"SPECTRE" (2015)

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

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a copy 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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GUNBARREL - BOND - BLOOD.

The sound of DRUMMING.

IRIS OPENS on the eye-socket of a SKULL.

It's the Day of the Dead.

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

Drummers accompany the vast procession.

Revellers stream down a road toward an enormous a huge party is happening .•.

... we note heavily-armed POLICE GUARDS here and there. But the atmosphere is one of celebration a xcitement.

In this sea of RED and BLACK, SUIT AND BLACK MASK, who is moving

This is

Now the man bumps into so FOLLOW THE MAN HE BUMPED

It's JAMES

He is is masked too. His arm is round

the parade, and head into

AN HO

cut through the swirl of costumed guests and visitors g around a vast atrium which forms the lobby of the

through the colourful stained-glass windows

step into a crowded elevator as the doors shut.

She nuzzles at his neck. His hands 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 •

The wQIDan reaches intQ her cleayag~i and pulls out a ROOM KEY. Dangles it invitingly in front of his face. Giggles.

The doors open 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 fixes them both

Like you.

As she his coat and hat.

assassin.

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

follow him OUT OF THE WINDOW.

Dangerously high up, he jumps ••.

Lands on a rooftop.

He keeps low, walking coolly along the very edge of the roof, the street clearly visible below ... In the distance we can see the crowded square. The drums more distant now ..•

He reaches his destination, and stops. Looks across the way at some apartments. Day of the Dead FLOATS and STILT-WALKERS passing between ... Now he ducks behind a low wall on the rooftop.

Takes out his Walther PPK, and an additional piece of equipment. Clips the piece onto the hand grip of the gun a satisfying clunk. Inserts an earpiece.

Bond now tests his gear - raises the gun, points the crowd.

We see a faint laser beam emanating from beneath

A laser microphone.

We see the laser pick out a couple in the crowd Through 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~ER man nervously paces, drink r MEN in the back round.

Man crosses toward his apartment door, drink in

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

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

Sciarra comes in, heads to a table where a case is open - 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. Then th,,e_ _qgverno;i; :sozill be "dns.t-

~SCIARRA (in Italian. subtitled)

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

And

subtitled Pale Kin.

th name.

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

BOND FOCUSES, STOCK STILL AS THE MEN DRINK - FINGER ON THE TRIGGER -- THEN --

Suddenly, down in the street, FIREWORKS ..•

~Rockets start screaming past Bond -

In as lit second Sciarra turns to the window ducks -

Bond shoots. The window ex lodes from 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 to smash thought • He is near the case. Reaches to fire around t it -

Bond takes the dir THROUGH THE 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.

looks up slowly, realising ... across the street, the uilding begins to shift and tilt ... and then slowly, orably begins to FALL -- TOWARDS BOND!

topples down on him, Bond runs and dives--

building SMASHES into his rooftop--

A massive concussion. Dust and rubble everywhere.

But somehow it has missed Bond.

Then ... Bond's rooftop begins to tilt upwards. Bond clings on as he is literall~ cantilevered upwards by the weight of the fallen building --

Then Bond releases his grip, and slides down the roof, landing on a lower floor.

He lands on his haunches. Looks around, trying to orient himself

Exposed wires crackle around him, water gushes from pipes.

Then he feels the ground begin to tilt again. Instinctively he drops his gun, and grabs onto an 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 all around him.

He picks his way 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 assassins see each other. And

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

reacts

~hind them, the wailing of police sirens as they arri~e, at _the scene. ·.x;

8-10 OMITTED 8-10

Now we· follow Bond as he chases Sciarra through the crowds. Pushing through the chaos of costumes, floats, giant puppet~~ ~htmarish.

,Up ahead, Sciarra pulls on his mask. Looks ar2undL~

Bond sees Sciarra take out a MOBILE PHONE from his Makes a call.

F9sted on walls, several POSTERS for the the ESTADIO AZTECA STADIUM.

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

They turn a corner, and we crane u to reveal -

noise of the celebrations masked

At is a 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 of Sciarra.

climbs into the helic

The helicqpter starts to ascend.

Bond is running, and getting closer now -

Using every last ounce of strength, Bond lea~tl_

Grabs onto the landing skids, hangs on, the pilot struggling ,with the lopsided weight.

The crowd watch from below as Bond hauls himself up. Yells and screams from below.

The PILOT wrestles with the controls, as Sciarra kicks out,_ trying to Eush him out of the cabin •.•

But Bond claws his wa in. And now ~he helicopter ..•

The helicopter is gaining some height. ,control of Sciarra. He.. holds him helicopter.

rabs

almost UPSIDE DOWN. 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 rols from him.

He throws the pilot out as he pulls himself back in.

The pilot falls like a stone to the ground below.

Bond takes control.

Now we see the helicopter gain altitude. Until it lifts up

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

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

EST}3.ELLA ( Q.: ~ ~o how's the yiew, James?

,.BQWl_

oes to ks out across the sun •••

IN THE CHOPPER ·

He RING he holds in his palm.

ring.

OF THE ANCIENT SILVER RING - THE

The drowning Vesper,

The sweat-drenched Le Chiffre,

The oil-soused Agent Fields from Quantum of Solace,

The insane Silva,

The dying M -

Bond is caught in the middle, torn and confused -

Now, funeral mourners mix through into the desert -

The octopus tentacles become Bond's veins -

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

The flag wraps itself around a Bulldog which SHATTERS reveal an envelope ...

Inside the envelope, a picture of Bond.

Grey early morning London.

A solitary figure walks up Whitehall.

It's Bond.

A hi h shot as Bond court ard.

He enters the front

fall silent. Analysts

He cl CAMERAS high up on the walls, every twent

between desks of SECRETARIES who type faster as

e reaches Moneypenny's desk. She's wearing her dictation headphones.

Moneypenny regards Bond levelly. She carries on typing.

If Bond is snubbed he doesn't show it, or that he knows what's next. He knocks briskly on M's door and enters.

Moneypenny glances at the dQQr.

A newspaper hits the desk. Its headline:

Bond sits in front of M's desk.

M (~ ~tart anywhere you like.

~ond glances at the paper~

M (CONT'D) Take your :time,,u.007, But in five minutes the Head of the Intelligence Committee, walk through that door, to explain how one of decided to potter off on his own and caus incident.

than a whole

at 007 in utter consternation.

M What?!

~'s blood boils.

M )\re you even listening to me?

shake up in the history of British Intelligence -

MONEYPENNY

Back inside M's office.

M - as soon as the ink dries on this merger, MI-5 will be just itching f an excuse to scrap the 00 programme forever. And you just hande ON A SILVER BLOODY PLATTER

M, his blood

fly like

y rules.

ahead, his ·aw tensin.

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

ae is standing over Bond's chair now.

.. M (CONT'DL Admit it. Since she died ~Qu've been a loose cannon. You couldn't save her, you blame yoursel.

A beat. Bond stands. And faces M.

..!!§ fi~~s M with a calm smile. M stiffens~

Are you threatening me, 007?

For a moment it looks like Bond mi smiles.

SUDDENLY --- The door opens. A MAN en and charismatic - and about the same age

M regains his composure. 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 ~rust me, 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 be all, 007. Report to Q tomorrow.

BOND walks out.

M looks after him. Unfinished business.

A large stucco fronted house.

A figure appears. Framed int

Bond.

Bond, CLOSE UP, into the street below.

Takes

looks round.

The It's Moneypenny.

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 hands over a slim box file.

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

She looks at him. Then:

Why the

He looks at her.

21 CONTINUED: ( 2 ) 21

Bond studies Moneypenny. He puts down his scotch. the remote and turns on the TV. A disk starts

A face appears .•. IT'S HER •..

••.. M. Moneypenny is transfixed .•

M (JUDI) If anything happens you to do somethin called Marco Sciar don' t miss the

The image

Jesus.

montbs ago.

You want

She smiles. Just t in from 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 as Moneypenny street and walks away.

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

Nice quiet break.

They PRESSIVE NEW BUILDING ON THE BANKS OF THE THAMES ooks up at it.

The boat heads into an opening in the embankment

Their voices echo in the tunnel:

And MI-5 ,M's feel'

What do

Bond as the tunnel narrows.

y reach a 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-like room. White til imple desk, various half completed and eccentric inv ie about. Piles of books and scientific periodic the effect.

room with one chair inside and machines and screens.

himself, preparing as he talks.

Reluctantly, Bond takes off his jacket. He sits and slips his arm into a small MRI-type scanner on one arm of the chair.

A VIOLENT SOUND LIKE A STAPLE GUN

Bond reacts in pain as THE SCREENS LIGHT UP:

Instantly we see MEDICAL GRAPHICS sh electrical signature entering Bond's bloodstre

We location: it zooms in on

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

More screens SHOWS KIDNEY FUNCTION, BLOOD SUGAR, etc .•..

Q looks at the screen of readouts.

Further down in the new Q-Branch environment.

Bond and Q 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 Martin DBl0.

dmiring, already anticipating the pleasure.

Bond's face. Stopped in his tracks. Q brushes past. Walks over tg a small table. Picks up something.

He hands Bond an understated, black-strapped OMEGA WATCH.

They walk out through the facility.

Given our if I said my mind.

privacy I

at Bond for a beat.

Q holds Bond's gaze. A couple of Q-Branch personnel pass by.

29 CONTINUED: ( 2 ) 29

Bond listens . .•

Bond smiles.

Please

Bond after him. Unnerved •..

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

that it sits on the coffee table amongst The sound of rain outside.

on the floor. He has the SKYFALL file open in front

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

PAPERS AND A FEW CHARRED PHOTOS.

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 face a mask.

Another drink. The next item:

TEMPORARY GUARDIANSHIP PAPERS. Bond's name briefly visible.

A thirteen year-old Bond with a TALL MAN; the two of them in mountaineering gear on a snowy peak •.•

A faint smile comes to Bond's face.

He replaces the items, closes the box.

Now he turns and looks at that Bulldog on the table ••.

,M (JUDI) (O.C) Jf anzthinq h~P.J2JWS to me oo 7, I aeed you to do somethin~. Find a man called Marco Sciarra. Kill ~don't miss the funeral.

BOND'S EYES ARE RESOLVED. He knows

The start of another day.

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

A gift-wra orchid.

How t get there?

Sheu

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

M What's that?

She makes a choice, putting the box in a drawer.

M Not your birthday is it?

M heads into his office.

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

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

Q presses the ator. It begins its descent.

Q watches the elevator. not the car.

It is a BOTTLE 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 traffic and ring the city.

STREETS OF ROME - LATE DAY 35

Bond sweeps along, enjoying the car. The modern muscular Aston is somehow right at home amidst the ancient stone.

Bond takes in the interior. FOUR TOGGLES on the dash: 'Atmosphere', 'Exhaust', 'Air', 'Backfire'.

Bond looks down at them.

He pulls up at a cemetery, bathed in a late afternoon mist. A number of other cars already there.

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

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

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

As she comes down the steps, she turns and loostraight at Bond. She is very beautiful.

She holds his gaze for a second.

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

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

i commettiamo il corpo di a terra e dire addio

es closer.

on Lucia now. Her beauty still radiatipg thrgygh_

a little behind her, stand what seem like TWO

She hears an off camera voice.

She turns to look at him. Her face is a mask •.•

A flicker of curiosity:

Their eyes are locked now.

How see

No.

One of She knows it's a signal to go.

ith Bond, intrigued. She heads away with c es her go.

r pulls up outside a fabulous villa, Lucia gets out and ers the villa. The car drives off.

up behind Lucia. The two bodyguards.

CAMERA moves down the side of the villa as Lucia's silhouette passes from window to window, moving through the rooms. The lights go on inside. Music spills out of the house from a stereo.

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

She takes a sip as she stands before her leaf-filled pool, the lights of Rome twinkling in the distance.

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

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

Both bodyguards raise their pistols behind her veiled

CLOSE ON LUCIA LOOKING DOWN AT HER REFLECTION IN She is shaking.

WE HEAR TWO SILENCED SHOTS and a body splashes in wrecking the reflection.

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

Bond comes to her.

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

Bond

pours them both drinks.

He holds out the drink. She SLAPS HIM hard across the face.

Then you

I can to go.

crazy, Mister.

He li

BOND

her, his hand sliding down her back, unzipping

clothing are removed, the following:

He is kissing her neck, her shoulders ..•

Bond continues to on.

make love.

CIA'S BEDROOM, ROME - NIGHT 41

a is naked under the sheets.

dressed again, stands over her dressing table writing a

He crosses the room and hands her the paper.

She smiles through tears.

He looks at her.

He makes to leave.

She hands to that worn b Sciarra in Mexico. B

Bond

,LUCIA (CONT'D)

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

You'll see.

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

The Aston drives into one of the enormous courtyards. The vast building looms up on all sides.

James Bond steps out, takes it in. Quickly notes there are EIGHT ENTRANCES TO THE BUILDING - outside each one, a couple of cars and a bodyguard. It feels like a significant event.

He walks past one 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.

Stops by the next entrance; DIANA, the Goddess of smiles.

A group of people are just disappearing inside.

A heavy set man WITH A SCAR ON HIS CHEEK spots B Approaches.

Bond is facing away 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 the end of the corridor the group wait, then A BELL SOUNDS.

The bell echoes in a magnificent room. Eight doors open at the same time, allowing the different groups in. Now everyone ,w;ears a mask - identical to the one Lucia gave to Bond.

Bond"m§.kes his way up to the FIRST FLOOR GALLERY, looking down into the hall.

,Below, the huge hall is dominated by a vast

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

He watches as TWENTY men and women take their se the table. Formidable businessmen and women of nationalities. Behind them their entourages stan in all.

As Bond looks around him, he sees that on thellery surrounding him are around SIXTY PEOPLE. Diffnt tiers of the organization. An overwhelming sense of po

Bond boldly stands amongst the

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

Smoke from the candles gh the gloom, GIGANTIC THIRTY FOOT DOORS OPEN - IOUS LEADER OF THE ORGANIZATION makes his

Bond watches the head of the table. He takes a mome hered in the room then speaks, his ar.

around the table.

BOND STANDS IN THE SHADOWS. LISTENING.

The leader reaches down and picks up a SMALLAL BUCKET.

He pours the contents of bucket onto the table.

It's full of EYEBALLS. More than

The eyes glisten in the candleli begins to intone.

How does e web? 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 appoint a replacement to rra. ~ho will comBlete the job at

gisters the name again - as the Leader fixes his gaze ~ he TWO MEN sitting beside one another at the other end of table. They both, ceremoniously, remove their masks. ~

oth are smartly dressed but one is noticeably larger. The first guy, a SPANIARD, looks to the man on his left, HINX - who stares ahead at the Leader.

43 CONTINUED: ( 3 ) 43

Mister Hinx slowly gets to his feet.

Everyone's eyes travel upwards. He is smiling.

Suddenly, he grabs his rival around 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's thumbs move around to th s eyes, and finally force themselves i~o

the Spaniard's choking gasps.

SUDDE hes, and in one move breaks his neck.

gallery, in the shadows, as the floor. His lifeless head falls forwards dull thud. Blood pools from his gouged

gets up from his chair, he stands straight and

He smiles. Then---

BOND listens.

BOND keeps perfectly still.

He turns and looks~

Bond freezes.

Behind th steals a look ar.mmd___ him. Then his gun and_ 'aims at a

subtitled

Ever a moment in :the room__ Tsa man awa

attention diverted Bond tur

He leaps and smashes through the huge stained glass behind him -

COURTYARDS, ROME - NIGHT 44

Broken glass showers down into the courtyard.

Bond reaches out, and JUST grabs hold of a ledge •

..H.e. .. looks belml, dro~to the cou;r:tyard,. runs towards the DBlO as bullets begin to ricochet around his feet.

{CONTINUED)

Bond reaches the Aston, jumps in, his tyres smoke 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 oriflce of the buildin after im.

He looks back. A ears to be safe .••

And then suddenly, with a roarin screams out of the archway

Mister Hinx is inside.

Other cars now join as MAIN ENTRANCE.

Where the He sees the

The v gates start to close ..•

As Bo through them.

just makes it ~btough,.

~s to get tbe gates closed and the other-. halt comin within inches of the wide-e ed

XT. STREETS, ROME - NIGHT 48

On the streets of Rome, the race is on. Just the two of them.

Bond hurtles onto a dual straight road. Pure speed.

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

IN THE ASTON:

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

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

APPEARING ON THE REAR-VIEW MIRROR: 'MUSIC ENABLED BRYCE'.

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

But he does have more important matters - witH Hinx closing ••• He selects 'Backfire'.

A small machine gun e car.

A-ha •••

Bond awaits the sound of g beeping alarm •.•

e looks. Hinx is gaining. Bond , surprising him.

on his cell phone and.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.

And now Bond sees Hinx has come alongside, his smiling face looking at Bond through his open window as he raises his gun.

,BOND (CONT'D) Holg tbat tbougbt,,.

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

Instantly, the Jaguar ZOOMS past him, then brakes too. throwing the Jaguar into a 180 spin, and screams off a pursuit.

Bond looks into his rearview mirror. Sees the Jagua eeding behind him, a greater distance away, but still 'n pursuit.

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

Bond accelerates, drives the Aston a the step zooming over the top of a parked

RIPS off the roof. The Aston

Too late for Hinx onds behind Bond, Hinx follows, catching s eered-off roof on 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, avoiding a row of parke go.

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

Hinx pursues.

STREETS OF ROME - NIGHT - CONTINUOUS 52

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

A straight residential road lined with parked cars. Bond screaming ahead, corning at speed toward a tiny FIAT puttering along on its homeward journey.

Bond zooms 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 sees Hinx approaching behind him at speed.

Now Bond accelerates, fiercely ramming 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, an empty parking space approaches--

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

For a moment race again.

Bond's phone calling back. Bond quickly answers.

BOND

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

turn and onto--

NIGHT - INTERCUT:

Moneypenny is now sitting at her desk in a dressing gown, looking at her laptop screen: above a digital map of_~ _Mondsee, Austria is a PHOTOGRAPH of a man some of us will recognize as Mister White from Casino Royale and Quantum o Solace.

Data files relating to him stream down the screen.

MONEYPENNY & BOND (simultaneously) Mister White.

It's a surprise. A nasty one.

Behind her, out of focus oneypenny's boyfriend enter. He stands in th

of the Vatican loo s ahead. Hinx still in

And she's gone.

BACK IN THE CHASE the Aston and the Jaguar hit the end street, and scream right past the Vatican entrance, dr all the way from one side to the other.

Bond swings the corner.

Speeds onto a street running parallel with th iver 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's a 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 its outcome he flips it.

Watches with an almost detached curiosity as part of the roof slides back - followed by a SECOND SEAT BELT sliding over his chest from his left shoulder, crossing not unlike a parachute harness. Now the head-rest tilts back.

CLOSE ON ONE OF THE DIALS

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

BOND'S POV:

The end of the road zooming straight toward u

INSIDE THE CAR: A BRIEF FLASH OF

THE ASTON FLIES UP, ARCS

the

The depths of the Tiber. His smile

A k makes its early morning rounds.

James Bond drifts down to earth, his black collecting behind him.

eleases the 'chute, dumps the harness, and doesn't check 'de as he calmly strolls past the garbage truck. The busy

arbage collectors hardly notice him, as he simply walks on

A huge UN-style meeting room. Through large windows we can see Tokyo spread out below .

progress.

A COLLECTION OF MEN AND WOMEN of many nationalities gathered. Placards: The United States of America, France, Germany, etc.

Mand Care amongst them.

CHAIRMAN

terrible news from Rio. This after the tragedies in Tokyo and Hamburg. Re~~ grouEs are increasinglL.._ powerful and we are failing to stop_ :them.

~•s simultaneous translation light flashes.

L Mister Chairman, it I may?

__C (CONT'D) Fear has made us isolated.

M watches with interest. Where

behind M, sees something

Close 's laptop screen: A message sent from an MI-6 analys mage of an ITALIAN NEWSPAPER, IL TEMPO:

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

read more. Sensing trouble ...

C (CONT'D) I say, again - a Nine-Eyes committee will have full access to the combined intelligence streams of member states. More data, more analysis. The _security services of the world, united. Gentlemen alone,. we are weak_._ Together, we are a global power.

M's face. Concerned.

An aerial shot picks up a dark Range Rover as it sweeps down a long snowy road, high in the mountains.

An otherworldly setting of haunting desolation. Grey and cold.

Bond climbs from the car.

HIS POV: across the lake, an isolated chalet.

Bond stands at the rear of a small boat - ope ing the outboard motor.

We see the boat from high above as cross the water.

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

Bond steps onto • No sounds from within the buildin2.

s. Perhaps White is dead already?

Bond ough the house carefully.

ht filters throu h the windows castin eerie shadows out the rooms.

a mess. There are TVs and RADIOS,everv:where, but are on and no other sins of recent occu ation.

stealthily around the house, noting tb§ unl2.linking _ of security cameras tracking him on his journey.

All rooms seem to be empty.

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

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

And from beneath the wall, a flickeking light. and ver~ faintly. • • distant u~cokded voices .• ,

Is there a PANIC ROOMhidden right iri front of him? He starts to trace back the wires of the security cameras. Finds the spot where they disappear.

Bond repeat-fires where the wires head in, each shot more of the hidden junction box until it BURSTS INTO

The light beneath the wall dies .••

The panic room door locks automatically retract gently swings open. Bond speaks into the darknes

Distantly, a back-up generator starts. The li sin the panic room flicker back to life. Illuminating •..

Mister White in a chair in

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

There are TV 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 Tokyo train bomb.

He is

d Mister White sit opposite each other, a chess table een them. A single television now plays on 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 clearly disturbed by what he sees •••

He drops the ring back on the board.

Oh .• Come

things a man fears ath. If you knew him, s capable of-

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

Bond listens, as White 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 his head anxiously. And Bond guesses--

so.

White stares at the chessboard.

Some of us might realize he is talking about Ves

White shakes his head.

Your

Two lost killers.

Bond puts his gun e table between them. Turns it so the handle f~es the barrel faces Bond himself ...

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

~Bond doesn't blink.

White stands. He walks behind Bond.

Bond doesn't turn.

White cocks the weapon.

He strokes the back of his neck with the muzzle.

White puts the gun to Bond's head.

Bond hears the words.

With his other hand, White reaches to a low shelf,up A FRAMED PHOTOGRAPH OF HIMSELF AS A YOUNGER MAN, ITH AYEAR OLD GIRL. Puts it on the table in front of Bo

I can't maybe you can.

He

e dancing in a 'ster Bond. Good luck.

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

BLAM! umps down 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 in Tokyo, the vote for Nine Eyes is now 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 yes on behalf of the UK.

Finally we get to the South Africans. A 'No' vote.

c is visibly disappointed.Mis relieved •..

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

'Speeding car crashes into Tiber.'

Tanner thinks ..• Forwards the message with a new

During the above, m Tanner on his cellphone screen:

'ARE WE

phone ...Night t;i.~ J through:

in London.

INTERCUT:

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

He looks up at the tracking screen. What he sees makes him wince.

He makes his choice:

M Well I want my eyes on him when I get back. Understood?

Q hears the call go dead.

Now we see what Q sees. The screen showing 007's

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

'KITZBUHEL, AUSTRIA'

A snow plane cuts across a 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 has sensed the distant

plane. Surveys the scene.

and Soul Spa.

is set high in the mountains. A pristine collection uxurious glass boxes and 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's a very specialized clinic for the hyper-rich.

The new Centre For National Security sits on 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 have a 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 windows look ames. In the distance, the Shard is visible, ost of South London.

C sits standing.

lance is a da wjtb tbe information ..• and who does it.

C If I didn't know 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 you know me extremely well .

C Look, I didn't want to have to do this ... but I think you should take a look at a transcript that our algorithmic scanning isolated.

C hands him a brown envelope. M opens it.

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

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

And then a transcript of a conversation between a (ENGLISH?) and a MALE (ENGLISH?): the conversation Bond and Moneypenny when he was in the Aston.

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

M looks back at him.

M You watch MI6

Bond

e behind the floor-to-ceiling windows oration this room needs.

Until across the room at her desk.

White's daughter is beautiful. She speaks into a TATION PHONE under her breath, finishing up her notes on patient.

She crosses the room 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 pulls down

She looks up from her clipboard es his eye 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 to a rejuvenated and estyle.

She pauses slightly, but doesn't look up.

She looks up at him. He gives nothing away ..

How, if I

She looks

levelly. Returns to her questions.

She looks back at him, turns cold.

78 CONTINUED: ( 3 ) 78

She realises what he means. Puts the paperwork down.

She regards him,

his way just to hat your enemy is

life is in I need your help.

She turns stone cold.

He stands, moves to her, she flinches back.

She heads to the door, opens it.

Bond sees the RECEPTIONIST outside the room. oesn't want to make a scene.

What does like you?

Bond leaves.

Madeleine stands,

within an internal courtyard, brooding on with Madeleine.

looks at him with utter contempt.

Bond turns. It's Q. 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 picks up her phone. Bond knows calling Security.

Bond fixes him.

_Q_ Knew you? How?

Bond glances up to see the messa on ground level. Security eye

Do one out.

Q wavers.

moment please?

Bond THE SPECTRE RING, presses it into Q's palm.

the ring. He knows it's something •••

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

The barman arrives with his health drink.

Bond heads off. Security Guards behind him.

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

She watches him

And pulls down 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.

swings a punch into one man's gut. He doubles over. The Guard comes at him. Bond grabs a chair and slams it o his face. It breaks as the man falls. Out cold.

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

Without pause he butts him on~e between the eyes knocking him cold. The Security Guard drops like a stone.

Then Bond runs outside.

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

But before Bond has time to react, AJ.'xOTHER TWO MEN are on him.

Bond deals with the men with deadly precision. Shoots the first man with his own gun. Then turns it on the secon Swift and deadly.

But still not fast enough, as now he looks out d mountainside and sees:

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

It's Madeleine, looking back at him.

She has been taken.

A split second of thought,

Meanwhile--

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

steps in

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

Q surreptitious glance. The man smiles politely.

away. The silence is unnerving.

s himself into his research. Pairs a small spectrum yzer with his laptop, scans the ring - his computer antly analyzing the stone's constituents, the octopus

attern, etc., ...

Then he brings up Mister White's file ...

The car and the two support Land Rovers are speeding down the twisting mountain roads away from the clinic.

It's incredibly icy and dangerous.

They speed into a tunnel cut into the rock--

Up front, the DRIVER and Hinx, who has a gun trained Madeleine in the rear seat. ANOTHER HEAVY is next to opening a small medical kit ...

The Heavy opens the case. She sees a hypodermic there.

He lifts the syringe. She kicks it hand.

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

The cars emerge

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 nees and sacks out.

is stirred to have seen Bond trying to save her.

out at the sky looking for Bond. Where the hell from?!

Q works away on his laptop. A bloodhound on the scent.

He's running checks on every location White is known to have visited plus all kinds of data related to that location e.g., who else had been at that hotel, train station or airport within a similar time frame - cross-referenced with the materials within the ring. Not surprisingly, LE CHIFFRE'S IMAGE COMES UP .••

Suddenly the cable car comes to a stop. Q looks up.

The Man gazes back with unnerving uncomfortably, .looks out the ' feeling like an eternity ..•

Oytside, the cable car hang s

Back to the Man, still staring •..

looks at him and back down at the screen aze

,boring into the top of his skull.

Then, just as suddenl the own the mountain again.

The cars are on a alongside a high valley. A steep drop beside

Bond soars them--

Hinx' s men fire--

the snow-plane. They smash and clatter

LAPTOP, the connections are starting to accumulate. IMAGE OF LE CHIFFRE rs JOINED BY VESPER LYND, DOMINIC E AND THEN ... RAOUL SILVA.

studies the information. Unnerved by the knowledge he now has he glances back up - at the worrisome man facing him.

Then he's relieved to see that the cable car is about to pass through a halfway station.

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

They both smile at him now - gun-hands in their pockets. But just as the doors start to close, a bunch of HIGH-SPIRITED SNOW-BOARDERS clamber in. The MEN'S smiles disappear...

Bond quickly lowers the plane, below them now--

The bullets now hit the roof of the plane.

Still keeping abreast with the cars on the road

Then Bond accelerates and soars up quickly--

They fire at him--

But he accelerates ahead of them, arcing the plane up and out of sight.

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

90 EXT, ALPINE ROAD, AUSTRIA - 90

Now they

Ahead in dot, moving closer ...

It's Bond,

And he ht at them. Getting lower and 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 trees as 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, SLAMS INTO THE TREES, BURSTS INTO 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 the sound and fury of the pursuit - the serenity of the descent.

And then the MUFFLED ROAR of a distant EXPLOSION. Bond snow-boarders turn and look. So do the men. Q takes hi chance and moves so he's next to the door with t boarders between him and the men.

The cable car shudders as it enters the ground st steps out.

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

He keeps moving, weaving his way he crowds of skiers breaking for lunch, looking b ly, the two men prowling the crowd for him ..

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

e slope, trying to shake off Bond. lowing the cars even more closely.

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

diately, the other wing dips viciously, and Bond starts se control.

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

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

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

Coming up fast on 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 the Land Rover to break free of the plane.

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

A WIDE SHOT shows him heading across a bridge towards a lar hotel. The HOTEL HORATIO.

The trees start to thin out. Up ahead Bond cans about to break out into open terrain. Just as th burst out from the trees onto A WIDE SKI SLOPE--

Ahead, a giant forest ••.

The cars veer off to avoid it. But B eading straight for it. Madeleine's face staring at gh the rear window as the vehicles turn away.

Bond uses everything he hast turn. The engines scream as he pushes down 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, a huge~NO

ct - he careers up the 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 for a small village. A collection arge Alpine barns and outbuildings and eventually

uildings and 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 like a missile, comes out to T-Bone the leading Land Rover.

SMASH!

It is destroyed as--

The fuselage of the plane spins to a stop--

Torn to bits.

Bond steps out from what remains of the plane.

Pulls his gun-- as the car holding towards him.

Hinx lunges forward, DEAFENING the driver:

OUTSIDE:

Bond aims. He's got one shot before the car b els 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 cascades from the branches and burie

Bond car. Pulls Madeleine out. She is weak.

helps her away.

As they move off, we linger on pile of snow where Hinx landed. A hand twitches, he appears, shaking himself to his senses. He's alive ••.

Q .e.nters_his hotel room, relieved. He closes the door behind him, .heads straight for the bathroom, locks the door. Safe.

He takes out his computer. Sits.

And then, from outside the door

A dull thud.

Q freezes, his fear-filled face instinctively knowing ursuers are now in his hotel room, on the other side door.

Madeleine's shaking hand clutches a glass

Bond and Madeleine stand at a street bar.

She is in shock. Barely hears him,

Another.

You lied kill me.

This man is wary of trusting him:

you knew.

spies a TV in the corner of the bar:

IMAGES FROM A TERRORIST ATTACK IN CAPE TOWN.

takes the information in.

Bond and Madeleine approach the door to Q's hotel room.

Bond pushes it. It swings ominously open.

Bond already has his gun 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 has been wrenched off its hinges.

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

Bond is shaken. This is his fault.

Madeleine comes 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 turns on the hot tap.

Then he moves to the shower,

What are

He doesn't reply.

Bond is

because the steam that has now formed on the i owing up words Q must have etched with his finger glass. They both stare.

'SPECTRE'

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

A buzz. She looks around, checks no one is within earshot. Reaches down and retrieves a phone from her drawer.

It's dusk now. Bond and Madeleine walk across the brid the outskirts of the small town. The lights of Hotel recede in the distance. ~ond talks on the phone;

Moneypenny. deeply worried.

She be an index she sees the name.

It's

She tries deleted'.

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

M Moneypenny - my office. Now.

the phone down.

Moneypenny looks sick.

Bond holds his phone.

He hangs up. 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 undermine my s?

that C gave him. Slaps it on the

Money he rack. In an impossible position.

his voice quieter:

M (CONT'D) I do hope it wasn't for love. If so - you've been made a fool.

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

Conspicuously not loyalty to M. Painful to him.

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

Moneypenny's jaw tightens.

M Who from?

M is stunned •.

M You crafty bitch.

Sir?

M Not you.

went to those lengths as huge. 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's ver_x interesting, Moneypenny. But I'm afraid you remain officially suspended.

She goes to leave. Then:

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

MoneyEenny is confused.

,Ji_ The paper archive.

Then he opens a draw, pushes a 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 are crowded with tourists and market traders. als. Spices. Colour.

men drink strong coffee, smoke hookahs - and watch

ncongruous modern flat screen TVs mounted on the rough adobe walls of labyrinthine cafes.

Bond eyes the shadows watching for anyone watching them.

Madeleine leads them down an alley -

Quieter here. They're getting away from the crowds now.

The alleys getting narrower.

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

They enter A TINY ALLEYWAY.

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

a dark stairway.

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

Bond follows her i • She has stopped still, taking it in: it's shabby 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 pulls a 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 pictures and shelves off the wall. Trashing the place.

Bond moves into the bathroom. Checks the tightness of the fixtures and plumbing. Runs his fingers along the grout of the tiles in the shower.

Bond finds a loose tile. Detaches it.

Bond turns

He holds a 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 takes a huge pull. Swallow. Hands Bond the bottle. takes a huge pull. Swallows. Hands it back. She doest same. Hands it back. He takes another huge pull. Hands back. She does the same. Wipes her mouth.

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

She goes in again to kiss drunk now - 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 you. But

Looks over at him with her drunk double v

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

loats in from th t d her mind swims ..

He listens as she drifts off.

,The music continues, haunting .•.

_DISSQLYE:

112-113 OMITTED 112-113

Standing proud on the Thames, the home of the Intelligence Service still bears the scars of Nothing has happened to it since then -

Moneypenny is descending a concrete staircase, indowless and unloved.

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

She activates banks of d fluorescent lights flicker into life in a ading eerie light across a 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 through a hole in the skirting board.

Bond stares, thinking. Walks over. He pours the last of the schnapps along the skirting board. It seeps away under the wall •.•

Alert again, he looks, realizing he missed something.

Comes over to the wall, taps it, feels his way around.

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

Turns back.

And PUNCHES the wall. His fist slams right through, allowing his fingers to get a grip.

She gets up, rubbing her head as Bond opens the

Madeleine isn't far behind him as he flicks ohe light inside the room. A single bulb.

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

He

A range currencies.

Box after bo~of osable cellphones.

Poisons. M ning equipment. A satellite phone.

Knive rrotes, knuckle duster.

The d life of a man who can kill and then carry

s into the room .••

OLD MI-6 BUILDING - NIGHT 116C

in the vaults, Mone moves along the shelves.

Close on her hands as they move down a row of files. They stop. Bingo.

She pulls out a file.

Bond is now exploring the secret room. Bond is looking at the objects, in business mode.

On the other side of the room, Madeleine spies a photo album. Sfie pulls it down off the shelf. Inside: a photo of her parents in happier times. Photos of herself as a child.

While she does this:

Bond has seen somethin .•. somethin ives him pause:

Bond stares at the image. 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 of comments in green

She comes across an old cheap camera, colours faded.

AN INFORMAL SHOT OF SMALL SOMEWHERE IN THE DESERT.

Moneypenny studies It's from the late 1980s because a younger just recognizable to us. And in one sun-shadow e might recognize the mysterious fi ure from Rome ..•

~~-~~a piece of paper, on which some NPMBERS have Bond-recognises immediately:

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

11 7A CONTINUED : 117A

He grabs an old MAP, unfolds it.

Tracing the co-ordinates on the map, .•• his finger traces rail line, pausing in bare desert. We hold on a spot in the middle of nowhere .••.

Moneypenny still holds the photograph. She looks

The group of legionnaires stand before a gaudy ha mural on the adobe wall behind them. It features an PUS STRADDLING THE PLANET EARTH, ONE TENTACLE CLUTC ING A JET FIGHTER.

Moneypenny looks closer ••.

The name of the platoon: 'LES

There are two oth

leavin ier.

hes as he removes a 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 the compartment, opposite one another.

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

I hate

er my word I'd st thing to do is to protect yourself.

So he does.

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

She picks up the gun. And in the next few seconds, with amazing dexterity and speed she strips the gun, 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 his own 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 into a 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 is C - who for M.

M rea n out-manoeuvered.

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

M South Africans on board, I take it?

C And who can blame them? (nods) I've been asked to head the new group. And, look, I should tell you, I've spoken with the home secretar~. J:n_ligbt of the information I , provided him with, he's left with no ...c.hcice put to close down the 00

operations in the new building .

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

c tries to leave. M stands in his way.

M You're a cocky bugger, aren't ypu?

_c_ What on earth do you mean?

M I mean ... it's not bloody over vet.

And M walks off. C watches him go, steely •..

The train looks tiny beneath the vast African sky.

The sun is setting - 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 his eyes off her as he 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 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. Hinx grabs the underside of the table,

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

nches Hinx with no effect, manages to pull out his They struggle and the gun goes off, shattering the glass ither side of the table.

ndeterred, Hinx lifts, spins and throws Bond onto a table, moves in again. Bond strikes out with a kick, but Hinx simply grabs him and hurls Bond's body into the service area --

Just as Madeleine, recovered, runs at Hinx with an ice- bucket, swinging it over his back - again, no effect.

Hinx turns, swings a brutal slap to Madeleine knocking her to the floor. He turns back to Bond, sees him grabbing for the Walther, grabs him with both hands, rams him forward, crashing through into next carriage.

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

WHAM! WHAM!

The bathroom door slams open twice, catching Hinx off guard Not for long though. Hinx is grabbing Bond again. Bond uses the momentum to kick off the carriage wall, slamming b o them back into the bathroom.

They slam side to side before busting through th

Now Bond grasps for any weapon within reach. Sma bottle into Hinx's face. Hinx releases Bond from like grip.

Back on his feet, Bond now hurls a lamp, butXis unstoppable, advances swinging a bar table ba and forth forcing Bond down the length of the b

Bond grabs a lit bar candle and thro Hinx catching his waiter's jacket on fire, mov hrow some punches. Distracted, Hinx realizes he's o a tries to snuff out the flames.

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

130-131 OMITTED 130-131

Hinx

Cases weapons improvised. Hinx's huge hands rip th Bond hits him with.

men crash around the carriage •••

inx has the upper hand; holds Bond's head, his thumbs over Bond's eyes, starting to press in •••

florescent light, stunning both Bond and Hinx.

A gμnshqt rings out.

Hinx recoils, he's hi:t....in the shoulder. Madeleine stands behind him with the GLOCK.

Hinx spins around, J:tl..e.e.din.gd no lon.g:e1::....smi.lin.g.,.....knocks the gun from Madeleine's hands, and slaps her to the ground. As he lurches for her, Bond grabs a chain, slings it around his throat, throttling him.

Hinx struggles -_the chain swinging and Eulling against the stack of barrels to which its attached, the anclior linKing them all together ..•

He's indicating the side door.

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

The tracks and brickwork hurtling bz •..

Just as Hinx elbows an exhausted Bond in the sto him down - he goes sliding across the floor. And starting to remove 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 the d

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

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 bursts open. They are already in each other's arms. They slam up against the wall.

13 3 CONTINUED : 133

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 in a small, discrete

Immersed in his work he onl 'ust sittin down opposite him. He looks up.

Mone enn is holdin the

I found

Mo ens the file PHOTOGRAPH.

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

be a coincidence.

M loo The octopus symbol. The face

at the Reads the name:

M Franz Oberhauser ••.

to Moneypenny;__

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

13 SA CONTINUED: 135A

M I just hope it's not too late.

Dawn breaks over the desert.

The distant train traces a thin line across the emptiness.

Inside the cabin, Madeleine finishes

Bond enters, ending a phone call as he does so.

The train grinds to a 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 ,You ready?

Madeleine nods.

Bond tenses •..

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

And drives past.

Dust blows up in a huge cloud as it rumbles by.

BQpd and Madeleine watch it drive into the distance.

Then Madeleine nudges Bond. She has seen something.

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

A tiny dust cloud.

Bond and Madeleine watch as it grows in the shimmering

The cause of the cloud gradually becomes clear:

A VINTAGE BENTLEY, driven by a UNIFORMED CHAUFFE

A surreal sight.

The Bentley drives closer.

Now it pulls up 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 see a shape loom up ahead of in the desert.

raised corona of a CRATER. A mouth has been blasted ugh - and beyond it they glimpse strange silvered DOMES different sizes, sitting on the floor of the crater.

As the Bentley passes through the mouth of the crater we now see a beautiful pool, set in an immaculate green lawn.

Next to the pool, a vast, sleek modernist house sits amidst the huge domes.

The Bentley pulls up.

The Chauffeur opens the door for Madeleine. Bond follows her out, aware now of HENCHMEN 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 the henchmen, his gun 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. I can 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 enters a magnificent bedroom.

A suit is laid out on his bed.

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

BOND Turns from the bed and looks at the pictures room. And his blood freezes •.

the screen is a frozen ima e. White

Bond' s head.

Bond presses play.

Md watches as White shoots himself.

BOND turns from the screen the room. And his blood fr

The room is decorated with Bond's childhood.

Pictures of him as a 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's son. A thin smile on the other boy's

BOND

ine emerges onto the terrace, very beautiful in the ning dress.

Bond emerges ••• in his own suit.

And then a voice from the doorway.

YOICE (0 .c.)

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

As he approaches, his eyes SEarkle.

A white Persian cat jumps up on a tabl

He pushes the cat its objections.

They of cham a ne.

raises his glass.

Bond watches him drink. Not poisoned, then.

Bond lifts his glass. Takes a sip. Stockmann turns to Madeleine.

Stockmann leads e into a simple, modernist space, the centre- ch is a ring of screens that provides a 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 screens go black. ExceRt for one: a CCTV image of a street corner._

Qn screen; A truck parts. A man gets out, walks away. Could be anywhere in the world.

Bond focuses on the single screen.

And then.

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

Whoosh!

Bond's blood has gone

And ,ima scr of

Stockmann watches more screens come on. The terrified crowd ~

He closes his eyes.

A secQod, Quter circle Qf TY screens beyond the first begins to come on. One by one, more and more screens ... _

_The · Sotind · is n.ow beginning to build •.•

Breaking news feeds from all round the world, reporting catastrophe. One by one they come on - CNN, AL-Jazeera, NBC, etc - until there is a cacophony of sound.

The ticker along the bottom of the images reads attack in Cape Town"

More images from different TV channels, diffetangles on the carnage.

Oh, haven't you heard? They've signed UJ2 to it now. .

BOND

Stockmann looks at them both.

Alon table is laid under the vast dome

The roof is open, and the stars are out •

, up.,, anoth plates of

tables. into

While this is

The food ushes her bowl awa.

plate.

She said she's not hungry.

She glares at him.

STOC;rruANN (CONT'D) come now Madeleine. ~au know what

their supper ..

Bond makes to intervene. The next second, $puts a pistol to Bond's temple.

nearest waiter holds her in

blowtorch comes over and li ht

She takes a 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 eyes him.

_( To Madeleine) ,Did he tell you about her? No? That was the big one. She was stunning. Intelli@ent. Charminf. So charmin, that ev n when that our facea l~1 n~ bitch double crossed him he still ed to save her. Sadl he failed. Then he trie to u s e dieg too. Have you ever noticed, Mister Bond how all of the ,women in our life seem to end u _dead?

Madeleine's jaw tightens. so does Bond.

Stockmann chuckles, as if energized.

e

Stockmann shakes his head.

,all

_q_TOC;I<MANN Mister Bond. Are ou reall

Madeleine.

STOCKMANN (CONT'D)

who focuses all their misfortune and woe upon an single individual?

~he glances at the waiter with the blowtorch.

,MADELEINE A Delusional Paranoiac.

,Madeleine can see that a game is plazing o~L hetrazeen the tw.a.... pt them. She watches intently--

_STOCKMANN (CONT'D) Because at one point in my life I too believed there was one, single person rwho I could blame for eve ' 9L;._,;;f_o_r::;:.___ all my tormen ,

· ,you know what e::r. 1. • They pu me in a stra' ket. Gave me 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.

STOCKMANN (~'D)

everything I was not. And my father fell in love with him. This cuckoo in ·· the nest. He spent all his days with him, skiing, climbing, hunting, at nights playing poker. I would sit in ,my room alone at night listening to

cards with this boy. They would play ,with hazelnuts for chips. One day I asked if I could play. My father said ...

He stops. His jaw tightens •

.. STOCKMANN (CONT'D) ~Y father said that the excitement ,. would be bad for my t. But I

And I started to shake. And you know 'what I did? I folded my cards. And when he turned his cards over, he had ,,a pair of threes. He had nothing. He , was bluffing.

n uffaws as if it's the funniest thing he's ever

his face are seeping blood. He dabs the

Bond looks directly at Stockmann.

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

He nods. The waiters grab 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 to him with at He clearl now has access

Stockmann ignores him, continues to flip through the data.

,He picks up 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 cries out in pain. Stockmann watches the figures jump. -

+He does it again. Bond's heart races •

• STOCKMANN (CONTI D) . Where is your poker face now, Mr. 'mma .

...tie laughs. Looks at the figures •

• STOCKMANN (CONT'D)

He shocks

STOCKMANN

He looks at the fi ures.

would

He looks with the rod.

in the eye. Gives him nothing.

chuckles.

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

him a ain. Puts

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

BOliP ,I have a gues:tion-.J:lli¥ .. alJ. :taa s,ames? ,Why not just a bullet?

,stockmann stops. Mock su:t;prise, ,

,, Bond smiles grimly.

The:J: both laugh.

Stockmann

threah__

to take such

thinks.

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

takes out a istol. Loads it.

, He stands.

, BQND ,You want to pl a~ a l aat band.,.....E;t:.anz2. For old time sake.

Stockmann stops.

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

~r whole house of cards comes tumEilng down.

Stockmann looks at him •

You're bluffing.

Stockmann lances at the data. Bo normal. His blood pressure lowers -Stockitiann. Unreada e.

Your move.

Stockmann

No Just steel.

He At the door:

the door.

tockmann ''I

,, Inside the cell, the faintest of smiles crosses Bond's fa.c.e...._ ~

A.LUXURY HELICOPTER rises from among the domes.

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

While Stockmann gazes at the first rays of the sun creeping over the lip of the crater, finding the mirror on top of the solar furnace ...

The helicopter disappears into the rising sun.

The SOUND 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 fast becoming like an oven.

He hears a voice.

VOICE 007 ••

Bond cocks an 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 heat upon his skin now ...

Bond hears this, gradually realizes what he means. As the hair on his arms 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 its countdown. Tick, tick, tick ..•

Bond instinctively slides it under the door oft braces himself.

BOOM! A huge explosion.

THE DOORS BLOW 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 the gun as -

BANG!

He falls Q's hand. Traumatized.

He heI nto the shade. Sees a message appear on one of the 's phones: 'ARE THEY DEAD?' Bond types a remly ••.

the phone.

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

,He receives a message on his phone, reads it. He smiles. Then his face changes.

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

One of the Technicians hears a noise and turnso see the tesselated mirrors at the base of the 'telesc' ripple into a new configuration. His surprise and unease ells us this is not normal.

In seconds the mirrors rays onto the COOLANT STORAGE VAT.

The Technician's eyes go

Bond and Q 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

KABOOM KABOOM KABOOM KABOOM!!!

A MASSIVE WAVE OF EXPLOSIONS SWEEPS THE FLOOR OF THE CRATER - FOLLOWED BY A DEEP IMPLOSION OF ALL OF THE OBSERVATORY DOMES. THEY DISAPPEAR IN A HUGE STORM OF DUST.

A far bigger event than Q could ever have imagined.

Establish. Rain falls hard. An aerial shot moves great city, the River Thames snaking through it

The new building gleams on the north bank ofThames.

We are with C as he 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 of a plaque. A small st been set up as well.

is our

making that

C Splendid.

, looks around the new building proudly.

C (CONT'D) Amazing how fast history moves.

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

High up, a windblown TARP clumsily hides the old scar of the giant explosion from view.

15 4 CONTINUED : 154

Down on the river, a sleek BLACK LAUNCH pulls up at the shadowy quay at the base of the building.

Stock:mann, Madeleine, Irma and HENCHMEN step out.

Waiting with a GIANT UMBRELLA - JENKINS, C's aide.

The door to the interior swings open. Stock:mann <as if he's just bought the place. Looks up,

The vast empt shell. Bell blown out b :;from SJcyf ail-:-

Stock:mann looks around the sha e see up through the middle of the chasm - AC ELEVATOR. Hanging cables and wires fringe the ll's house rooms. Jagged concrete, twisted w· orcements, construction netting.

Amidst the dust an Memorial Wall, Thos country.

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

Looking at Madeleine:

Now he looks up. His eye settles on a floor half building where the damage is centred. A GANTRY e from the elevator.

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

STOCKMANN

' But a partial one. I aIIL a criminal. But certainly not small time.

He has moved to the tarp, and looks out over London.

OUTSIDE:

STOCKMANN LOOKING OUT OF M'S(JUDI'S) SHATTERED OFFICE ...

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

In Whitehall, M looks around his office. It is empty. He holds a small box, with the remains of his belongings.

Then he remembers something, opens a drawer, and

CLOSE ON A MEDAL: GEORGE CROSS. AN SAS AWARD

Moneypenny enters off camera.

M Ready as I'll ever be.

A last look, then he pushes the leaving it.

He closes the door behind him.

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

M The French have a saying - 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 faces look back at him.

M (CONT'D) Thank you all.

He walks through the room, and exits.

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

The limousine pulls away fast.

They look at each other.

He pulls out his phone -

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 •

The rows of shelves seem to stretch into infinity.

Close on Irma's feet as she st the shelves and begins to search •..

Low light illuminates Q's lab.

Weapons lie on a table.

Bond is close to a large screen which shows a c oss section of the new CENTRE FOR NATIONAL SECURITY.

He taps a at M.

Q is typing away at a laptop.

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

_M ,Against stockmano?

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. That bastard.

M takes his tie off. Bond has finished arming himself.

Q hits a last key and something comes up on his

We see the map, with a blinking cursor next Bridge on the south bank of the Thames. _T~h~e-~....;..;. to Stockmann's henchman is now on the desk computer.

M looks at

under our noses.

M are you going to do?

quick assessment. To M:

beginning to understand where he's heading ...

M ..• Yes.

The door opens, Moneypenny and Tanner come in. Bond gives Moneypenny a special nod of acknowledgement.

The construction elevator touches down at ground level.

The doors open on Stockmann. Irma is facing him.

,She racks her istols and puts it to Madeleine's

her here.

He turns to go.

Madeleine watches from 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. drunken coward 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 yes signatories are there too.

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

Across the room. M, drink in hand, watches C approach.

C I have 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 ferve t masochists.

16.6 QMITTED 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 tarp swings back, it revea eady close, and onto her.

the metal, but Irma shifts away, and in the stomach.

slides back as she falls, dropping her weapon.

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

he makes it to a door, yanks it open - only to find that there is no floor on the other side!

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

She teeters on the edge, pulls herself back - only to be hauled back and thrown across the room.

She lands on the floor. Winded. Lo,oks up at Irma with hatred. Spits blood.

Then both women become aware of A SOUND GROWING ..•

ROTORS. A helicopter approaching. Very close.

Irma draws aside the tarpaulin, and together the two women watch as a helicopter drops down RIGHT IN FRONT OF THEM.

And then BRIGHT LIGHTS BLAST THE ROOM, the tarp blown from the downdraft, the lights even brighter now.

Rain lashes in, Madeleine shields her eyes to th cannot see him, but she knows who 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 sets down on a he building. Lights go off. Bond gets out into rain.

to the closest window - he sees a shadow on the The window is kicked out. TWO MEN come out on to get him.

ith no 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 the smashed cockpit, flicks the lights back on - blinding them.

BLAM BLAM!

Two bullets take them down.

James Bond strides forward from 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 up on a gantry.

He looks down, planning his attack.

Bond's POV: The massive building drops down into beneath him.

Speeches are being made. Stockmann is in theience watching.

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

During this, ONE 'S MEN approaches. Leans down to whisper in h~ e

from the sidelines .•.

kmann's face goes white with shock at what he has been Bond is alive.

smallest of smiles: the chase is back

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

TWO HENCHMEN look up from a middle floor.

They ready their machine pistols ...

The doors open 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 shots and the two men are down.

BLAMBLAMBLAM!

Now bullets rain upwards from SOMEONE DOWN BELOW, sparking off the frame of the elevator. No time - Bond runs, leaps across a chasm to get to safety - gun in hand.

The men shoot from below. Bullets ricochet. They

Bond lands on the other side of the chasm. Turns upwards.

Boom! His bullets hit a skylight high up in the b

The massive sheet of glass shatters and rains d wn on the men.

Shouts from down below - the the glass. One looks up, face bloody •••

Two more shots from Bond, and

He looks to where Madeleine i

Applause. Back at watching closely now as C comes to the micro

11, as you must all know great building was only 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 at C, his face a mask. C senses is wrong.

curtly acknowledges the crowd.

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) Mister Stockmann - Ernst, if I may -

C (CONT'D) I wonder ir we migli"E'""call on you to take the system online?

Applause as Stockmann makes his way up to the podium.

M has been watching him and waiting for this mom his eyes flick up to the upper gantry. A nod.

From an internal.~alkway high in the building - T back.

Now Tanner turns to address the room .••

for this Tanner.

make a blind

the small stage.

and addresses him urgently, under the noise of the e.

C (sotto voce to Stockmann) What's wrong? What's going on?

Stockmann smiles at C, and, almost pleased ..

c is struck dumb. Stockmann turns, suddenly smiling.

Laughter.

Stockmann presses a button.

LIGHT STARTS TO PULSE SILENTLY UP THE MESH OF WITHIN THE GLASS CORE. In an instant, data is across screens around the room.

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

Tanner watches as Q's hands move lightning. The screen flows with

Stockmann oes:

neypenny on the other side of the room. She bas .. for this moment. She follows Stockmann stain

in the shadows. Listening.

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

Unknown to Bond, we see the DARK FIGURE OF A HENCHMAN climbing the stairs ...

Back with Bond, as he looks out from the shadows.

His POV: the semi-obscured outline of ANOTHER HENCHMAN 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 and a man in the doorway!

The man shoots, misses. Quick as a flash, Bond and kills him with a single shot -

But now he has his back to the elevator door nd it's just opening ..•

Bond is revealed to the s his gun pointed right at him.

Bond

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

A split realises what is going to happen. four storeys to his death.

A shu at the base of the elevator echoes round the

higher up in the building, Bond sees the shadow 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 of the central cable still pulse and glow.

The screen behind c has QQme tQ life, Clearly a pre pJanned- ·~ presentation: ·~

C (analysing data on screen, off the cuff) •.. so from the presence of your cellphones, cross-referenced with your credit card details, and other records, I can tell you that .•. seven of you woke up in a different country this morning. One person actually travelled here by public transport!

Laughs from the audience.

Tanner watches from the higher floor.

Now he turns back to Q, waiting at his laptop

Q punches a key on the keyboard.

Down in the main room, on the screen change.

C looks

t seem to be .••

like a good-natured the act:

M inating stuff. Those charts up nd you now. What do they present?

himself staring at a morphing 'organism' of data ing on the screen; different connections grow, idify.

Presses his remote. The screen continues to fill with data.

e turns to fa~~ :tl:u~ i:l.JJdience. _

C Wrong page. Teething problems. How predictable.

A name is now written in capitals at the head of the page: BRUCE DENBIGH.

C turns, .and realises that he is looking at his OWN DATA.

C (CONT'D) Well, I - This wasn't •..

M Ah yes, I think I see. What we're looking at, ladies and·· gentJ emeu., j s.-

~errorism. Here, for example, s.e.r.~r~e~t.1.----- funds transferred between in Swiss bank accounts between you and Mister Stockrnann.

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

e screen.

M (CONT'D) Just ten da sago the in a restaurant in Rome. exico C1ty

Mis now standing next to Con

One mo Mister Hotel

T'D) lly can tell properly analysed

Mis

_ M (CONT'D) (sotto voce to cJ :_ Now at least we know what C stands for.

T. CNS BUILDING, QUAY - NIGHT (RAINING) 184

thunderstorm has begun. The rain is torrential now.

Moneypenny has followed Stockrnann down to the exit.

We see her POV: Stockmann and ONE HENCHMAN are heading towards the Black Launch.

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

Moneypenny moves off through the rain.

Tanner is on the other end of

Across the room, Q vigour.

the audience are HIGH RANKING moving to the front ..•

M they do.

game's up.

C (quiet) Come on M. One man can't sweep back the tide.

M Who says I'm alone?

Thunder rumbles in the darkness as Bond stealthily tracks Irma across the gantry.

18 7 CONTINUED : 187

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

Bond finds cover behind some construction machinery.

He looks up ahead into the near darkness. A flash of lightning reveals Irma, gun drawn. Briefly silhouetted against the gaping hole. The rain behind her.

She has her gun to someone's head. But Bond's view is obscured. He cranes his neck to see: Madeleine. She is against the back wall, below the windows. She is CHAIN GAGGED.

He looks ... realises he is crouched next to a DI

He looks around, 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 the room 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, too late.

Only now, looking down, another flash of lightning illuminates something - the two women are caught on SAFETY NETTING two storeys below.

But their weight is causing the netting to shred on a jagged edge •.. Madeleine reaches out for some dangling wires ... fingers just missing ... Irma clings to her.

Bond leaps down some crumbling stairs to try to help.

Madeleine and Irma struggle •.. the net unravelling •..

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

Madeleine scrambles toward him, kicks Irma away and with that leverage manages to grab the wires above - as Bond lets go the net.

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

Madeleine swings on the wires. She lets go.

Lands safely - in Bond's arms.

She pummels him in

I though

I'm t you, Doctor.

They kiss.

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

boat starts up its engines. The rib follows close

start away.

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

Gets out her gun as she runs. Stops. Braces herself. Aims ..•

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

One of the men notices, looks back, readies his gun - the others notice too - three of them about to fire at her - she takes quick aim, shoots again - direct shot into their FUEL TANK.

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

AN ANGRY ENVELOPE OF FLAME rises up -

The RUMBLE of the explosion is heard by Bond an they leave the building.

Stockmann and his Henchman 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 his hone. Hits the seed dial.

19 2 CONTINUED : 192

,.,,___ Yes.

Will

EMBANKMENT - NIGHT RAINING 194A

eeds along the north bank, through the

is approaching the bridge.

Bond eyes are set, as he runs through the rain.

Stockmann sees the roadblock outside the Hanses of_ Parliament.

Turns his car onto the

Bond runs up onto the bridge. Slows.

197 OZ.UTTED

Stockmann drives onto the bridge.

Sees a figure step out into the rain

Bond.

He slows down. Stops. Steps

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

Stockmann chuckles.

wSTOCKMANN (CONT'D)_ You know what I think? I think this

He looks up to the skies, nodding thanks ,:to the heayens.

STOCKMANN (CONT'D)

in the stars all along.

Bond looks at him.

_BOND.,_ ½You want 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 is hooked, even though he wants to shoot him. And Bond is edging forward.

Stockmann is breathing heavily now, staring at Bond. Gripped.

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

er. Bond bar

--into the night air. Drops to his::kn.ee ""'-........." ..s.,. His chest pouring blood. On his side 'oTinaiy aims the pistol where Bond was----

tockmann

He aims the gun

Sorry

Stockmann

brother.

ad, killi.Rg

down. Thunder rumbles.

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

Dead eyes stare up at Bond, the rain, the dark clouds above.

From one end of the bridge M stands sentinel. An honourable,

Bond looks at M. Turns and looks down river, at the London sky.

He turns the PPK in his hand. He looks at it for a momenta 7:ast _:moment - and then ..•

He throws it into the river.

And walks towards Madeleine.

M watches him go.

When he reaches her.

He looks back at the river.

And now they

A wide shot,

Away from M.

Away ...

FADE TO BLACK:

199-200 OM 199-200

cat walks across an East End cobbled street. Rubs up the leg of a figure dressed in black.

a lock up.

man breaks the lock, slides back a garage door ...

Inside the workshop, a dark freight elevator descends.

It stops. Doors open.

To reveal James Bond, lit by a single naked bulb. Smartly dressed once more. He steps out.

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

Suddenly, all the lights come on. And there, looking back at Bond, is Q. A little older. A little wiser.

A beat while Q registers who it is.

Bond looks at Q •••

Q looks at him. Bond looks

Theme ...

to him.

of close ups:

turns the key in the ignition.

counter bursts to life. AN ENGINE THROBS.

clutch is depressed.

A gear stick is slammed forward.

Now we see Bond in the front seat. He turns and looks.

Madeleine in the passenger seat. She smiles back -

2 03 CONTINUED : 203

JAMES BOND HITS THE ACCELERATOR •••

WHEELS SPIN •••

•.• AND THE ASTON MARTIN DBS ROARS AWAY.

TAKING THEM SOMEWHERE •••

ANYWHERE •••

TOGETHER.