UNTITLED B24 Screenplay by John Logan . \ Revised BvJ Neal Purvis & Robert Wade SHOOTINg SCRIPT: October 17, 2014 This draft screenplay is a named copy made available to the reader only^and it must not be photocopied or its contents divulged to any third party. accord with the utmost care and confidentiality. Should a copy of this draft screenplay be lost or misplaced, please immediately report this to the Bond 2 4 Production Office or Eon ▼Productions Limited. This draft screenplay must be returned to the Bond 24 Production Office or Eon Productions Limited at the end of your involvement with the film. © 2014 Danjaq LLC and United Artists Corporation. All rights reserved. GUNBARREL - BOND - BLOOD. The sound of DRUMMING. IRIS OPENS on the eye-socket of a SKULL. EXT. STREET, MEXICO - LATE DAY It's the Day of the Dead. Pull back from the skull mask to reveal a mass of skeletons, coffins, hearses and death masks. /"*"*" %_jf Drummers accompany the vast procession. Revellers stream down a road toward an enormous SJiUARE where a huge party is happening... ...we note heavily-armed POLICE GUARDS here and there. But the atmosphere is one of celebration and excitement. In this sea of RED and BLACK, we pick up a MAN IN WHITE SUIT AND BLACK MASK, who is moving against l||e stream... This is MARCO SCIARRA. An assassin. Now the man bumps into someone - and, as he continues on, WE FOLLOW THE MAN HE BUMPED INTQ.-V, It's JAMES BOND. AlsjJ an assaJIsin. He is dressed all in blagpt, and is masked too. His arm is round a shapely MASKED^fflRL. The couple j^y^^cm^hrcugh the parade, and head into AN HOTEL. INT.^HOTEL LOBBY/ELEVATOR - LATE DAY Th^y/cut through the swirl of costumed guests and visitors milling around a vast atrium which forms the lobby of the jf' hotel. ght streams through the colourful stained-glass windows igh above. They step into a crowded elevator as the doors shut. INT. ELEVATOR - LATE DAY 3 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. (CONTINUED) 2. CONTINUED: The woman reaches into her cleavage, and pulls out a ROOM KEY. Dangles it invitingly in front of his face. Giggles. The doors open and the couple leave. INT. HOTEL CORRIDOR - LATE DAY The couple pass more revellers, then the Masked Girl slips her key in the lock, and they enter. INT. HOTEL ROOM - LATE DAY The girl (Estrella) removes her mask. She is gorgeo ESTRELLA f Now you can kiss me... And now the man removes his mask. Reveal B<§||D/% Sorry. Do I know you? J%J V They kiss. She fixes them both a drink. ESTRELLA You like our Day ofj the Dead? BOND 1 Unexpectedly charming. Like you. As she turns -to .Andres s, he takes off his coat and hat. Suddenly he is tSe dark clothed, lone assassin. With her back to Bond, Estrella takes a sip of her drink, crawls onto the bed, and turns to see him opening the window: \J ESTRELLA But... where are you going? BOND To check out the view, d we follow him OUT OF THE WINDOW. EXT. HOTEL/ROOFTOPS - LATE DAY 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... (CONTINUED' CONTINUED: 3. 6 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 wijph a satisfying clunk. Inserts an earpiece. Bond now tests his gear - raises the gun, points it do|§ the crowd. C We see a faint laser beam emanating from beneath the barrel A laser microphone. We see the laser pick out a couple in the crowd. 'Through Bond's earpiece we hear: MAN (in Spanish, subtitle*) When is the Governor speakin WOMAN %y (in Spanish, subtitled) Who cares, I just want to see the fireworks! Bond smiles, shifts the, sight|Jitaway, past empty rooms to another block - wheagi he finefe the apartment he' s looking for. Bond settles. The apartment he is%observing has several windows through which we will track goings-on. A SUITED man nervously paces, drink in h4»Hl.%!>her MEN in the background. Il § A DOORBELL** SOUNDS. IN THE APARTMENT The Suited Man crosses toward his apartment door, drink in hanc*" ens it to see The Man In The White Suit we met earlier: Marco Sciarra. SCIARRA (pointing, in Italian, subtitled) Do you have it? SUITED MAN (in Italian, subtitled) Yes. It's over there. (CONTINUED) CONTINUED: (2) 4. 6 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. SUITED MAN (CONT'D) (in Ital x.ctn f subtitled) When is lift-off? SCIARRA (in Italian, subtitled) Eighteen hundred hours. Then the Governor will be dust. SUITED MAN (in Italian, subtitled) What time is he due to speak? SCIARRA (in Italian, subtitled) One hour. There are STILT-WALKERS passing be%ween Bond and his target he waits for his moment... SUITED MAN (in Italian, sufStitled) And the flight out^fcf Htere? SCIARRA in Italian, subtitled' I All arranged. SOTTED MAN Italian, subtitled) en%hat? 93 SCIARRA |(in Italian, subtitled) 1 I visit The Pale King. We see Sond register the name. AS BOND TAKES AIM ON SCIARRA - THE ROOM The Suited Man pours two drinks, SUITED MAN (in Italian, subtitled) A toast, my friend. (Raises glass) To Death'. SCIARRA (in Italian, subtitled) To Death. (CONTINUED) 5. CONTINUED: (3) BOND FOCUSES, STOCK STILL AS THE MEN DRINK - FINGER ON THE TRIGGER — THEN — BOND Bottoms up. Suddenly, down in the street, FIREWORKS... Rockets start screaming past Bond - In a split second, Sciarra turns to the window, sees Bond, ducks - Bond shoots. The window explodes from the gunshot He's missed! / Now, the Suited Man starts returnxng fire, along with his associates. Unseen by Bond, Sciarra walks coolly from the room Bullets explode all around Bond ontjthe rooftop Fragments of the wall fly off as Bond returns fire .re. The Suited Man drops behind the tawle for cover, as bullets continue to smash though the window. He is near the case. Reaches to fire around the side of it - Bond takes the direqlt' line % aims THROUGH THE CASE - shoots ana - _ The case «flo*.. AN IMMENSE EXPLOSION, which shakes the building to its foundations. ■ Bond reflexively takes shelter behind the low wall. We hear th^sound of glass raining down into the street, car alarms, fal| oil screams. Then an awful silence. Now#«in th# silence, a SECOND NOISE. A creaking sound. Bond looks up slowly, realising... across the street, the whole building begins to shift and tilt... and then slowly, Uorably begins to FALL — TOWARDS BOND! s the building topples down on him, Bond runs and dives— And the falling 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 literally cantilevered upwards by the weight of the fallen building — (CONTINUED) CONTINUED: (4) 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. Instinctive he drops his gun, and grabs onto an exposed pipe as This entire floor collapses as well! He holds onto the pipe, swinging down dangerously a%oth1|r"* twenty feet. He looks down. Checks. Then he simply lets go... And lands — On his feet. At ground level. JTh% collapsed building all around him. He picks his way through the debris. And now he opens the front door of the building - the only thing still standing - and steps out of what's left of it, straightening his cuffs. EXT. STREET, MEXICO - LATE DAY Bond walks out into the mayhem. Revellers wander stunned in the street. A couple of bystanders are down injured, and being tended to. Then suddenly, "staggering out of the rubble on the other side of the street... is SCIARRA. : He is covered in dust. Blood streaks his white suit. And he has 4°st««»his gun. But he is very much alive. A charged moment as the two assassins see each other. And then... Sciarra runs! T ^^^^ limping badly, but he is strong. He barrels headlong the crowd who now descend on the scene of the bombing. ond reacts quickly, and sets off in pursuit. Behind them, the wailing of police sirens as they arrive at the scene. 10 OMITTED 8- 7. EXT. STREETS LEADING TO SQUARE - MEXICO CITY - LATE DAY 11 Now we follow Bond as he chases Sciarra through the crowds. Pushing through the chaos of costumes, floats, giant puppets. Nightmarish. Up ahead, Sciarra pulls on his mask. Looks around. Bond sees Sciarra take out a MOBILE PHONE from his pocket. Makes a call. Posted on walls, several POSTERS for the GOVERNOR'S Jgpll^pl"*"%l the ESTADIO AZTECA STADIUM. Bond is gaining on him, trying to keep him in his sights through the heaving mass of people. 4 They turn a corner, and we crane up to reveal - EXT. ZOCALO SQUARE, MEXICO CITY - LATE DAY 12 A vast square, with a giant party %n full swing. Clearly the noise of the celebrations masked the explosion... At the centre of the square, a hulje Hfcage, on which is a mass of Drummers, pounding out a rhythnu Skeletons dance manically around a vast central skull. Now we see Bond's PQJf of Scj^rra up ahead. He checks over his shoulder, sees Bondf, Bond is pushing through the crowds now, getting closer. Then... a noise -up"%bove. The crowd begins to react and look to the sky. Bond look! up. A HELICOPTER is descending. Sciarra has clearly called for his getaway vehicle... Now, the crowd begin to scatter. A RdHR OF DOWNDRAFT, and Bond watches as the helicopter ^ hoyers close to the ground, directly in front of Sciarra. Sciarra climbs into the helicopter, still clutching his wound. The helicopter starts to ascend. Bond is running, and getting closer now - Using every last ounce of strength, Bond leaps! Grabs onto the landing skids, hangs on, the pilot struggling with the lopsided weight. (CONTINUED) 12 CONTINUED: 12 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 push him out of the cabin... But Bond claws his way in. And now - Bond fights Sciarra in the helicopter... The pilot again tries to tip Bond out of the helicopter.,, swinging violently, and spinning dangerously over the passes in the square. The helicopter is gaining some height. Bond manages to *get control of Sciarra. He holds him over the side opening of the helicopter. BOND Who is The Pale King? But Sciarra isn't talking. He spits in Bond's, face. Now Bond does something unexpected. He reaches down and grabs Sciarra's hand. Wrenches something off his finger. A ring. % SCIARRA (genuine fear)^ No... no. %■ Suddenly the pilot turns the helicopter almost UPSIDE DOWN. Both men are violently spun around. The noise of the helicopter is deafening. Bond holds on to Sciarra*. . . But finally he lets go ... and with a silent srfrllpni Sciarra is gone, into the helicopter's blades. ^ Now Bond struggles into the cockpit, and grabs the pilot... Now there is no one at the controls i The crowd below in the square gasp, as the helicopter again bucks and spins dangerously. And now it starts to descend at incredible speed. pilot swings at Bond, but Bond manages to wrestle the htrols from him. BOND You need to leave. He throws the pilot out as he pulls himself back in. The pilot falls like a stone to the ground below. Bond takes control. BACK IN THE SQUARE (CONTINUED) 12 CONTINUED: (2) The crowd watch, as - just in time its fall, and levels off. 9. the HELICOPTER arrests 12 Now we see the helicopter gain altitude. Until it lifts up over the city and away. BACK TO BOND. Steely as he looks out over Mexico City in the setting sun. His cellphone rings. He answers.. ESTRELLA (O.S.) So how's the view, James? BOND Breathtaking. BACK TO: 12A INT. HOTEL ROOM - LATE DAY The ROOM. Estrella goes to the window a the city glinting in the sun. . . ^Jm/^ ESTRELLA *C Well I hope you found wha€ you were 12A boks out across looking for... IN THE CHOPPER He looks down... at the small P RING he holds in his palm. It'> And we close i EOND art. .on the ring A CRUDE STAMP ON THE SURFACE OF THE ANCIENT SILVER RING - THE SYMBOL OF THE OCTOPUS, ./TITLES: % The"' tentacles of the Octopus take us on a floating journey ^through the past - SPIRALLING DOWN... The drowning vesper, The sweat-drenched Le Chiffre, The oil-soused Agent Fields from Quantum of Solace, The insane Silva, The dying M - (CONTINUED) 10. 12A CONTINUED: 12A 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 the red in the Union Jack - The flag wraps itself around a Bulldog which SHATTERS tc reveal an envelope... Inside the envelope, a picture of Bond. 13 EXT. WHITEHALL - DAY Grey early morning London. A solitary figure walks up Whitehall. It's Bond. % 13A EXT. MI-6 COURTYARD, WHITEHALL'S A high shot as Bond crosses a la^ge circular courtyard. He enters the front of an austere building. r* Q ^ >/ 14 INT. MI-6 CORRIDOR, WHITEHALL - DAY 14 As he strides down the" corridor, people fall silent. Analysts whisper. Bond clocks it. He clocks the SECURITY CAMERAS high up on the walls, every twenty feet. They're new. 15 INT. ANOTBjER MI-6 CORRIDOR, WHITEHALL - DAY 15 Bond passes between desks of SECRETARIES who type faster as passes. . OUTSIDE M'S OFFICE, MI-6, WHITEHALL - DAY 16 He reaches Moneypenny's desk. She's wearing her dictation headphones. BOND Morning. 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. (CONTINUED) 16 CONTINUED: 11. 16 Moneypenny glances at the door. 17 OMITTED 17 18 INT. M'S OFFICE, MI-6, WHITEHALL - DAY 18 A newspaper hits the desk. Its headline: "OUTRAGE IN MEXICO" Bond sits in front of M's desk. M (calmly) Start anywhere you like. Bond glances at the paper. M (CONT'D) Take your time, 007. But in five minutes the Head of the Joint Intelligence Committee, i%.g&ng$to walk through that door, and I've got to explain how one of Buj*i^^|ts decided to potter offi%|t)%[e1|ico all on his own and cause an international incident. BOND It could have been worse. M Worse? You blew up half a bloody block! BOND Better half a blo^^tKSn a whole stadium. |jAnd more than that, you were NOT ^OPERATING ON MY AUTHORITY. v. \f \ BOND Why all the cameras? it 007 in utter consternation. M What?I BOND Out there. In the corridors. M's blood boils. (CONTINUED) 18 CONTINUED: 12. 18 M Are you even listening to me? We are in the middle of the biggest shake up in the history of British Intelligence - 18A INT. OUTSIDE M'S OFFICE, MI 6, WHITEHALL - DAY - INTERCUT: 18A MONEYPENNY, and everyone else can hear the row developin^^f^ 18B INT. M'S OFFICE, MI-6, WHITEHALL - DAY 18B Back inside M's office. M - as soon as the ink dries on this merger, MI-5 will be just itching for an excuse to scrap the 00 programme^ forever. And you just handed,-.them one ON A SILVER BLOODY PLATTBMJ BOND _ You're right, Sir. You have got a tricky day ahead. ^ M, his blood boiling, could dheerfully kill Bond. Crlr As of today, you are officially grounded. Off Bond's look. M (CONT'D) My predecessor may have let you fly solo whenever the hell you felt like it, but NOT ME. You will do what I tell you. Work when I tell you. Eat hen I tell you. Shit when I tell ou. My game. My rules. Bon<^jJcares ahead, his jaw tensing. NS BOND Has it at any point occurred to you that I may have had my reasons to be there? M Reasons, Bond? I have a list: Arrogance. Insolence. Mania. Paranoia. Borderline Psychosis. Have I missed anything? He is standing over Bond's chair now. (CONTINUED) 18B CONTINUED: 13 . 18B M (CONT'D) Admit it. since she died you've been a loose cannon. You couldn't save her, you blame yourself. A beat. Bond stands. And faces M. BOND You know, if you're right, and 1 am a maniac, you should probably think twice before you're left in a room alone with me. He fixes M with a calm smile. M stiffens. M Are you threatening me, 007? For a moment it looks like Bond might snapf He slowly smiles. SUDDENLY --- The door opens. A MAN enters, sharp and charismatic - and about the same age as Bond. M regains his composure. It's not ,an easy segue. M (CONT'D) \ Ah. Excellent. Come in. 007, I'd like you to meet Bruce Denbigh, Head of MI-5. Codename C. They shake hands. ' C/ J It's a pleasure to finally meet you, 007% I've heard a great deal about you. A great deal.. BOND Congratulations on your new appointment, C. Does this mean we can inally get some decent coffee in the canteen? laughs. Trus C rust me, 007. We're all about the small details. BOND Why wouldn't I trust you? M (pointed) 007 was just leaving. C It's perfectly alright, M. appreciate candour. (MORE) (CONTINUED) 14. 18B CONTINUED: (2) C (CONT'D) Over at MI-5, we believe in openness, sharing opinions across departments, bringing Intelligence out of the Dark Ages, into the light. BOND Well, that all sounds lovely. M That will be all, 007. Report to Q tomorrow. BOND Very good, Sir. BOND walks out. M looks after him. Unfinished business. 19 20 EXT. BOND'S FLAT - NIGHT A large stucco fronted house. A figure appears. Framed in the"window Bond. 18B 19 INT. BOND'S FLAT, LIVING AREA - NIGHT 2 0 Bond, CLOSE UP, looks out of a window into the street below. Takes a drink of Scotch. The doorbell rings. Bond looks round. 21 INT. BOND'S FLAT, FRONT DOOR - NIGHT The do<%,Jo the flat opens. It's Moneypenny. ond shows her inside. 21 We see the flat. Bare. Anonymous. Stuff still in boxes. On jshe kitchen counter, a single bottle of scotch stands sentinel. MONEYPENNY Have you just moved in? BOND No. MONEYPENNY Well I like what you've done with the place. (CONTINUED) 21 CONTINUED: 15. 21 The scotch bottle on the counter is the only decoration. BOND Thanks. I did it myself. Drink? MONEYPENNY I'm not staying. I came by to give you something. Forensics finally released this. She hands over a slim box file. BOND What is it? MONEYPENNY Personal effects they recovered from j Skyfall. Bond tosses it on the counter next to the scotch. BOND Thank you. She looks at him. Then: MONEYPENNY Why the hell did you dlcVit, Bond? He looks at her. bond! Eavesdropper. MONEYPENNY f the * Bond? Iff Half the building could hear. It's all anyone's talking about. For an organization devoted to ecrets there's an awful lot of gossip over there. MONEYPENNY There's certainly a raft of opinions. BOND Let me guess. Theory number one: He's burnt out, can't admit it, so he blew up half of Mexico City to force M's hand. MONEYPENNY That's Theory Two. Theory One is you've gone completely mad. Which is similar to but not the same as Theory Three: that you are and always were certifiably insane. (CONTINUED) 1 CONTINUED: (2) 16. 21 BOND Not much of a raft, is it? (Takes a slug of scotch.) So which camp are you in? MONEYPENNY I have my own theory. BOND Really. And what's that? MONEYPENNY You've got a secret. Something you can't tell anyone. Because you don't trust anyone. Bond studies Moneypenny. He puts down his scotchy^Picks up the remote and turns on the TV. A disk starts up. A face appears... IT'S HER... .... M. Moneypenny is transfixed.. M (JUDI) w\ If anything happens to me 007", I need you to do something. Find a man called Marco Sciarra. Kill him. And don't miss the funeral. The image goes black^^ Cf o 1M0NEJPENNY Jesus. Where, did- A) %g%- B0ND In my^mailbox. Nine months ago. Unmarked envelope. MONEYPENNY /ou've no idea who sent it... BOND All I know is, she wanted me to get it. MONEYPENNY Because she didn't trust anyone else. (The penny drops...) And so neither can you. Bond nods. BOND I've been tracking him since then. She wouldn't have gone to those lengths if she didn't suspect something big. (CONTINUED) 21 CONTINUED: (3) 17. 21 MONEYPENNY When's the funeral? BOND Three days. Rome. MONEYPENNY If you think M's signing off on that, you are crazy. He won't let you out of his sight. BOND It's a problem. Certainly. (Then) I heard a name in Mexico. 'The Pale King'. See what you can find. MONEYPENNY You want me to be your mole? BOND For the time being. MONEYPENNY ♦ What makes you think %§vF^gaN^ trust me? BOND You want me to friskyou? She smiles. Just then., a voice floats in from the bedroom. \u£L$3 VOICE James? I'm lonely.. Come back to bed. Caught flat-footed, Bond merely smiles. Moneypenny's smile doesn't leave her face, but it changes. I MONEYPENNY T think you'll just have to take my word for it.. A Moneypenny goes to leave. the door. MONEYPENNY (CONT'D) Well it proves one thing. BOND What's that? MONEYPENNY You're not insane. BOND Let's not jump to conclusions. (CONTINUED) 21 CONTINUED: (4) Money-penny smiles. And leaves. 18. 21 22 OMITTED 22 2 3 INT. BOND'S APARTMENT, WINDOW - NIGHT From the window, Bond watches as Moneypenny crosses the street and walks away. Behind him, a woman's shapely bare legs pass. We see her reflected in the window, wearing only a bedsheet. GIRL (O.S. So who was that? Bond doesn't turn. Did he even hear? Then, after "a pause: BOND A friend. ^ ^N^^ ^^^^ 24 EXT. RIVER THAMES - DAY The magnificent old river stretches Hhrough London. A RIB heads down the river. On it is Bond. Next to him is TANNER, M's Chief of Staff. 24 TANNI (to Bond) So how was Mexico? BOND Demghtful, Tanner. Nice quiet break, uld try it. They pass an IMPRESSIVE NEW BUILDING ON THE BANKS OF THE THAMES. BCfid looks up at it. TANNER New Centre for National Security... BOND I heard. So why are we going past it? TANNER MI-5 are getting it. C's kingdom. BOND What, GCHQ isn't big enough? TANNER Not if this merger goes ahead. Now they're rich, partnered with a couple of tech companies, other foreign investors. (MORE) (CONTINUED) 19. CONTINUED: 24 TANNER (CONT'D) M wouldn't ever do anything so unethical. So we're funded by Mr. and Mrs. Taxpayer and our old building's still derelict. The boat heads into an opening in the embankment - INT. UNDERGROUND RIVER - DAY Their voices echo in the tunnel: TANNER So you're up to date on the intelligence digests? A lot's happened whilst you were off blowing up half of Mexico City... BOND Train bombing in Tokyo, chemica plant explosions in Hamburg. 4«# TANNER And MI-5 looking over M's feeling the pressure BOND What do we know abb TANNERY Bruce Denbigh. Vmjjjle that dossier last year|Jpn how the 00 programme was obsolete, %ow drones could do all our dirty work abroad. Classic Whitehall Man^jajrin^ I believe his children go •_o school with the Home Secretary's. Bond looks ahead into the darkness as the tunnel narrows. TANNER (CONT'D) jThe Fleet River. Runs underground all the way from Ludgate Circus to Whitehall in about six minutes. Useful in rush hour. reach a small quay. The underground river flows off into e darkness. They step off the boat. TANNER (CONT'D) This way, 007. Now be careful it's a trifle slippy. INT. UNDERGROUND CORRIDOR - DAY 26 They head along a corridor. (CONTINUED) CONTINUED: 20. 26 TANNER With MI-5 sniffing around, Q doesn't exactly feel at home over there anymore. So he's moved shop out here, Away from prying eyes, as it were. They turn a corner. TANNER (CONT'D) I hear he's got something rather special planned for you. BOND I can hardly wait. They reach a door. Tanner knocks. TANNER Welcome to Q Branch East.. INT. Q'S LAB, MI-6, EAST LONDON - DAY if 27 A large zen-like room. White tile walls, simple desk, various half completed and eccentric inventions lie about. Piles of books and scientific periodicals add to the effect. V* Ah, 007. Please^* excuse the mess. Everything's a bit up in the air with the changes and all. So. Shall we get started? H I INT. Q'S MEDICAL ROOM, MI-6, EAST LONDON - DAY. 2 8 Q opens ANOTHER DOOR to a small room with one chair inside and various medical instruments and machines and screens. Q ake a seat 007. himself, preparing as he talks. Q (CONT'D) So. What I've got for you here is strictly speaking still in the developmental phase, but it's being fast-tracked in light of recent events. Now if you could roll up your sleeve? Reluctantly, Bond takes off his jacket. He sits and slips his arm into a small MRI-type scanner on one arm of the chair. Q (CONT'D) And if you'd just pop your arm in there. (CONTINUED) 8 CONTINUED: 21. 28 BOND Why do I have a bad feeling about this? Q Just relax. That's it. Lovely. Now you may feel a small - A VIOLENT SOUND LIKE A STAPLE GUN - BOND Christ. Q . . .Prick. BOND What the hell was that? Bond reacts in pain as THE SCREENS LIGHT Instantly we see MEDICAL GRAPHICS slowing an electrical signature entering Bond's bloodstream (proud) V Cutting edge nanotechnology. Smart blood. Nano-chips % t« bloodstream. Allows us to track your movements in We see a BLIP on a map showing Bond's location: it zooms in on London, the bunke% this room. Q (CONT'D) See these.readouts? We can monitor your vital signs from anywhere on the planet, everything from stress levels, emotional responses, fatigue levils, to blood pressure, caffeine ntake... alcohol levels... That sort of thing. ^ . \f\ BOND So you've put a surveillance camera in my blood. Q Call it a Post-Mexico Insurance Measure... By direct order of M. More screens SHOWS KIDNEY FUNCTION, BLOOD SUGAR, etc____ BOND I don't have to tell you how happy I am about this. Q looks at the screen of readouts. (CONTINUED) 28 CONTINUED: (2) 22. 28 Q No you don't. (Brightly) I've just got one other thing for you, and you can be on your way. 29 INT. Q'S MECHANICAL WORKSHOP, EAST LONDON - DAY Further down in the new Q-Branch environment. Bond and Q walk past a series of old brick arches housing vehicles, (boats, cars, etc...) all in differing stage assembly or disassembly. MECHANICS work silently. Q This old thing has taken quite a bit of time. Mind you there wasn't much left to work on - barely a steering wheel* ^\v3 They now reach an arch which houses the%.OLD ASTON DB5 - under reconstruction (after its destruction in Skyfall). Q (CONT'nffVX* I believe I said 'bring it back in one piece', not 'brftp back one piece' . ^pat f Q laughs at his own witticism. Bond doesn't. Q *tCONT'D) At the end of the bay, a large freight elevator descends. On it, a thing of beauty: The new Aston Martin DBIO. Bond siniles, admiring, already anticipating the pleasure. Q (CONT'D) Rather magnificent, isn't she? 0-60 in 3.2 seconds. Fully bulletproof. Few little tricks up her sleeve... Shame really. She was meant for you but now she's been reassigned to 009. Ai Bond's face. Stopped in his tracks. Q brushes past. Walks over to a small table. Picks up something. Q (CONT'D) But you can have this. He hands Bond an understated, black-strapped OMEGA WATCH. (CONTINUED) CONTINUED: 23. 29 BOND What's third prize - a set of steak knives? Q Sorry? BOND What does it do? Q It tells the time. Might help with your punctuality issues. BOND M's idea? Precisely. I think you get the picture. They walk out through the facility BOND ♦ %^ Did it occur to you that I m#y have had my reasons to be out there? %# Q Given our history 007, I'd be lying 0 if I said my mind.., ck hadn't crossed DNE So you'll give me a little privacy I hopfe?jf» Q Ijfjremind you that I answer directly to M. I also have a 0tqage. And two cats to feed. BOND What if I told you that it was a matter of urgent National Security. oks at Bond for a beat. How urgent? BOND Extremely. Q holds Bond's gaze. A couple of Q-Branch personnel pass by. Q (Brightly - moving back to his desk) Well, it's lovely to see you 007. (MORE) (CONTINUED) 24. CONTINUED: (2) 29 Q (CONT'D) Enjoy the watch. Sorry about the car. (Then, without looking up) Now as I said, the smart blood programme is still in its developmental phase. So we may experience one or two teething problems.. Bond listens. Q (CONT'D) ...the odd glitch, drop in coverage let's say, during the first 24 hours after administration. BOND (With meaning) 24 hours..? Q 4 8 hours. But after that it work perfectly. Bond smiles. BOND I'll send you a postcar Please don't. Bond walks off. Q stands looking after him. Unnerved INT. BOND'S FLAT - NIGHT 30 The ceramic union\jack BULLDOG (the one left to Bond by the deceased tf) looks straight at us. CUT WIDE to reveal that it sits on the coffee table amongst papers, files etc. The sound of rain outside. Bond sits on the floor. He has the SKYFALL file open in front if , s a slug of scotch. The bottle is nearly finished. LD 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. LEGAL DOCUMENTS. (CONTINUED) 25. CONTINUED: 30 He leafs through and comes to ANOTHER PHOTO: 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... Presses play on the remote. And her words again play. Only" this time, we only see Bond's face as he watches: M (JUDI) (O.C) If anything happens to me 007, I need you to do something. Find a man a called Marco Sciarra. Kill him. And don't miss the funeral. ^\t. % BOND'S EYES ARE RESOLVED. He knows whatAe hlfcs to do. EXT. WHITEHALL - DAY The start of another day. Rain INT. MONEYPENNY'S OFFICE,tMI-6, WHITEHALL - DAY The room is dark. Muffled sounds of a workplace coming to life. The door unlocks, Moneypenny enters, shakes her wet umbrella, takeaway coffee*'in hand. Stops at the sight of something on her deskT^-^ A qift-wrapped parcel. And a single orchid. How the hell did that get there? She unlocks M's door. Themesits at the desk. Opens the parcel. A box. Containing a mobile phone. A CARD with the words: ^\nuplK you' ^^^^ st then, M comes in, parks a WHEEL-ON FLIGHT BAG by the Boor - and notices the opened wrapping paper. M What's that? She makes a choice, putting the box in a drawer. MONEYPENNY Just something from an admirer. M Not your birthday is it? (CONTINUED) CONTINUED: 26. 32 MONEYPENNY No, sir -M heads into his office. MONEYPENNY (CONT'D) (to herself) ..that was last week. INT. Q'S MECHANICAL WORKSHOP, MI-6, EAST LONDON - DAY Q too is starting his day. Is about to swipe a card! the workshop door - when he sees the door is ajar.% An ASSISTANT is behind him as he heads in, suspicious. As they walk along: J Q ASSISTANT l**^ 009 has arrived to pick up the DB10, sir. I told him to wait upstairs Q presses the button to call the freight its descent. fevator. It begins Q Yes, yes - fine. \ Q watches the elevator. Byf€ coming down on it is not the car. It is a BOTTLE OF BGJ5LINGE Q's face. Q (CONT'D) n an ICE BUCKET. o: EXT " "ľONT'D) CUT TO: ME m- LATE DAY 34 An expansive aerial shot of the Eternal City. Burnished by he late afternoon sun. below we see the Aston cutting through the traffic and tering the city. EXT. 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. 27. 36 EXT. CHAPEL, CEMETERY, ROME - LATE DAY 36 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 suited, unreadable. Possibly Mafia. We sense Sciarra must have*;beer important. Centre-stage, the WIDOW (LUCIA), black veil covering her face - the funeral service clearly over. The black clothes in stark contrast to the white marble steps. / As she comes down the steps, she turns and looks straight at Bond. She is very beautiful. f She holds his gaze for a second. Moves of 3 7 EXT. CRYPT, CEMETERY, ROME - LATER DAY ; 3 7 White marble colonnades surround a square. Bond walks around the colonnade, observing the gathering, getting closer. They stand before one parj:icuj*1% crypt, which bears the name SCIARRA. The interment is almost complete. A PRIEST intones a final prayer in Italian, concluding the ceremony: PRIEST gosi noi commettiamo il corpo di questo buon uomo a terra e dire addio fateo Sciarra. Some of the mourners start to leave. Others quietly approach Sciarra's widow to offer their condolences before they go. A Bond movis closer. We alC close on Lucia now. Her beauty still radiating through the veil. ut of earshot, a little behind her, stand what seem like TWO BODYGUARDS. She hears an off camera voice. BOND (0.C.) I'm sorry for your loss. She turns to look at him. Her face is a mask... LUCIA You knew my husband? (CONTINUED) CONTINUED: 2 8 . 37 BOND All too briefly. A flicker of curiosity: LUCIA What do you do? BOND Life insurance. LUCIA (wry smile) A little late for that. BOND For your husband, yes. How about you? LUCIA Me? BOND I hear the life expectancy widows can be short. ♦ ^ Their eyes are locked now. LUCIA How can you talk lik% this? Can't you see I'm grievingjr BOND 1 No. One of the bodyguards nears. She knows it's a signal to go. Eyes still locked with Bond, intrigued. She heads away with her men. Bcr.d watches her go. OMITTED 38 jCTfy^IoA, ROME - DUSK 39 A| car pulls up outside a fabulous villa, Lucia gets out and enters the villa. The car drives off. Another car pulls 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... (CONTINUED) 29. 39 CONTINUED: 39 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 d0 knows is happening. An execution. Both bodyguards raise their pistols behind her veiled head - CLOSE ON LUCIA LOOKING DOWN AT HER REFLECTION IN TH# POOB%. She is shaking. WE HEAR TWO SILENCED SHOTS and a body splashes into the pool, wrecking the reflection. JAMES BOND Steps out of the shadows. Lucia looks at him, nobody behind'Iter any longer. She exhales. Finishes her drink. WIDER Now we can see that one of th% bodyguards floats in the pool, the other lies crumpled on theHlawn. Bond comes to her. g W You're wasting you're time. There are a hijndre^l more that will come after me*,/All fbu buy me is five minutes. Bond looks at his watch. N * BOND xcellent. Time for a drink. 40 INT. LIVING ROOM, VILLA, ROME - NIGHT 40 pours them both drinks. LUCIA You killed him didn't you? My husband. BOND Your husband was an assassin. Trust me. He won't take it personally. He holds out the drink. She SLAPS HIM hard across the face. (CONTINUED) 40 CONTINUED: 30. 40 BOND (CONT'D) Exactly how long do we have to pretend you miss him? Given we only have five minutes. LUCIA You signed my death warrant. I was respected, a Sorella D'Omerta. BOND Loyal to a man you hated. LUCIA He trusted my silence. That I would take what I knew to the grave. With him gone, I'm a dead woman... I can't trust anybody. BOND I know the feeling. LUCIA u? Bond slowly turns. BOND (in Italian, stjfetitled) I'm Mickey Mouse, asshole. Who are you? Bond steps forward. Turrfs his palm upwards. The ring glints in the moonlight. The man suddetily changes his demeanour. j^pMfak ^gj^fe ^^^^^^ MAN s (in Italian, subtitled) h, I'm sorry. Where are the others? BOND (in Italian, subtitled) The widow put up a fight. They're cleaning it up. s they enter the gate, the man looks about. INT. PALAZZO CARDENZA, GRAND HALL, ROME - NIGHT A low ceilinged corridor, a closed door at the end. At the end of the corridor the group wait, then A BELL SOUNDS. 43 (CONTINUED) 43 CONTINUED: 34. 43 The bell echoes in a magnificent room. Eight doors open at the same time, allowing the different groups in. Now everyone wears a mask - identical to the one Lucia gave to Bond. Bond makes his way up to the FIRST FLOOR GALLERY, looking down into the hall. Below, the huge hail is dominated by a vast geometric tabled All the groups enter. Bond witnesses it all from up abo the shadows. He watches as TWENTY men and women take their seats; around the table. Formidable businessmen and women of different nationalities. Behind them their entourages stand, some forty in all. As Bond looks around him, he sees that on the gallery surrounding him are around SIXTY PEOPLE. Different tiers of the organization. An overwhelming sense of power. Bond boldly stands amongst the crow Then a hush starts to descend. A few candles are snuffed out, lowering the light. People sit down,. A sense of expectation. Beyond the table, all is shadow. Smoke from the candles drifts^through the gloom, GIGANTIC THIRTY FOOT DOORS OPEN - the\lt*STERIOUS LEADER OF THE ORGANIZATION makes his entrance. Bond watches as the>leadeft reaches the head of the table. He takes a moment to look at those gathered in the room, then speaks, his voice measured and clear. V\ "% LEADER In Ajicient Rome in times of insuTftsection, the Emperor would order his "Generals to muster their legions, and the soldiers would be divided into groups of ten. These groups ould draw lots. The solider on whom the lot fell, regardless of his guilt, was ripped limb from limb by the other nine. They called it... decimation. around the table. LEADER (CONT'D) Three days ago I summoned the heads of the 20 chapters... The men who have recently performed such valiant work for us in Tokyo, in Hamburg, in Rio. I asked each to contact their cells, and to send one envoy from each to answer the question tearing at our heart. They came. I listened carefully. (MORE) (CONTINUED) 35. CONTINUED: (2) 43 LEADER (CONT'D) But none of them knew why five days ago, our loyal brave servant, Marco Sciarra, was cut down in Mexico City by an unseen assassin. BOND STANDS IN THE SHADOWS. LISTENING. LEADER (CONT'D) Sciarra, the best of you all. My hawk. My protector. God's own arrow. Gone... A hundred or more came. But none of them knew. Nobody knew. I'll tell you why they did not know. They didn't know because-(Shouts) THEY WERE NOT PAYING ATTENTION! The leader reaches down and picks up a SMALL METAL BUCKET. He pours the contents of bucket onto the t^^LeSfc It's full of EYEBALLS. More than two hundred. The eyes glisten in the candlelight, intone. ti#^* The leader begins to V LEADER (OOmrD. How does the fly evade%he web? How does the spider escape the child..? It keeps watch. It sees everything. He lowers his head ||iakirij|. Like he is laughing, or crying. The Leader signals, the TABLECLOTH is removed, containing the eyes. I LEADER (CONT'D) Sciarra's duties remains outstanding: dispatching The Pale King. A traitor to all of us. We ather to appoint a replacement to Sciarra. Who will complete the job Lake Mondsee? Who steps forward? at Bond registers the name again - as the Leader fixes his gaze on the TWO MEN sitting beside one another at the other end of L/^the table. They both, ceremoniously, remove their masks. Both 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. LEADER (CONT'D) There are two candidates. Now, we could split this assembly into ayes and noes - but since we're here, let's settle it the way Romulus and Remus did. (to one candidate) (MORE) (CONTINUED) 36. CONTINUED: (3) 43 LEADER (CONT'D) Show me why you should succeed Signor SPANIARD (Spanish accent) Karate 10th dan. Taekwondo 9th Degree Grandmaster. President's 20 Combat medal for marksmanship. Expert with gun, knife, and the garotte. LEADER (to Hinx) And you, Mister Hinx. Mister Hinx slowly gets to his feet. Everyone's eyes travel upwards. He is enormous. smiling. he is Suddenly, he grabs his rival around the temple!*, his strong hands holding his skull. The onlookers are enthralled. Bond watches, from the shadows. The Leader watches, dispassionate. Hinx continues to smile, as |e^ifts the Spaniard completely off his feet. The whole gatheringl|iow sjjare, hypnotised, as Hinx's thumbs move around to the Spaniard's eyes, and finally force themselves into his sockets - The silence is broken only by the Spaniard's choking gasps. SUDDENLY Hinx switches, and in one move breaks his neck. Bond watches from the gallery, in the shadows, as the Spaniard drops to the floor. His lifeless head falls forwards onto th% table with a dull thud. Blood pools from his gouged eyes. ||Llence. Leader gets up from his chair, he stands straight and "strong. LEADER (CONT'D) We are whole again. He smiles. Then— LEADER (CONT'D) You want to know the funny thing? The funny thing is... I knew. I knew who was responsible. (MORE) (CONTINUED) 37. 3 CONTINUED: (4) 43 LEADER (CONT'D) Even before the bullet struck. Before the shot was fired I knew.. BOND listens. LEADER (CONT'D) Only one among you truly understands these words, only one can hear me and I speak now to him alone. BOND keeps perfectly still. LEADER (CONT'D) Welcome, stranger. It's been a long time, but now here we are. Can you hear me? I can hear you. I hear you breathing. A He turns and looks up. LEADER (CONT'D) Tell me, did you enjoy ou% llttl" Bond freezes. entertainment... Mister%ond? (sing-song, asijif m> a child) I know youJjHj, i%>/E!ffcre. . Behind the protection of *j|is mask, Bond steals a look around him. Then, in a flash" of inspiration, Bond pulls his gun and aims at a masked man across the gallery from him. LEADER (CONT'D) (CONT'D)^^^ Mi merek • BOND Italian, subtitled) There !♦ Don ' t move! Every mask turns and, a moment later, every gun in the room is aii^pd at the same man, away from Bond. With attention diverted, Bond turns around and suddenly - (fcASlfl He leaps and smashes through the huge stained glass window behind him - v fy' EXT. PALAZZO COURTYARDS, ROME - NIGHT 44 Broken glass showers down into the courtyard. Bond reaches out, and JUST grabs hold of a ledge. He looks below, drops and lands into the courtyard, runs towards the DB10 as bullets begin to ricochet around his feet. (CONTINUED) 38, 44 CONTINUED: 44 Bond reaches the Aston, jumps in, his tyres smoke as he roars away... 44A INT. CARDENZA, ROME - NIGHT 44A Back in the Grand Hall, The Leader laughs quietly to himself... 45 EXT. PALAZZO CENTRAL AREA, ROME - NIGHT The Aston screams out of the main exit, blasting past MEN * appearing from every orifice of the building firing furiously after him. 4 6 EXT. PALAZZO DRIVEWAY, ROME - NIGHT 46 Now with BOND as he hurtles down the driveway. i He looks back. Appears to be safe. And then suddenly, with a roaring* .sound, a JAGUAR sports car screams out of the archway behind him% Mister Hinx is inside. <2> Other cars now join as they race down the long drive to the MAIN ENTRANCE. ^ % Q> \ 47 EXT. PALAZZO, MAIN ENTRANCE GATES - NIGHT 47 Where the SECURITY GUARD is alerted by a call. He sees the cars coming ||(^runi to close the gates. The vast heavy iron gates start to close... As Bond comes hurtling through them. Hinx accelerates, just makes it through. Now the Guard manages to get the gates closed and the other oars screech to a halt coming within inches of the wide-eyed d. EXT. 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: (CONTINUED) CONTINUED: 39 . 48 Bond considers those four toggles. 'Atmosphere', 'Exhaust', 'Air', 'Backfire'. BOND (to himself) Come on Q, give me a clue... He never had the instructions on what the car is capable ofy> Improvising, he flips the 'Atmosphere' toggle - APPEARING ON THE REAR-VIEW MIRROR: 'MUSIC ENABLED FOR E BRYCE'. BOND (CONT'D) What? - and Dusty Springfield's 'SPOOKY' oozes out of the speakers. Bond can't stop it. But he does have more important matters - with%Hinx closing... He selects 'Backfire'. A small machine gun appears at the bacjk of the car BOND (CONTll) A-ha... te car. Bond awaits the sound of gunfire. Instead a small beeping alarm... f WORDS APPEAR ON THE J^IS^y!^ MIRROR: 'AMMUNITION NOT LOADED'. Bond rolls his eyes. Now he looks. Hinx is gaining. Bond makes a fast right turn, surprising him. He hits the fipjged dial on his cell phone and the music mercifully ceases as we. y ceas»t as we... INTERCUT! INT. MONEYPENNY'S FLAT - NIGHT 4 9 neypenny's new cell phone vibrates. She's in bed. Reaches , takes it. A man is in bed with her, asleep. MONEYPENNY Bond? What's going on? BOND Bit hard to explain right now. Moneypenny - she was right, she was on to something. There's an organisation. The Pale King is part of it... cross-check Lake Mondsee, I think that's where he is... (CONTINUED) CONTINUED: 40. 49 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) Hold that thought... Bond acts fast - slams on his brakes, makes another fast right turn as— Instantly, the Jaguar ZOOMS past him, then brakes too. Hjjn throwing the Jaguar into a 180 spin, and screams off again in pursuit. EXT. STREETS OF ROME - NIGHT - CONTINUOUS 50 Bond looks into his rearview mirror. Sees the Jaguar speeding behind him, a greater distance away, but still in pursuit. Up ahead the road leads to a T-junction. A row of parked cars line the lower level street. Bond accelerates, drives the Aston ^airborn at the step zooming over the top of a parked car-— % * ^^^^ RIPS off the roof. The Aston SLAMS to the ground. *** Too late for Hinx to stop. Only seconds behind Bond, Hinx follows, catching the descending sheered-off roof on his windscreen. Giant CRACKS spider across the glass. Bond looks in the rear-view mirror, hopeful. But... Hinx is still sltfling. He simply sets the car going again, the roof top tumbling into the street. EXT. STREETS OF ROME - NIGHT - CONTINUOUS 51 Now Bond races around a sharp corner, avoiding a row of parked scooters as they go. Now Hinx takes the turn. He overshoots, and clips the pooters. They fall like dominoes. still Hinx pursues. EXT. 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, coming at speed toward a tiny FIAT puttering along on its homeward journey. Bond zooms up to the rear. He's close. Very close. (CONTINUED) 41. 52 CONTINUED: 52 53 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 the Fiat, pushing the tiny vehicle at high speed like it's j^Jfcqf We see the old man's astonished face, as the two cars travel at high speed. Up ahead, an empty parking space approaches-Bond deftly turns the wheel, shunting the Fiat straight into the space. Perfectly parked, leaving the old man sitting in dazed wonderment. BACK ON THE ROAD Hinx is gaining, Bond speeds away ,"*tvirns onto a street flanked by a huge vine-covered wall. ^^^^^^^ EXT. ROME, VINE-COVERED WALLEJ? STRiiT - NIGHT 53 For a moment it's the pure speed of the race again. Bond's phone rings. jlloheypeniy' s calling back. Bond quickly answers. MONEYPENNY (O.S.) .Tames, I'm not going to wait all nightjL. .^hearing the noise) What are yo* doing? * | BOND W *ON?out 90. EXf. STREETS OF ROME - NIGHT - CONTINUOUS 54 w the two cars cresting the brow of a hill, leaving the nd, crash back down... other turn and onto— MONEYPENNY (0.S.) Okay, so I've been looking for your Pale King. 55 OMITTED 55 INT. STUDY, MONEYFENNY'S FLAT - NIGHT/ EXT. STREETS OF ROME -56 NIGHT - INTERCUT: Moneypenny is now sitting at her desk in a dressing gown, looking at her laptop screen: above a digital map of Lake Mondsee, Austria is a PHOTOGRAPH of a man some of us will recognize as Mister White from Casino Royale and Quantum of Solace. Data files relating to him stream down the screen. MONEYPENNY There was nothing specific in the database, so I ran a detailed crosscheck of pseudonyms, and it turns out it's an old friend. The man from Quantum. A MONEYPENNY & BOND (s imultaneously) Mister White. It's a surprise. A nasty one. MONEYPENNY Last location we had, wB Mondsee in Austria m% 1 f%r him Lake Behind her, out of focus, we see Moneypenny's boyfriend enter. He stands in the doorway. BOYFRIEND What' s goi%QQj^ O MONEYPENNY ^ ^covering mouthpiece) Oh*, a client had his credit card ;olen. Go back to bed. He goeg. EXT. ROME, ROAD APPROACHING THE VATICAN/INT. CAR - NIGHT 56 V1 The ma jest, ic dome of the Vatican looms ahead. Hinx still in uit of Bond. BOND Who was that? MONEYPENNY No-one. BOND No it wasn't. MONEYPENNY Just a friend. (CONTINUED) 43. 56 CONTINUED: 56 BOND At this time of night? MONEYPENNY It's called life, James. You should try it some time. And she's gone. BACK IN THE CHASE the Aston and the Jaguar hit the end of the street, and scream right past the Vatican entrance, drjfrTJ. all the way from one side to the other. Bond swings the corner. EXT. VIA DEGLI SCIALOIA, ROME - NIGHT f 57 Speeds onto a street running parallel with the River Tiber. Hinx follows. Now Bond tries another gadget, 'EXHAUST!/. A FLAMETHROWER fires out of the ixhaust, it's huge flame blanketing Hinx's car, blocking%Jiis view. BOND (to himself) Better... Now the ground suddenly drops' away, and they bang down steps on the Tiber embankment. 58 EXT. RIVER PATHWAY - NIGHT 5 8 The two cars are now racing along the narrow path by the side of the river.. Incredible speed. jL The pathway sCarts to narrow. It's a tight squeeze. The cars occasionally veer to avoid obstacles, scrape against the nd, accelerates in front of Hinx, but now they're heading iwn a dead end the approaching road too narrow to "inue. o turnings off. Only a bridge ahead. The Jaguar behind him slows. Bond is trapped... He eyes the only unpressed toggle - 'Air'. Not completely certain of its outcome he flips it. BOND (to himself) Here's hoping... (CONTINUED) 58 CONTINUED: 44 . 58 59 as 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 Looks about. Readies himself ON THE DIAL 2-1 - BOND'S POV: The end of the road zooming straight towarcLus - CUT TO: INSIDE THE CAR: A BRIEF FLASH OF BOND'S BODY LAUNCHING UP. THE ASTON FLIES UP, ARCS THROUGH%HE AIR... AND CRASHES INTO THE JgifiWi Now HINX Arrives in his smoking Jaguar, slows as he reaches the point where Bondltaent flying. . . The Aston is sinking into the depths of the Tiber. His smile is as fixed as ever, as... NIGHT EXT. ROME f ABOVE ON FOOTBRIDGE A garbagestruck makes its early morning rounds. Close by, James Bond drifts down to earth, his black ar§chute collecting behind him. releases the 'chute, dumps the harness, and doesn't check fride as he calmly strolls past the garbage truck. The busy garbage collectors hardly notice him, as he simply walks on by. . . 59 INT. MEETING ROOM, TOKYO - DAY A huge UN-style meeting room. Through large windows we can see Tokyo spread out below. A emergency meeting of the global security services is in progress. 60 (CONTINUED) 45. CONTINUED: A COLLECTION OF MEN AND WOMEN of many nationalities gathered Placards: The United States of America, France, Germany, etc M and C are amongst them. CHAIRMAN ...just today we've heard the terrible news from Rio. This after the tragedies in Tokyo and Hamburg. Regional groups are increasingly powerful and we are failing to stop them. C's simultaneous translation light flashes. C Mister Chairman, if I may? The Chairman nods for C to continue C (CONT'D) Fear has made us isolate M watches with interest. Where is C going with this? C (CONT'D) We have the resources at%t>ur disposal and what are we do*ing?'%hone hacking each other, computer surveillance used against allys, intelligence gathering ion our*friends. Now is the time to s|are wj|at we know and stand together. The room absorbs this analysis. During this,*Tanner, who is sitting behind M, sees something on his laptop; % Closjl on Tanair's laptop screen: A message sent from an MI-6 analyst; the*image of an ITALIAN NEWSPAPER, IL TEMPO: ' vjtdov^ of Mexican bomb victim Marco Sciarra missing, two f0odyg\]firds found dead at villa.' er leans in to 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. 46. 61 EXT./INT. RANGE ROVER - ALPINE FOREST, AUSTRIA - DUSK 61 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. 62 EXT. LAKE - ALPINE CHALET, AUSTRIA - DUSK Bond climbs from the car. HIS POV: across the lake, an isolated chalet. 63 EXT. LAKE - ALPINE CHALET, AUSTRIA - DUSK , 63 Bond stands at the rear of a small boat - operating the outboard motor. %«. We see the boat from high above as it cutslacross the water. 64 EXT. ALPINE CHALET, AUSTRIA - DUSK%t 64 Bond carefully approaches the housW drawing his gun. A security camera watches him from the wall. He knows he's being watched. Bond steps onto the porch. Quiet. No sounds from within the building. : ^ He tries the door. It opens. Perhaps White is dead already? Bond enters 'the hoifse. 65 INT. ALPIIjE^CijALET, AUSTRIA - DUSK 65 Bond movei|, through the house carefully. Moonlight filters through the windows casting eerie shadows throughout the rooms. place is a mess. There are TVs and RADIOS everywhere, but he of them are on and no other signs of recent occupation. Bond moves stealthily around the house, noting the unblinking red lights 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. (CONTINUED) CONTINUED: 47. 65 And from beneath the wall, a flickering light, and very faintly... distant recorded voices... Is there a PANIC ROOM hidden right in 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 exposing more of the hidden junction box until it BURSTS INTO FLAME. The light beneath the wall dies... The panic room door locks automatically retract - afp gently swings open. Bond speaks into the darkness. BOND Time to come out. J- Distantly, a back-up generator starts. The flights in the panic room flicker back to life. Illuminal^lpgZV INT. PANIC ROOM, AUSTRIA - DUSK r \ J" 66 Mister White in a chair in the He looks older, bearded, dishevelled. He is surrounded by detritus - old meals, blankets.,, radios, newspapers. Bond is quietly shocked at tBe sight. There are TV SCREENS* everywhere. All tuned to rolling news from around the world. Disasters and crises. -id Several news reports show the airport attack in Rio, Bond looks ak. the screens. He sees the airport attack in Rio. The Hamburg explosion. The Tokyo train bomb. He is joining the dots... . ALPINE CHALET, LIVING ROOM, AUSTRIA - NIGHT - LATER 67 Bond and Mister White sit opposite each other, a chess table between them. A single television now plays on mute in the Sckground. WHITE I always knew death would wear a familiar face. But not yours. BOND Who says I'm here to kill you? WHITE Then to what do I owe this pleasure, Mister Bond? (CONTINUED) 7 CONTINUED: 48. 67 BOND I was at a meeting recently and your name came up. WHITE I'm flattered London are still talking about me. BOND It wasn't MI -6. Bond tosses the ring onto the chess board. It spins off th pieces, landing in front of White. White stares at it. SJtoM he picks it up and examines it. He is clearly disturbed by what he sees. WHITE So, here we are, Mister Bond. Two**1 dead men, enjoying the af ternooit|^^' He drops the ring back on the board.% The leader. What's his name" BOND WHITE Oh.. Come now.. BOND " f ' Why protect him when he wants you dead? FTE There 'il9te some things a man fears more than death. If you knew him, what he is capable of- BOND hat is he capable of? WhiJm looks at Bond levelly. With difficulty White gets up and fetches a bottle from a side table. ./I i WHITE There was a rogue Foreign Legion Unit, out in the desert. One of the soldiers was small, weak, the weakest of all of them. We were getting by, raiding smugglers, working for ourselves. Until a sandstorm hit. They left us for dead. Ten men. No rations... In the night the small, weak one slit eight throats. And they became our rations. Bond listens, as White brings the bottle back to the table. Opens it. (CONTINUED) 7 CONTINUED: (2) 49. 67 WHITE (CONT'D) You know why he didn't slit my throat? Because he needed someone to carry the food. And when the storm was over - he led us out by the S di !i_ ^ * He looks around at the screen, still playing scenes of cha and destruction... Gestures to it: WHITE (CONT'D) What is he capable of? He looks levelly back at Bond. WHITE (CONT'D) LOOK AROUND YOU, Mister Bond. He's Everywhere. Everywhere and Invisible. Like pain. Always one move ahead. How do you know he's not watching yot right now? It's enough to mak^*»yoi what's the word.. "Parano4d?f Bond doesn't blink. BOND So what happened? WHITE A man like that. It's the people closest t#'him that are most in danger. l|jwas Ms right hand. But I knew too much. I got too close... ■V. BOND Where cartel find him? At this White laughs heartily. He looks upon his old adversary :with^ something close to affection. WHITE fou never give up, do you? It's good to see you again, Mister Bond. 1» White gazes levelly at Bond, chuckling. %\j BOND It doesn't make sense. White stops laughing. BOND (CONT'D) If you fear him more than death, why wait? A razor blade. A bullet. Rope. What have you got to lose? White shakes his head anxiously. And Bond guesses— (CONTINUED) 67 CONTINUED: (3) 50. 67 BOND (CONT'D) (with realization) You have somebody. Somebody you're trying to protect. White stares at the chessboard. WHITE Not a wise thing in our line of work. As you know. The one thing you love in the world, the one ray of light, and there's nothing you can do to save her. Some of us might realize he is talking about Vesper BOND Who is she? White shakes his head. BOND (CONT'D) You said it yourself, you're already dead. There's nothing fgu ca%do now. But I can. Help me, and% give you my word I'll see she's salSte.T WHITE Your word, Bond?-: paxh to a rejuvenated and healthful lifestyle. % BOND indsj* pretty straightforward. most of the ve just a complete your may. Do you MADELEINE - see you've filled out ^preliminary paperwork, I' few questions to evaluation, if I exercise? When I BOND have to. MADELEINE Do you consider your employment to be psychologically stressful? BOND On occasion. MADELEINE Do you have trouble sleeping? (CONTINUED) CONTINUED: (2) BOND Only when I'm alone. She pauses slightly, but doesn't look up. MADELEINE How much alcohol do you consume? BOND As much as is necessary. She looks up at him. He gives nothing away.. MADELEINE Some broader questions. As a child, would you say you were close to your parents? BOND They died when I was young. How old? Eleven. MADELEINE BOND MADELEI1 How, if I may ask..? 30nd A climbinl accident. She looks up at him. o <3 "% MADELEINE So you grew up where? BOND and there. She loo%s at him levelly. Returns to her questions. MADELEINE I see you left this final question blank. What is your occupation? BOND Well, it's not the sort of thing you write on a form. MADELEINE And why's that? BOND I kill people. She looks back at him, turns cold. ( CONTINUED: (4) 59 . 78 BOND To find L'Americain. She turns stone cold. MADELEINE This interview is over. He stands, moves to her, she flinches back. BOND Dr. Swann? MADELEINE You have ten minutes to leave the compound then I'm calling Security. She heads to the door, opens it. Bond sees the RECEPTIONIST outside the rod make a scene. sn't want to BOND I gave him my word. MADELEINE What does that even mean to people like you? ♦XV Bond leaves. ^ Madeleine stands, shaken. INT. BAR, BODY AND SOUL SPA - DAY 79 Bond walks to a bar within an internal courtyard, brooding on how badly he played it with Madeleine. A BARMAN approaches. BOND Vodka Martini. Shaken, not stirred. BARMAN I'm sorry, sir. We don't serve alcohol. Bond looks at him with utter contempt. BOND I'm really starting to love this place. A VOICE (O.S) He'll have the prolytic digestive enzyme shake. Bond turns. It's Q. Bond is in no mood. (CONTINUED) 79 CONTINUED: 60. 79 BOND If you've come for the car, it's at the bottom of the Tiber. Q So I hear. Well, not to worry, 007. It was only a three million pound prototype. BOND Why are you here? Q Oh, I just fancied a break to be honest. I've been a tad stressed at work lately, what with MI-5 crawling all over us and the fact that M wants my halls for Christmas decorations. Speaking of which, how is the paranoid conspiracy theory coming ^ along? BOND It's not a theory. It's a fact. Splendid. Meanwhile in the real world - just in case in your state of unparalleled self-absorption you hadn' t noticed y-jlail hell is breaking loose. BOND# All these attacks, they're part of something bigger. A single organiza^on. Led by one man. % O fascinating. And what's its name? Tjais organization. BOND I don't know yet. That's unfortunate. Big..? And this Mister UP IN THE WINDOW — Madeleine picks up her phone. she's calling Security. BOND All I know is he's known as L'Americain... Bond knows Q Well that narrows it down. (CONTINUED) 61. CONTINUED: (2) 79 BOND You don't get it Q. Bond fixes him. BOND (CONT'D) He knew me. He recognized me right off, even through a mask. He knew I was there almost before I did. Q Knew you? How? BOND I don't know. All I know is he's ahead of us. Way ahead. Q registers this, fighting with himself. Q I'm sorry, but time's up. Either you drop it and come back in,^r§I'mf going straight to M. Bond glances up to see the message being passed to SECURITY on ground level. Security eyeball Bond. BOND Do one more thing fc%,me then you're out. f Q wavers. Security arrive at the bar. SECURITY Herr Bond. Do have a moment please? Bond turns his back. BOND what you can find out from this. Bond pulls out THE SPECTRE RING, presses it into Q's palm, studies the ring. He knows it's something... Q I really, really hate you right now. BOND That's the spirit. SECURITY 2 Monsieur. Now, please. BOND (To Security) I was just leaving. (To Q) Where are you staying? 'CONTINUED) 62. CONTINUED: (3) Q The Horatio. Room twelve. BOND One hour. Q leaves, heading out the other door, towards the ski lift. The barman arrives with his health drink. BARMAN Here you are, Sir... One prolytic digestive enzyme shake. BOND (To the barman) Do me a favour would you? Throw it down the toilet. Cut out the middle man. "4% Bond heads off. Security Guards follow close behind him. As he walks, he looks up toward Madeleine's office. He sees her looking out the window. ♦ ' k/% She watches him leave, impassive; And pulls down the blinds. Now we see only her legs... SUDDENLY-- another pair of legs joins her. A MAN. And now, the blind starts to bang against the glass. The man has clearly grabbed her, and she is fighting him. BOND breaks into a run, back up toward the office— The Security G^a^ds grab him. Bond fighrs the guards. As he does so, we see Madeleine being dragged out of her otthpc. ond swings a punch into one man's gut. He doubles over. The ^pcond Guard comes at him. Bond grabs a chair and slams it yvto his face. It breaks as the man falls. Out cold. e spins, as the First Security Guard, now recovered, comes toward him again. Without pause he butts him once between the eyes knocking him cold. The Security Guard drops like a stone. Then Bond runs outside. 63. 80 EXT. BODY AND SOUL SPA, AUSTRIA - DAY 80 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, ANOTHER 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 second^jjjan Swift and deadly. But still not fast enough, as now he looks out down the mountainside and sees: Down below, a car driving away, shadowed by two Land Rovers. For a split second he spies the face in the back^^eat of the leading car. It's Madeleine, looking back at him. J She has been taken. A split second of thought, and Bond turns and runs. Meanwhile— 81 EXT. CABLE CAR STATION, AUSTRIA,- DAY ns. 4 o* jr>& Q allows a half-full cable car to pass, steps into an empty one. He pulls out his lapjlop, examines the ring. Just as the doors_ closey A MAN WITH GLASSES steps in unexpectedly.4 The cable car*launches into the great white void. They're alone from the*'-world. Just the two of them. A fact not lost on Q. Q gives hln a surreptitious glance. The man smiles politely. Q looks away. The silence is unnerving. tjpSws himself into his research. Pairs a small spectrum analyzer with his laptop, scans the ring - his computer nstantly analyzing the stone's constituents, the octopus attern, etc.,... Then he brings up Mister White's file... BACK TO: 82 EXT. MOUNTAIN, AUSTRIA - DAY 82 The car and the two support Land Rovers are speeding down the twisting mountain roads away from the clinic. (CONTINUED) 64. 82 CONTINUED: 82 It's incredibly icy and dangerous. They speed into a tunnel cut into the rock— 83 INT. CAR, INSIDE TUNNEL, AUSTRIA - DAY 83 Up front, the DRIVER and Hinx, who has a gun trained on Madeleine in the rear seat. ANOTHER HEAVY is next to her opening a small medical kit... MADELEINE What do you want? The Heavy opens the case. She sees a hypodermic needle there. / MADELEINE (CONT'D) What are you doing? Can't you spgak? He lifts the syringe. She kicks it out of his hand. The next second she throws herself to the floor, picks it up and as they try to overpower her, she plunges it into the thigh of the Heavy next to her J 84 EXT. TUNNEL, MOUNTAIN ROAD, AUSTRIA - DAY 8 4 The cars emerge from the tunnel. Suddenly..... f § A snow-plane cuts across*the front of the lead car. It's Bond. We see him, at the'controls of the snow-plane, banking round— 85 INT. CAR, AUSTRIA - DAY 85 They've overpowered Madeleine, but the spiked Heavy sinks to knees and sacks out. leine is stirred to have seen Bond trying to save her. inx stares out at the sky looking for Bond. Where the hell has he come from?! 86 INT. CABLE CAR, AUSTRIA - DAY 86 Q works away on his laptop. A bloodhound on the scent. (CONTINUED) CONTINUED: 65. 86 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 blankness. Q shifts uncomfortably, looks out the window. The moment's stiljness feeling like an eternity... Outside, the cable car hangs suspended in the whitef| landscape. Stillness all around... Back to the Man, still staring. Q, looks at him and back down at the screen^, senses that gaze boring into the top of his skull. Then, just as suddenly, the cable car jolt% begins moving down the mountain again. \\\ BACK TO: EXT. MOUNTAIN VALLEY ROAD, AUSTRIA The cars are on a roadjWhich pans alongside a high valley. A steep drop beside the road. Bond soars directly in parallel to them-- Hinx's men in the Land Rovers open fire— Bullets streak across the snow-plane. They smash and clatter through tlj^» cockpit-- BACK TO: INT. ♦CABLE CAR, APPROACHING HALF-WAY STATION, AUSTRIA - DAY 88 , ON Q~T§ LAPTOP, the connections are starting to accumulate. "IMAGE OF LE CHIFFRE IS JOINED BY VESPER LYND, DOMINIC ENE AND THEN... RAOUL SILVA. Q 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. (CONTINUED) 66. CONTINUED: 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... BACK TO: EXT. MOUNTAIN ROAD, AUSTRIA - DAY 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 above— Then Bond accelerates and soars up quickly-They fire at him.....- ! ptane up and out appears to be But he accelerates ahead of them, arcing of sight. Inside the lead car, they look for him. gone. EXT. ALPINE ROAD, AUSTRIA Now they enter a wide roadfftrees on either side. Ahead in the distanqpf, thej^rpy a dot, moving closer. It's Bond, in the pill 90 And he is now zooming right at them. Getting lower and closer by the second^ ♦ V \S1 ^Jjfrl^jJJT a came of chicken he will not lose. : i'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. (CONTINUED) 67. 90 CONTINUED: 90 And follows. Right into the forest. 91 INT. CABLE CAR, AUSTRIA - DAY 91 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 his chance and moves so he's next to the door with the snow-.,^/ boarders between him and the men. %; The cable car shudders as it enters the ground station and Q steps out. f 92 EXT. CABLE CAR GROUND STATION, KITZBUHEL, AUST^CA - DAY 92 Q moves quickly through the crowd, looking back to see the snow-boarders with all their gear, slowing#his pursuers. He keeps moving, weaving his way through the crowds of skiers breaking for lunch, looking back anxiously, the two men prowling the crowd for him... \l/^ter 93 EXT. ALPINE FOREST, AUSTRIA' - DAY 93 The cars twist and Ijurn d|jwn the hill, through the forest as Bond soars after them, thrillingly close, in and out of the The cars slalom dow% the slope, trying to shake off Bond. Bond responds by following the cars even more closely. But he makes a fractional misjudgment. He steers slightly too far to one side... Suddenly one of the snow-plane's wings clips a tree, and the end of the wing is sheared right offl Immediately, the other wing dips viciously, and Bond starts o lose control. ting for control of the plane now, he instinctively shears off the other wing on a passing tree— M And now the wingless plane slams to the ground, ripping off the 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. 68. 94 EXT. KITZBUHEL/HORATIO HOTEL, AUSTRIA - DAY 94 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 large hotel. The HOTEL HORATIO. 95 EXT. ALPINE FOREST, AUSTRIA - DAY The trees start to thin out. Up ahead Bond can see they're about to break out into open terrain. Just as the vehicles burst out from the trees onto A WIDE SKI SLOPE— V 9 6 EXT. ALPINE SKI-SLOPE, AUSTRIA - DAY 9 6 Ahead, a giant forest... The cars veer off to avoid it. But ^gnd., is heading straight for it. Madeleine's face staring at him through the rear window as the vehicles turn away. - Bond uses everything he has to„ma%e the turn. The engines scream as he pushes down the throtWe on one of the propellers, and pulls with all h¥h strength on the lever controlling the vertical tail fin. He just makes the tu|§n. But no time to breathe, because suddenly, now, in front of Bond, a huge SNOW^ DRIFT. Bond has no time to react - he careers up the wall of snow, flies up, crashes back down... The tail of the plane hits the snow hard, aj|d is ripped off. Fragments of plane litter the hillside. And now the cars are getting away... 97 .EXT. OUTSKIRTS OF KITZBUHEL, AUSTRIA - DAY 97 sees they're heading for a small village. A collection large Alpine barns and outbuildings and eventually buildings and sleepy streets. No way to stop the momentum now 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! (CONTINUED) 69. 97 CONTINUED: 97 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 Madeleine accelerates towards him. Hinx lunges forward, DEAFENING the driver: HINX KILL HIM! OUTSIDE: Bond aims. He's got one shot before the car barrels into him. BLAM! Perfect. The driver of the car ^erks back/ dead— Madeleine grabs hold— Hinx yells in fury as— The car spins and rolls --*iust missing Bond (who stands motionless as the cJk" f li»s past him) . The car CRASHES. Hinx is sent hurtling through the windscreen head-first— And flies /into a tree. Snow cascades from the branches and buries hil corpse. Bond runs'lfco the car. Pulls Madeleine out. She is weak. V MADELEINE Who the hell are you? BOND Later. And he 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... 98 INT. Q'S ROOM, HOTEL HORATIO, KITZBUHEL, AUSTRIA - DAY 98 Q enters his hotel room, relieved. He closes the door behind him, heads straight for the bathroom, locks the door. Safe. (CONTINUED) 70. 98 CONTINUED: 98 He takes out his computer. Sits. And then, from outside the door — A dull thud. Q freezes, his fear-filled face instinctively knowing his pursuers are now in his hotel room, on the other side of thjfr door. 99 EXT. KITZBUHEL STREET BAR, AUSTRIA - DAY 99 Madeleine's shaking hand clutches a glass of hot apljjle jjjiice. Bond and Madeleine stand at a street bar. BOND Drink it. She is in shock. Barely hears him, but drinks it. BOND (CONT'D rjiutiinniij ^^^^^ You lied to me. Thgy didn't want to 1 This man just rescued her - but she is wary of trusting him: BOND :' I wasn't sure how much you knew. V/^\. MADELEINE Did it cross your mind you led them to me? Maybe my father put too much faith in your abilities BOND \ IJjLuckily I'm not working alone... Then Bond spies a TV in the corner of the bar: LENT IMAGES FROM A TERRORIST ATTACK IN CAPE TOWN. hd takes the information in. BOND (CONT'D) We need to keep moving. 100 INT. CORRIDOR, HOTEL HORATIO, AUSTRIA - DAY 100 Bond and Madeleine approach the door to Q's hotel room. Bond pushes it. It swings ominously open. 71. 101 INT. ROOM TWELVE, HOTEL HORATIO, AUSTRIA - DAY 101 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. 102 INT. BATHROOM, ROOM TWELVE, HOTEL HORATIO, AUSTRIA «1- DA* Q's laptop is self-sabotaged in the sink. Bond is shaken. This xs his fault. Madeleine comes in. She can see the effect pn*Bond. But Bond won't give up, reading the clues. The fact that the laptop is in the sink beneath the mirror. He pulls its! out and inexplicably turns on the hot taj^.^^^^\j^F Then he moves to the shower, tuf»ns% it on, maximum. MADELEINE What are you doing? He doesn't reply. * Aw | MADELEINE (CONT'D) James ? Bond is staring a*% the mirror. *V X BOND It' s The forgotten world. Slumbering. Neglected. A daunting sight. 116A INT. HONEYMOON SUITE, L'AMERICAIN HOTEL - NIGHT - LATER 116A A hot night. The music still plays. Bond in the moonlit room, watching Madeleine. She's having a bad dream, troubled. Beads of sweat on them Her 'beauty is not lost on him. x\r a ^ A mouse scuttles across the floor. It stops in the middle of m the room. Bond watches it. v 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. (CONTINUED) 81. 116A CONTINUED: 116A 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. MADELEINE WAKES — to see the moonlit brute Bond tearing the false wal away... revealing A DOOR. She gets up, rubbing her head as Bond opens the do 116B INT. SECRET ROOM, L'AMERICAIN HOTEL - NIGHT 116B Madeleine isn't far behind him as he flicks the light inside the room. A single bulb. BOND So. . . ove. la: They both take in the treasure tr>ov§|. .Laid bare on a desk and shelves, the stark reality she always suspected of her father. _ BOND (CONT'D) He boarded it u%#^ if - Vi A range of fake passports* Wads of different currencies. Box after box of new, disposable cellphones. Poisons. Morphine. "'Scanning equipment. A satellite phone. Ik. Knives, pistols, garrotes, knuckle duster. The dehumanized secret life of a man who can kill and then carry-on 26b normal. He,steps into the room... FILING VAULTS, OLD MI-6 BUILDING - NIGHT 116C Down in the vaults, Moneypenny moves along the shelves. Close on her hands as they move down a row of files. They stop. Bingo. She pulls out a file. 116D INT. SECRET ROOM, L'AMERICAIN HOTEL - NIGHT 116D Bond is now exploring the secret room. Bond is looking at the objects, in business mode. (CONTINUED) 116D CONTINUED: 82. 116D On the other side of the room, Madeleine spies a photo album. She 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 something... something that gives him pause: CLOSE ON A PHOTOGRAPH ON THE WALL, in it we see the same man in photograph we saw in Bond's flat. Only this time the man isn't standing with Bond, but another late teenage boy% Bond stares at the image. Why is it here? Madeleine watches him, registers that he is disarmed by the picture. 117 INT. MI-6 VAULTS, OLD BUILDING - NIGHT ASu 117 Now, Moneypenny sits in the vaults, at an old metal desk. A sprawl of paper files in front of her,■yellowing typed reports, reams of comments in green ink..^ She comes across an old PHOTOGRAPH,^taken with a cheap camera, colours faded. AN INFORMAL SHOT OF SMALL TROOP OF FOREIGN LEGIONNAIRES, SOMEWHERE IN THE DESERT. / \ Moneypenny studies tile pholfo/lt's from the late 1980s because a younger Mr|. Whilje is just recognizable to us. And in one sun-shadowed face we might recognize the mysterious figure from the meeting"in Rome... 117A INT. SECRET «Sfc)M^L ' AMERICAIN HOTEL - NIGHT 117A The musicvstill plays outside, as now Bond looks on the shelves. I MADELEINE What's this..? SheJnSnds Bond a piece of paper, on which some NUMBERS have % %pfi written. Bond recognises immediately: BOND Co-ordinates. He reaches for the scanner, switches it on, reads the data.. BOND (CONT'D) He was scanning for a particular satellite phone... (looks to the gun) I think your father was planning to go there and kill him. (CONTINUED) 117A CONTINUED: 83. 117A He grabs an old MAP, unfolds it. BOND (CONT'D) It was too late for your father - but not for me. Tracing the co-ordinates on the map,... his finger traces a rail line, pausing in bare desert. We hold on a spot in th<| middle of nowhere.... 117B INT. VAULTS. OLD MI6 BUILDING - NIGHT Moneypenny still holds the photograph. She looks closer The group of legionnaires stand before a gaudy hand-painted mural on the adobe wall behind them. It featuresJki OCTOPUS STRADDLING THE PLANET EARTH, ONE TENTACLE CLUTCHÜNG A JET FIGHTER. Moneypenny looks closer... The name of the platoon: ' LES SPECTRE^ Tlg^jftERRE' There are two other items in the file. A NEWSPAPER CLIPPING, featuring the same photograph that so- struck Bond on the walJ in Tangiers, with the heading^^IANNES OBERHAUSER FOUND DEAD IN MOUNTAINS. SON, FRANZ STILL MISSING." 118 EXT. TANGIER - DAY f %£ 118 An aerial shot reveals a train leaving the sprawl of Tangier. 119 INT. MADELEINE'S^ COMPARTMENT, TRAIN - DAY 119 We are inside the train. It's a relic of old colonial grandeur. iA;-€>it frayed around the edges, but still magnificent. Inside a compartment, Bond unzips his luggage. Madeleine watches as he removes a tightly rolled up tuxedo. Unrolls it ijn 4p§j? move. Opens the door. A GUARD is passing. He leaves. BOND Can you see if the Valet can press this for me? GUARD MADELEINE You travel with a tuxedo? Bond frowns, almost slightly confused. (CONTINUED) 119 CONTINUED: 84. 119 BOND Of course. 120 EXT. TRAIN CORRIDOR - DAY 120 The valet carries the tuxedo along the corridor, passing the compartment next door. Hinx is inside, reading a paper... 121 EXT TRAIN - DAY The train continues its journey into the sun. 122 INT. MADELEINE'S COMPARTMENT, TRAIN - DAY 122 Bond and Madeleine sit in the compartment, opposite one another. # Bond takes a GUN appropriated from the secret room, places it on the table between them - just like he did with her father. bond Pick it up. MADE I hate gunjpijg, |bond| I gave your father my word I'd protect you. First thing to do is tea^» you how to protect yourself. MADELEINE t if I shoot you by mistake? J » bond t wouldn't be the first time. Pick it up. She doesn't. So he does. ♦ w BOND (CONT'D) Glock 33 point 357. (Points) Rear sights. Hammer. Ejection port. Safety. Slide stop. Magazine release. Trigger. Takes nine 9mm parabellum rounds with one in the chamber. He puts the cartridge on the table. Loads it. Unloads it. BOND (CONT'D) You try it. (CONTINUED) 2 CONTINUED: 85. 122 MADELEINE I said I hate guns. BOND Try 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 at Bond. BOND (CONT'D) (beat, cool) Your father's daughter. MADELEINE Who else would I be? BOND But have you ever used one? MADELEINE A man once came to our house and attacked him. The ass as sir. didn't know his mark's twelve year old daughter was upstairs; playing in her bedroom. Or that her papa kept a Beretta 9 millimeter under the sink with the bleach^'lk/^ She ejects the cartridge, ratchets the gun to eject the slug in the spout, catches it.||She lays the gun back down on the table. Next to the bullet. %jf"%k MADELEINE (CONT'D) That"% why I hate guns. Bond looks Sfe n%r'~ levelly. X7i BOND think we can skip hand-to-hand combat. MADELEINE If you don't mind I'd like some privacy while I change for dinner. BOND Of course. 3 INT. CORRIDOR, TRAIN - DAY 123 Bond closes the door after himself. The guard passes. GUARD Your suit, Sir. (CONTINUED) 123 CONTINUED: 123 BOND Thank you. He heads into his own compartment. 124 INT. BOND'S COMPARTMENT, TRAIN - DAY 124 Inside he hangs the suit on the back of the door, and tak off his shirt, thinking about what just happened. Slowly.... He smiles to himself in the mirror. 125 EXT. FOREIGN OFFICE, WHITEHALL - LATER THAT NIGHT The forbidding stone facade of the Foreign Office# The lone figure of M moves swiftly along the pavement 126 INT. THE FOREIGN OFFICE - NIGHT %. 1 1 12 6 M walks into a large wood panelled roon\ - one of many such faceless meeting rooms in Whitehall*.- only to encounter a crowd of important looking people flowing out of a meeting, talking animatedly. XJ One of them is C - who heads%stfaight for You didn't get %he message? The meeting was*brought forward. or M. x».. % M N^Tmdi%' t. M realises.. h%' sv^een out-manoeuvcred. C ou missed it I'm afraid. Shortest meeting 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 secretary. In light of the information I provided him with, he's left with no choice but to close down the 00 programme and have me absorb MI-6's operations in the new building. M's face. (CONTINUED) 128 CONTINUED: 88. 12 8 BOND (To the waiter) And we can't have that, can we? MADELEINE So I stick to this« She leans in, conspiratorially.. MADELEINE (CONT'D) That is, unless my whole world has been turned upside down, my life is in danger, I'm feeling reckless and I really don't care what happens to me anymore... BOND I'11 bear that in mind. He doesn't take his eyes off her as he addresses the waiter. 1 VodJta martxnx. Shaken not stil She doesn't either . ^^*^Nt ' MADELEINE % ~ Make that two... %, ^% Slowly Bond smiles. She looks back, as if butter wouldn't melt. The waiter looks at he/, worried. He goes. ITER MADELEINE 'jf.11 have a question. BOND nd what's that? MADELEINE Why, given every other possible option, does a man choose the life of the paid assassin? BOND It was that or accountancy. MADELEINE I'm serious-. Is this really what you want? Living in the shadows. Hunting. Being hunted. Always looking behind you. Always alone. BOND Not always, (CONTINUED) 12 8 CONTINUED: (2) 89. 128 MADELEINE "Evasion. Deflection. Manipulation: deployed to protect the core psyche and thus avoid accountability." My PHD... BOND Tell me, Doctor Swann. Am I paying for this session? MADELEINE Do you ever dream of getting out? BOND I never dream about anything. Bond doesn't answer. She keeps looking at him. MADELEINE You know I was wrong. You're not^like my father at all. He was cold to^T^e bone. But you, you're wounde||. (Then) t ^ Have you ever been in raylljL ^ He holds her craze. She holds his. The movement of the train. \ MADELEINE Were ipou there? 1^f*\f^ BOND J fj\k^ MADELEINE Does it haunt you? BOND I've dealt with it. MADELEINE Do you dream about her? BOND I already told you I don't dream. MADELEINE Not anymore... Bond looks at her. (CONTINUED) 128 CONTINUED: (3) 90. 128 BOND Not anymore. The drinks are here. BARMAN Two martinis. Shaken not stirred. BOND Thank you. She raises her glass. MADELEINE What shall we drink to? BOND Traditionally, it's heartless bastards. She smiles. She raises her glass. MADELEINE (in French, no subtitles) To new beginnings.. He raises his. Indeed. BOND ji ■§> To beginnings.. They drink. Someone approaches the"**table. Bond sees the gigantic pair of hands, folded pattiently. It's HINX Before Bo%y>c^fp react. Hinx grabs the underside of the table, rams it upward, slamming into Madeleine, sending her backwards as he grabs Bond, lifting him from the booth, slamming him against the carriage wall. Hinx's thumbs start to*make nis signature move toward Bond's eyes... ncfpunches Hinx with no effect, manages to pull out his They struggle and the gun goes off, shattering the glass either side of the table. Undeterred, 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. 129 INT. TRAIN, BAR CARRIAGE - NIGHT 12 9 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 both, them back into the bathroom. They slam side to side before busting through the wal Now Bond grasps for any weapon within reach. SmasheS%a Ifeer bottle into Hinx's face. Hinx releases Bond from his vice like grip. Back on his feet, Bond now hurls a lamp, but Bond seizes the opportunity, jumps* up, grabs the beam above and double kicks Hinx back into the wall and runs past him into the next carriage I £^ age% # » Cr O 130-131 OMITTED ^^Jr 130-131 132 INT. GOODS STORAGE AREA, TRAIN (TRAVELLING) - NIGHT 132 Hinx catches up .with Bond in the Goods carriage. Cases burst open, more weapons improvised. Hinx's huge hands rip through everything Bond hits him with. The Jwo men crash around the carriage... Until Hinx has the upper hand; holds Bond's head, his thumbs moving over Bond's eyes, starting to press in... hen the LIGHTS in the carriage come on. Bright, blinding florescent light, stunning both Bond and Hinx. A gunshot rings out. Hinx recoils, he's hit in the shoulder. Madeleine stands behind him with the GLOCK. Hinx spins around, bleeding and no longer smiling, 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. (CONTINUED) 92. 32 CONTINUED: 132 Hinx struggles - the chain swinging and pulling against the stack of barrels to which its attached, the anchor linking them all together... BOND Get that open! He's indicating the side door. She acts swiftly, opening it, the wind rushing into the carriage. The tracks and brickwork hurtling by... ^"Nt ! Just as Hinx elbows an exhausted Bond in the stomach,* whacks him down - he goes sliding across the floor. And now Hinx is starting to remove the chain... - when in a last ditch effort, Bond boots a*barrel out of the train - % > - it's a domino reaction, pulling each of the barrels one-by-one, each with the next out onto the tracks*' and under the wheels * ^ - the chain tightens fast around Hinx' throat - and propels him forward toward the door. £ Hinx grabs hold of Madeleine en route - pulling her with him -smashing through alljthe debris from the fight... they're going out of the docjc togetjjjplr - - until Bond hammers%iim €gain and again, gravity coming to his aid. Bond grabs her" on the brink - - Hinx suspended for a moment, realizes his fate, and finally opens his mouth t-§ speak: But before he*can, he disappears out of the door, and is sucked -under ±he wheels. All- is suddenly quiet 4 BOND (CONT'D) I thought he'd never shut up. nd and Madeleine sit, in stunned silence. MADELEINE What do we do now? They look at each other. INT. MADELEINE'S COMPARTMENT, TRAIN - NIGHT 133 The door to her sleeper compartment bursts open. They are already in each other's arms. They slam up against the wall. (CONTINUED) 93. 133 CONTINUED: 133 Now they are tearing at each other's clothes, making desperate, passionate love. 134 EXT. TRAIN - NIGHT 134 The stars shine brightly, as the train crosses the desert. 135 OMITTED 135A INT. ITALIAN RESTAURANT - NIGHT m sits alone in a small, discrete Italian restaurant .^Piped music plays quietly. He is working, files stacked next to his recently-emptied plate. A half bottle of wine on t%e table. Immersed in his work, he only just register* someone sitting down opposite him. He looks up. Moneypenny is holding the file from the archive. MONEYPENNY I found something. m opens the file and looks at the Legionnaire's PHOTOGRAPH. moneypenny (CONT'D) The whole regiment were thought to have died. But we know White survived. And, it seems, one other. M % (€c* himself) Spectre. It can't be a coincidence. M looks closer # the photograph. The octopus symbol. The face of the'man next to White... MONEYPENNY here was another document attached. About the death of this man. # M lo M tu m looks at the photograph. Reads the name: m Franz Oberhauser... M turns to Moneypenny. M (CONT'D) Call Bond now. Tell him. Tell him everything we know. MONEYPENNY Sir. (CONTINUED) 94. 135A CONTINUED: 135A M I just hope it's not too late. 136 EXT. TRAIN, EMPTY DESERT - DAWN. 136 Dawn breaks over the desert. The distant train traces a thin line across the immense emptiness. 137 INT. COMPARTMENT, TRAIN (TRAVELLING) - MORNING Inside the cabin, Madeleine finishes packing. Happy Bond enters, ending a phone call as he does so BOND We're here. The train grinds to a stop. 138 EXT. STATION, OPEN DESERT - DAY 138 1Y c c Bond and Madeleine stand and watch as the train heads off into the distance. ^ They are at a smaxl abandoned station in the middle of nowhere. A solitary statioil sign creaks in the breeze. A parallel road appears to lead to nowhere. Nothing as far as the eye can see. 1% ^\ MADELEINE Are y*oii sure it wasn't the next stop? They stere^lbut into nothingness. ^■jt Tj| ^^^^^^^ Then, along the road, a distant truck. From a distance it apJjfejp||L co be a heavy military vehicle. <#*Bond" gets out his gun. Prepares. 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. (CONTINUED) 140 CONTINUED: 96. 140 A BUTLER looms: BUTLER (pleasantly) Good afternoon, Mister Bond. My Employer extends his warmest welcome, and invites you and Doctor Swann to rest, relax and join him for dinner at 7. The Butler continues to hold out his silver tray. Bond gets his meaning. One eye on the henchmen, Bon his gun on the tray. 1 BOND Tell our host, thank you and we won't be late. BUTLER Your rooms are prepared. We trU they are to your liking. Bond and Madeleine look at each othe 141 INT. HER BEDROOM DUSK 141 A beautiful bedroom. Light filters in through linen curtains. IRMA) awaits her. Looks her Madeleine enters. AJCall w< up and down. An almost sepual appraisal. IRMA (xndrc lc MADELEINE >feaiSin?n"there0be) ou know my size. IRMA Pwe know everything about you, Doctor Swann. If you need assistance... MADELEINE I'm a big girl. I can dress myself. IRMA You will shower. 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. 97. 2 INT. HIS BEDROOM - DUSK 142 Bond enters a magnificent bedroom. A suit is laid out on his bed. Bond picks it up and stops. He's spotted something... on a TV screen opposite the bed. BOND Turns from the bed and looks at the pictures around^tl room. And his blood freezes.. On the screen is a frozen image. White pointing a Bond's head. Bond presses play. And watches as White shoots himself. The image returns to the beginning, and replays. Over and over. ^ ✓ J ~ BOND turns from the screen, and looks at the pictures around the room. And his blood freezes. • •*l%^%k The room is decorated with pictures from Bond's childhood. --_- Pictures of him as a child in snowy mountains. With skis. With Oberhauser - the man/identified in the newspaper clipping. The man in±^ f i^Inpd photograph in the Skyfall Them playing cards in*frout of a roaring fire. Bond smiling.!. _ ^ * On the wall, a** giant blown up photograph of Bond and Oberhauser. And; otjerhauser' s son. A thin smile on the other boy's face. BUNq^iM^J^" THE PICTURE. . . 3 EXT.4H0jJSE ROOFTOP TERRACE - NIGHT 143 Madeleine emerges onto the terrace, very beautiful xn the stunning dress. ^3 rom another door, Bond emerges... in his own suit. BOND How do you like your room? MADELEINE Incredible. I hate it. How's yours? BOND Stirring. (CONTINUED) 98. 43 CONTINUED: 143 MADELEINE So where is our host? And what's his name? And then a voice from the doorway. VOICE (O.C.) His name... is Hcinrich Stockmann. They turn. Standing there in the doorway is the Man fro: Rome. Dressed immaculately. As he approaches, his eyes sparkle. STOCKMANN Mister Bond. Doctor Swann. I've been looking forward to this so much that now I'm nervous. Really. I've got butterflies in my tummy. A white Persian cat jumps up on a tabl STOCKMANN (CONT'D) (addressing the catl\_V Get off there, you bloody fool. He pushes the cat onto the flfior^ I* meows its objections. STOCKMANN (CONT'D) Filthy creature... Shut up. tWAITER (to Boudj y Champagne? ► BOND Thank you. They bothftake a glass of champagne. BOND (CONT'D) tow perhaps you can tell me where my friend is? STOCKMANN (smiles) All in good time, Mister Bond. First, let us toast this... reunion. He raises his glass. STOCKMANN (CONT'D) Health, love and money, and the time to enjoy them. Bond watches him drink. Not poisoned, then. BOND Here's to that. (CONTINUED) 143 CONTINUED: (2) 99. 143 Bond lifts his glass. Takes a sip. Stockmann turns to Madeleine. STOCKMANN It's such a pleasure to finally meet you Dr. Swann. It's strange because I feel I know you so well after all these years. MADELEINE You may know my dress size but you don't know me. STOCKMANN On the contrary. I've been watching you your whole life. You see with an organization as big as mine you have to keep a close eye on your associates. I've watched you groW*V from a small girl, into a woman5% But's that's just me. I alwaj always ...loved to watch.^ I 4k. ^m. (smiles broadly) Now I have something I'd like you to watch. Shall we? 144 INT. OPERATIONS CENTRE, OBSERVATORY - NIGHT 144 Stockmann leads Bond ana Madeleine into a simple, modernist space, the centre-p:j|?ce oflypich is a ring of screens that provides a 36 0-degr%e field of information and imagery. Arranged around the screens are desks occupied by perhaps half a dozen ■ unlike a caM. half a dozen people quietly manning telephone headsets. Not . centr#. The screens shower a wide variety of views of an unnamed city. 9 it * CCTV footagef security cameras, satellite images. ^TJBJCTTM'lir----to face Bond. MADELEINE What are they doing? STOCKMANN I'm going to show you something that happened just over 48 hours ago. He addresses the operators: STOCKMANN (CONT'D) Into replay mode please. The screens go black. Except for one: a CCTV image of a street corner. (CONTINUED) 144 CONTINUED: 100. 144 STOCKMANN (CONT'D) (to Bond and Madeleine) Watch... On screen: A truck parks. A man gets out, walks away. Could be anywhere in the world. STOCKMANN (CONT'D) This is probably my favorite part. The moments just before, when the scene is pristine, everything is well, and no harm can come to anyone... Everything is as it should be... Observe... Bond focuses on the single screen. , , 4 And then. The camera image shakes. The truck explodes. A huge concussion. Rendered all the more surreal by,the silence of the images. STOCKMANN Whoosh! Bond's blood has gone cold. And now, one by one, the screens begin to come on. CCTV images of the streets around |p,hat one street corner. The screens begin to fill with people. Running dots in fear of their lives. 7 Loc% Bond turns to Stockmann. BOND STOCKMANN (CONT'D) hat. Just look at it. STOCKMANN Before he blew his brains out, Dr. Swann's father informed you that my motives were far too strategically complex for you to even remotely comprehend. And so with all due respect, Mister Bond, let's not waste time trying to explain Mozart to the monkeys. Stockmann watches more screens come on. is growing... The terrified crowd He closes his eyes. Now. STOCKMANN (CONT'D) Listen to this music. (CONTINUED) CONTINUED: (2) 101. 144 A second, outer circle of TV screens beyond the first begins to come on. One by one, more and more screens... The sound is now beginning to build... Breaking news feeds from all round the world, reporting the catastrophe. One by one they come on - CNN, AL-Jazeera, BBC, NBC, etc - until there is a cacophony of sound. The ticker along the bottom of the images reads "Terror attack in Cape Town" STOCKMANN (CONT'D) (to Madeleine) What you're witnessing, Doctor, on a molecular level, is power itself taking shape. More images from different TV channels, different angles on the carnage. BOND The power to kill innocents? STOCKMANN L\\ ' What is the difference(between this and an earthquake? Answer? Nothing. The only reason we exist is cataclysmic events In nature. Earthquakes. Flood. Droughts. This (Makes little^ rabbit ears) "abominatl|pn" m simply the power to affect theltarjpfcer good through a strategy of linked, controlled catastrophes designed to manipulate l^^^^jolitical feeling to place mamimim pressure on the global stage. £X BOND A bSmb in South Africa? Just as their leaders refuse to sign up to a new international surveillance pact? STOCKMANN . I Oh, haven't you heard? They've signed up to it now. BOND I bet they have. MADELEINE The unshakable belief characterized by consistently inflated feelings of personal ability, privilege, or infallibility. STOCKMANN Or as a psychologist might call it -a God complex. (CONTINUED) 4 CONTINUED: (3) 102. 144 BOND I've got another word for it. Stockmann looks at them both. STOCKMANN So! Who's hungry? 14A INT. OBSERVATORY - NIGHT 144A A long table is laid under the vast dome of the observlhpry. The roof is open, and the stars are out. Stockmann sits, next to Madeleine, opposite Bond. He rings a small bell and a highly orchestrated ballet beginJP*. Waiters appear from four corners. One serves soup, another expertly blowtorches small plates of seasonal vegetables. A third pours blood" red wine extravagantly into a decanter, from-^i l|eig¥ While this is happening: STOCKMANN "The night falls, tHe star's caress. We take our place amongst the Gods" (gazing upwar-dsj1* The lack of light pollution in the desert makes sta* gazing a most delightful pursuit. The food has been served. Madeleine pushes her bowl away. H i •MADELEINE 1'iincf hungry. The waitei ladles soup onto her plate. ^^^^ STOCKMANN Come now, Doctor Swann. BOND She said she's not hungry. STOCKMANN Perhaps I should explain. You see, Mister Bond, Dr. Swann, although you are my guests here, and I extend this hospitality, I'm afraid you are no longer free to make your own choices. From this point forward you will do everything I ask of you. Starting with enjoying this creamy and thoroughly delicious lobster bisque. So... shall we? She glares at him. (CONTINUED) 144A CONTINUED: 103. 144A STOCKMANN (CONT'D) Come now Madeleine. You know what happens to little girls who don't eat their supper.. BOND That's enough.. Bond makes to intervene. The next second, the wine waiter puts a pistol to Bond's temple. The nearest waiter holds her in her seat. The waiter witftr tlbfi blowtorch comes over and lights it alongside Madeleine's1 .4 face. STOCKMANN Daddy's going to count to three.. One. Two... She takes a spoonful of the soup. Swallows1 STOCKMANN (CONT'D) That's a good girl.. Bond stares straight at Stockmann, who, returns his stare, smiling. % % BOND 4 % You know what? I^m suddenly not that peckish either. Stockmann smiles brcjader and starts to chuckle at Bond's audacity. He nods. Axl the waiters go back to what they were doing as if nothing had" happened. Mm % STOCKMANN It'-i| s^ch a thrill to see you again, Mijjtl^p»Bond. Since you assumed 00 fetus I've kept an especially close on your progress. I've been there ill the time, rooting for you, ''revelling in your triumphs. Sharing your failures, of which, it seems, there are many. BOND You'll have to remind me, STOCKMANN Where to start? Wait.. Stockmann cogitates. Slaps the table. STOCKMANN (CONT'D; Vesper Lynd! Bond doesn't blink. Madeleine eyes him. (CONTINUED) 144A CONTINUED: (2) 104. 144A STOCKMANN (CONT'D) (To Madeleine) Did he tell you about her? No? That was the big one. She was stunning. Intelligent. Charming. So charming, that even when that four faced lying bitch double crossed him he still tried to save her. Sadly he failed. Then he tried to save his beloved M. But she died too. Have you ever noticed, Mister Bond how all of the women in your life seem to end up dead? Madeleine's jaw tightens. So does Bond. BOND "Heinrich Stockmann" Where did you pick that up? Stockmann chuckles, as if energized. BOND (CONT'D V I know a bit about you tpdk^Herr Stockmann". You and your secret organization nobody dares whisper the name of. Spectre. - m. > Stockmann stares at Bond levelly. He shakes his head. Whoops! The cat,is out of the bag! bc Le ^Jh/if f-re. Quantum. Silva. They all worked for you. For Spectre. ^«%^#> STOCKMANN Qpme now Mister Bond. Are you really ffng one person is responsible for 11 of your pain? That makes you sound a little.. paranoid. s to Madeleine. STOCKMANN (CONT'D) What's the term, Doctor, for someone who focuses all their misfortune and woe upon an single individual? She glances at the waiter with the blowtorch. MADELEINE A Delusional Paranoiac. STOCKMANN That has a ring to it, don't you think? Delusional paranoiac. It's a term I've heard before. (CONTINUED) 105. 44A CONTINUED: (3) 144A Madeleine can see that a game is playing out between the two of them. She watches intently— STOCKMANN (CONT'D) Because at one point in my life I too believed there was one, single person who I could blame for everything, for all my torment, all my unhappiness, my pain. I told the doctors. And do you know what they did? They put me in a straitjacket. Gave me electric shocks. They said I was delusional. Paranoid. But I didn't feel paranoid. So time went by, and they gave me a little more freedom, and the first chance I got I put strychnine in my Doctor's morning coffee. And I took her keys and I hopped the wall, and I ran away and joined the Legion. It' a good story so far... no? BOND Gripping. STOCKMANN » I'm so pleased you think so.. BOND "4 ^ So come on. WhoA was it? This demon who ruined you» iijj^? Stockmann is enjoying himpelf so much he can barely contain himself. But he suddl||jlyjjSlays solemn, taking Madeleine's hand. It's s%unfair that everything that goes wrong in life happens to the chifLd, Doctor, don't you think? When ypre too small, too vulnerable to do mything about it. I was not a well Fchild. But I had loving, doting parents. Then one day, they brought another boy into our home. listens. STOCKMANN (CONT'D) This boy was an orphan. His parents had died in a climbing accident. When he arrived all he did was stay in his room and cry like a baby. Bond doesn't blink. Stares straight at him. STOCKMANN (CONT'D) But as time passed he slowly came out of his shell. This boy was tall, strong, with piercing blue eyes. (MORE) (CONTINUED) 106. 144A CONTINUED: (4) 144A STOCKMANN (CONT'D) He was the absolute embodiment of 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 my father hour after hour playing 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) My father said that the excitement would be bad for my heart. But I begged him and finally he relented. What he didn't know was I had been % secretly learning the game. %jfS%jp^In my room. And so that night we played, and slowly over the course of J.he evening, I began to wift. t wk at least half of the cuckoo's hazelnuts I could see the cuckoo sweating. I was getting to him. Getting under his skin. And the next* hand I was dealt all Hearts to the ^V ▼ % % Traces of blood an the floor. m AT Bond is itied to a chair in the middle of the room. Bleeding. BeatenU \ Stockmann sits next to him, with a tablet. On it is Bond's ad-out. He clearly now has access to Q's smart blood. I STOCKMANN Check this out. It's your vital statistics. I got these from your little friend at MI-6. It was worth keeping him alive just for this! BOND ...Where is he? Stockmann ignores him, continues to flip through the data. STOCKMANN Let's see.. Blood pressure. Heart rate. Skin temperature. (CONTINUED) 108. 45 CONTINUED: 145 He picks up the cattle prod. He holds the tablet in one hand, the cattle prod in the other. He puts the prod to Bond's chest. Bond cries out in pain. Stockmann watches the figures jump. STOCKMANN (CONT'D) Whoops. Look at that. He does it again. Bond's heart races. STOCKMANN (CONT'D) Where is your poker face now, Mr. Bond? He laughs. Looks at the figures. STOCKMANN (CONT'D) It hurts doesn't it? He shocks him again. Watches the vitals #spike. STOCKMANN (CONT'D) This is fun. "*' He looks at the figures . * V <* STOCKMANN (CONT'D) You know, I'm np doctor, but I would say judging, from all this data.. Heart rate*" perspiration, levels of adrenalin,, pupi^J. dilation, I'd say ... that y%u are actually scared. He looks in Bond's eyes. Strokes his face with the prod. 4 % STOCKMANN (CONT'D) Are you scared, 007? Is this fear we see? Bond Lpoks, him square in the eye. Gives him nothing. Stfcl ckmann chuckles. f ^k. . cm, STOCKMANN (CONT'D) You really are a very funny man. e shocks him again. Puts his face to his. STOCKMANN (CONT'D) Do you know where you are, little brother? This is a solar furnace. When the sun rises you will be slowly cooked, but don't worry. It takes hours. The flesh will fall nicely off the bone. (CONTINUED) 45 CONTINUED: (2) 109. 145 BOND I have a question. Why all the games? Why not just a bullet? Stockmann stops. Mock surprise.. STOCKMANN Ha. That's a good question. Bond smiles grimly. BOND They both laugh. STOCKMANN Well, it's perfectly simple really. The truth is I never wanted you to < die. After all the dead feel no pair BOND Then I promise you this. Look me "in the eye. If you don't {tut* a ^bullet in my head right now, I "-m^go^ng^ to find you, and I'm going to kill you. Stockmann looks at Bond. STOCKMANN* Ooh. That's a pr%«fey scary threat. w It's not a threat. It's a promise. STOCKMANN Well then I'd be insane to take such a chance. WouTD Stockmann thinks. STOCKMANN You know what. You're right. I can't take that chance. 1» He takes out a pistol. Loads it. STOCKMANN (CONT'D) I've had my fun. It's time to put one bullet where it belongs. He stands. STOCKMANN (CONT'D) Goodbye Mister Bond. I miss you already... (CONTINUED) 110. 5 CONTINUED: (3) 145 BOND You want to play a last hand, Franz? For old time sake. Stockmann stops. BOND (CONT'D) There a file in London. It links you to Spectre and reveals your true identity. If anything happens to her, that file will be made public, and your whole house of cards comes tumbling down. Stockmann looks at him. STOCKMANN You're bluffing. BOND Am I? How can you be sure? Stockmann glances at the data. Bond's heart rate slows to normal. His blood pressure lowers*. He stares calmly at Stockmann. Unreadable. BOND (CONT'D.) Your move. Stockmann stares bac STOCKMANN I have mor% eyes in mi-6 than you could believe Mister Bond. Many, many more.I. .It won't take me long to find No response from Bond. Just steel. He gets up%and leaves. At the door: STOCKMANN (CONT'D) Don't worry - she was always very, very dear to me... I will look after / chuckles and closes the door. Close on Stockmann, as the smile fades... Inside the cell, the faintest of smiles crosses Bond's face. EXT. OBSERVATORY - DAWN 146 A LUXURY HELICOPTER rises from among the domes. Madeleine looks back out of the helicopter's window, desperate at losing Bond. (CONTINUED) 6 CONTINUED: 111. 146 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. 17 INT. SOLAR FURNACE - DAWN ,#147 The SOUND of the helicopter recedes. In the cell, Bond stares at the fingers of light. He's'*btf6n awake all night. His wrists bloody from his efforts, to loosen his binds. It's fast becoming like an oven. He hears a voice. VOICE 007 . . Bond cocks an ear. He calls out: QJ BOND (calls) No reply. IN THE CELL NEXT DO' Is Q, Beaten, battered, but alive Q First of all I want you to know I AM blaming you for ail this. IN BOND'S'CELL The light concentrates, starts burning into the floor near hiny coming closer, the focus widening, a larger area burning - the destructive heat upon his skin now... v BOND Q. It's getting bloody hot. Any ideas? Q (O.S.) Have you still got the watch. Or have you lost that too..? BOND What? The watch, watch... I lied about the (CONTINUED) 112. 17 CONTINUED: 147 Bond hears this, gradually realizes what he means. As the hair on his arms singe he struggles to get the watch off. Q (O.S.) (CONT'D) 007 . . . 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 begi its countdown. Tick, tick, tick.. Bond instinctively slides it under the door of the V I STOCKMANN 4y^tp l^nkins) That will be all. Jenkins withdraws. Stockmann looks at the wall and reads: STOCKMANN (CONT'D) 'These brave souls. Who gave their lives to protect those who knew nothing of their sacrifice.' What a load of shit. to Irma: STOCKMANN (CONT'D) You. Go down to the vaults. See if it's there. You have five minutes. IRMA Certainly Herr Stockmann. Looking at Madeleine: (CONTINUED) 155 CONTINUED: 116. 155 STOCKMANN What do you think, my child? IS there a file? Or was he bluffing? (He shakes his head) I really don't know what I'll do to you if he was. Or for that matter, if he wasn't. You're in something of a pickle. (He strokes her cheek) The deals we do with Death when the chips are down. Now he looks up. His eye settles on a floor halfway up the building where the damage is centred. A GANTRY extends to it from the elevator. STOCKMANN (CONT'D) J Ah. The scene of the crime. 156 INT. OLD MI-6 BUILDING, M'S FLOOR - NIGHT (RAINING They get out of the elevator, cross €he high gantry. Stockmann surveys the damage. The scars of a building blown apart from within - it's like s%anding inside a broken rib cage. . . ^ STOCKMAN^^^ They couldn't ^j^ln scrape together the money to^rebuild it. This really is a third^'worldliCountry. 156 You did this HEINE \ STOCKMANN I'd love to claim credit. But it was my.#friend Mister Silva. I provided t he money of course. I guess you %BiJj|.d say I fanned the flames.. MADELEINE No wonder my father stopped trusting you. You're just another small time criminal. STOCKMANN A reasonable diagnosis, Doctor Swann. But a partial one. I am 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. (CONTINUED) 117. 156 CONTINUED: 156 We see the lights of Whitehall in the distance... CUT TO: 157 INT. M'S OFFICE, MI-6 OFFICES, WHITEHALL - NIGHT (RAINING) 157 In Whitehall, M looks around his office. It is empty. He jp holds a small box, with the remains of his belongings. Then he remembers something, opens a drawer, and looks down. CLOSE ON A MEDAL: GEORGE CROSS. AN SAS AWARD FOR G. ALLfl^/ Moneypenny enters off camera. ^^Jr MONEYPENNY Are you ready sir? M Ready as I'll ever be. A last look, then he pushes the dr%we^Shp€, leaving it. He closes the door behind him. 158 INT. MI-6 OFFICES, WHITEHALL*- NIGHT (RAINING) 158 M stops in his tracks^ The entire staff of MI-6 is waiting for him. We see that they too are clearing theatsL dafks. They all stand in silence. Tanner stands* f acting him. M TANNER (Sir. M nods, to one or two in acknowledgement. Dignity in defeat. A < 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. 118. 159 EXT. WHITEHALL, STREET - NIGHT - CONTINUOUS (RAINING) 159 Moneypenny and Tanner have followed, and now watch as M steps into a limousine. The limousine pulls away fast. MONEYPENNY Strange. That's not M's usual driver. TANNER What do you mean? MONEYPENNY Wrong number plate. They look at each other. TANNER Christ. He pulls out his phone - ♦ 160 INT. M'S LIMOUSINE, TRAVELLING - NIGHT (RAINING) 160 The car speeds away, pressing M back in his seat. M What the hell! a; Bond is driving, meets hi'fr eyes in the mirror: Bund So:cte#li|out the job, Sir. Couldn't be helped. ^ M is shell-shocked but recovers quickly. M [■his better be good, Bond. BOND f#^\i It's very good. I hope you enjoyed your retirement. But I'm afraid §^ / there's some unfinished business. s phone RINGS. BOND (CONT'D) Who's calling? M Tanner. BOND Tell him you'll meet him at Q branch. And they roar onwards. 119. 161 INT. OLD MI-6 BUILDING, FILE VAULTS - NIGHT (RAINING) 161 The lights come on in the old vault, as Irma makes her way-down the stairs. The rows of shelves seem to stretch into infinity. Close on Irma's feet as she walks amongst the shelves and begins to search... 162 INT. Q'S LAB, MI-6, EAST LONDON - NIGHT (RAINING) Low light illuminates Q's lab. Weapons lie on a table. Bond is close to a large screen which shows a cross section of the new CENTRE FOR NATIONAL SECURITY. i He taps a spot high up in the building, looking at M. BOND Youj job is to get Q into there. Q is typing away at a laptop. ^|"\| ^^^^^^ Q (distracted^?1 The Vertex -^t' s^thJt terminal where the highest level data is output. V J We have to sTÜTp the building going onMnlf Otherwise Stockmann will have access^ to everything. BOND Against Stockmann? Mpfsji the opposite. We're going to let turn it on... And then we're oing to use it against him. BOND Against his number two. M Who's that? BOND Le Chiffre was the money. Silva was his tech wizard. Guess who's his Security expert... M looks at Bond, the dawning realisation... (CONTINUED) 62 CONTINUED: 120. 1 M Denbigh. That bastard. M takes his tie off. Bond has finished arming himself. BOND Come on now, Q, are we still blind? Q hits a last key and something comes up on his own scree We see the map, with a blinking cursor next to Vauxhaljj Bridge on the south bank of the Thames. The phone belonging to Stockmann's henchman is now on the desk, plugged into computer. Q Not perfect, but here's the phone's last appearance. Stockmann was on the south bank, but then the signal simply disappeared. BOND V There's only one place that coui be. . . <•» % BOND AND ...The Faraday Cage* M looks at them, catching up: -In the ol4 building? That ha% to be it. 6»* BOND 's hiding right under our noses. M at are you going to do? Bo^cl;makes a quick assessment. To M: BOND Have you still got your Section 6 aviation access? M is 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. BOND What took you so long? 121. 163 INT. OLD MI-6 BUILDING, LOWER LEVEL - NIGHT (RAINING) 163 The construction elevator touches down at ground level. The doors open on Stockmann. Irma is facing him. IRMA The file is gone. STOCKMANN Oh, dear. IRMA Well, what are we waiting for? She racks her pistols and puts it to Madeleine's head. STOCKMANN Stop. (Irma pauses) So perhaps he wasn't bluffing. Ihen who has it? What a conundrum". Keep her here. Alive. ♦ He turns to go. 164 INT. OLD MI-6 BUILDING, M'S FfcooSfc- NIGHT (RAINING) 164 . \ Madeleine watches fromt>higb up»in the building as the black boat pulls out from the shJdows at the base of MI-6, and heads off down rive^. % Irma steps behind^ her. Madeleine turns and stares at her with contempt. <\, ^ IRMA Your father was a good foot soldier. Before he became a drunken coward and a liability. MADELEINE I'd like to break your neck. "She points her pistol. bne points i IRMA Why don't you try? I'm right here. She laughs at Madeleine. 165 INT. CENTRE FOR NATIONAL SECURITY - NIGHT (RAINING) 165 The building is subtly lit, as befits the function. Ministers, Mandarins, senior military and police personnel, all in suits. (CONTINUED) 122. 165 CONTINUED: 165 International figures, all the representatives of the Nine Eyes 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 fervent; masochists. 166 OMITTED *\ V X. 166 167 INT. OLD MI-6 BUILDING, M'S FLOOR - NIGHT (RAINING) 167 Madeleine is at the window. Wxnd blows. Rain drips in from the holes in the rooi The tarp creaks inward with a gust of wind - momentarily cloaking her from IrTlipt. .at Noticing a broken metal strut from a window frame, she waits until Irma disappears from view again - then grabs it. She prepares»-to--strike. But as the tarp swings back, it reveals Irma - already close, and onto her. Madeleine swings with the metal, but Irma shifts away, and punches her viciously in the stomach. Madeleine slides back as she falls, dropping her weapon. I <* But she won't give up. She pulls herself to her feet, and suddenly - runs. She 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. Looks up at Irma with hatred. Spits blood. (CONTINUED) 123. 167 continued: 167 IRMA You pathetic child. 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 A watch as a helicopter drops down RIGHT IN FRONT OF THEM. And then BRIGHT LIGHTS BLAST THE ROOM, the tarp blown inward from the downdraft, the lights even brighter now. Rain lashes in, Madeleine shields her eyes to the light 1 She cannot see him, but she knows who it is. BOND. * 168 EXT. HELICOPTER, THAMES - NIGHT (RAINING) % % 168 In the cockpit we see Bond at the controls, struggling against the conditions... - SAME TIME 169 INT. OLD MI-6 BUILDING, M'S FLOOR*- SAME TIME 169 Inside the building. The lights and noise keep on rising upwards. Irma runs to the thin walkway" leading to the construction elevator, calls down intoJ|the darkness. IRMA Get up here! Now! 170 EXT. OLD Mp4 BUILDING ROOF - NIGHT (RAINING) 170 Swinging wildly in the wind, the helicopter sets down on a high %oof"*of the building. Lights go off. Bond gets out into the^aueSlfeing rain. As he moves to the closest window - he sees a shadow on the 4 other* side. The window is kicked out. TWO MEN come out on to 'roof 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. (continued; 124. 170 CONTINUED: 170 James Bond strides forward from behind the lights. Crosses the roof of the old MI-6 building and straight through the open window... 171 INT. OLD MI-6 BUILDING, UPPER FLOOR - NIGHT (RAINING 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 t beneath him. 172 INT. CNS BUILDING, MAIN ATRIUM - NIGHT (RAINING)^ 172 Speeches are being made. Stockmann is in the audience watching. Up on the raised platform, C stands „and# watches the Home Secretary at the podium, addressing the^crJwd. HOME SECRETARY % * Ladies and gentlemen.Ttedly is an historic day marking a» ne# era. A new era in international cooperation. A jie%,era in advanced Technology-g^. rtev/ Aa in national defence. . JT During this, ONE OF STGCIJMANN'S MEN approaches. Leans down to whisper in his ear. M watches him iLike^a* hawk from the sidelines. . . \\ «% V HOME SECRETARY (CONT'D) Thig extraordinary new building •symbolizes everything this Government stands for... St^cptjnn' s face goes white with shock at what he has been told. Bond is alive. ♦ ^ ^ And* then, perhaps, the smallest of smiles: the chase is back 3 INT. OLD MI-6 BUILDING, EXPLODED INTERIOR - NIGHT (RAINING) 173 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. (CONTINUED) 173 CONTINUED: 125. 173 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 miss him. Bond lands on the other side of the chasm. Turns, shoots % upwards. Boom! His bullets hxt a skylight high up in the building. The massive sheet of glass shatters and raxns down on the Shouts from down below - the men are ripped "-up by the glass. One looks up, face bloody... ^ C 1 Two more shots from Bond, and they both lie dead. He looks to where Madeleine is... He's getting closer. 174 INT. CNS BUILDING, MAIN ATRIUM"*-- - NIGHT (RAINING) 174 Applause. Back at this even% fl is watching closely now as C comes to the microplfcne. m Thafck^^. Well, as you must all know by now, this great building was only made possible by an extraordinary donation from an extraordinary man. fStef forward please, Mister Heinrich 9 Stockmann. A sr>otlight picks out Stockmann in the crowd. Triggering more applause. 4. ''Stockmann looks straight back at C, his face a mask. C senses sthing is wrong. knows it too. Stockmann curtly acknowledges the crowd. But C has been thrown off his stride slightly... C (CONT'D) So. Finally tempted out of the shadows... No reaction. C laughs weakly. (CONTINUED) 126, 174 CONTINUED: 174 C (CONT'D) Mister Stockmann - Ernst, if I may - C (CONT'D) I wonder if we might call on you to take the system online? STOCKMANN Of course. Applause as Stockmann makes his way up to the podium. M has been watching him and waiting for this moment?, his eyes flick up to the upper gantry. A nod. From an internal walkway high in the building - Tanner' nods back. 175 INT. CNS BUILDING, TECH AREA - NIGHT (RAINING)'% Now Tanner turns to address the occmpaitts of the room. TANNER Online in seconds. 175 WIDEN TO REVEAL Five clean-cut ANALYSTS and C's" aide Jenkins watch helplessly as Tanner stands with^a contemptuous gun trained on them. Ijenk^sis You'll be locked up for this Tanner. TANNER So shooting you won't make a blind bit of difference. 176 INT .#CNS. BUgjLPTNG, MAIN ATRIUM - NIGHT (RAINING) M washes as Stockmann reaches the small stage. 176 G, leans in and addresses him urgently, under the noise of the + fapplause. (sotto voce to Stockmann) What's wrong? What's going on? Stockmann smiles at C, and, almost pleased.. STOCKMANN He's alive. C is struck dumb. Stockmann turns, suddenly smiling. (CONTINUED) 176 CONTINUED: 127. 176 STOCKMANN (CONT'D) (to the crowd) Well, I'11 do my best, but I have to warn you - I'm terrible with technology. Laughter. Stockmann presses a button. LIGHT STARTS TO PULSE SILENTLY UP THE MESH OF FIBRE OPfTCfc WITHIN THE GLASS CORE. In an instant, data is streaming across screens around the room. 177 INT. CNS BUILDING, TECH AREA - SAME TIME Back up in the upper area, Q's screen suddenly comes alive. Q On-line. We're in. Tanner watches as Q's hands move across