels through the opening in pursuit,stops in his tracks.Where'sBond?

WHAM!WHAM!

The bathroom door slamsopen twice,catchingHinx off guard Not forlong though.Hinx is grabbing Bond again.Bond uses the momentum to kick off the carriage wall,slamming bo them back into the bathroom.

They slam side to side before busting through th

Now Bond grasps forany weapon within reach.Sma bottle into Hinx's face.Hinx releasesBond from like grip.

Back on his feet,Bond now hurlsalamp,but Xis unstoppable,advancesswinging a bar table baand forth forcingBond down the length of the b

Bond grabsa lit bar candleand thro Hinx catching his waiter'sjacket on fire,mov hrow some punches. Distracted,Hinx realizes he'so atries to snuff out the flames.

Bond seizes the opportunit the beam above and double kicksHinx ba runs past him into the next carria e.

130-131OMITTED 130-131

Hinx

Cases weaponsimprovised.Hinx'shuge hands rip th Bond hitshim with.

men crash around the carriage •••

inx has the upper hand;holdsBond's head, histhumbs over Bond's eyes,starting to press in •••

florescent light,stunning both Bond and Hinx.

A gμnshqtringsout.

Hinx recoils,he'shi:t....inthe shoulder.Madeleine stands behind him with theGLOCK.

Hinx spins around, J:tl..e.e.din.gdnolon.g:e1::....smi.lin.g.,.....knocksthe gun from Madeleine's hands,and slaps her to theground.As he lurches for her,Bond grabsa chain,slings it around his throat, throttling him.

Hinx struggles-_thechain swinging andEullingagainst the stack of barrels to which its attached,theancliorlinKing them all together ..•

He's indicating the side door.

She acts swiftly,opening it, the wind rushing carriage.

The tracksand brickwork hurtlingbz•..

Just asHinx elbowsan exhausted Bond in the sto him down-he goes sliding across the floor.And starting toremove the chain...

-when in a last ditch effort,Bond boots ab 1 out of the train-

action next

- the chain ti htens fas him forward toward thed

Hinx grabs hold of Madel pulling her with him smashing through all e fight ... they're going out of thed

realizes his fate,and finally

ears out of the door,and is X quiet.

Madeleine sit, in stunned silence.

They look at each other.

The door to her sleeper compartment burstsopen.They are already in each other'sarms.They slam up against the wall.

Now they are tearing at each other's clothes,making desperate,passionate love.

The stars shine brightly,as the train crosses the desert.

135 OMITTED

' M sits alone ina small, discrete

Immersed in hisworkhe onl 'ust sittin down opposite him.He looksup.

Mone enn is holdin the

Ifound

Mo ens the file PHOTOGRAPH.

NT'D) e thought to ow White eems, one other.

be a coincidence.

M loo The octopussymbol.The face

at the Reads thename:

M Franz Oberhauser••.

to Moneypenny;__

M (CQNT'D) Call Bond now. Tell him.Tell him everything we know.

13 SACONTINUED: 135A

M I just hopeit'snot too late.

Dawn breaks over the desert.

The distant train tracesa thin line across the emptiness.

Inside the cabin,Madeleine finishes

Bond enters,endingaphonecall as he does so.

The train grinds toa stop.

Bond and Madeleine into the distance.

They are tion in the middle of nowhere. creaks in the breeze.

A arallel nowhere.

Nothing as

the next stop?

a distant truck.From a distance it military vehicle.

out his ares.

,BOND ,Youready?

Madeleine nods.

Bond tenses •..

As the truck gets closer ..•and closer •••

And drives past.

Dust blowsup ina huge cloud as it rumblesby.

BQpdand Madeleine watch it drive into the distance.

Then Madeleine nudgesBond.She has seen something.

She points straight ahead to the horizon line-there is movement out thereon the vast plain.

A tiny dust cloud.

Bond and Madeleine watch as itgrows in theshimmering

The cause of the cloud gradually becomes clear:

A VINTAGEBENTLEY,driven by aUNIFORMEDCHAUFFE

A surreal sight.

The Bentley drives closer.

Now it pullsup next to them.

The Chauffeur gets out and opens r Bond and Madeleine.

They

They get in,

plain of the Northern

dually,Bond and Madeleine seea shapeloom up ahead of in the desert.

raised corona ofaCRATER.A mouth hasbeen blasted ugh- and beyond it they glimpse strange silveredDOMES different sizes, sitting on the floor of the crater.

As the Bentley passes through the mouth of the crater wenow see a beautiful pool, set inanimmaculate green lawn.

Next to the pool,a vast,sleek modernisthouse sitsamidst the hugedomes.

The Bentley pullsup.

The Chauffeur opens the door for Madeleine.Bond follows her out,aware now ofHENCHMEN pointing guns at him from nearby.

A BUTLER looms:

The Butler continues to hold out his silver tray.

Bond gets his meaning.One eye on thehenchmen, hisgun on the tray.

Bond and Madeleine look at each o

A beautiful bedroom. through linen curtains.

Madeleine enters. her. Looks her up and down.An al

,M8QELEIJ:i!E..- I'm a big girl.Ican dress myself.

Without explanation,she leaves.

Madeleine walks to the wardrobe.A single beautiful dark blue dress,which catches the light. It looks not unlike the night sky.

Bond entersa magnificent bedroom.

A suit is laid outon his bed.

Bond picks it up and stops.He's spottedsomething.•.~.......~ screen opposite the bed.

BOND Turnsfrom thebedand looks at the pictures room.And his blood freezes •.

the screen is a frozenimae.White

Bond' shead.

Bond presses play.

Md watchesas Whiteshoots himself.

BOND turnsfrom the screen the room.And his blood fr

The room is decorated with Bond's childhood.

Pictures ofhim asa child mountains.With skis. With Oberhauser -the ma din the news a er cli in. The man hotograph in the Skyfall box.

Them playing card roaring fire.Bond smiling... ♦

On the wal own up photograph of Bond and Oberhau hauser'sson.A thin smileon the other boy's

BOND

ine emergesonto the terrace,very beautiful in the ning dress.

Bond emerges •••in hisown suit.

And thena voicefrom thedoorway.

,They turn.Standing there in thedoorway is the Rome.Dressed immaculately.

As he approaches,his eyesSEarkle.

A white Persian catjumpsupon a tabl

He pushes the cat its objections.

They ofcham a ne.

raises his glass.

Bond watcheshim drink.Not poisoned,then.

Bond lifts his glass.Takesa sip.Stockmann turns to Madeleine.

Stockmann leads e intoa simple,modernist space, the centre- ch isa ring of screens that providesa 360-deg information and imagery.

Arranged aro are desks occupied by perhaps half a doz manning telephone headsets.Not unlike

The s variety of views of an unnamed city.

CCTV satellite images.

face Bond.

He addresses the operators:

-STQCKMANN..( CONT'P)•. Into replay mode please.

The screensgo black.ExceRtforone: a CCTVimageof a street corner._

Qnscreen; A truckparts.Aman gets out,walksaway.Could beanywhere in the world.

Bond focuseson the single screen.

And then.

The cameraimage shakes.The truck explodes.huge concussion.Rendered all the by the silence of the images.

Whoosh!

Bond's blood hasgone

And ,ima scr of

BOND

Stockmann watches more screenscome on.The terrified crowd ~

He closes his eyes.

A secQod,QutercircleQf TYscreens beyond the firstbegins tocome on.One by one,moreand more screens ... _

_The·Sotind·isn.owbeginningtobuild•.•

Breaking newsfeedsfrom all round the world,reporting catastrophe.One by one they come on-CNN,AL-Jazeera, NBC,etc -until there isacacophony of sound.

The ticker along the bottom of theimages reads attack in CapeTown"

Moreimagesfrom differentTV channels, diffetangles on the carnage.

Oh, haven't you heard?They've signed UJ2to it now..

Stockmann looks atthem both.

Alon table is laid under the vast dome

The roof isopen,and the stars are out •

, up.,,anoth plates of

tables. into

While this is

The food ushes her bowl awa.

plate.

She saidshe's not hungry.

She glares athim.

STOC;rruANN(CONT'D) comenow Madeleine.~auknow what

their supper ..

Bond makes to intervene.Thenextsecond, $putsa pistol to Bond's temple.

nearest waiter holds her in

blowtorch comes over and li ht

She takesa spoonful of the soup.

urns his stare

smiling.

again.

lose there

lling in your your failures,of there are many.

stockmann cogitates.Slaps the table.

Bond doesn't blink.Madeleine eyeshim.

_(To Madeleine) ,Didhe tell you about her?No? That was the big one.She was stunning. Intelli@ent.Charminf.Socharmin, that ev nwhenthat our faceal~1n~ bitch double crossed him he still ed to save her.Sadl he failed. Then hetrie to u s e diegtoo. Have you ever noticed,Mister Bond how all of the ,womenin our lifeseem toend u _dead?

Madeleine'sjaw tightens.so doesBond.

Stockmann chuckles,as if energized.

e

Stockmann shakes hishead.

,all

_q_TOC;I<MANN Mister Bond.Are ou reall

Madeleine.

~he glances at the waiter with the blowtorch.

,MADELEINE A Delusional Paranoiac.

144ACONTINUED:(3) 144A

,Madeleinecansee that agameisplazingo~L hetrazeenthetw.a.... pt them.Shewatches intently--

_STOCKMANN(CONT'D) Because at one point inmy lifeItoo believed there was one,singleperson rwhoI couldblame foreve '9L;._,;;f_o_r::;:.___ allmy tormen ,

·,youknowwhat e::r.1.•Theypu me in a stra' ket. Gaveme electric shocks.T Parano· So tim ,little chance Doctor's

I'm so

he can takin

I had loving,dotinq parents.Then one day,they brought another boy into our home.

Bond doesn't blink.Stares straight at him.

He stops.Hisjaw tightens •

..STOCKMANN(CONT'D) ~Yfather said that the excitement ,.would be bad formy t. ButI

And I started to shake.And you know 'whatIdid? I folded my cards.And when he turned his cards over,he had ,,apair of threes.He hadnothing.He, was bluffing.

n uffawsas if it's the funniest thing he's ever

his face are seeping blood.He dabs the

Bond looks directly atStockmann.

Stockmann hears the words.Murder flashes across his eyes. But he controls it and laughs along. -

He nods.The waitersgrab them both.Two to each.

arson.

Stockmann stands close to him.His breath on

He nods

Tiled floor with small drains.Like

Trace

Bond a chair in the middle of the room. Bleedin. Beate

sits next tohim with at He clearl now has access

Stockmann ignoreshim,continues to flip through the data.

,He picksup the cattle prod.He holds the tablet in one hand, 1the cattle prod in the other.

He puts the prod to Bond's chest.Bond criesout in pain. Stockmann watches the figuresjump. -

+Hedoes it again.Bond's heart races •

• STOCKMANN(CONTID). Where isyour poker facenow,Mr. 'mma.

...tielaughs.Looks at the figures •

•STOCKMANN(CONT'D)

He shocks

He looks at the fi ures.

would

He looks with the rod.

in the eye.Giveshim nothing.

chuckles.

~STOCKMA.NN(CONT'D) You really area very funny man ..

him a ain.Puts

_ STOCKMANN(CONT'D) Do you know where youare,--1it:tl....____ brother?This is a solar furnace. When thesun rises"-,youwillbesJawJ;¥:, i::QOked,_.b.utdon '±:wOD:.y.._I.Ltake,....,_s__ pours. The flesh will fall nicely off the bone.

BOliP ,Ihavea gues:tion-.J:lli¥..alJ.:taas,ames? ,Whynot just a bullet?

,stockmannstops.Mocksu:t;prise,,

,,Bond smiles grimly.

The:J: both laugh.

Stockmann

threah__

to takesuch

thinks.

S'rOCKMANN You know what.You're right.I can't _take thatchanc.a..___

takes outa istol.Loads it.

,He stands.

,BQND ,Youwantto pla~a laatband.,.....E;t:.anz2. For old time sake.

Stockmann stops.

•BOND (CONT'D) ,Therea file in London. It links you

~r whole house of cardscomes tumEilngdown.

Stockmann looks at him •

You're bluffing.

Stockmannlances at the data.Bo normal. His blood pressurelowers -Stockitiann.Unreadae.

Your move.

Stockmann

No Just steel.

He At the door:

the door.

tockmann ''I

,,Inside the cell,the faintest of smiles crossesBond'sfa.c.e...._~

A.LUXURYHELICOPTER risesfrom among thedomes.

Madeleine looksback out of the helicopter's window, desperate at losing Bond.

WhileStockmann gazes at the first rays of thesun creeping over the lip of the crater,finding the mirroron top of the solar furnace ...

The helicopter disappears into the rising sun.

TheSOUND of the helicopter recedes.

In the cell,Bond stares at the fingers of light. awake all night.His wrists bloody from his effo his binds.

It's fastbecoming likean oven.

He hearsa voice.

VOICE 007 ••

Bond cocksan ear.He calls out:

No reply.

IN

Is

entrates, starts burning into the floor near

him, co closer,the focus widening,a larger area burning

e destructive heatupon his skinnow...

Bond hears this,gradually realizes what he means.As the hairon hisarms singe he struggles to get the watch off.

Now his skin is burning.Bond gets it.

He twists the bevel twice to zero,then to seven...

A tiny window opens in the watch:A digital display itscountdown.Tick, tick, tick ..•

Bond instinctively slides it under the door oft braces himself.

BOOM!A huge explosion.

THEDOORSBLOW OFF,one smashing straight intne of the guards.

As the BRIGHT LIGHT starts to fill ,the other guard gets to his feet,pulling his his hand -

The gun skates across the Q's feet.

As the guard reaches gun, ..•Bond can't get to him quick enough; with thegun as -

BANG!

He falls Q'shand.Traumatized.

He heI nto the shade.Seesa message appearon one of the 's phones:'ARETHEY DEAD?'Bond types aremly••.

the phone.

The helicopter cuts through blue skies.Stockmann gestures at 'theirsurroundings:

,He receivesa message on hisphone,reads it.He smiles.Then hisface changes.

The screensshow updates of the attacks througho Other screensshow potential new targets ..•

One of the Technicians hearsa noiseand turnso see the tesselated mirrors at the base of the 'telesc'ripple into anew configuration.His surprise and uneaseells us this is not normal.

In seconds the mirrors rays onto the COOLANTSTORAGE VAT.

The Technician'seyesgo

Bond andQ crouch a safe distance. They're near the hel

Strange control dome.

cting the light onto the ystem, the computer will ly overheat,causing a chain

KABOOMKABOOM KABOOMKABOOM!!!

A MASSIVEWAVEOF EXPLOSIONSSWEEPSTHEFLOOROF THE CRATER - FOLLOWEDBY A DEEPIMPLOSIONOFALLOF THE OBSERVATORYDOMES. THEY DISAPPEAR IN A HUGESTORMOFDUST.

A far bigger event thanQ could ever have imagined.

Establish.Rain fallshard.An aerial shot moves great city,the RiverThames snaking through it

Thenew building gleamson the north bank of Thames.

We are with C ashe walks ral atrium.A buzz of expectation around the nal preparations are made.

Champagne bottles are laid out on side tables.

A temporary curtai the unveiling ofa plaque.A small st been set up as well.

is our

making that

C Splendid.

,looks around thenew building proudly.

C (CONT'D) Amazinghow fast history moves.

As if to illustrate C's point-the old MI-6 building sits, dark and forgotten,on thebanks of theThames.

High up,a windblownTARP clumsily hides the old scar of the giant explosionfrom view.

15 4 CONTINUED : 154

Down on the river,a sleekBLACKLAUNCH pullsup at the shadowy quay at the base of the building.

Stock:mann,Madeleine,Irma andHENCHMEN step out.

Waiting withaGIANTUMBRELLA -JENKINS,C's aide.

The door to the interior swingsopen.Stock:mann <asif he's just bought the place.Looksup,

The vastempt shell.Bell blown out b :;fromSJcyfail-:-

Stock:mann looksaround thesha e see up through the middle of thechasm -AC ELEVATOR.Hanging cables and wires fringe the ll'shouse rooms. Jagged concrete, twisted w· orcements,construction netting.

Amidst the dustan Memorial Wall,Thos country.

to Irma: K 7-- STOCKMANN(CONT'D) Y.._ You. Godown to the vaults.See if it's there.You have five minutes.

Looking at Madeleine:

Now he looksup.His eye settleson a floor half building where thedamage is centred.A GANTRYe from the elevator.

They get out of the elevator, gantry. Stockmann surveys thedamage. a building blown apart from within-it's like sidea broken rib cage ...

He hasmoved to the tarp,and looks out over London.

OUTSIDE:

STOCKMANNLOOKINGOUT OF M'S(JUDI'S)SHATTEREDOFFICE ...

We see the lights of Whitehall in the distance ..•

In Whitehall,M looksaround his office. It isempty.He holdsa small box,with theremains of his belongings.

Then herememberssomething,opensa drawer,and

CLOSEON A MEDAL:GEORGECROSS.ANSASAWARD

Moneypenny enters off camera.

M Ready as I'll ever be.

A last look,then he pushes the leaving it.

He closes the door behindhim.

The entire staff aiting forhim.We see that they too are clearing s. They all stand in silence.

TANNER

one ortwo in acknowledgement.Dignity in defeat.

M The French haveasaying-it is the fate of glass to break.Well perhaps it is the fate of spies to disappear. But,with any luck-we leave something behind.

The gathered faceslook back athim.

M (CONT'D) Thank you all.

He walks through the room,and exits.

Moneypenny and Tanner have followed,and now watch asM steps into a limousine.

The limousine pullsaway fast.

They look at each other.

He pulls out hisphone-

The car speeds

'ob Sir.Couldn't be

Mis but recovers quickly.

M better be good,Bond.

phone RINGS.

M Tanner.

And they roar onwards.

-down the stairs •

Therows of shelvesseem to stretch into infinity.

Close on Irma's feet asshe st the shelvesand begins to search •..

Low light illuminates Q's lab.

Weapons lieon a table.

Bond is close toa large screen whichshowsac oss section of thenewCENTREFOR NATIONALSECURITY.

He tapsa at M.

Q is typingaway ata laptop.

\l \L nd then we're 'nst him.

_M ,Againststockmano?

M Who's that?

,BOND Le Chiffre was the mone.Silva was his tee wizard.Guess w o's is Security expert .•.

M looks at Bond, the dawning realisation •.•

JL_ Denbiqh.Thatbastard.

M takes his tie off.Bond has finishedarming himself.

Q hitsa last key and something comesup on his

We see the map,with a blinking cursor next Bridge on the south bank of theThames._T~h~e-~....;..;. to Stockmann'shenchman isnow on the desk computer.

M looks at

under our noses.

M areyou going todo?

quick assessment.ToM:

beginning to understand where he'sheading...

M ..• Yes.

The door opens,Moneypennyand Tanner come in.Bond gives Moneypenny a special nod ofacknowledgement.

The construction elevator touchesdown at ground level.

The doorsopen on Stockmann.Irma is facinghim.

,She racks heristolsand puts it to Madeleine's

her here.

He turns to go.

Madeleine watchesfrom the building as the black boat pulls out fro sat the base of MI-6,and heads off down riv

Irma steps contempt.

ood foot soldier. drunkencoward and

istol.

laughs at Madeleine.

The building is subtly lit,as befits the function. Ministers,Mandarins,senior military and police personnel, all in suits.

International figures, all the re resentatives yessignatoriesare there too.

C looks over it all with satisfaction.Then he sees something and frowns.

Across theroom.M,drink in hand,watchesC approach.

C Ihave to say I'm surprised you took up the invitation.

M Oh,I wouldn't have missed it for the world.

C laughs.Almost in wonder:

C Our public schools breed such fervet masochists.

16.6QMITTED 166

Madeleine is drips in from the holes in

The tarp of wind -momentarily cloaking

strut from a window frame,she waits rom view again-then grabs it.

Shep ike. But as the tarpswings back, it revea eady close,and onto her.

the metal,butIrma shiftsaway,and in thestomach.

slidesback asshe falls,dropping her weapon.

she won't give up.She pulls herself to her feet,and enly- runs.

he makes it toa door,yanks it open-only to find that there isno flooron the other side!

A massive drop of three storeys. All the way to theground floor.

She teeterson theedge, pulls herself back-only to be hauled back and thrown across theroom.

She landson the floor.Winded.Lo,oksup atIrma with hatred. Spits blood.

Then both women become aware of A SOUNDGROWING ..•

ROTORS.A helicopter approaching.Very close.

Irma draws aside the tarpaulin,and together thetwo women watch asa helicopter dropsdownRIGHTINFRONTOF THEM.

And thenBRIGHT LIGHTSBLASTTHEROOM,the tarp blown from the downdraft,the lightseven brighternow.

Rain lashes in,Madeleine shields her eyes to th cannot see him, but she knowswho it is.

In the cockpit we see Bond struggling against the conditions ...

Inside the building. on rising upwards.

Irma runs the construction elevator,

in the wind,the helicopter setsdown on a he building.Lightsgo off.Bond gets out into rain.

to the closest window -he seesashadow on the The window is kicked out.TWOMEN come out on to get him.

ithno cover except the helicopter,Bond moves behind it. One of the men strafes it-hoping to blow it up.Bond won't be leaving in it, that's for sure.

They're getting closer.He's trapped.

Until he dives inside thesmashed cockpit,flicks the lights back on- blinding them.

BLAMBLAM!

Two bullets take them down.

JamesBond stridesforwardfrom behind the lights.

Crosses the roof of the old MI-6 building and straight through the open window...

Now he's into the building.High upon a gantry.

He looksdown,planning his attack.

Bond'sPOV:The massive building dropsdown into beneath him.

Speeches are being made.Stockmann is in theience watching.

Up on the raised platform,C stands theHome Secretary at the podium,addressin

During this,ONE 'S MEN approaches.Leansdown to whisper inh~ e

from the sidelines .•.

kmann's facegoes white with shock at what he hasbeen Bond is alive.

smallest of smiles:the chase is back

High up in the building, the construction elevator is descending.

TWO HENCHMEN look upfrom a middle floor.

They ready their machine pistols ...

The doorsopen and they start shooting.But no-one is inside.

Confusion is replaced by the deadly certainty of Bond - standing on the roof of the elevator.Two shotsand thetwo men aredown.

BLAMBLAMBLAM!

Now bullets rain upwardsfromSOMEONEDOWNBELOW,sparking off theframe of the elevator.No time-Bond runs,leaps acrossachasm to get to safety -gun in hand.

The men shootfrom below.Bullets ricochet.They

Bond landson the other side of thechasm.Turns upwards.

Boom! His bullets hit a skylight high up in theb

The massive sheet of glass shattersand rainsdwn on the men.

Shouts from down below - the the glass. One looksup, facebloody •••

Two more shotsfrom Bond,and

He looks to where Madeleinei

Applause.Back at watching closely now asC comes to the micro

11,as you must all know great building wasonly ible by an extraordinary from an extraordinary man. rward please,Mister Heinrich ann.

A picks out Stockmann in the crowd.Triggering more

looks straight back atC, hisfacea mask.C senses is wrong.

curtly acknowledges thecrowd.

But Chas been thrown off his stride slightly...

C (CONT'D) So. Finally tempted out of the shadows ...

No reaction=C laughs weakly.

C (CONT'D) MisterStockmann- Ernst, ifImay -

C (CONT'D) Iwonder irwe migli"E'""call on you to take thesystem online?

Applause asStockmann makes hisway up to thepodium.

M hasbeen watching him and waiting for thismom hiseyes flick up to the upper gantry.A nod.

From aninternal.~alkwayhigh in the building-T back.

Now Tanner turns to address the room .••

WIDEN TOREVEAL

Five clean-cutANALYSTS Jenkins watch helplessly as Tanner stands with gun trained on them.

for thisTanner.

makea blind

the small stage.

and addresseshim urgently,under the noise of the e.

C (sotto voce toStockmann) What's wrong? What'sgoing on?

Stockmann smiles at C,and,almost pleased..

c is struck dumb.Stockmann turns,suddenly smiling.

Laughter.

Stockmann pressesa button.

LIGHTSTARTSTO PULSESILENTLYUP THEMESH OF WITHINTHEGLASS CORE.In an instant,data is across screensaround the room.

Back up in the upper area,Q's screen suddenlyomes alive.

Tanner watchesas Q'shands move lightning.The screen flows with

Stockmann oes:

neypenny on theotherside of the room.Shebas.. for this moment.She followsStockmannstain

in theshadows.Listening.

The sound of the elevator again.This time, rising.

Unknown toBond,we see theDARKFIGURE OF A HENCHMAN climbing the stairs ...

Back with Bond,ashe looks outfrom the shadows.

HisPOV: thesemi-obscured outline ofANOTHERHENCHMAN riding up in the elevator.

Now Bond steps out,aims at the elevator cable.

BLAMBLAMBLAM!He shoots at the cable. It shreds ... doesn't break -

Suddenly,behind Bond,we see the door to the st anda man in thedoorway!

The man shoots, misses.Quick asa flash,Bond and killshim witha single shot-

Butnow he has his back to the elevator doornd it's just opening..•

Bond is revealed to the s hisgun pointed right at him.

Bond

Bond turns,hands over Then,without breaking pose- BANG! - he firesa . It severs the cable.

A split realises what isgoing to happen. four storeys to his death.

A shu at the base of the elevator echoesround the

higher up in the building,Bond sees theshadow of a • Irma's silhouette.

starts off,moving slowly,wary,passing through the roscuro ruin,the cascading water,on his way to the high

antry •..

the high gantry is between him,and his goal •..

The lights ofthecentral cable still pulseandglow.

The screen behind c hasQQmetQlife,Clearlya prepJanned- ·~ presentation: ·~

C (analysing data on screen, off the cuff) •.. sofrom the presence of your cellphones,cross-referenced with your credit card details,and other records,Ican tell you that .•. seven ofyou wokeup in a different country this morning.One person actually travelled hereby public transport!

Laughsfrom the audience.

Tanner watchesfrom the higher floor.

Now he turnsback toQ, waiting at his laptop

Q punchesa key on the keyboard.

Down in the mainroom, on the screen change.

C looks

t seem to be .••

like a good-natured the act:

M inating stuff.Those chartsup nd you now.Whatdo they present?

himself staring ata morphing'organism'of data ingon the screen; different connectionsgrow, idify.

Presses hisremote.The screen continues to fill with data.

e turns tofa~~:tl:u~i:l.JJdience._

C Wrong page.Teething problems.How predictable.

A name isnow written in capitals at the head of the page: BRUCEDENBIGH.

C turns,.andrealises that he islooking at hisOWNDATA.

C (CONT'D) Well,I - This wasn't •..

M Ah yes,I think Isee.What we're looking at,ladiesand··gentJemeu.,js.-

~errorism.Here,forexample,s.e.r.~r~e~t.1.----- fundstransferred between in Swiss bank accountsbetween you andMister Stockrnann.

M starts to move towards the stage.C is frozen.

e screen.

M (CONT'D) Just tenda sago the ina restaurantinRome. exicoC1ty

Mis now standing next to Con

Onemo Mister Hotel

T'D) llycan tell properly analysed

Mis

_M (CONT'D) (sottovoceto cJ :_ Now at least weknow whatC stands for.

T. CNSBUILDING,QUAY -NIGHT (RAINING) 184

thunderstorm hasbegun.The rain is torrentialnow.

Moneypenny hasfollowedStockrnanndown to the exit.

We see herPOV:Stockmann andONEHENCHMAN are heading towards the Black Launch.

And as before,the rest of hisMen are making for the Rib.

Moneypenny moves off through the rain.

Tanner ison the other end of

Across theroom,Q vigour.

the audience areHIGHRANKING moving to the front ..•

M theydo.

game'sup.

C (quiet) Come on M.One man can'tsweep back the tide.

M Who saysI'm alone?

Thunder rumbles in the darknessasBond stealthily tracks Irma across the gantry.

18 7 CONTINUED : 187

Sudden flashes of lightning illuminate the huge dropson either side.But he is getting closer.

Bond findscover behind some construction machinery.

He looksup ahead into the near darkness.A flash of lightning revealsIrma,gun drawn. Briefly silhouetted against the gaping hole.The rain behind her.

She has hergun tosomeone's head.But Bond'sview is obscured.He cranes hisneck to see:Madeleine.She is against the back wall,below the windows.She isCHAIN GAGGED.

He looks ... realiseshe iscrouched next toaDI

He looksaround,thinking.

Irma is crouching.She is unchaining MadeleinShe puts the gun to Madeleine's head.Presses it hard.

She unlocks the chains.They the gloom.No sound except the dripping of

In the silence, across theroom at gunpoint.

When suddenly...

BOOM!!

h the wall.Screaming straight towards

And n s a decision.A suicidal one.She runs flat

s Madeleine through the door she nearly fell takes a huge leap.

two of them go flying out into darkness.

leaps from the digger,reaches the door,toolate.

Only now,looking down,another flash of lightning illuminatessomething -thetwowomen arecaught onSAFETY NETTING two storeys below.

But their weight is causing the netting to shred onajagged edge •..Madeleine reaches out forsome dangling wires ... fingersjust missing...Irma clings to her.

Bond leapsdownsome crumbling stairs to try to help.

Madeleineand Irma struggle •..the net unravelling •..

Bond grabs the netting just as it giveswayon one side-now he is holding the weight of both of them.

Madeleine scramblestoward him,kicksIrma away and with that leverage manages to grab the wiresabove-asBond letsgo the net.

And Irma disappearsdown,down .•.into the depths oft building.

Madeleineswingson the wires.She letsgo.

Lands safely-in Bond'sarms.

She pummelshim in

Ithough

I'm t you,Doctor.

They kiss.

The Moneypenny is trying to contact Bond. The c rough- he's still out of range.

boat startsup its engines.The rib follows close

startaway.

realises what she has to do.She breaks out into a

Gets out hergun asshe runs.Stops.Braces herself.Aims ..•

Shoots through the rainand darkness.The bullet skims the edge of the trailing rib.

One of the men notices,looks back,readieshisgun-the others notice too-three of them about to fire at her -she takesquickaim, shoots again- direct shot into theirFUEL TANK.

KABOOM!A HUGE EXPLOSION.Four men taken out in one fell swoop.Moneypenny flinches at the explosion.

ANANGRY ENVELOPEOFFLAME risesup -

TheRUMBLE of the explosion is heard by Bondan they leave the building.

Stockmann and hisHenchman respond.

Now the abandon the boat. bank,where a CAR awaits.

and hits the

If

Now off

and head out into the street.

takes out hishone.Hits the seed dial.

RIVERTHAMES- NIGHT (RAINING)-_INTERCUT: 192

Moneypenny answers.

192 CONTINUED : 192

,.,,___ Yes.

Will

EMBANKMENT-NIGHT RAINING 194A

eeds along the north bank,through the

isapproaching the bridge.

194BEXT SOUTHEMBANKMENT -NIGHT(RAINING) 194B

Bond eyes are set,ashe runs through the rain.

Stockmann sees the roadblock outside theHansesof_ Parliament.

Turns his car onto the

Bond runsup onto the bridge.Slows.

197 OZ.UTTED

197AEXT WESTMINSTER BRIDGE-NIGHT(RAINING)

Stockmann drives onto the bridge.

Sees a figure step out into the rain

Bond.

He slowsdown. Stops.Steps

The rain lashesdown, walk toward each other, Bond without hisg wn by his side,Stockmann with machine pistol rai he has the advantage.They stop.

BOND

Stockmann chuckles.

wSTOCKMANN(CONT'D)_ Youknow whatI think?I think this

He looksup to the skies,nodding thanks,:tothe heayens.

Bond looks athim.

_BOND.,_ ½Youwant a bet on that?

Stockmann's ears prick up.

STOCI<MANN A bet Mister Bond?

smiles grimly back. jL

JlOND. He talked about you all the time.

Stockmann ishooked,even though he wants to shoot him.And Bond is edging forward.

Stockmann is breathing heavily now,staring atBond.Gripped.

Stockmann is momentaril machine pistol lowersa "second Bond ulls out th Stockmann's chest,as Sto

er.Bond bar

--intothe night air.Dropstohis::kn.ee""'-........."..s.,. His chest pouring blood.On his side 'oTinaiy aimsthepistol whereBond was----

tockmann

He aims thegun

Sorry

Stockmann

brother.

ad,killi.Rg

down.Thunder rumbles.

handkerchieffrom the other pocket,removes his staunches the blood from his shoulder.

Dead eyes stare up at Bond,the rain,the dark cloudsabove.

From oneend of the bridge M stands sentinel.An honourable,

Bond looks atM.Turnsand looksdown river, at the London sky.

He turns thePPK in his hand.He looks at it fora momenta 7:ast_:moment-and then ..•

He throws it into the river.

And walkstowards Madeleine.

M watcheshim go.

When he reaches her.

BOND

-MAOELE.I-I:i.....E-__ (re: thegun) Why did you do that?

He looks back at the river.

And now they

A wide shot,

Away fromM.

Away ...

FADETO BLACK:

199-200OM 199-200

cat walksacrossan East End cobbled street.Rubsup the leg ofa figure dressed in black.

a lock up.

man breaks the lock, slides back agarage door ...

Inside the workshop,a dark freight elevator descends.

It stops.Doorsopen.

To revealJamesBond, lit bya single naked bulb.Smartly dressed once more.He steps out.

We realize that we're in Q's vehicle workshop.Bond's footstepsecho in the dark chamber.

Suddenly, all the lightscome on.And there,looking back at Bond, isQ.A little older.A little wiser.

A beat while Q registerswho it is.

Bond looks atQ •••

Q looks at him.Bond looks

Theme ...

to him.

of close ups:

turns the key in the ignition.

counter bursts to life.ANENGINETHROBS.

clutch is depressed.

A gear stick isslammed forward.

Now we see Bond in the front seat.He turnsand looks.

Madeleine in the passenger seat.She smiles back-

203 CONTINUED : 203

JAMESBOND HITSTHEACCELERATOR •••

WHEELSSPIN •••

•.• ANDTHEASTONMARTINDBSROARS AWAY.

TAKINGTHEMSOMEWHERE •••

ANYWHERE •••

TOGETHER.