NTTD reimagined final draft 120921 Script -

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NOTHING IS FOREVER (NO TIME TO DIE RE-IMAGINED) 2021 Written by Some One Based on scenes, locations, dialogue and characters created by Ian Fleming, Neal Purvis & Robert Wade, Cary Fukunaga, Scott Z. Burns and Phoebe Waller-Bridge This transformative text takes story elements, imagery and dialogue from MGM/EON Productions' 25th James Bond film NO TIME TO DIE, as seen in official trailers, TV spots and behind-the-scenes footage to create a screenplay that is a derivative fan fiction adventure that differs greatly from the film NO TIME TO DIE. This screenplay is a transformative work, it is a work of fan fiction created for educational purposes and is freely made available to the reader for that reason. It cannot be sold to any third party. The original NO TIME TO DIE dialogue, characters, scenes and locations in this screenplay and all rights therein are owned by Danjaq LLC and EON Productions. No copyright infringement is intended as this is a transformative text of fan fiction. This fan fiction text does not claim to be an accurate or true recreation of the original NO TIME TO DIE story by Neal Purvis & Robert Wade and Cary Fukunaga, neither is it an accurate or true recreation of the original NO TIME TO DIE screenplay by Neal Purvis & Robert Wade, Cary Fukunaga, Scott Z. Burns and Phoebe Waller-Bridge. GUNBARREL - BOND - BLOOD IRIS OPENS on a Norwegian forest. 1 EXT. NORWAY - DAY 1 A vast forest stretches out into the distance where, in a clearing, by a huge lake, is a lonely villa. 2 EXT. NORWAY - DAY 2 A lone figure walks through the forest, a rifle slung over the shoulder. Hunters are not uncommon for a Norwegian forest, but this man wears a strange kabuki style mask, his rifle is a Czech Sa vz.58 assault rifle and he is not hunting animals. He is there for MR. WHITE. This hunter’s name is LYUTSIFER SAFIN and his mission is to kill Mr. White. In the distance, a villa can be seen. 3 EXT. OUTSIDE THE VILLA - DAY 3 It was easy for Safin to approach the remote house without being spotted. Walking past a beige sports utility vehicle, he approaches a back door with its reeded glass. Safin tries the handle. He can hear music from inside, a SINGER singing in French. SINGER Tout s'efface autour de moi Lorsque la ville š'endort Je ne vis plus que pour toi! 4 INT. VILLA - DAY 4 Safin opens the door very slowly, looking for a reaction and as the door way widens, there is no one there. Safin steps inside and closes the door gently behind himself. 5 INT. BACK ROOM, VILLA - DAY 5 Safin moves into an adjacent room and there, asleep on the couch, is a woman, MARIANNE, the wife of Mr. White and mother to their daughter, MADELEINE. Safin is not interested in Marianne, she is not his target. Safin sees the multi-disc Compact Disc player in the corner playing the French songs. Carefully stepping further into the house, Safin listens carefully for other signs of life. 2. 6 INT. LOUNGE, VILLA - DAY 6 Safin is standing in the middle of the house’s first floor, no sign of his quarry. He sees the stairs and readies himself to walk up it, a gloved hand on the end of the rail. He takes the first careful steps, but the boards squeak. He stops. 7 INT. BEDROOM, VILLA - DAY 7 Madeleine, a girl of 12 years, is upstairs in her bedroom reading a teenager’s magazine. She hears the squeaking stair boards and stops reading. Madeleine expects more squeaks as her mother would make as she goes up the stairs, but then there is silence, something is wrong. 8 INT. BEDROOM, VILLA - CONTINUOUS 8 Madeleine steps towards her door and peers round it. 9 INT. STAIRS, VILLA - DAY 9 Safin takes a careful step, no squeak. He takes another careful step, no squeak, and so with one gloved hand on the rail and the other holding the rifle, he carefully rises up the stairs. 10 INT. LANDING, VILLA - DAY 10 Madeleine sees the top of the white mask come into view, she knows this is not right. Before the rising figure can see her Madeleine makes a dash for the bathroom at the other end of the landing. 11 INT. STAIRS, VILLA - DAY 11 Safin hears the running, and knows he is discovered, he races up the stairs to see the child run into the bathroom and lock the door. Safin looks back down the stairs in case Madeleine’s mother has been alerted, nothing. The French music can still be heard. He scans the landing and peers into the room, rifle pointing ahead, where the child came from, no one is there. 3. 12 INT. LANDING, VILLA - DAY 12 Safin moves quickly to position himself against any counter- attack from another bedroom. Still no sign of his target, Mr. White, where is he? Safin listens. He knows the child is the problem and he slowly moves towards the bathroom door. 13 INT. BATHROOM, VILLA - DAY 13 Madeleine kneels down under the sink, reaches in and finds the 9mm Beretta next to the bleach. She cocks it just as her father taught her and knees against her chest points the pistol at the door. She sees the handle slowly turn, but she had locked it. Madeleine slowly stands, she knows the masked person is on the other side. She aims and fires, blam! And fires again, crack! She drops the gun. 14 INT. LANDING, VILLA - DAY 14 Safin staggers back, his mask shattered in one corner by the first bullet, and shocked by the impact of the second in his chest, a neat hole in his jacket directly above where his heart should be. We see a part of Safin’s face through the shattered mask, he is terribly scarred. Safin clutches at his chest and falls to his knees in pain. Marianne is awake. The music has stopped. MARIANNE (O.S.) Madeleine! Madeleine! 15 INT. LANDING, VILLA - DAY 15 Madeleine throws open the bathroom door and kicks down hard on Safin’s thigh as she runs past and down the stairs. MADELEINE MADELEINE Mom! Mom! Maman! Maman! 15A INT. LANDING, VILLA - DAY 15A Safin gets up rifle ready, and limps back towards the stairs. 4. 15B INT. STAIRS, VILLA - DAY 15B Madeleine throws herself into the arms of her mother who has reached the bottom of the stairs. A burst of gunfire knocks Marianne back, taking Madeleine with her. Madeleine screams at the sight of her mother stricken by bullets down one side of her body. Madeleine steps back from her mother. MARIANNE MARIANNE Go Madeleine! Allez Madeleine! 15C INT. LOUNGE, VILLA - DAY 15C Madeleine turns and runs as a limping, pain stricken Safin walks down the stairs. Ignoring Madeleine’s mother, Safin steps over her, but Marianne has other ideas. MARIANNE Non! Marianne grabs hold of Safin’s injured leg from Madeleine’s kick with all her remaining energy. Safin shakes her off then grabs her by the hair. SAFIN SAFIN Where is he? Où est-il? MARIANNE MARIANNE (Painfully) Il est parti il y a He left long ago. longtemps. Angry at the answer Safin smashes his rifle butt into the woman’s head knocking her out cold. 15D INT. FRONT DOOR, VILLA - AT THE SAME TIME 15D Madeleine grabs a multi-colored coat and opens the front door, slipping on her coat and running from the house. 15E EXT. SNOW - DAY 15E Madeleine runs across the snow towards the icy lake. Behind her, from the front door emerges Safin, still limping and still in pain. 5. 15F EXT. ICE LAKE - CONTINUOUS 15F Running across the lake the ice is getting thinner, cracks appear with every footfall of Madeleine’s but in her panic she does not notice and then the ice gives way. 15G INT. UNDER THE LAKE ICE - CONTINUOUS 15G Madeleine plunges under the ice and the current takes her away from the hole she fell through. 15H EXT. ICE LAKE - DAY 15H Safin reaches the ice hole Madeleine fell through and looks around, he sees the blurred image of a desperate person and limps over. 15I INT. ICE LAKE - DAY 15I Madeleine desperately pushes and punches against the ice but to no avail as she runs out of air. 15J EXT. ICE LAKE - DAY 15J Safin blasts bullets around the girl’s shadowy form and kneels down to punch through the broken ice. 15K INT. ICE LAKE - DAY 15K Young Madeleine sees a fist punch through the broken ice and she power strokes towards it, now moments from breaking through to the surface. SURFACE The fist goes through the broken ice again and grabs the hood of Madeleine’s coat and yanks her head out from the icy water. SAFIN SAFIN Where is your father? Où est votre Père? Where is he?! Où est-il?! A spluttering, floundering Madeleine does not answer, and Safin pushes her back under the water. Moments later Safin pulls the drowning girl again out of the cold waters, bringing her head just above the surface. MADELEINE MADELEINE (hysterical) Je ne sais pas! I don’t know! (CONTINUED) 6. Safin dunks Madeleine into the water again and then pulls her out completely, standing up to be able to lift her body entirely from the lake. Taking a big breath, young Madeleine screams. 16 EXT. SEA - DAY 16 Adult Madeleine bursts from under the surface, fear written across her face. She looks around worried that she is not safe, haunted by a dark memory. 16A EXT. BEACH - DAY 16A JAMES BOND walks down to the water’s edge and sees Madeleine burst back to the surface, noticing the concern in her face. Madeleine turns in the water and sees Bond, a broad smile breaking out across her face, which Bond returns. 16B EXT. ROAD, ITALY - DAY 16B SUPERIMPOSE: ITALY An Aston Martin DB-5 drives through the beautiful Italian countryside. The DB-5 enters a road tunnel. 16C INT. DB5 - DAY 16C Bond is driving the DB-5 and it emerges from the road tunnel into the light. BOND Let me tell you a story about a very lucky woman. Madeleine nestles her head on Bond’s shoulder. MADELEINE How lucky? BOND Enough to share a life of never- ending luxury and beauty. Madeleine looks up, rustles Bond’s hair, stares at her love. MADELEINE Go on. BOND (smiling) And it’s all straight ahead of us. (CONTINUED) 7. Madeleine looks ahead and a beautiful Italian hill top town comes into view through the windshield. MADELEINE (excitedly) Drive faster! 17 EXT. HOTEL - MORNING 17 Bond’s DB-5 pulls up outside a hotel in a stone paved street. Close to the car is the MAÎTRE D'HÔTEL behind his red stand. Local church bells are ringing out. Bond gets out and walks round to where Madeleine is stepping out of the car, he closes her door. Madeleine looks around, happy at the sight of the beautiful town. Bond and Madeleine walk past the Maître d'hôtel who greets them with a nod and gestures towards the hotel’s entrance with his arm. Bond and Madeleine approach the hotel entrance arm in arm. Two nearby doormen hurriedly approach the car to retrieve the luggage. 18 INT. HOTEL - MORNING 18 Bond and Madeleine merrily approach the front desk and the FRONT DESK CLERK. FRONT DESK CLERK Bonjourno. MADELEINE Bonjourno. BOND Morning. FRONT DESK CLERK Welcome to the Palazzo Lucareschi, what is the name of your booking? Bond and Madeleine smile at each other. MADELEINE We didn’t book. (CONTINUED) 8. FRONT DESK CLERK I’m sorry Madame, we have very little available. This week is the festival, Festa della Bruna. MADELEINE Sounds wonderful. FRONT DESK CLERK It honors our town's sacred protectress, the Madonna della Bruna. MADELEINE Do you have something with a beautiful view? FRONT DESK CLERK Only the bridal suite on the upper floor. Madeleine giggles. BOND (smiling) We’ll have that then. FRONT DESK CLERK Certainly Sir. 18A INT. HOTEL ROOM - MORNING 18A BOND Thank you. Bond tips the doormen who leave through the French windows. Madeleine embraces Bond as soon as they leave. Bond and Madeleine kiss deeply. 19 EXT. HOTEL ROOM BALCONY - DAY 19 MADELEINE Look! Madeleine is on the balcony, in the distance bonfire wood is being stacked. The ancient town and the adjacent gorge stretch into the distance. Madeleine smiles at the beauty of it all. MADELEINE (CONT’D) It’s all so beautiful. Bond steps onto the balcony and embraces Madeleine from behind, his chin resting against her head. (CONTINUED) 9. BOND Will you be my sacred protectress? MADELEINE So much more. Madeleine turns and the two kiss again, locked in a loving embrace. LATER In the bridal suite. BOND Are you ready? MADELEINE For beauty, always. With a smile Madeleine takes Bond’s hand and they leave. 20 EXT. HILLTOP TOWN, ITALY - EVENING 20 The busy streets’ ancient stone buildings are adorned with extravagant colored decorations. Families enjoy the evening with their children eating candy floss and holding balloons. Bond and Madeleine walk through the celebratory crowds, the bonfires lit for the Madonna della Bruna give it an eerie light. Bond and Madeleine make their way through the ancient town, up and down its many slopes and stairs. 21 EXT. HILLTOP TOWN, ITALY - EVENING 21 In a wide street a mile long throng surround a life-sized effigy of the Madonna della Bruna pulled by horses. Bond and Madeleine caught in the crowd can only look on. The parade goes past an old church whose front is adorned by a large effigy of Christ on the cross. Bond’s attention is caught by the effigy of suffering, the shadows of the large lively crowd playing over it. Madeleine pulls on Bond’s arm to point to a nearby alleyway. 22 EXT. ALLEY WAY - EVENING 22 Bond and Madeleine escape the jam packed street down an alleyway and come across a small piazza and a bonfire. (CONTINUED) 10. A traditional pizzica salentina band is playing their music filling the air. Happy people stand around the bonfire, drinking and singing along with the traditional band. Bond and Madeleine enjoy the vision of happiness and walk on to discover more. 23 EXT. STREET - EVENING 23 Finding themselves in an empty lane, Bond and Madeleine stop for a moment unaware of the elderly lady on her balcony above them. Bond and Madeleine kiss as the old lady lights a small piece of paper and drops it watching it flutter, fall and burn. Bond and Madeleine break off their kiss before the burning paper reaches them and walk on up the lane. 24 EXT. TERRACE RESTAURANT - SUNSET 24 Bond and Madeleine relax in their chairs on the terrace restaurant overlooking an ancient church, its piazza and beyond it a gorge. The colors from the setting sun adds to the eerie lighting from the many bonfires. A WAITER approaches them. WAITER You’re vintage Gianfranco Fino, our region’s very best wine, Sir. And your menus. The waiter places the menus on the table and opens the bottle. BOND Thank you. The waiter pours two glasses and leaves. Bond and Madeleine smile at each other. BOND (raises his glass) To our future and the death of our pasts. MADELEINE MADELEINE (raising her glass) Une vie de luxe et de beauté. A life of luxury and beauty. Salut. BOND Cheers. Madeleine sips her wine and looks across at Bond. (CONTINUED) 11. MADELEINE Pas Francais, you never speak French. BOND And? MADELEINE Your mother was Swiss French, non? Bond looks out across the town ignoring the comment. MADELEINE You’re an orphan, but you knew your Swiss mother, she spoke French to you, yes? BOND Am I paying for this therapy session Doctor Swann? MADELEINE You may have too, in more ways than one. Bond smiles sarcastically at the remark as the waiter returns. WAITER Signora, Signore, can I take your orders, please? BOND (picking up the menu) A question I do like. The Panzerotti please. MADELEINE Calamari, thank you. WAITER Of course Madame. The waiter leaves. MADELEINE Are you happy James? BOND Looking at you, always. MADELEINE Always deflecting. Are you happy now, no longer in the shadows, not being hunted, no longer alone. Bond leans across the table, wine glass in hand. (CONTINUED) 12. BOND You gave me the choice I never thought I had. It was an easy decision. MADELEINE I’m glad to hear that. BOND Between gorgeous you or the priesthood, of course. Madeleine giggles. LATER Finished plates sit on the table, crossed by the cutlery, a half empty bottle of wine and bread basket between them. Madeleine looks down at part of the ancient town. Below them a young woman leans out of her apartment window lights a small piece of paper and drops it as it burns. 25 EXT. HOTEL ROAD - NIGHT 25 Bond and Madeleine walk up the road to their hotel. A tired Madeleine leans against Bond for support, her shoes in her free hand, their hotel a few yards ahead of them. The welcoming Maître d'hôtel is outside the hotel by his red stand. MAITRE D’HOTEL Good evening. I hope you had a good day, Madame, Sir. BOND Very nice, thank you. Madeleine stops and turns to the Maître d'hôtel. MADELEINE Why do people burn the paper? MAITRE D’HOTEL To send a message, Madame Bond, so our protectress can tell our distant and departed loved ones how we feel. Madeleine pauses to take in the local lore and smiles, taking Bond’s arm, they enter the hotel. 13. 26 INT. HOTEL ROOM - NIGHT 26 Staggering through the French windows into the suite in a passionate embrace, Madeleine breaks away to look around the room that is now lit romantically by candles and wall lamps. Behind the head of the bed is a line of candles atop flower petals. Smiling at the boudoir ambiance, Madeleine throws her arms around Bond and with the weight of her body he steps back to lean against the suite’s central column. Madeleine helps Bond strip off his shirt and vest as they kiss passionately. Through the French windows fireworks can be seen and heard exploding in vibrant color over the festive town. LATER Bond lies awake staring at the ceiling, something on his mind. Madeleine, wearing Bond’s vest, is lying across his outstretched left arm. Madeleine rolls off Bond’s arm and out of the bed. 26A EXT. HOTEL BALCONY - CONTINUOUS 26A Madeleine steps on to the balcony a piece of folded hotel note paper in one hand and a lit match in the other. She lights the paper, extinguishes the match with a shake and holds the burning paper for a few thoughtful moments before dropping it. Behind Madeleine, Bond is propped up on one elbow watching her dropping burning paper. He slumps back. Forlorn, Madeleine watches the burning paper fall. Madeleine looks across the town, dotted with points of light from its many smouldering bonfires. Madeleine takes one more moment to take in the night time view and turns to step back into the suite. 27 INT. HOTEL ROOM - EARLY MORNING 27 As the sun rises, Bond is already washed and dressed. He looks at the sleeping Madeleine. Approaching the bed, Bond bends down and gently kisses her, Madeleine partly wakes up. BOND I’m just going for a walk. (CONTINUED) 14. MADELEINE (sleepy) Don’t be long. 28 EXT. HILLTOP TOWN, ITALY - EARLY MORNING 28 Bond strolls through the empty streets, a few shops are only just opening, the remains of bonfires can be seen. 29 EXT. BRIDGE - EARLY MORNING 29 Bond crosses a bridge across a gorge. 30 EXT. KIOSK - EARLY MORNING 30 An OLD MAN, manning a kiosk with a teenage BOY, motions to Bond in the direction he thinks Bond should take. 31 EXT. GRAVEYARD - MORNING 31 Bond walks through a graveyard peering at the different names and then he stops. Bond stands before the tomb of his former love, VESPER LYND. Bond stands before the tomb in contemplation. He takes from his trouser pocket a piece of hotel note paper. Upon it he has written, ‘Forgive me’. Bond lights a match and sets the note paper on fire. He holds it as it burns and before it singes his fingers, drops it. The tomb EXPLODES, Bond is blown back, pieces of tomb stone masonry around him. Bond comes to his senses, instinctively expecting an attack, but he is alone. Bond’s cell phone rings and keeps ringing. At first a disorientated Bond cannot understand where the sound is coming from and then he pulls his handheld out of his pocket. Bond staggers to his feet. MADELEINE (O.S.) James! James, are you there?! BOND Madeleine! MADELEINE (O.S.) Are we going to the market today? I’m about to get ready. (CONTINUED) 15. BOND I’ll be right back. Bond ends the call and looks around, surprised at the lack of any follow-up attack. Taking in the destruction of the tomb, Bond then looks back towards the kiosk. Bond runs as best he can away from the stone debris. 32 EXT. NEARBY ROAD - AT THE SAME TIME 32 In a nearby road sits a black Maserati, with two rough looking men sitting in the front watching the graveyard, smoke now rising from the among the tombs. 33 INT. BLACK MASERATI - MORNING 33 The two men, the DRIVER and a GUNMAN, look at each other and smile and laugh at the explosion. They stop laughing when from between the tombs they see movement, they see Bond. The Gunman pulls a B&T APC556 PDW assault rifle from between his legs and cocks it. The car accelerates. 34 EXT. KIOSK - MORNING 34 Bond staggers up to the kiosk and finds the old man has gone and the boy, who is there, runs away. Bond knows one thing, he has got to get back to the hotel and Madeleine. Bond chases after the boy, running as well as he can back to the bridge, to cross the gorge. 35 EXT. BRIDGE - MORNING 35 The boy runs to the bridge and makes his way across it. Bond is close behind running over the bridge. The boy stops at the other side and looks back at Bond, now half-way across and out of breath. The boy sees at the other end of the bridge, a black car turn onto the bridge and accelerate. The boy runs. Bond turns as bullets zip past and one clips his suit, the Gunman in the car has opened up on Bond with his APC556 PDW. (CONTINUED) 16. Bond sees the black car bearing down on him fast, the car charging down the bridge. Bond throws himself behind a small stone buttress which the car crashes over and keeps going towards the other end of the bridge. Bond jumps up from behind the buttress to run in the opposite direction up the bridge, but a motorbike appears there. The black car has reached the other end of the bridge and swings round to drive back again, it accelerates back down the bridge, the Gunman firing at Bond again. The motorbike starts to accelerate racing towards Bond. Bond sees the cable running along the bridge wall and runs and grabs it, throwing himself over the bridge wall. 35A EXT. UNDER THE BRIDGE - MORNING 35A The cable’s long length snaps away from the bridge’s side as Bond’s falling weight pulls on it. Bond collides with a bridge support tower, he falls and lands hard on a lower level of the bridge. Recovering, disorientated, Bond looks either way. He sees archways through the support tower and at the far ends of the bridge, wooden doors that lead into the bridge’s two end columns. 35B EXT. BRIDGE - MORNING 35B The car and motorbike come to a stop where Bond jumped and the motorcyclist looks over the side of the bridge. The motorcyclist, PRIMO, has taken off his sunglasses and his left eye can be seen to be unusually large. 35C EXT. UNDER THE BRIDGE - MORNING 35C Bond runs through the archway towards the end he had been running from on top of the bridge. Bond rams the door with his shoulder and finds stairs, descending them in a hurry. 35D EXT. BRIDGE BASE - MORNING 35D Bond bursts out of the door at the bottom of the bridge. Taking a few steps from the bridge door Bond sees the town on the far side and realizes his mistake. Bullets from Primo strike the ground around Bond. Bond looks up to see Primo firing down on him. 17. 36 EXT. BRIDGE - MORNING 36 Primo sees Bond run back into the bridge tower. Gesturing to his fellow gunmen in the car Primo accelerates towards the graveyard end of the bridge to catch Bond. The car follows Primo up the bridge. 36A INT. BRIDGE TOWER - MORNING 36A Bond is running as fast as he can, sprinting up the stairs within the bridge tower to return to the bridge’s mid-level. Bond reaches the inside of the wooden door and kicks it open, he sees the wooden door he needs at the very end through the archways. Bond runs for his goal. 36B EXT. BRIDGE - MORNING 36B Primo throws his motorbike down and readies his assault rifle as his black Maserati driving comrades get out of their car, guns at the ready. Primo kicks in the wooden door and waits for a reaction. He moves slowly forward, his comrades covering him with their weapons. Primo enters the tower. 36C EXT. UNDER THE BRIDGE - MORNING 36C Bond reaches the wooden door and stops. He carefully opens it listening intently. He hears nothing. Suddenly gun shots can be heard from inside the support tower at the other end of the bridge. Bond smiles. He sprints up the interior stairs. 36D INT. BRIDGE - CONTINUOUS 36D Bond kicks open from within the wooden doors the boy had entered and the town end of the bridge is before him. 37 EXT. BRIDGE - MORNING 37 Gun drawn, focused on the door and his comrades actions, Driver senses movement in the corner of his eye. He turns to see Bond running off the bridge at the far end, running into the streets of the hill top town. DRIVER DRIVER (shouting) Merda! Lui è qui! Sta He’s here! He’s running away! scappando! 18. 37A EXT. HILL - MORNING 37A Bond looks back as he runs past the locals, surprised at the dishevelled suited man sprinting down their street. Bond can hear a motorbike and a car coming closer. Bond sees an alleyway and turns right to run down it. Running along the alleyway, Bond sees below him Primo on his motorbike travelling in parallel on a lower level street, looking up at Bond. Primo takes a bumpy stairs to another road to arrive at running Bond’s imminent destination. 37B EXT. STREET - MORNING 37B Primo speeds up a slope to reach the alley Bond is running down and reaching the top he takes a sharp left. 37C EXT. STREET - CONTINUOUS 37C From around a corner Bond runs into view, Primo arriving at the same time. Bond throws himself at the gunman, tackling him, knocking Primo from his bike. Bond gets up first and immediately throws a punch into Primo’s face knocking his sunglasses off. Caught off guard by the sight of Primo’s strangely large left eye, Primo counter-attacks and grabs Bond’s tie in an attempt to strangle him with it. Bond hits back with a left hook and a right punch to Primo’s head and the attacker staggers back momentarily stunned. Bond removes his ruined tie throwing it to the floor as Primo comes back with his own punches throwing his left and right fists at a Bond who backs away, stepping out of Primo’s reach. Bond surges forward blocking Primo’s blows and hitting the man hard in the left eye, which strangely dislodges as if its fake. Bond stares briefly at the odd sight but then grabs the gunman by the neck with one hand and picks up his tie with the other and strangles the man. Primo slumps limp from a lack of oxygen. Bond jumps on the motorbike and races away from his attacker, taking a right turn down the stairs Primo arrived from. 37D EXT. ALLEY - CONTINUOUS 37D Bond bears left to go down a lane in the hope it will take him to the hotel. 19. 37E EXT. LANE - CONTINUOUS 37E Racing down the lane Bond sees a religious parade coming towards him and on his left, a deeply steep ramp that leads up to a low wall. Bond accelerates speeding towards the ramp, climbing it in a split second and soaring over the wall he lands in a piazza outside a church. Managing to control the bike upon its hard landing, a long line of worshippers parts to let Bond’s oncoming bike through. 38 EXT. HOTEL ROAD - MORNING 38 Bond brakes hard as he arrives outside the hotel, a doorman surprised by the sudden arrival. Bond leaps off the bike, keys still in the ignition and leaves it with the DOORMAN. BOND Thank you. Bond runs into the hotel foyer. 38A EXT. HOTEL ROAD - AT THE SAME TIME 38A Slowly down the road comes the black Maserati with Driver and Gunman. They see Bond arrive on the bike, abandon it and run into the hotel. 39 INT. HOTEL - MORNING 39 Bond runs through the hotel foyer and out of a side door to exterior stairs that lead to the balcony entrance of the bridal suite. 40 INT. HOTEL ROOM - MORNING 40 Madeleine is almost ready to go out, looking at herself in the mirror. Madeleine sees the figure of Bond reflected in the mirror and turns to see the out of breath Bond, dirty and dishevelled. BOND The past, isn’t dead. Madeleine looks at Bond with dread. BOND (CONT’D) They’re after us. It’s happening. (CONTINUED) 20. MADELEINE (anger) Where did you go this morning? BOND (quietly) Somewhere I shouldn’t have. MADELEINE Is it why we came to this place? Bond is silent. He takes off his jacket. MADELEINE (CONT’D) (determined) This isn’t the time for secrets between us. BOND I can’t understand, how do they know?! MADELEINE Is this someone I need to know about? BOND It was a long time ago. MADELEINE Algeria. When we were in Algeria, Blofeld said. (beat) What was her name? BOND Vesper. MADELEINE (disturbed by the answer) Vesper. BOND (with a sense of guilt) She’s, buried here. MADELEINE Well I’m not! And we have a life to live. Madeleine grabs Bond’s hand and drags him at almost a running pace out of the room, Bond grabbing his jacket. 21. 40A EXT. BRIDAL SUITE BALCONY/STAIRS - CONTINUOUS 40A Madeleine pulls Bond through the French windows and onto the balcony, they hurry to the stairs at the end, Bond slipping his jacket back on. Reaching the balcony’s end, Driver’s right hand emerges past the wall, gun firmly in its grip, as he comes to the top of the stairs. Madeleine screams. Bond lunges for the gun as Driver turns the corner. As Bond wrestles with the right arm in the limited space, Driver clocks Bond with a left hook to the side of the head, Bond’s ear bleeds a little. Gunman cannot get past in the tight space, Bond and Driver are entwined together at the end of the balcony, where the stairs start and Gunman is stuck behind Driver, a couple of steps behind and down, unable even to see Madeleine. Bond headbutts Driver and grabbing the man with both hands, briefly letting go of the armed right hand, Bond throws the man over the balcony, screaming as he falls into the deep gorge. Gunman takes his chance and leaps the last few foot onto the balcony swinging round with the gun, Bond lands a punch in his stomach, Gunman staggers back and Bond lunges for the gun, but misses. Locked together, face-to-face, Gunman hammers Bond’s temple with the gun butt. Bond is driven to his knees but as Gunman brings the weapon down to finish Bond, Bond lifts Gunman and tips him over the balcony. Bullets spit from his gun as Gunman falls to his death. Bond rests momentarily against the wall and feels his left temple as blood oozes from the gun strike wound. Madeleine squeezes past Bond and taking the first few steps down the stairs grabs his hand and pulls him after her. 41 EXT. HOTEL ROAD - MORNING 41 Bond and Madeleine exit the hotel, the Maitre d’hotel once again at his red stand. Bond and Madeleine pass him at a brisk pace down Via Bruno Buozzi. BOND Our car, we’ll be back in five minutes. (CONTINUED) 22. MAITRE D’HOTEL (surprised) Yes Sir. Bond does not notice the now dead Driver’s black Maserati parked across the street as they hurry from the hotel. 41A EXT. HOTEL ROAD - CONTINUOUS 41A Bond and Madeleine walk at a pace down the paved and cobbled street. BOND Stop, stop. Bond pulls Madeleine by the hand to one side of the street. BOND (CONT’D) There was another. Bond looks back up the street to where the hotel is. BOND (CONT’D) A third killer. Bond stares back at the hotel, Madeleine peers over his shoulder, both their faces pictures of concern. Bond sees his DB-5 arrive driven by a doorman. 41B EXT. HOTEL ROAD - CONTINUOUS 41B Bond and Madeleine run up the street back to the hotel. As the doorman gets out of the DB-5 Bond opens the passenger door, Madeleine gets in and Bond jumps into the driver’s seat, saying nothing. The car accelerates away. The bewildered doorman looks at the Maitre d’hotel shocked. DOORMAN DOORMAN No tip! Nessun suggerimento! 42 EXT. STREET - DAY 42 Bond’s DB-5 screams up the street, pedestrians stop and back away from the road as the silver bullet then brakes to a halt at a T-junction. A black car drives past, left to right, in front of Bond’s DB- 5. 23. 42A INT. BLACK CAR - DAY 42A Sitting in the front passenger seat Primo twists round, a small display device in his hand. PRIMO PRIMO It’s her! Go back! È lei! Torna indietro! The driver brakes hard and puts the car into reverse. 43 INT. DB-5 - DAY 43 Bond and Madeleine see the hard braking black car and its reverse lights come on. Bond swings his car left going through a sign with a ‘Do Not Enter’ symbol and accelerates sharply up the thin street. Bond sees in his rearview mirror the black car reverse and swing its nose round to follow them. 44 EXT. STREET - DAY 44 Bond’s DB-5 shoots up the long lane, the black car some distance behind. Coming out of the tight lane, Bond swings the car right and turns right again to go back the way he came on the parallel road, Via Lucana. Moments later the black car arrives and stops before turning left or right onto Via Lucana. 44A INT. BLACK CAR - DAY 44A Primo looks at his display device. PRIMO PRIMO Turn right! They’re going Girare a destra! Stanno into town! andando in città! 45 EXT. STREET - DAY 45 An armed MOTORCYCLIST sits on his bike listening to Primo. At that moment, Bond’s DB-5 drives past. The Motorcyclist activates his throat mike. MOTORCYCLIST MOTORCYCLIST The Aston Martin just passed L'Aston Martin mi ha appena me heading North, over. passato in direzione nord, oltre. (CONTINUED) 24. The Motorcyclist puts his bike into gear and chases after the DB-5. 46 INT. DB-5 - DAY 46 Bond smiles as he looks into the rearview mirror seeing nothing and then the motorbike comes into view. Bond’s mood sours. INSIDE THE WHEEL HUB A small silver device with a tiny metal coil of an antenna, a tracking bug, sits stuck to the inside of the DB-5 wheel hub. 47 EXT. STREET - DAY 47 Bond drives the DB-5 hard, swerving through all the traffic, passing everything as he speeds, hell bent, up the road. Behind Bond, the Motorcyclist narrowly avoids the cars careering across the road to avoid oncoming Bond. Bond sees a gap and wrenches the car right down a much smaller street, Via Domenico Ridola. 47A INT. DB-5 - DAY 47A Bond looks in his rearview mirror, no motorbike, he smiles but then he glances again and there is the bike. Bond grits his teeth. 48 EXT. STREET - DAY 48 Bond ignores a ‘Do Not Enter’ signs as he turns into Via Casalnuovo and hits the brakes hard for the hairpin corner taking it with a painful squeal of the tires. The Motorcyclist sees the almost handbrake turn the DB-5 makes and turns down the short and sharp Via Casalnuovo. Bond is well ahead and after a 100 yards takes a sharp left towards the Piazza San Pietro Caveoso. The bike is still on his tail. 49 EXT. PIAZZA - DAY 49 Bond enters the Piazza San Pietro Caveoso, the burnt remains of a bonfire sits in the middle. (CONTINUED) 25. Bond heads for the Piazza’s North exit and Via Madonna delle Virtu but a silver car appears blocking his way. Bond swings the DB-5 round the bonfire to take the South exit but Primo’s black car appears through the South exit’s huge archway and another motorcyclist is following him. Bond pulls his car all the way round the bonfire and sees a gap for the North exit. The DB-5 speeds up the Via Madonna delle Virtu, a cliff edge road, with the silver and black cars and two motorcyclists after it. 50 INT. DB-5 - DAY 50 Frustrated at not losing his tails and with four vehicles after him, Bond’s armor is back on. All the tenderness he had shown during the hill top town visit vanishes. BOND How do they know? And at the hotel? MADELEINE I don’t know how those men knew we were here. Bond does not react, just looks ahead. BOND (angrily) Have you told someone, anyone? MADELEINE Why would I betray you? You visited a dead lover, not me. BOND We all have our secrets, we just didn’t get to yours yet. Bond sees a narrow street, the first turn available to him. 51 EXT. NARROW STREET - DAY 51 Bond leaves the cliff edge road and rapidly bounces down pedestrian stairs into the small streets of the old town. 52 INT. DB-5 - DAY 52 In his rearview mirror and side mirrors, Bond can see the cars but only one motorbike following down the same stairs. (CONTINUED) 26. BOND (determined) Q gave me some optional extras, as an insurance policy. Bond flicks open the lid of the left arm rest cum central console between the driver and passenger seats revealing a series of buttons, toggles and switches. 52A EXT. STREET - CONTINUOUS 52A Bond’s DB-5 powers into another narrow street and from beneath the DB5 fall small spheres with stubby protrusions. They are anti-vehicle mines now scattered across the road. Bond pulls the DB-5 a sharp right to take another road, but has to stop suddenly. 52B INT. DB-5 - CONTINUOUS 52B MADELEINE James! Les Moutons! Bond brings the car to a screeching halt as a flock of sheep and their shepherd fill the road ahead. 52C EXT. STREET - CONTINUOUS 52C As Bond turns his car around, Primo’s black car catches up first but its wheels strike the mines and a series of small explosions destroy the tires sending the vehicle into a wall. Bond’s DB-5 flies past the crashed vehicle heading in the direction he was originally taking. Primo climbs out of the smashed car and takes out his radio. 52D EXT. STREET - CONTINUOUS 52D Roaring up the street, Bond is still being chased by a car and biker. A second motorbike leaps from a higher parallel lane down to the street Bond is driving on and lands immediately behind the DB-5. 52E INT. DB-5 - CONTINUOUS 52E With the flick of another switch by Bond, through the rear windshield, oil can be seen spraying from the Aston Martin’s rear fender. Madeleine turns in her seat to see the motorbike skid across the oil careering through a wooden fence into a garden. (CONTINUED) 27. Madeleine smiles at Bond but he is too focused to notice. 52F EXT. WIDE AVENUE - DAY 52F The DB-5 emerges from the labyrinthine streets into an avenue and takes the corner sharply, drifting across the road surface at high speed. Up the avenue, the DB-5 swerves around cars, barely misses oncoming traffic and then a bus looms across the road. Bond swings the DB-5 around the front of the sharply braking bus. The remaining pursuer's silver car and motorbike are stubbornly on Bond’s tail. 53 EXT. PIAZZA - DAY 53 Bond’s DB-5 pulls another sharp turn into an alleyway leading to a small piazza, Piazza San Giovanni Battista. Entering the Piazza, from Bond’s left a black Land Rover T- bones the DB-5 spinning it around and bringing it to a halt. The silver car and motorbike arrive from the same alleyway Bond came from and they take up blocking positions at Piazza exits. The Land Rover, silver car and motorbike are joined by two black saloon cars which also stop to block exits. Gunmen get out of all the cars and off the one motorbike. They start to fire assault rifles relentless at the DB-5 whose bullet proof glass and chassis protect Bond and Madeleine. 54 INT. DB-5 - DAY 54 Inside the DB-5 the windows crack and splinter from the withering assault rifle fire. Madeleine cowers next to Bond, terrified of the deafening gunfire, holding onto Bond for some kind of protection. Bond sits, angry, determined, thinking. 55 EXT. PIAZZA - DAY 55 From the Land Rover steps Primo and he walks toward the DB-5 firing round after round walking right up to the car a mere foot from Madeleine’s completely fractured passenger window. 28. 56 INT. DB-5 - CONTINUOUS 56 Bond looks at Madeleine who clutches at his arm in desperate hope as Primo’s rounds hit her window again and again creating a glass sheet of impact roses. MADELEINE (begging) James! BOND Ok. Bond pushes a button on his console. 57 EXT. DB-5 - CONTINUOUS 57 The DB-5’s headlights swing in and upwards into the car and heavy calibre mini-guns poke through. 58 INT. DB-5 - CONTINUOUS 58 Bond puts the gear shift into first gear, starts to press down on the accelerator with his right foot and gently down on the brake with his left, turning the steering wheel left. Pushing the same button on his console the headlights’ mini- guns fire and everything in front of them explodes from their large high velocity rounds. 59 EXT. PIAZZA - CONTINUOUS 59 As Bond's DB-5 doughnuts, the mini-guns keep firing, destroying everything in their field of view. The cars are riddled, the motorbike blown apart, gunmen jump for cover and gunmen die. 60 INT. DB-5 - CONTINUOUS 60 Madeleine sits in stunned amazement at what she is seeing. As Bond controls the doughnut spin and comes around for a second time he hits another console button and smoke pours out from underneath the car. 61 EXT. PIAZZA - CONTINUOUS 61 The Piazza fills with smoke from the DB-5 and as the car spins round for a third time with the mini-guns cutting the cars apart and keeping any gunman floored, dead or alive, the DB-5 suddenly accelerates in one direction. Through the smoke an exit can be seen and Bond makes their escape. (CONTINUED) 29. Left behind is a scene of destruction and a dead Primo. 62 EXT. ROAD - DAY 62 Bond’s DB-5 roars down the road, ahead the train station can be seen. 63 EXT. RAILWAY STATION - DAY 63 Bond’s DB-5 screeches to a halt right outside the railway station’s entrance steps. Bond and Madeleine leap out of the car and run through the terminal. Bond and Madeleine run across platforms and tracks to reach the train that is about to depart. Reaching the train they embrace. MADELEINE This is it. BOND This is it. With a kiss, Madeleine gets on the train, and Bond stays to watch her take her seat through the train window. The train pulls away, Madeleine looks back at Bond through the carriage window, she begins to cry. As the train moves Madeleine walks through the carriage to keep Bond in view and she sees him turn and leave. 64 EXT. RAILWAY STATION - CONTINUOUS 64 Bond walks back towards the station exit, a TICKET INSPECTOR walks up to Bond. TICKET INSPECTOR TICKET INSPECTOR Sir, ticket? Signore, biglietto? BOND (exhausted) Well and truly stamped. 65 MAIN TITLES. 65 66 EXT. LONDON - NIGHT 66 SUPER: LONDON (CONTINUED) 30. SUPER: FIVE YEARS LATER A skyscraper dominates the skyline. A helicopter flies into view. The helicopter lands on the skyscraper’s roof and commandos jump from it. Repelling down the side of the London skyscraper, the four commandos reach an upper floor, their intended target. They proceed to remove a huge plate glass window, which falls inwards into a long corridor. The commandos swing through the opening, land inside the corridor and unattach themselves from the ropes. 66A INT. SKYSCRAPER - NIGHT 66A The four of them move cautiously down the corridor, their Kalashnikov AKS-74U rifles poised and find that this is no ordinary floor in an otherwise typical tower of office space. It is a secret laboratory. Methodically the commandos move through the lab shooting staff and scientists and planting explosives. A commando spins round the corner of the lab table, a terrified VALDPO OBRUCHEV is cowering. Against his chest, Obruchev is clutching a silver briefcase. The Commando motions with his hands for Obruchev to come out. The Commando pulls a worried Obruchev by the arm from the room. Gunfire and screams can be heard in the background. The gunfire stops as the third and fourth commandos join the fist two who have a parachute. Obruchev shivers, his face a picture of fear. The commando who had held Obruchev’s arm grabs the briefcase from the scientist. Obruchev takes the parachute. 66B INT. TOWER’S ELEVATORS - CONTINUOUS 66B In front of two sets of elevator double doors, two commandos prize open one set of double doors. There is no elevator, just a deep shaft down to the first floor. From one of their backpacks, two commandos pull out a large bulbous looking grenade like device and together they throw the hefty object down the lift shaft. Obruchev looks alarmed. The bomb explodes at the bottom of the elevator shaft, blowing a huge hole where the first-floor doors used to be. Alarms start to shriek. (CONTINUED) 31. Obruchev looks even more alarmed as he is pushed into the open elevator shaft. A commando grabs Obruchev’s parachute ripcord handle. As Obruchev lurches through the doorway and into the shaft, the ripcord is pulled, and his chute is deployed as he falls. The commandos looks down the elevator shaft to hear a screaming Obruchev obscured by the parachute canopy billowing upwards and outwards. The four commandos hook their repelling anchors onto wall beams inside the elevator shaft as they step into the void and fall, using their repelling harnesses, ropes and descenders to control their fast descent. A moment later, the pyrotechnics the commandos left behind explode with an ever-expanding cloud of fire filling the laboratory interior. 67 EXT. LONDON STREET - NIGHT 67 A huge fireball explodes through the tower’s upper level open window left behind by the commandos. From the now destroyed foyer, smoke pouring out of the decimated first floor, a commando is dragging a terrified Obruchev, still clutching his briefcase and his parachute trailing behind him. One of the other commandos cuts away Obruchev’s parachute canopy. A black vehicle pulls up in front of the damaged tower block and a shocked and bewildered Obruchev is bundled into the back of the vehicle. The commandos jump onboard and the vehicle speeds away. 68 EXT. M’S OFFICE - MORNING 68 An angry M storms into his office, quickly followed by Moneypenny. M reaches his desk and picks up what looks like a television remote control and points it at a wood panelled wall. The wood panel wall slides back to reveal a large wall screen and images begin to flicker on to it. MONEYPENNY Q said he’s hacked the building’s internal security camera system. These pictures are from there. The wall screen images become clearer and the devastation is obvious. (CONTINUED) 32. M In the middle of London?! Tanner and Moneypenny stand ready to help their boss, M, head of MI-6. MONEYPENNY And a secret laboratory of all things. M Who could have had such a thing atop a skyscraper?! TANNER Well, the scientists were all killed and there's no evidence of who did it. M fumes and ponders what to do. M Where’s 007?! 69 INT. FLOATPLANE OVER JAMAICA - DAY 69 MI-6 agent NOMI is confidently at the controls, flying the silver floatplane into Jamaica, looking out across her view of the beautiful island before her. 69A EXT. JAMAICA - DAY 69A Superimpose: JAMAICA A silver floatplane is seen flying in the distance. Bond is relaxing in his yacht close to the Jamaican shoreline. 69B EXT. BOND’S JETTY, JAMAICA - DAY 69B Bond moors his yacht and picks up a spear gun with fish still attached to it as he steps off the boat onto the jetty. On the jetty Bond removes the fish from the spear gun, which he dips in the sea water to clean, and then sets about gutting the fish. A cat slowly approaches Bond who quickly cuts a piece off for his feline friend and throws it to one side. The cat greedily gobbles up the fish. 33. 69C EXT. BOND’S JETTY, JAMAICA - CONTINUOUS 69C With his two gutted fish hooked on wire Bond walks down the jetty and takes a left onto a path. Bond walks past a wide pool to one side of his house and its veranda that looks out on the ocean. 69D INT. BOND’S HOUSE - CONTINUOUS 69D Entering his house walking through the open plan building Bond goes towards the back where the chest freezer is. Bond takes some tin foil and wraps the fish and drops them into a chest freezer. 69E EXT. JAMAICA - DAY 69E Bond speeds along in the Jamaican countryside in his open topped Land Rover. 70 EXT. PORT ANTONIO, JAMICA - DAY 70 Bond drives through Port Antonio, heading northwest up Williams Street. He comes to the town square where William street ends meeting West street, which runs from the northeast to the southwest. As William Street merges with West Street a small car almost collides with Bond, they both stop. In the small car’s passenger seat is FELIX LEITER and behind the wheel is CIA agent LOGAN ASH. LEITER James. Bond smiles recognizing his old friend. BOND You know we drive on the left here. Did you lose your way? LEITER I had to come and see where 007 himself was hiding out in the Caribbean. 71 EXT. STREET, PORT ANTONIO - DAY 71 Ash follows at a careful distance, hanging back in the background as Bond and Leiter walk up the side street. BOND Who’s your friend? (CONTINUED) 34. LEITER Logan. He’s the eyes in the back of my head. BOND So, what made you want to find me? LEITER Spectre is up to its old tricks. BOND (surprised) Spectre? LEITER It’s new leadership snatched a pawn off the board. We believe this pawn has some very nasty biotechnology. He was kidnapped from a secret laboratory in London. They destroyed the laboratory, killed everyone else. BOND London? What’s MI-6 doing about it? LEITER They haven’t contacted you? BOND (solemn) No. LEITER London, Washington relations aren’t what they used to be. This biotech, it’s bad, my orders are from the very top, get it whatever it takes. Bond is silent as they walk. LEITER (CONT’D) How’s life? BOND Very quiet. LEITER I understand. If you’re ready for some action, meet me tonight at the LaBest Sports Bar. 71A INT. BOND’S HOUSE - EVENING 71A Bond steps up to a table where he pulls out a drawer. Among the old books, note pads and fishing flies is a gray pistol. (CONTINUED) 35. Bond takes the pistol in his hand, feeling the weight. He releases the clip and there are no rounds in it. He slips the clip back in and stares into infinity, asking himself what he wants. He smiles. 72 EXT. JAMAICA - NIGHT 72 The sun has set, and the Jamaican night life comes alive. Bond drives in his open top Land Rover through the darkness to where all the action is taking place. 73 INT. NIGHTCLUB - NIGHT 73 A lit dance floor throws primary colors across the crowded space, dancers, drinkers and watchers bump and grind as the throbbing music fills the air. Making his way through the crowd, Bond bumps into a tall woman and they glance at each other, briefly, but Bond does not give her a second thought as he reaches the other side of the dance floor and the start of a long bar. Leiter is already sat at the bar, two bottles of beer in front of him. LEITER So, you’re still interested? Bond sits on the next bar stool. BOND Let’s talk about it. LEITER I need a favor brother. You're the only one I trust for this. BOND That’s why I’m here. LEITER Your talents shouldn’t go to waste James. And the game hasn’t got any easier. It's harder to tell the good from bad, villains from heroes these days. (beat) I heard a woman made you quit. BOND We all make mistakes. LEITER A few? (CONTINUED) 36. BOND Three. LEITER Two, I heard. Vesper and then. Ash arrives. BOND It’s your friend. Felix turns to see Ash standing there. LEITER Logan, Bond. Bond, Logan. Let’s find a table. (to barman) Another beer for my friend here. The barman opens a bottle and pushes it across the bar. Bond, Felix and Ash move to a nearby table and sit down, Bond between the two of them. BOND What are we doing? LEITER That pawn I told you about, we think he is in Cuba. BOND (smiling) An island I know well. LEITER It’ll be like old times. The pawn is one Valdo Obruchev. ASH Didn’t he defect during your time at MI-6? Ash takes a swig of his beer. BOND Never heard of him. And he’s being held by Spectre? LEITER We think so. When you get to Cuba, there is a young lady in Santiago I want you to meet. She has a lead that should take you straight to the heart of their operation. (CONTINUED) 37. BOND (cheekily) There’s always a young lady involved. LEITER You know it, James. So, is 007 coming to work for Uncle Sam? BOND With pleasure, Felix, with pleasure. Leiter smiles at Logan. 74 EXT. JAMAICA - NIGHT 74 Bond walks through the vibrant Jamaican street nightlife, happy people arm in arm, music flowing from all the bars, revellers weaving their way through the traffic. 75 EXT. BOND’S HOUSE - NIGHT 75 Bond pulls up in his open top Land Rover outside his house. Jumping out he notices his door is unlocked and ajar. 76 INT. BOND’S HOUSE - CONTINUOUS 76 Bond steps in carefully, his hand feeling its way across the wall to a light switch, and then there is light. Sitting on his bed is a young woman. BOND Good morning. Bond takes a few more steps into his house, his veranda and pond visible behind him. NOMI I’m Nomi. BOND Of course you are. You were in the club, I bumped into you. NOMI If you’re going to meet the CIA you might want to be a bit more discreet. BOND It’s never bothered London before. (CONTINUED) 38. NOMI The world’s moved on Commander Bond. BOND Well, I haven’t had a woman break into my Jamaican home before, there is that. NOMI I have a job to do in this part of the world. You’ve been here a while. You could, assist me. Bond relaxes and rests against the table. BOND Assist? Well, I’m assisting a friend right now, so no. NOMI My mission is important to the United Kingdom. Is your friend more important than your own country? BOND If you’d been in the field as long as I have, you’d understand how important friendship is. NOMI Well I don’t need your friendships getting in the way of my mission. Don’t go to Cuba. BOND Who said I was going to Cuba? Nomi removes her beehive hair style which is a wig. NOMI One of Q’s more stylish gadgets. Reaching inside it Nomi starts an audio playback. LEITER (O.S.) When you get to Cuba, there is a young lady in Santiago I want you to meet. She has a lead that should take you straight to the heart of their operation. BOND You’re a double-O? NOMI Two years. Missing it? (CONTINUED) 39. BOND Not at all. NOMI So, stay in your lane. If you do go. If you get in my way, I will put a bullet in your knee. The one that works. Nomi gets up and leaves. NOMI (O.S.) You need better locks. Bond stares after her thoughtfully. 77 INT. BOND’S HOUSE - CONTINUOUS 77 Bond pours himself a glass of dark rum and looks at his OMEGA watch. Bond picks up the nearby wireless phone handset. Pausing to remember the number, he slowly punches the digits into the keypad. BOND Is that Universal Exports? (beat) I’d like to speak to the managing director please. (beat) Who am I? I’m a former export import manager. I’ve got some information about our American competitors he might want to know. 77A INT. M’S OFFICE - DAY 77A M picks up his warbling desk phone. M Yes, put him through. (beat) This is an unexpected call. A bit early in the morning for you. 77B INT. BOND’S HOUSE - NIGHT 77B BOND I met your new double-O, she's a disarming young woman. M (O.S.) (angrily) This is not a secure channel! (CONTINUED)