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. EXT. NORWAY - DAY 1 1 A vast forest stretches out into the distance where, in a clearing, by a huge lake, is a lonely villa. EXT. NORWAY - DAY 2 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. EXT. OUTSIDE THE VILLA - DAY 3 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! INT. VILLA - DAY 4 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. INT. BACK ROOM, VILLA - DAY 5 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. INT. LOUNGE, VILLA - DAY 6 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. INT. BEDROOM, VILLA - DAY 7 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. INT. BEDROOM, VILLA - CONTINUOUS 8 8 Madeleine steps towards her door and peers round it. INT. STAIRS, VILLA - DAY 9 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. INT. LANDING, VILLA - DAY 10 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. INT. STAIRS, VILLA - DAY 11 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. 2. INT. LANDING, VILLA - DAY 12 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. INT. BATHROOM, VILLA - DAY 13 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. INT. LANDING, VILLA - DAY 14 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! INT. LANDING, VILLA - DAY 15 15 Madeleine throws open the bathroom door and kicks down hard on Safin’s thigh as she runs past and down the stairs. MADELEINE Mom! Mom! MADELEINE Maman! Maman! INT. LANDING, VILLA - DAY 15A 15A Safin gets up rifle ready, and limps back towards the stairs. 3. INT. STAIRS, VILLA - DAY 15B 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 Go Madeleine! MARIANNE Allez Madeleine! INT. LOUNGE, VILLA - DAY 15C 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 Where is he? SAFIN Où est-il? MARIANNE (Painfully) He left long ago. MARIANNE Il est parti il y a longtemps. Angry at the answer Safin smashes his rifle butt into the woman’s head knocking her out cold. INT. FRONT DOOR, VILLA - AT THE SAME TIME 15D 15D Madeleine grabs a multi-colored coat and opens the front door, slipping on her coat and running from the house. EXT. SNOW - DAY 15E 15E Madeleine runs across the snow towards the icy lake. Behind her, from the front door emerges Safin, still limping and still in pain. 4. EXT. ICE LAKE - CONTINUOUS 15F 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. INT. UNDER THE LAKE ICE - CONTINUOUS 15G 15G Madeleine plunges under the ice and the current takes her away from the hole she fell through. EXT. ICE LAKE - DAY 15H 15H Safin reaches the ice hole Madeleine fell through and looks around, he sees the blurred image of a desperate person and limps over. INT. ICE LAKE - DAY 15I 15I Madeleine desperately pushes and punches against the ice but to no avail as she runs out of air. EXT. ICE LAKE - DAY 15J 15J Safin blasts bullets around the girl’s shadowy form and kneels down to punch through the broken ice. INT. ICE LAKE - DAY 15K 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 Where is your father? Where is he?! SAFIN Où est votre Père? 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 (hysterical) I don’t know! MADELEINE Je ne sais pas! 5. (CONTINUED) 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. EXT. SEA - DAY 16 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. EXT. BEACH - DAY 16A 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. EXT. ROAD, ITALY - DAY 16B 16B SUPERIMPOSE: ITALY An Aston Martin DB-5 drives through the beautiful Italian countryside. The DB-5 enters a road tunnel. INT. DB5 - DAY 16C 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. 6. (CONTINUED) Madeleine looks ahead and a beautiful Italian hill top town comes into view through the windshield. MADELEINE (excitedly) Drive faster! EXT. HOTEL - MORNING 17 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. INT. HOTEL - MORNING 18 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. 7. (CONTINUED) 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. INT. HOTEL ROOM - MORNING 18A 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. EXT. HOTEL ROOM BALCONY - DAY 19 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. 8. (CONTINUED) 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. EXT. HILLTOP TOWN, ITALY - EVENING 20 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. EXT. HILLTOP TOWN, ITALY - EVENING 21 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. EXT. ALLEY WAY - EVENING 22 22 Bond and Madeleine escape the jam packed street down an alleyway and come across a small piazza and a bonfire. 9. (CONTINUED) 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. EXT. STREET - EVENING 23 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. EXT. TERRACE RESTAURANT - SUNSET 24 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 (raising her glass) A life of luxury and beauty. MADELEINE Une vie de luxe et de beauté. Salut. BOND Cheers. Madeleine sips her wine and looks across at Bond. 10. (CONTINUED) 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. 11. (CONTINUED) 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. EXT. HOTEL ROAD - NIGHT 25 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. 12. INT. HOTEL ROOM - NIGHT 26 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. EXT. HOTEL BALCONY - CONTINUOUS 26A 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. INT. HOTEL ROOM - EARLY MORNING 27 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. 13. (CONTINUED) MADELEINE (sleepy) Don’t be long. EXT. HILLTOP TOWN, ITALY - EARLY MORNING 28 28 Bond strolls through the empty streets, a few shops are only just opening, the remains of bonfires can be seen. EXT. BRIDGE - EARLY MORNING 29 29 Bond crosses a bridge across a gorge. EXT. KIOSK - EARLY MORNING 30 30 An OLD MAN, manning a kiosk with a teenage BOY, motions to Bond in the direction he thinks Bond should take. EXT. GRAVEYARD - MORNING 31 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. 14. (CONTINUED) 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. EXT. NEARBY ROAD - AT THE SAME TIME 32 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. INT. BLACK MASERATI - MORNING 33 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. EXT. KIOSK - MORNING 34 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. EXT. BRIDGE - MORNING 35 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. 15. (CONTINUED) 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. EXT. UNDER THE BRIDGE - MORNING 35A 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. EXT. BRIDGE - MORNING 35B 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. EXT. UNDER THE BRIDGE - MORNING 35C 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. EXT. BRIDGE BASE - MORNING 35D 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. 16. EXT. BRIDGE - MORNING 36 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. INT. BRIDGE TOWER - MORNING 36A 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. EXT. BRIDGE - MORNING 36B 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. EXT. UNDER THE BRIDGE - MORNING 36C 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. INT. BRIDGE - CONTINUOUS 36D 36D Bond kicks open from within the wooden doors the boy had entered and the town end of the bridge is before him. EXT. BRIDGE - MORNING 37 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 (shouting) He’s here! He’s running away! DRIVER Merda! Lui è qui! Sta scappando! 17. EXT. HILL - MORNING 37A 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. EXT. STREET - MORNING 37B 37B Primo speeds up a slope to reach the alley Bond is running down and reaching the top he takes a sharp left. EXT. STREET - CONTINUOUS 37C 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. EXT. ALLEY - CONTINUOUS 37D 37D Bond bears left to go down a lane in the hope it will take him to the hotel. 18. EXT. LANE - CONTINUOUS 37E 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. EXT. HOTEL ROAD - MORNING 38 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. EXT. HOTEL ROAD - AT THE SAME TIME 38A 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. INT. HOTEL - MORNING 39 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. INT. HOTEL ROOM - MORNING 40 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. 19. (CONTINUED)