Lieutenant
Posted 06 March 2008 - 05:10 PM
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Lieutenant
Posted 09 June 2008 - 10:50 PM
Lieutenant
Posted 18 June 2008 - 03:18 PM
ICEBREAKER - PART TWO
SCENE 21
THE OLD TOWN, CARTAGENA, COLUMBIA
{Scenic shot}
The scene opens with a sweeping view of Cartagena’s fortifications bright in the sunshine.
{Cut to a long shot}
Bond walks through the Puerto del Reloj gateway and we follow him underneath the colonnade arches in the Plaza de los Coches. He is dressed in a casual cream suit and a cotton shirt, the top three buttons undone. He is wearing sunglasses.
{Close up}
Bond removes his glasses. He glances half-interestedly around him, puts back the sunglasses, and the strides forward.
Bond enters the Plaza de Bolivar and pauses in front of the imposing building of the Palacio de la Inquisicion.
He is approached by a suited man, dark haired and tanned. He also wears sunglasses and removes them. Squinting in the sunlight he looks first at the Palacio, then at Bond. This is Miguel Torres, the Head of Station CA.
TORRES
Cigarette?
BOND
No, thank you. I’m only sight seeing.
TORRES
And what have you seen.
BOND
{Removing his glasses and admiring two gorgeous local women who walk in front of them}
Some beautiful architecture.
TORRES
{Following his gaze}
Indeed.
{Holds out his hand}
Miguel Torres, Head of Station CA. Welcome to Cartagena.
BOND
{Looks at the hand and then back at Torres’ face}
James Bond.
{Pause}
It would have been far easier to meet at the station. Why all the secrecy and the recognition signal?
TORRES
I’m just trying to keep ahead of the local criminal fraternity. I expect they already know you are in Columbia. The concierge at your hotel is probably on a warlord’s payroll.
BOND
I’d best make my time here short. What do you have for me?
TORRES
I’ve managed to arrange an interview with the city police chief. He has volunteered to provide some limited access for you.
BOND
What time do I meet him?
TORRES
Now. I hope you’re hungry. We are going to the Quemada restaurant. It’s where he conducts most of his business.
They walk across the plaza.
BOND
Any chance of that cigarette?
TORRES
Sorry. I don’t smoke.
*****
SCENE 22
LA QUEMADA RESTAURANT
The restaurant is half full. It is shaded by window blinds and ceiling fans rotate creating a light breeze. Full length French windows line the far end of the room and tables can be seen on the roof terrace beyond.
Bond and Torres enter and there is noiseless exchange with the Head Waiter, who points across to the terrace.
Bond and Torres walk through the restaurant. On the terrace there is a huge table in one corner. It is not shaded. On the table are a large jug of iced water, in which several halved limes float, and three ashtrays. At the table sits Chief Gomez, a long cigar between his mouth. He is a large moustachioed man. He wears an expensive, but ill-fitting suit. He sweats profusely and gives the appearance of being something of a glutton.
Gomez rises off his chair to greet them, but does not move around the table or extend his hand. He merely gestures towards the other chairs at the table.
GOMEZ
{In Spanish}
Welcome, welcome, Miguel. It is good to see you again. And this is Mr. Bond?
TORRES
{In Spanish}
Thank you, Santiago. Of course. James, meet Chief Gomez.
Gomez and Bond exchange nods of the head and all three men take seats at the table. Gomez leans back and waves towards the waiter, who scurries over.
GOMEZ
{In Spanish}
Three club beers. And some bunuelos to eat.
BOND
{In Spanish}
An excellent dish. Good for a working lunch.
GOMEZ
Thank you, Mr Bond. We will speak in your language. My English is better than your Spanish, I think.
{He laughs, loudly, with his mouth open, this happens with almost every sentence.}
And how have you found Cartagena?
BOND
Very pleasant. Some what hot.
GOMEZ
Of course, of course. But what ever else you can say of Columbia, you cannot fault our beer, our food or our hospitality.
The beer arrives and Bond takes a sip.
BOND
That’s very refreshing.
GOMEZ
And where do you stay, Mr Bond?
BOND
The Capilla del Mar.
GOMEZ
Ha! I see Miguel has not been looking after you. Next time you come, stay at the Hilton. Tell them you are a friend of Santiago Gomez. They will find you an excellent room.
{He extravagantly clicks his fingers}
Like this.
BOND
I will remember that.
TORRES {Tactfully}
We were hoping to discuss something of the Zatopek case.
Gomez reaches beside him and produces a file, which he lays on the table, close to Bond.
GOMEZ
You know how to spoil a good lunch, Miguel.
That is the file. You can read it while we eat. It’s not an exceptional case. It happened two or three years ago. We knew him quite well; he paid us handsomely for turning a blind eye to some of his activities. But the idiot tried to squeeze the war lords.
{Gomez shakes his head}
Bond takes the file and glances through its opening pages.
BOND
The man we believe to be Emil Zatopek was killed in London two days ago by a terrorist bomb.
Gomez reaches forward and without looking removes one page from the file. It is an A4 size black and white photograph of a corpse.
GOMEZ
As far as I am concerned, that is Emil Zatopek.
BOND
Is the file closed? Who killed him?
GOMEZ
As I say; he tried to, eh, “muscle in” on the war lord’s territory.
{He shrugs}
We never knew who killed him. There are hundreds of deaths like his every year. It is too hard to investigate them all.
Gomez tosses the photo onto the table and dramatically jabs a finger at it
GOMEZ
{With an air of impatience}
This Zatopek was a fool. He is better off dead.
Bond peruses the file and extracts another photograph. This one shows Zatopek sitting in La Quemada, at the very table Gomez presides over. He is in conversation with a suave looking business man.
BOND
{Showing the photo to Gomez}
Who is this man?
GOMEZ {Grunts}
That? That is Hector Martinez: shipping magnate. Zatopek hired his cargo ships for, eh, transportation purposes.
BOND
Is he a war lord?
GOMEZ
Hector Martinez is a respectable man. Of course in the past he was not always so respectable. But we should not be captives of the past. I am sure you too have skeletons to hide, Mr Bond, eh?
The waiter returns with three dishes loaded with bunuelos and covered in a rich tomato sauce. Gomez’s face brightens into a wide smile and he rubs his hands and picks up a napkin while the waiter places one of the dishes in front of him.
GOMEZ
Ah, food! Excellent! No more talk. Let us eat.
Gomez uses his fingers to pick up some of the dish and stuffs it messily into his mouth, while Bond and Torres watch with muted disdain.
GOMEZ
{With a full mouth}
Try it. It is very good.
*****
SCENE 23
A SOUVENIR SHOP ON A BUSY STREET
{Exterior}
Bond and Torres walk towards the front door.
{Interior}
The shop is full of trinkets and cheap souvenirs. A bored shop keeper nods his head at them as the two men pass straight through the shop to the back wall.
BOND
I wasn’t impressed with Gomez.
TORRES
No one is. It is only, how shall I say, his connections that keep him in his position.
Torres shakes a bell pull and a section of the back wall springs open, revealing a staircase heading to a secret cellar. He indicates for Bond to enter.
*****
SCENE 24
STATION CA
Bond emerges into the offices of Station CA. It is a spacious room, divided into several sections, but all of them open to each other as there is no concrete, only steel pillars and glass. One or two employees should be seated at computer desks.
BOND
Who is Hector Martinez?
TORRES
He’s an extravagant multi-millionaire. Publicly he made his fortune building up Columbia’s fifth biggest export consortium. But he only obtained full control after some rather nasty intimidation of the company’s board.
BOND
And in private he’s a drug lord.
TORRES
Yes. The cocaine traffic subsidises his company. Martinez declares huge taxes against his legitimate businesses, so the government won’t prosecute him.
BOND
I’d like to meet him.
TORRES
That could be difficult. The Reinada de Cartagena starts tonight. Martinez always hosts a charity evening for local dignitaries at the Caribe Hotel and Casino.
BOND
Can you get me an invite?
TORRES
It’s a big night, James. Tickets are like gold dust. You’d probably have to steal one.
*****
SCENE 25
THE CARIBE HOTEL
{Exterior – Long shot}
Limousines, Mercedes and Rolls Royce luxury cars are delivering guests outside the hotel, which is bathed in laser and spot lights.
{Close up}
Bond walks up the hotel esplanade. He is dressed in a tuxedo. He deliberately follows close behind a group of guests who have just exited their luxury car. Feigning drunkenness, Bond clatters into the lead man of the group, apologises profusely, uttering some words of apology in Spanish and moves away. Bond pockets his stolen invite inside his jacket. Bond strides confidently towards the entrance to the Hotel Casino and Ballroom. As he does so his eye is distracted by a tall, blonde woman wearing a midnight blue dinner dress, slit almost to the waist, revealing her long shapely legs. She also is stealing an invitation. This is Rivke Ingber.
*****
SCENE 26
THE BALLROOM
The ballroom should have no particular decoration, but need to be occupied with the good and the great, wearing their finest. It should not be too tacky, with a good mix of ages and sexes. Waiters and waitresses walk the floor with trays of canapés or
Champagne.
{The band plays samba music which will accompany the scene}
Bond enters the ballroom. He accepts a glass of champagne and watches the dancing for a few moments. Across the ballroom he notices Rivke Ingber and watches her for a few seconds. Rivke is talking to a be-suited man. She looks about her, seemingly aware she is being watched and looks directly at Bond. Bond raises his glass. Rivke turns away.
Bond moves away from the dancing and into the bar area, where he spies Gomez, dressed in an ill-fitting dinner suit, talking to a beautiful young woman, Juanita, who is Martinez’s secretary. Juanita is a dark haired, tan skinned woman in her early twenties. There is a hint of cheekiness about her; she should be sexy in a kittenish way. She is dressed in a revealing white taffeta gown. Bond approaches them, a big smile on his face.
BOND
Good evening, Chief Gomez. How good to see you again.
GOMEZ
Ha! Mr Bond! Such a surprise. I had no idea Miguel had such good contacts.
BOND
Well, after your recommendation at lunch, I felt I needed to take advantage of Cartagena’s wonderful hospitality. I thought perhaps Hector Martinez could show me some of its night life.
JUANITA
{In Spanish}
Santiago, who is this man?
GOMEZ
{In Spanish}
A policeman, from England. A small security matter.
JUANITA
{In Spanish}
Now, Santiago, you know all these matters need to be referred to Senor Martinez.
BOND
{In Spanish}
I am sure Chief Gomez meant no offence. I am merely curious. The investigation is quite trivial. I understand Senor Martinez is an exceptional host.
JUANITA
And so he should be. Senor Martinez owns the hotel. It makes entertaining much easier.
BOND
Of course it does, Miss…ah?
JUANITA
I am Juanita. Senor Martinez’s personal secretary.
BOND
I’m very pleased to meet you. Is Senor Martinez present today?
JUANITA
Come with me. Let me introduce you - as you are so curious.
Juanita and Bond exit the ballroom, leaving Gomez floundering, almost in a panic.
*****
SCENE 27
THE CASINO
Bond and Juanita enter the casino, which once again features a good looking, well balanced crowd. The casino is not too opulent, but there should be plenty of space between the gaming tables.
{Music accompanies the scene}
Bond and Juanita approach the chemin de fer table, where a substantial crowd is gathered. Hector Martinez sits with the card shoe before him, several piles of gaming chips of different denominations in front of him on the baize. Martinez is a much younger man than expected, well dressed, clean shaven and tidy. He exudes power without having to be physically powerful. At his shoulder stands Seth, his body guard, a tall, wiry character, whose face is lined with three or four scars. As Bond and Juanita push to the front, there is an audible buzz from the crowd and Martinez begins to collect even more chips from his opponents.
MARTINEZ
{In Spanish}
The saint’s have blessed my table with good fortune tonight.
BOND
Senor Martinez would do well to remember the table has no memory.
MARTINEZ {Quizzically}
And you are?
BOND
Bond. James Bond.
JUANITA
Mr Bond is from London. Chief Gomez entertained him at lunch today. I am surprised he didn’t tell you.
MARTINEZ
Yes. So am I.
BOND
I am sure it was a small oversight. If there is a chair I will gladly pit my wits against your saints.
Martinez gestures and a player moves from his seat. Bond takes his place and hands a sheaf of notes to the croupier, who gestures towards the floor manager.
BOND
Can you change these for me?
FLOOR MANAGER
Euros? Of course, Senor.
BOND
And what is the table currency?
FLOOR MANAGER
Tonight we play in U.S. Dollars, Senor.
BOND
Very good. Oh, and a vodka martini. Shaken.
FLOOR MANAGER
Certainly, Senor.
Juanita moves around the table, taking up a position close to Seth. While this happens, the conversation continues.
{The following sequence should be a series of close ups and medium shots}
MARTINEZ
And what brings you to Cartagena, Mr Bond?
BOND
A matter of death. A man was killed in London. He was last reported here in Columbia. I believe you knew him
MARTINEZ
Really? I have a great many associates. And so many seem to die. But I have no business in London. Who was this man?
BOND
Emil Zatopek. According to your police chief, he was killed here three years ago. You had some dealings with him. Transportation.
The Floor Manager returns with the chips and Bond creates two chip-towers in front of him.
MARTINEZ
{Pausing}
I remember the incident. Most unfortunate. We did good business for a year or so. Let us see if I can do equally good business tonight. With the cards.
Martinez slaps out the first card and the camera closes in on Juanita’s face as she studies Bond. The scene should fade away, indicating that some time is passing.
{Music continues}
Bond’s pile of chips has grown considerably, but so has Martinez’s, who is again collecting chips from the centre of the table.
MARTINEZ {Triumphantly}
Another banco! That is three in a row.
The seats, which were once full, have depleted by half. The card player to Bond’s right rises from his seat. No body replaces him at the table.
CARD PLAYER
That’s me out. There’s not enough luck to go around this table.
BOND
{With a quick glance towards the empty seat}
Your luck has made the table nervous, Senor Martinez.
{Pause, leaning forward}
Banco.
MARTINEZ
So at last you show your colours, Mr Bond.
BOND
Not even the saint’s will help you win four. The table always turns on four.
MARTINEZ
We shall see.
Martinez slaps out the cards, two for each. Bond flicks over the first card. It is a nine of diamonds.
MARTINEZ
A good card, Mr Bond.
BOND
So good I’ll face my second card.
He turns it over nonchalantly and it lands next to the first card. It is a ten of spades. The crowd takes a deep collective breath. Martinez turns over his cards. He has a queen and an eight of hearts, losing by a pip. The crowd utters an “ahhh” of disappointment.
MARTINEZ
A win. Let us go again.
Martinez distributes the cards. Bond turns over a six and wins to Martinez’s five. This time the crowd noise is more admirable.
MARTINEZ
Do you have the green fingers of the baize, Mr Bond?
BOND
No. But I make my own luck. Unlike Emil Zatopek.
MARTINEZ
Zatopek is a ghost Mr Bond. A ghost best confined to his grave. Let me pass you the bank.
BOND
{Considering}
No. Two coups is good work. I’ll pass the bank.
{He starts to rise}
MARTINEZ
{Over the buzz of crowd comment}
You withdraw? Oh come now, where is the sportsmanship in that? I can’t let the bank go down like that. Let me buy it.
Martinez deposits some chips onto the table.
BOND {Sitting back down}
All right.
{Accompanied by crowd astonishment}
Then let me say “Banco.”
MARTINEZ {Quietly}
Is it Zatopek you are hunting, James Bond, or me?
BOND
No; the truth.
Martinez flicks out the four cards. Bond looks at them under his hand. He has a five of hearts and a ten of clubs.
BOND {Firmly}
No card.
Martinez flicks over his cards. He has a king of spades and a five of diamonds, the same score. Martinez draws a final card and produces a nine, leaving his count at four. Bond turns his two cards and the crowd erupts in applause at the deception. Martinez sits back, a snarl on his face, as the chips are counted from his pile into Bond’s.
MARTINEZ
{With malice}
Perhaps I am not the only one at this table who will not reveal the truth.
BOND {Rising to his feet}
{To the croupier}
Have these cashed for me will you.
{To Martinez}
It was a good game. I thank you for your hospitality. You are indeed a gracious host.
MARTINEZ
Whatever it was you came to find Mr Bond, you will not find it here. I suggest you enjoy your winnings quickly. You do not want to share the luck of Emil Zatopek.
BOND
I will remember that.
Bond leaves the table. As he exits, the shot should take in Rivke Ingber, who has watched the proceedings. Martinez turns to Juanita and Seth.
MARTINEZ
{In Spanish}
{To Juanita}
Follow him. Find out what he wants. He isn’t an ordinary attaché.
{To Seth}
Get me that idiot Gomez.
*****
SCENE 28
THE BALLROOM
Juanita catches up with Bond and touches his arm to attract his attention.
JUANITA
That was amazing, Senor Bond. You showed some real skill. It is not often Hector is deceived so easily.
BOND
You think it was easy? And when did Senor Martinez become Hector?
JUANITA
In the same circumstance that Senor Bond became James.
BOND
{Looking her up and down, then smiling at the edges of his mouth}
I see. And what would Hector Martinez’s personal assistant have to offer me?
JUANITA
Firstly: a dance. I’m rather good. The rest is up to you.
Bond escorts Juanita onto the ballroom floor and they start to dance a slow samba, their movements should be sensual and the camera needs to cut to shots of their hands, mouths faces, feet and hips as they gently seduce each other.
BOND
So tell me, Juanita, what is it like to work for Hector Martinez - businessman, gambler, playboy and a drug lord.
JUANITA
There is much compensation. You should not be too hard on him. Even a drug lord can generous.
BOND
You enjoy that?
JUANITA
Don’t think me a fool, James; I am quite good with men. But with Hector – sometimes it is pleasant.
BOND
And the other times?
JUANITA
He is a demanding man.
BOND
You are not a wilting flower, Juanita. You don’t run to the nearest man for protection. What do you want from me?
JUANITA
Hector wants me to learn about you.
BOND
And what have you learnt so far?
JUANITA
You have a good samba; some elegance. It’s rather charming.
BOND
And you didn’t lie. You’re an excellent dancer.
JUANITA
I was dancer before Hector found me - seduced me. It was in his penthouse, the most luxurious place I had ever seen. I was captured instantly.
BOND
Perhaps I should visit him there. He might be more co-operative.
JUANITA
You won’t have far to go. The penthouse is on the top floor of the hotel.
BOND
Here?
JUANITA
Of course. I told you, Hector owns the Caribe.
The dance finishes. Bond and Juanita separate and he nods his head by way of thanks.
BOND
Thank you, Juanita. I hope we meet again.
JUANITA
So do I, Senor Bond. Do not forget me.
Bond exits the ballroom.
*****
SCENE 29
THE BALLROOM
{This scene can be inter-cut with Scene 28}
Chief Gomez is watching Bond and Juanita dance. He is approached by Seth.
SETH {In Spanish}
Gomez. Senor Martinez wishes to see you.
GOMEZ
{Taking a hefty slug of champagne}
Okay, okay.
*****
SCENE 30
THE CASINO MANAGER’S OFFICE
Martinez sits in the chair behind a large leather panelled desk. The office is lit by two small chandeliers.
Gomez enters, flanked by Seth. He is nervous and starts to sweat. The scene should be conducted in Spanish.
MARTINEZ
Tell me, Gomez. When the British government sends an agent to Cartagena to spy on me, do you not think it wise to inform me?
GOMEZ
Very wise.
MARTINEZ
And yet here is James Bond. And I know nothing about him.
GOMEZ
I was going to tell you. I forgot. We had a good lunch, you see….
MARTINEZ
A man whose stomach rules his brain. Your re-election is due in six months. I can’t wait that long, Gomez. I will provide for your family, but you have ceased to be useful to me.
Gomez starts to protest, but Martinez ignores him and strides towards the door.
MARTINEZ {To Seth}
Deal with it.
*****
SCENE 31
PENTHOUSE LEVEL
The lift lights blink, indicating the top floor, level 27, and the elevator doors slides noiselessly open. Bond steps out of them and finds himself in a long hallway, with plush carpets and marble walls. At each end of the hallway is a door. Seated on a chaise long opposite the elevator is a huge Negro, the doorman, dressed in a tight fitting suit.
BOND
Good evening.
The doorman rises and we take in his full height and bulk. Bond stands looking up at him.
DOORMAN
No guests here.
He points back to the elevator. Bond presses the call button and the doors slide open again.
BOND
My apologies.
Bond enters the elevator and presses the button for level 26.
*****
SCENE 32
LEVEL 26
Bond exits the lift. The corridor he finds himself in is decorated in a similar fashion, but continues past where the penthouse doors would be and around the corners. Bond walks to the left and continues to the farthest room. He produces his Q-branch pen and reverses the pocket slide. He uses this to operate the magnetic door lock. Bond enters the hotel suite, which should be in darkness, lit only by the outside moonlight. Bond walks across the floor to the balcony doors and opens them. He steps out and peers over the edge. The party is in full swing below him around the swimming pool and open air bar. The lasers from the esplanade penetrate the sky. The sound of distant traffic mixes with the hotel band and the voices of the hundreds of guests.
Bond glances up. The overhang of the penthouse suite above can clearly be seen, slightly to the right of where he stands.
{Close up}
He removes his belt and extracts the titanium silk wire. The end of the wire should have a screw grip on it, about the size of a bullet. Bond next takes out his Ruger Magnum and extracts the bullet clip. He attaches the gripper dart to the screw grip and then puts the gripper dart into an empty, specially prepared bullet clip. The chamber shuts over the dart and the eight meters of wire hangs down from the butt of the gun. Bond aims the Ruger at the parapet above and pulls the trigger.
{Close up}
The dart sticks into the cement of the parapet.
Bond tugs on the wire, testing the gripper. He pulls the wire through the gun butt, replacing the empty clip with the bullet laden one. Bond wraps the wire around his arm and his waist, tying it firmly with his belt. He then sits on the balcony rail, his legs hanging off the edge. He takes a glance down and then pushes himself off.
Bond hangs in the air, spiralling as he seeks to steady the wire. Then gradually he is able to haul himself up the wire to the parapet, take hold of the penthouse balcony wall and climb over it.
*****
SCENE 33
AN UNDERGROUND CAR PARK
Seth and two other goons are escorting Gomez towards a black Mercedes, with tinted windows. Gomez is pleading for mercy.
*****
SCENE 34
PENTHOUSE SUITE
{Exterior}
Bond is on a patio balcony. It is illuminated with soft lighting. A selection of sun beds surrounds a ten metre swimming pool. The far side of the patio is lined with windows and patio doors, which all lead into the penthouse. Two of the window doors should be open and the edges white net curtains flutter in the breeze. Bond skirts the pool and approaches the patio doors. He walks through into the penthouse.
{Interior}
Bond turns on a lamp. The penthouse is now in half-light, but it can still be seen as very opulent. There is more marble walls and think pile carpets. There should be modern art paintings on the walls and a selection of Henry Moore-style sculptures line one wall. The suite should be huge, open plan and with windows lining its whole length. Opposite the windows is a huge man sized replica of Fernando Botero’s La Corrida.
Bond peruses the suite, searching for an office, but he doesn’t find one. However he notes that the doors leading to the bedrooms at the rear of the suite leave a cavity in the middle, somewhere beyond the replica Botero.
Bond studies the painting at distance and then crosses to a table, which has a series of push buttons on it. Tentatively he presses them and lights flicker on and off, music switches on and off, televisions switch on and off. Bond walks to the painting and studies it closely. The painting doesn’t hang on the wall, but seems to be sitting in something resembling a door frame. He runs his hand down the left hand side and then the right. He stops half way, fiddles momentarily and there is a click. The painting springs open on its hinges revealing a metal door with a keypad safe combination lock.
BOND
Open sesame.
He takes out the x-ray disc and holds it to the door. The LCD screen reveals the lock mechanism. Bond proceeds to test various numbers and the LCD shows when the correct numbers are pressed and the locks move. It is a four digit code. When the locks click into place, Bond turns the handle and the door swings open to reveal an office lined with filing cabinets and computers. The lights are switched on framing Bond in their glow.
BOND
Ah, Aladdin’s Cave.
*****
SCENES 35, 36, 37
These scenes should be inter-cut, for dramatic effect and also to show the passing of time.
*****
SCENE 35
THE BALLROOM
Juanita is approached by Martinez. Their conversation is in Spanish.
MARTINEZ
Has Bond left the party?
JUANITA
Yes, Hector. Some time ago. I don’t think you will have any trouble with him. He is curious, nothing more.
MARTINEZ
Perhaps. Did you find out anything about him?
JUANITA
He is a good dancer.
MARTINEZ {Laughing}
A man of many talents. Come, it has been a long time since we danced.
They walk to the dance floor and proceed to dance a lively rumba, which attracts the attention of the other dancers, who stop and watch. When their dance ends, there is a round of spontaneous applause.
*****
SCENE 36
PENTHOUSE SUITE
Bond sits at the computer terminal. He produces a memory stick and inserts it into the output point. The screen begins to flash a series of instructions, uncovering the passwords and email numbers.
BOND {Musing}
Sometimes, Q, you just don’t provide me with the right equipment.
Bond uncovers evidence of Martinez’s corruption bribes, including the thousands of dollars paid to Gomez. He also finds a statement for a safe deposit box with the Grand Cayman Trinity Bank. It is registered in the names of Hector Martinez and Otto Von Gloda.
BOND
Hmm. Otto Von Gloda. Worth remembering.
There is a beep indicating incoming email and Bond logs on.
*****
SCENE 37
THE WATERFRONT
The Mercedes stops beside a series of empty warehouses. Seth steps out of the car, pulling Gomez with him. The two goons lead the way to the nearest warehouse and Gomez is thrown inside. Seth produces a knuckle duster and starts to beat Gomez about the face. The two goons also get involved, kicking and punching Gomez, breaking both his legs. Eventually the torture is stopped. Seth tears off Gomez’s tie and stuffs it into his mouth. The three men drag Gomez to the waterfront and toss him, still breathing, into the water to drown.
*****
SCENE 38
THE BALLROOM
Martinez and Juanita are walking back towards the Casino. They talk in Spanish.
JUANITA
Hector, I am getting very tired. It has been a long evening.
MARTINEZ
I have some business associates to entertain. I know they wish to meet you. However, perhaps I need you fresh for the morning.
{He takes her hand and kisses it}
Until then.
*****
SCENE 39
PENTHOUSE SUITE
Bond leans forward. The email reads:
“Drop 39 successful. Delivery of goods to Ice Palace in 3 days. OVG.”
BOND
Otto Von Gloda.
He hears the sound of a door opening and rushes to exit the office.
*****
SCENE 40
PENTHOUSE LEVEL
Juanita thanks the doorman, who is holding open the door for her. She wears a shoulder wrap and carries a small clutch handbag. She enters the penthouse.
{Interior}
Juanita takes off her shoulder wrap, tossing it and her clutch bag onto a chair near the door. She walks a few paces into the penthouse, stretches and yawns, extenuating the shape of her figure. A light switches on and we see Bond sitting, legs crossed, in the chair opposite the painting. Startled, Juanita gasps and takes a pace back.
JUANITA
Senor Bond!
BOND
Sorry. Did I frighten you?
JUANITA
A little. How did you get in?
BOND
I’m a man of many talents. You did ask not to forget you.
{Bond pauses, and rises, approaching her}
This was what you wanted wasn’t it?
JUANITA
{Stretching out a hand and touching Bond’s chest to stop him getting closer}
Maybe.
BOND
Was the party too much for you?
JUANITA
It was getting a little dull.
BOND
We could always start a party of own.
JUANITA
{Moving closer}
Just the two of us, Senor Bond?
BOND
I thought you were going to call me James?
They kiss hungrily.
*****
SCENE 41
PENTHOUSE BEDROOM
The bedroom is in half light. A huge circular bed sits at its centre. There is no head board. The sheets are ruffled and several pillows are scattered on the bed and the floor. Bond slides out from under the sheet. Juanita, naked, rolls over to occupy the space he has left, sighing contentedly. Bond starts to dress. Juanita rouses herself, watching him.
JUANITA
You’re leaving?
BOND
I have to. I’m sure you don’t want Martinez to find me here.
JUANITA
What kind of attaché wears a gun?
BOND
A very dangerous one. I’m afraid you mix with all the wrong people Juanita.
JUANITA
All people have faults.
Bond pulls on his jacket and turns to look at her. He has left his shirt undone at the top and his bow tie is loose around his neck. He reaches down and strokes Juanita’s hair. She snuggles into the bedclothes.
JUANITA
That was quite something, James. We should make a habit of it.
Bond turns away and walks out of the room.
BOND {Muttering}
I hope not.
*****
SCENE 42
PENTHOUSE LEVEL
The penthouse door opens and Bond walks confidently down the hallway. He presses the call button for the elevator while the astonished doorman looks at him and then at the door.
DOORMAN
But….
BOND {Smiling}
I know. No guests allowed.
Bond turns and tips him generously. The doors slide open and Bond steps into the lift.
BOND
Goodnight.
*****
SCENE 43
CARIBE HOTEL RECEPTION HALL
Bond leaves the elevator and crosses the reception hall joining a group of anonymous guests who are leaving the party. He spots Rivke Ingber watching him, smiles broadly at her and exits through the main entrance.
{Exterior}
Bond walks across the hotel esplanade towards the taxi rank. Lapkin, a tall fair haired Russian, approaches him.
LAPKIN
Good evening, Mr Bond.
BOND {Showing mild surprise}
Good evening.
LAPKIN
My name is Lapkin. I would be happy if you would accompany us, Mr Bond. There is much to discuss.
BOND
Us?
Lapkin indicates towards a Limousine, at which stand three more Russians, all in suits, all watching.
BOND
I don’t suppose this can wait until the morning?
{Lapkin shakes his head}
I thought not.
*****
SCENE 44
CASTILLO DE SAN FELIPE DE BARAJAS
{Exterior}
The castle is lit by orange floodlights. The moon should be low on the horizon, illuminating the sea with a sparkling white glow.
The Limousine is driven through the main castle gates and into the central courtyard. At a distance we see Bond, Lapkin and the heavies get out of the car and walk across the courtyard to a doorway.
*****
SCENE 45
KOLYA MOSOLOV’S H.Q.
{Interior, a tunnel}
Bond is led down one of the castles interconnecting tunnels. The footsteps of the group echo loudly in the confined space. The only lights are from small fluorescent tubes positioned at intervals down the walls.
The group stops outside a heavy wood panelled door. Lapkin wraps on it with his open palm and pushes open the door slightly.
Bond kicks out at Lapkin’s backside and he tumbles forwards, smashing his head on the door. Turning Bond engages in a quick fight with the three Russians. He despatches one of them quickly with a blow to the neck and another by slamming his forehead against the tunnel wall. The third is tougher and the two of them wrestle and punch, staggering through the door, where Bond finally subdues him with a knee to the groin. While he collapse, Lapkin is rising groggily to his feet.
{Interior, Mosolov’s office}
The office should have bare stone walls, a smattering of cabinets and tables. At its centre is a desk. Kolya Mosolov is standing behind it. He is fair haired, wiry and wears expensive spectacles. Although he was seen outside Paula Vacker’s apartment, the shots of Mosolov should give no indication that it is the same person. He is dressed in an expensive suit, possible Gucci or Yves Saint Laurent.
MOSOLOV
Nieyt! Enough!
Lapkin and the other guard stop. They stagger to one side, nursing wounds. Mosolov walks to the other side of the desk and then towards a drinks cabinet.
MOSOLOV
Come in, Mr Bond. It is James Bond, isn’t it?
BOND
Yes. And you are?
MOSOLOV
I am General Kolya Mosolov of the Federal Security Service. What you know as the Russian F.B.S. A vodka, Mr Bond?
BOND
Why? Is this a social occasion?
Mosolov pours two vodkas and hands one to Bond, which he takes anyway. They both swallow the drinks in one slug. Mosolov refills the glasses.
MOSOLOV
I must say I was very surprised to find you here in Cartagena.
BOND
You have a well hidden head quarters. I would never have expected to find you here either.
MOSOLOV
When the castle was restored for tourism, the KGB offered some financial assistance. This was our return. It’s old, but functional.
BOND
And why have you brought me here?
Mosolov sits down and indicates for Bond to do the same.
MOSOLOV
Because you are a fool, Mr Bond. My agents have had Martinez under observation for months. He’s responsible for shipping millions of tons of cocaine into Russia.
BOND
I’m here to investigate the death of Emil Zatopek.
MOSOLOV
Who was my double agent.
BOND
And a member of the N.S.A.
MOSOLOV
You think I didn’t know this? We’ve been closing in on the N.S.A. for some time. Zatopek was my key man, but someone must have suspected him.
BOND
Martinez?
MOSOLOV
I think so. He’s the front man for all their finances. The drug trade is feeding millions into the terrorist’s funds. Your interest in Zatopek will only make him tighten up his operation. I’ll never get another man on the inside.
BOND
Maybe not; but if you are so certain Martinez is part of the N.S.A. surely we can find an edge, an angle to make him careless.
MOSOLOV {Incredulously}
We?
BOND
I was thinking perhaps we could work together. The N.S.A. is an international threat. You could use my help.
MOSOLOV
No, Mr Bond, I think not. You would help me most by returning to London.
*****
SCENE 46
HOTEL CAPILLA DEL MAR - RECEPTION AND COCKTAIL LOUNGE.
{Scenic shot}
Dawn. The sun is rising across Cartagena.
{Exterior}
Bond passes through the entrance doors.
{Interior, the Reception hall}
Bond approaches the front desk and picks up his key.
NIGHT CLERK
Mr Bond. There is someone waiting for you; a lady.
The night clerk indicates the open doors opposite. Bond turns and walks into the cocktail lounge.
The cocktail lounge is empty except for the barman and Rivke Ingber. She sits on a bar stool at the bar; her long legs are crossed and exposed by the slits of her evening gown. She faces the entrance and is stirring a cocktail with a cherry on a stick. She indicates the stool next to her. The barman is pouring a drink into a glass for him.
RIVKE
A vodka martini, Mr Bond. To break the ice.
BOND {Sitting}
You’ve been watching me for some time Miss…eh…
RIVKE
Rivke Ingber.
BOND
My pleasure. And why are you so interested in me, Rivke? You are not just a beautiful thief.
RIVKE {Laughing}
We both seem to be very adept at getting what we want. I want to find out about Emil Zatopek.
BOND
Zatopek is dead. Whether it happened two years or two days ago, he’s dead. Why is everyone so interested in this drug smuggler?
RIVKE
He was sighted and identified in Tel Aviv. My people thought he was dead also.
BOND
Your people?
RIVKE
Mossad.
BOND
But you’re not an Israeli, Rivke.
RIVKE
No, James, I’m not by birth. My mother is a German protestant missionary, my father a Jewish Nazi hunter. They met in Paraguay. It was where I was born. But now I am an Israeli citizen.
BOND
You became a Jew?
RIVKE
I went to Israel on my twentieth birthday. They did everything to put me off, but I stuck it out, even the military service. It was my service record that clinched it. Colonel Zamir sent for me himself. The head of Mossad; I couldn’t believe it. But he was very clear. Mossad had need of agents like me. My intelligence; my combat skills; my language skills; my physique. He was very specific about the last one.
BOND
I’m sure he was. Is Mossad aware that Zatopek was a double agent for the F.B.S? Kolya Mosolov infiltrated him into the N.S.A.
RIVKE
Not at first. I’ve met with Mosolov, but he’s refusing to co-operate. He doesn’t take me seriously.
BOND
Perhaps he doesn’t understand your service motto.
RIVKE
“We are good at our task because the alternative is too horrifying to contemplate.”
BOND
And are you good, Rivke?
RIVKE
Can a bird fly?
BOND
Mosolov must be an idiot.
RIVKE
Or a chauvinist. I’m not sure he was comfortable working with a woman.
BOND
I’ve never had that trouble myself.
RIVKE
So I understand. Your reputation lies before you.
BOND {Raising his glass in a mock toast}
If Martinez is implicated with the N.S.A. he’s leaving very little evidence. I raided his office tonight. There’s precious little to see.
RIVKE
Perhaps Martinez keeps it under lock and key.
BOND
Lock and key? Of course! The Grand Caymans. Martinez has a safe deposit account with the Trinity Bank.
RIVKE
Can we access it?
BOND
Of course we can.
{Smiling slyly}
I memorised the account number.
*****
SCENE 47
STATION CA
Bond and Rivke sit at a desk, dressed in casual clothes. Miguel Torres enters with two passports in his hands.
TORRES
There you go, James, two false passports in the names of Mr and Mrs Martinez.
BOND
That’s excellent, Miguel, you’ve been a great help.
TORRES
It’s been a pleasure. I hope it goes well for you in the Caymans.
Bond and Rivke stand to leave.
TORRES
By the way, they pulled Gomez’s body out of the harbour this morning. It seems Hector Martinez needs a new police chief. Be careful both of you.
RIVKE
We will, Miguel. And thank you.
*****
Lieutenant
Posted 15 July 2008 - 06:59 PM
Icebreaker – Part Three
SCENE 48
GRAND CAYMAN
{Scenic view}
{Theme music}
The scene opens with a sweeping view of the Cayman Islands and gradually focuses on the airport. An aeroplane is coming into land.
AIR HOSTESS {voice-over only}
Welcome to Georgetown, Grand Cayman. We hope you enjoy your stay here.
*****
SCENE 49
OWEN ROBERTS AIRPORT
{Exterior}
{Long shot}
Bond and Rivke, dressed in the same casual clothes as in the previous scene, exit the arrivals foyer.
Bond hails a taxi.
{Medium shot}
A taxi driver, a Cayman Islander, takes their luggage, but Bond holds onto his attaché case.
TAXI DRIVER
Where to, Sir?
BOND
The Hyatt Regency.
TAXI DRIVER
They call that the Cayman Beach Suites now, Sir. But I like the Hyatt. It sounds real classy. Like you folks.
BOND
We like to think so.
{He opens the car door for Rivke}
Don’t we, darling?
RIVKE
Of course, darling.
*****
SCENE 50
GRAND CAYMAN SUITES HOTEL
{Exterior}
Bond and Rivke walk up through the entrance doors and into the reception hall.
{Interior}
Bond and Rivke approach the reception desk. There is a pretty female receptionist on duty. Behind her is the Hotel Manager.
BOND
I have a reservation. Hector Martinez.
There is instant recognition from the receptionist and she glances at the manager, who is already turning, a broad grin on his face.
MANAGER
Senor Martinez! How wonderful to have you stay with us. We understood you always preferred to stay at the Marriott.
BOND {Mildly surprised}
Let’s just say their service hasn’t been up to standard recently.
MANAGER
Well, I hope we can help you. I have reserved our very best suite….
The manager’s voice should tail away and then continue into the next scene linking the two.
*****
SCENE 51
HOTEL SUITE
Bond and Rivke walk across the floor of a huge executive suite. Rivke opens the French doors and steps out onto the balcony. The sun is setting and should be casting long shadows into the room. The Hotel Manager loiters discreetly in the background.
MANAGER
…And I hope everything is satisfactory.
BOND
Yes, it will be fine. Thank you.
Bond offers a generous tip and ushers the manager towards the door.
MANAGER
Then, I will leave you in peace. Of course, if there is anything you require.
BOND
Some champagne; Bollinger - make it a good year. And some fresh flowers in the morning.
MANAGER
Of course, Senor.
BOND
We wont be staying long. Just a day or two. But I have some business to attend to at the Trinity Bank. Could you arrange an appointment for me tomorrow morning?
MANAGER
Consider it done, Senor.
BOND
Thank you. That’s very efficient.
The manager exits and Bond returns to the balcony, where Rivke is admiring the view.
RIVKE
It’s like paradise. What on earth does Martinez do in a beautiful place like this?
BOND
You mean other than snorkelling and sunbathing? I expect he’s got a slush fund. The Cayman’s are a notorious tax haven, Rivke; like a miniature Switzerland or an island Liechtenstein.
RIVKE
Well let’s hope what ever he’s got in that bank is worth it. We need some hard evidence.
BOND
I agree. But we can’t deal with that until tomorrow.
{Bond reaches up and brushes Rivke’s hair away from her face}
So, tonight I’m going to drink champagne and eat a dozen oysters. You’re welcome to join me.
RIVKE
It’s tempting, James. But you forget we are not really married.
{Rivke smiles and retreats seductively towards the French doors.}
I’m glad they reserved this suite. It has two bedrooms and there are locks on the doors.
BOND {under his breath}
That’s a little too efficient.
*****
SCENE 52
PANTIN PLACE
{Exterior}
A taxi pulls up in the square. Bond and Rivke step out. Bond should be dressed in a casual suit, but without a tie, and Rivke in a below the knee summer dress and matching blouse. Rivke carries a large ladies handbag across one shoulder.
They walk up the steps of a colonial style building and walk through the revolving entrance.
Next to the entrance is a plaque that reads “Cayman Trinity Bank EST. 1867.”
*****
SCENE 53
CAYMAN TRINITY BANK
{Interior}
The bank should be panelled in wood. It should be empty except for a long waist high desk across the centre of the room, behind which sits a clerk. There is a corridor behind the desk, lined with several doors. Ceiling fans rotate noiselessly.
BOND
Good morning. My name is Martinez. I have an appointment.
CLERK
Yes, of course. Mr Swales is expecting you.
The clerk lifts the partition section in the desk and allows Bond and Rivke through. He shows them down the corridor and pauses outside a door marked with Swales’ name. He knocks once and opens the door.
CLERK
Senor Martinez, Sir.
Bond and Rivke enter. The room should also be wood panelled. There should be minimal decoration, perhaps some shelves with files on them and some freestanding tropical plants. A single ceiling fan should rotate slowly, casting a shadow across the desk and its occupant. The desk should be empty save for a blotting pad, a post-it note pad and a pen, fixed into an old-fashioned quill-holder.
Mr Swales should be dressed in a three-piece suit, have a moustache and be in his early fifties. He should look a little bored. Despite the heat, he should not look sweaty or uncomfortable.
SWALES
Senor Martinez. Come in. Sit down. May I offer you some refreshment?
BOND
Perhaps later.
SWALES
Then how may I be of assistance today?
BOND
My wife has some jewellery we would like to store in my deposit box.
SWALES
A wise decision. It is always best to protect any family heirlooms.
RIVKE
{She pulls the handbag close to her, protectively}
These are not inherited. Just expensive.
SWALES {Raising his eyebrows}
Oh, of course.
{To Bond}
I take it you have some identification with you.
Bond produces his fake passport and hands it to Swales, who inspects it, but takes no details. He hands it back.
SWALES
Everything seems to be in order. It merely remains for me to ask you to quote the account number.
Bond takes the pen from the desk and writes a series of numbers on the post-it pad. He tears off the top sheet and hands it to Swales, who inspects in with the same bored air.
SWALES
Excellent. Let me escort you to the vault.
They all stand and Swales leads them out of the office. They walk to the end of the corridor where he opens another, unmarked door. There is a flight of descending stairs. Swales leads them down into the basement vault.
At the bottom of the stairs is a pair of frosted glass double doors, in front of which are twelve steel bars. Swales enters a combination into a keypad and the bars separate, sliding into the walls. The double doors push open.
The vault should be modern and brightly lit. The deposit boxes line the walls and down the centre of the vault is a long white desk.
SWALES
Once you have opened the box, I will leave you in private. However I will only be in the foyer and if you need anything, you only have to ask.
Swales leads them to a box half way down the room on the left hand side. He produces a key, inserts it in the lock and turns it. Bond is using his universal key pen and is careful not to show Swales what key he is using. He has a little struggle getting the lock to turn and Swales shows only mild concern.
SWALES
Thank you, Senor Martinez.
Swales leaves the vault.
Bond and Rivke pull the tray from the wall and place it on the desk. The tray contains three gold bars, each one stamped with the eagle insignia of Nazi Germany, some medals and several unmarked envelopes.
BOND
Nazi gold. Stolen, no doubt.
RIVKE
It just looks like a lot of war memorabilia. What’s in these envelopes?
They open the envelopes to find they contain dog-eared photographs, immigration papers, title deeds and birth certificates.
BOND
{Opening out a certificate}
Here’s a name I recognise - Otto Von Gloda.
RIVKE {Excited}
What? Let me see.
BOND
You know who he is?
RIVKE
James, he’s the last major war criminal. He was responsible for the slaughter of hundreds, maybe thousands in the retreat to Berlin. The rumour was he fled to Ecuador. My father tried to hunt him down, but never found him.
MARTINEZ
And never will.
Bond and Rivke have failed to notice Swales has re-entered the vault, accompanied by Martinez and Seth, who both hold machine pistols.
MARTINEZ
Thank you for your co-operation Mr Swales. I can always rely on the Trinity back.
BOND
Is Von Gloda dead?
MARTINEZ
No, he’s very much alive –unlike some of my employees. I was surprised Juanita allowed you access to my office Mr Bond.
{Martinez produces Bond’s memory stick and tosses it onto the desk}
You were careless to leave this behind.
Bond looks at the memory stick and indicates his understanding with a tiny nod of the head.
MARTINEZ
Seth, their guns.
Seth approaches Bond and removes his Ruger Magnum. He then takes the handbag from Rivke and turns out the contents. A revolver clatters onto the desk.
Martinez coughs and indicates Rivke’s dress.
She hitches up her skirt and reveals a thigh strap and a small pistol, which she takes off and drops on the desk.
BOND
That was swift. I never noticed you put that on.
RIVKE
{Handing over the gun and holster}
You’re losing your touch.
BOND
It has been said so.
While the conversation continues Seth disarms with the weapons. He then picks up the deposit box tray and returns it to the locker.
BOND
So what’s all this about? Is Von Gloda your partner?
MARTINEZ
Of sorts. I work for him.
RIVKE
Drug running.
MARTINEZ
Naturally. Cocaine is the ultimate international currency. I ship it to Russia, China, Angola, everywhere - even Israel - in exchange for weapons and ammunition. I get to keep any profit from the distribution and Von Gloda gets hold of the weapons he needs. He has a lot of contacts, all right wing sympathisers; some are complete psychopaths. But we achieve our aims.
RIVKE
But why the deposit box?
MARTINEZ
It’s my insurance policy, to prevent him using other suppliers. I may not agree with his philosophy, but he is making me a very rich man.
BOND
And a murderer of hundreds of people.
MARTINEZ
{Showing annoyance}
Of which two more will not be an inconvenience. Come. We are going to take a short trip to Hell. It’s a little village, not very pretty, but a perfect place for you both to die.
*****
SCENE 54
PANTIN PLACE
Bond and Rivke exit the bank, followed by Martinez and Seth. They make no effort to hide their weapons and no one pays any attention. The four of them cross the road to where two open top Wrangler Grizzly jeeps are parked.
Rivke is squashed into the front of one jeep, between the driver and a guard. Bond is shown to the back seat, where he is surprised to see the Negro doorman, a machine pistol in his lap.
Bond settles in and the doorman holds out a sheaf of notes.
DOORMAN
Your tip.
BOND
{Sheepishly accepting the money}
Are guest’s allowed today?
Once their prisoners are settled, Martinez and Seth get into the first jeep. There is a guard and a driver, Femi.
MARTINEZ
{In Spanish}
Let’s go, Femi.
The two jeeps drive across the square towards the beach road, Martinez’s vehicle in the lead.
*****
SCENE 55
SEVEN MILE ROAD
{Long shot}
The two jeeps are driving down Seven Mile Road, passing the expensive hotels.
{Interior of the second jeep}
Bond makes a big show of looking at his Rolex. He shakes it, frowning.
BOND
I think it’s stopped. Listen.
Bond puts his wrist up against the doorman’s ear, simultaneously twisting the sweep anti-clockwise. There is an ear splitting wail and the doorman screams, clutching his ear.
Bond grabs the machine pistol and shoots the driver through the seat, killing him instantly.
Rivke elbows the guard in the face, knocking him unconscious.
The jeep is out of control and swerves across the road, heading directly for a bus stop where a few people are waiting. As the jeep speeds towards them, they scatter. The jeep crashes into the bus stop. Oil can be seen spilling out from the engine.
Bond and Rivke clamber out of the wreckage, with a few bruises and cuts. They retreat away from the jeep.
Further down the road, Femi brakes. Martinez looks behind him at the chaos. He sees Bond and Rivke making their escape. The doorman staggers out of the jeep, holding his head and moaning. Suddenly the jeep explodes, sending a plume of flame across the road, engulfing the doorman in its wake. Bond and Rivke are thrown to the tarmac and the smoke and flame obliterates Martinez’s view of them. Traffic slides to a halt on both sides of the road.
MARTINEZ
{In Spanish}
. Go back.
Femi begins to turn, but the traffic has now blocked the road, making it awkward.
Bond and Rivke pick themselves up from the road. A queue of traffic has suddenly formed. Rivke approaches the first car, a BMW 7-Series convertible. She waves her machine pistol threateningly.
RIVKE
You! Out of the car – now!
The driver gets out, raising his hands in surrender as he does so. Bond and Rivke get in the car, Rivke at the driver’s side. She revs the engine and drives straight towards the flaming debris. As they emerge from the flames the doorman appears directly in their path, his body still on fire. Rivke runs him down and he is thrown onto the bonnet of the BMW. His screaming face fills the windshield. Bond reaches over the windshield and grabs the doorman’s collar. He throws him off the side of the car and his body lands with a thump on the road.
BOND
Sorry. No guests allowed.
Rivke drives straight past Martinez’s jeep.
Seth shouts a warning and Femi begins to turn the jeep again to face the original direction.
There now follows an extended car chase during which Bond uses the machine pistols to shoot at Martinez and vice-versa. There should be some stunts and some near misses. Bond runs out of ammunition in one of the guns.
There should be minimal dialogue; it is not a jocular scene and any humour should come from the stunts involved.
There should be a mixture of long shots and close ups. The editing should be swift.
Theme music accompanies the scene.
The chase draws to a close when, at a hotel driveway, Rivke avoids a collision with a minibus that is pulling a trailer full of surfboards. Martinez is some way behind by now and needs to stop. Seth looks anxiously ahead and sees Rivke take a turn onto a trunk road.
*****
SCENE 57
MORGAN’S MARINA AND RESTAURANT
Rivke brings the BMW to a halt at the top of the harbour, where there is a swanky restaurant. An open air seating area extends to the wharf and some diners are eating lunch.
Bond gets out first.
RIVKE {following}
We need a boat. A fast one.
BOND
I hope you steer as well as you drive.
They run past the restaurant and down to the end of the wharf, where a Cayman Islander sits outside a wooden hut, sucking lazily on a pipe.
HARBOUR MASTER
You folks in some kinda hurry?
BOND
You could say that.
RIVKE
We want your fastest boat.
HARBOUR MASTER
{Indicating to Bond’s machine pistol.}
You hirin’ or firin’?
Bond looks up and sees that Martinez has arrived. Femi doesn’t stop and drives straight onto the wharf. Bond pushes Rivke aside and shoots at the oncoming jeep, shattering the windscreen and killing Femi.
The jeep careers sideways and crashes through the al fresco section of the restaurant, eventually sliding to a halt inside the restaurant proper. Tables and chairs and glassware are smashed and broken. People scream.
The harbour master sits open mouthed, while Rivke jumps into the nearest powerboat. Bond throws her his universal key pen and she starts the engine while Bond casts off the lines.
Martinez, Seth and the guard are shaken, cut up a little, but otherwise unharmed and they get climb from the broken vehicle. They run down the wharf where the astonished harbour master still sits.
MARTINEZ
Give us a key!
There is no reply. Seth pushes past the man and rummages in his hut. He throws a bunch of keys to the guard.
SETH
Try those. Come on.
They jump into the nearest powerboat and, on the second attempt a key fits and starts the ignition. Seth casts off and they give chase.
*****
SCENE 58
THE NORTH COAST
{Theme music}
{Long shot}
The two powerboats embark on a chase along the north coastal waters. Martinez’s boat is faster and starts to gain ground. The two boats exchange gunfire and Bond runs out of ammunition again.
BOND
No ammo. Can you take evasive action?
RIVKE
I’ll try, but they’ll catch us even faster.
Rivke starts to steer the boat on a zigzag course.
The waves kicked up by Rivke make taking aim difficult and Martinez begins to show his frustration.
Seth realises the power boat is equipped for paragliding. He indicates this to Martinez.
Seth fastens the harness, releases the chute and then throws himself backwards off the boat, becoming air bourn in a matter of seconds. Soon he is close enough to open fire from above.
Bond sees what is happening. He realises that he is holding onto the winch mechanism for paragliding. A quick glance underneath reveals a parachute. Bond strips off his jacket and straps himself into the harness. He too becomes air bourn and starts to operate the pulley levers and manoeuvre closer to Seth.
Martinez also begins to open fire as his boat draws level with Rivke’s.
Bond manages to get steer his chute sideways and collides with Seth. He grabs hold of Seth’s gun and the two of them struggle in mid-air, exchanging punches and head butts. Bond grabs hold of the machine pistol and ends the fight with a sickening karate blow to the throat. He unbuckles Seth’s harness and the henchman drops to his death.
Bond now has the sky to himself and manoeuvres his chute so it is above Martinez’s powerboat. There is an exchange of gunfire. The guard is killed and Martinez has to take the wheel, allowing Bond to open fire at will. Martinez is shot and the power boat races towards a rocky outcrop, completely out of control. It smashes into the rocks and explodes.
*****
SCENE 59
A DESERTED COVE
{Romantic music should accompany the scene}
Rivke beaches the powerboat in the shallows. Bond jumps out and turns to help Rivke from the boat. As she jumps down the brush against each other and there is clearly sexual tension between them.
BOND
That was a close shave.
RIVKE
I don’t scare easily, James, but this has got me really twitchy.
They paddle up to the beach. Rivke pauses and turns to Bond.
{Close up}
She kisses him, gently on the lips.
BOND
What was that for?
RIVKE
That was for watching my back.
BOND
I’d be much happier watching your front.
They kiss again and kneel down and Rivke removes Bond’s shirt. They collapse onto the sand in a passionate embrace and the scene fades away.
*****
SCENE 60
COASTAL ROAD
Bond and Rivke are walking along the road. Bond’s jacket is slung over his shoulder and Rivke carries her shoes in her hand. They should appear a little dishevelled as befits a couple that have just made love.
In the distance we can see a limousine approaching. The car gradually catches them up, overtakes them by a few yards and then draws to a halt. The back down opens.
Bond and Rivke glance at each other and approach the car. They look inside. Kolya Mosolov sits on the back seat, looking fresh and calm. He is dressed in a dark suit and tie.
MOSOLOV
Well, if it isn’t Mister and Missus Martinez.
Mosolov beckons them in. Bond and Rivke take a seat.
MOSOLOV
Killing Martinez was a big mistake, Bond. We’d best get you two out of Grand Cayman immediately.
BOND
You haven’t been entirely straight with us, Mosolov. Tell us what you know and we can all co-operate.
MOSOLOV
{Pauses first to consider the offer}
Very well. We can discuss everything on the flight out.
*****
SCENE 61
MOSOLOV’S PRIVATE JET
{Exterior}
A Falcon 900 jet is shown flying through the sky.
{Interior}
The interior of the jet should be a luxurious office. At the forward end is a corridor to one side, leading to the cockpit, kitchen and toilets (though we don’t see these). On the wall is a plain mirror, split into two halves down the middle. There should be a three-person leather sofa on each side of the office, backing onto the walls. Bond and Rivke sit on one of these. Central to the far end of the interior is a desk at which Lapkin is sitting. At the rear of the interior is a cocktail cabinet. Mosolov stands here, mixing a drink.
{This scene should be a mixture of camera shots, some close up, some medium.}
MOSOLOV
A vodka martini, Bond. Shaken, as requested.
Mosolov hands Bond a well-filled glass. Rivke already has a drink. Mosolov has neat vodka in his glass.
BOND
{Raising the glass and looking around the surroundings again}
I must say things have certainly changed since the days of the KGB.
LAPKIN
Not always for the better.
MOSOLOV
{Cautiously and with a gesture for silence.}
Yes. Let’s just say life is a little more comfortable since glasnost.
{He picks up a wooden cigarette box and offers them to Bond}
These are Russian. Or I have a Turkish brand.
BOND
I prefer my own.
They both light cigarettes, Mosolov choosing the Turkish ones, and continue to smoke throughout the conversation.
RIVKE
So what do you have to tell us, Kolya?
Mosolov indicates again and Lapkin punches a button on the desk. The mirror slides apart to reveal a display screen on which some images will appear during the conversation.
MOSOLOV
Zatopek was a double agent in the Ukraine. With our help, he and his contacts made life very difficult for the fledgling government in Kiev. It certainly allowed the F.B.S. to carry on some covert operations without detection. It was disappointing when he was reported killed on an extended visit to Colombia.
BOND
What really happened to him?
MOSOLOV
He’d been given new instructions. It was only when I was entrusted with tracking down the N.S.A. that I even became aware of them. There is no written record of the instructions he received.
RIVKE
He was operating as a renegade?
MOSOLOV
If you like. It was a huge chance, but Zatopek had discovered the intentions of the N.S.A. His relationship with Martinez was strong enough for my superiors order him join the organisation. We didn’t know that this would involve his complete disappearance.
RIVKE
Although of course now it makes sense. No member of the N.S.A. has ever been identified.
MOSOLOV
Exactly. Before he disappeared Zatopek delivered a final garbled communication. He was clearly in a hurry. It was mostly useless. Except for one detail. A name. Otto Von Gloda – possibly the last surviving war criminal.
An image of Von Gloda appears on the screen. It shows him in his Nazi uniform. It is a grainy black and white wartime photograph marked 1945. As Mosolov continues it changes to a colour photo marked 1975, but the definition is poor. Then an artists impression marked “possible sighting” 2003.
MOSOLOV
He was only nineteen when he escaped to Paraguay and then spent his next sixty years in South America. Despite the price on his head, Von Gloda managed to visit many countries around the globe, including some in Europe, such as the old East Germany and the new Serbia. He used various pseudonyms, even disguises, and has built a substantial network of sympathisers, which he now appears to have fashioned into the National Socıalıst Army.
BOND
Tell us something we don’t know, Mosolov. Where’s Von Gloda now - South America?
MOSOLOV
No much closer to home. He’s in Russia
BOND
Good God. You’re joking?
MOSOLOV
Unfortunately not. Several nations have been implicated in supplying arms to the N.S.A. As a precaution the defence brigade ordered a spot check at one of our military bases. It was the first for several years. The audit revealed some astounding discrepancies.
RIVKE
Martinez said he exchanged arms for cocaine.
MOSOLOV
Precisely.
BOND
Where is this base?
MOSOLOV
It is near the Russo-Finn border.
The display screen shows an ordnance map of Northern Russia. A blue arrow marked “Blue Hare” indicates the base.
BOND
Interesting. I was on manoeuvres in Lapland a few days ago. I saw a cargo plane drop hundreds of tons of cocaine. We identified the Russian soldiers as being from Blue Hare.
MOSOLOV {with a wry smile}
Really? I expect the officers felt it prudent not to mention your presence.
BOND
I expect so.
RIVKE
So we know where the weapons come from; but where are they going?
The display screen changes to a satellite close up of the border region. A series of green blocks are highlighted.
MOSOLOV
This area is known as Rohmoiva. We have a number of disused bunkers in this area; essentially they were for defensive purposes, latterly they have been fuel depots. They were built quite deep, to withstand most low-level nuclear attacks. This photo was taken several years ago. But as you see, a more recent photo shows some unusual activity.
The photo changes to one of the same region, but there are clear differences in the surrounding tree lines and ground geography.
RIVKE
Earthworks. Massive ones.
MOSOLOV
Yes, over a long enough period of time not to be noticed. And look at the results.
The display is over lapped by an infrared image, which shows the heat emanating from a huge underground construction, which encompasses all of the bunkers in the first photo.
BOND
It’s huge; big enough for a small army.
MOSOLOV
It’s bigger than your Buckingham Palace.
RIVKE
An Ice Palace.
BOND {with sudden realisation.}
The Ice Palace! Of course! When I was in Martinez’s office I intercepted an email. It said a shipment was due at the ice palace in three days. It must be arms from Blue Hare.
RIVKE
But we were in Columbia two nights ago.
MOSOLOV
That means the delivery is tomorrow. We’ll have to move fast to stop it.
BOND
I don’t want to stop it. I want to follow it and blow this “ice palace” and this madman to hell.
RIVKE
James is right. There’s no point in just sitting on this information. Von Gloda clearly has some contacts with your people, Kolya, or he wouldn’t be operating inside your territory. We have to do this alone.
MOSLOV {pausing}
All right. I agree. This plane can get us to Washington. I suggest we split up there; it may be prudent to travel separately. Where shall we rendezvous?
LAPKIN {standing}
May I suggest Salla. It’s in Finland, but it might be safer than trying to approach Blue Hare from the Russian side. I have a contact there that can get us equipment.
BOND
I may have someone who can help us too.
{Bond’s words should fade away as this scene dissolves into the next one}
*****
Lieutenant
Posted 06 September 2008 - 01:47 PM
Icebreaker – Part Four
SCENE 62
M’S OFFICE
M sits at his desk, looking disgruntled. Moneypenny stands infront of him, in her hand is clutched a slip of paper.
M
Finland? What the devil’s he doing back in Finland?
MONEYPENNY
I’ve no idea, Sir. The message was on an open line and we traced it to Miami.
M {wearily}
What’s he want?
MONEYPENNY
A Saab 9.5, Sir.
M {incredulous}
A car?
*****
SCENE 63
HELSINKI AIRPORT
{Scenic view}
{The same romantic theme music that accompanied Bond and Paula’s dinner should accompany this scene and the opening of the next and gently fade away}
A Fin-Air jet touches down at the snow-covered airport.
*****
SCENE 64
ARRIVALS CONCOURSE – THE AVIS CAR RENTAL DESK
Bond and Rivke, dressed warmly, but not in full snow and skiwear, approach the desk. They carry a small suitcase each. Bond still has his attaché case. Jane Aitken, dressed as an Avis representative rises to greet them, a frown on her face.
AITKEN
Welcome to Finland, Mr. Bond.
BOND
Hello, Aitken. Good to see you looking so cheerful at this hour.
AITKEN
I’m just hoping you don’t give me any more trouble, Bond. You’re hell to clean up after.
BOND
{Ignoring the comment}
Did Q tell you what I required?
AITKEN
Yes. This way.
Aitken pulls on her outdoor coat and picks up a bunch of keys and a clipboard.
*****
SCENE 65
CAR PORT
Bond, Rivke and Aitken are walking towards a silver Saab9.5 Saloon Airflow.
AITKEN
Here it is. Fully equipped. Even for driving in the snow.
She tosses Bond the keys and then holds up the clipboard.
AITKEN
Sign the release.
BOND
{Throwing the keys to Rivke}
You take the first shift, darling.
While Bond signs the forms, Aitken engages him in conversation, clearly jealous. Rivke loads the cases into the car.
AITKEN
Another day, another date. What sort of girl is she this time?
BOND
A very capable one. From Mossad. I wouldn’t try to cross her if I were you.
AITKEN
It never entered my mind.
BOND
By the way, what happened to Paula?
AITKEN
The Vacker girl? A holiday as I understand it. Sympathetic leave.
Bond nods curtly and hands back the clipboard.
AITKEN {Businesslike}
There’s a manual in the glove box. Q asked me to remind to read it. These cars cost sixty thousand pounds to develop.
RIVKE
{Settling into the car}
As little as that?
Bond smiles and walks to the passenger door. As he gets in he raises a hand, but doesn’t smile.
BOND
Thank you, Aitken. See you soon.
He closes the door. Rivke guns the engine and accelerates away with a squeal of tyres.
AITKEN
Hmmph! Very capable!
*****
SCENE 66
ROUTE 82
{Long shot}
It is dusk. The Saab 9.5 is hugging the road, which cuts across the screen from corner to corner. The road sides are piled high with snow drifts.
{Interior}
Bond is driving. He glances across to Rivke, who is stirring from a short sleep.
BOND
You all right?
RIVKE
You should have woken me earlier, James.
BOND
No problem. We’ve made good time. You can drive the final stretch.
{Exterior shot}
The Saab passes a sign indicating a fork-junction in the road, the left exit to Rovaniemi, the right exit to Salla. The Saab takes the right exit.
{Interior}
Bond squints. There is a glow ahead in the road. Bond flashes the headlights onto full beam for a second or two and the yellow prow of a snow blower looms ahead.
The road is only wide enough for one vehicle, so Bond slows to a stop and reverses back to the junction. He drives up the Rovaniemi exit a short distance and stops the car.
RIVKE {pointing}
James, look.
A square shadowy shape is moving towards them. Bond flashes the headlights at exactly the same time a second approaching snow blower switches its headlamps on.
Both snow blowers are sturdy, old fashioned models, with a heavy duty glass canopy atop the body which is propelled by caterpillar tracks. At the front is a large snow plough.
BOND
This isn’t right. There haven’t been any blizzards.
RIVKE
James, you don’t think...
BOND
I’m not waiting to find out.
Bond reverses again and is able to execute a handbrake turn, so the Saab faces where they came from. Bond accellerates away and then brakes sharply. A third snow blower blocks the road some distance ahead.
BOND.
RIVKE
Where did that come from?
BOND
God knows.
Bond reverses again and repeats the handbrake turn. He aims the Saab at Snow Blower 2. He opens a panel on the dashboard to activate the Saab’s missile targeting system Two short range missiles destroy Snow Blower 2, which explodes in a ball of fire.
RIVKE
Great. Now we’ve no way past.
She reaches forward to the dash, flicks a switch and from under her seat a tray containing several grenades appears. She grabs three of them and gets out of the car.
BOND
Rivke! {Quietly} Be careful.
Rivke tosses the grenades at the drift of compacted snow and ice just to the left of the oncoming Snow Blower 1. They detonate in a flurry of snow, creating a small lay-by. Rivke dodges the fin of the plough and jumps onto the cabin ladder.
Bond reverses the Saab. Both snow blowers are bearing down on him. He activates the smoke screen at the rear of the Saab.
Rivke opens the canopy door and exchanges blows with the driver, knocking him out.
She angles Snow Blower 1 to the left of the road, opening a passing route for the Saab.
Snow Blower 3 driver’s vision is totally obscured.
Rivke jumps down from Snow Blower 1 and runs to the Saab.
Snow Blower 3 appears out of the fog and its snow plough collides with the Saab’s rear bumper. Bond accelerates. With a wrench and a tear of fibre glass against steel the Saab pulls away, leaving the rear bumper behind. The Saab zooms through the gap created by Rivke’s grenades.
Meanwhile Snow Blower Driver 3 sees too late that he is on a collision course with Snow Blower 1. They crash into each other, both machines turning and spinning, until finally Snow Blower 3 is turned over and shoved aside. Snow Blower 1 trundles on remorselessly into the snow drifts.
{Interior of the Saab}
RIVKE
Who were they?
BOND
Someone who doesn’t want us to reach Salla.
*****
SCENE 67
HOTEL REVONTULI, SALLA
{Exterior – Car Park}
The Saab pulls up outside the hotel. Bond and Rivke get out and sort their luggage.
{Interior – Reception lounge}
Lapkin watches them through a window. He turns away and walks across the lounge to Mosolov, who sits in the armchair sipping coffee. He whispers something inaudable.
{Cut to}
Bond and Rivke enter and approach the reception desk. Mosolov and Lapkin stride over. They exchange curt greetings.
MOSOLOV
Good to see you, Bond, Rivke.
{He produces a keycard from his pocket.}
Room 214; I’ve already checked you in.
RIVKE
How thoughtful.
Lapkin takes their cases and all four walk to the elevator. The conversation continues as they wait for and then enter the lift.
LAPKIN
I’ve managed to get us four skidoos. I left some thermal clothing in your room.
RIVKE
I hope you got the right sizes.
Lapkin snorts dismissively in reply.
MOSOLOV
You’ll need to get some rest. We’ll start the snow safari at eleven tonight.
BOND
You make it sound like a holiday.
MOSOLOV
Did you have some trouble on your journey. Lapkin tells me your car seems a little damaged.
BOND
Yes. Terrible drivers over here. If you don’t give them right of way, they plough staright through you.
The elevator doors close.
*****
SCENE 68
ROOM 214
Bond is using the sweep on his rolex to check for bugging devices. Rivke is holding up the thermal clothing for inspection. The room should be smart and functional, quite large, but with the typical modern furniture of a holiday hotel.
RIVKE
Stop it, James. You’re starting to become paranoid.
BOND
Just being careful. Lapkin’s already been in here remember.
RIVKE
And you think he’s listening now?
BOND
Maybe. The way things are at the moment, I don’t know who to trust.
Bond sits on the edge of the bed and Rivke comes to join him. She touches his arm.
RIVKE {cautiously}
You don’t suspect me do you, James? I just saved your life – again.
BOND
It’s becoming a habit. But –
RIVKE
No “buts”, James. Let’s enjoy the moment.
They kiss. Bond breaks it.
BOND
Rivke, we shouldn’t. Not now.
RIVKE
Why not? If Lapkin is listening, we may as well give him something to listen to.
They kiss again, embracing, and fall gently backwards onto the bed.
*****
SCENE 69
ROOM 214
Bond slips out of bed, leaving Rivke asleep.
{Exterior}
Bond gently closes the door behind him. He is dressed in trousers , a thick jumper and a heavy ski coat. The corridor is empty and he walks quickly down to the elevator at the far end.
{Car Park}
Bond sprints across the car park to the Saab, deactivating the locking mechanism as he does so. Bond settles in the driver’s seat. Bond presses a button on the digital CD player and the CD unit ejects. In its place rises a tracking device, complete with a miniature keyboard. Bond taps in a sequence of numbers, that appear on the illuminated red screen.
As he does so a second radio arial rises from the rear corner of the Saab.
Bond opens a tiny pouch in the lining of his field utility belt and out pops a multicoloured pill. He swallows it. After a few moments the screen goes blank, then changes to green and emits a low beep. Bond mutes the volume.
{Interior}
Bond walks back into the reception at the same moment a gaggle of excitable young holiday makers arrives to check in.
*****
SCENE 70
THE FOREST, SOUTH EAST LAPLAND
{Theme music should introduce this scene}
{Long shot}
Four Yamaha snow scooters (skidoos) break cover from a copse of pines and roar across a short clearing in single file before entering more forest.
{Medium and close ups}
The drivers steer through the trees. They were all encompassing thermal clothing, including full face masks and goggles.
Mosolov is leading. He slows to a halt at the edge of the forest and the others stop behind him. They talk through communicators inside their face masks and their voices are a little distorted.
MOSOLOV
We are only a few miles from Blue Hare. The next clearing is littered with mines.
RIVKE
You expect us to cross it?
MOSOLOV
It’s okay. I know a safe route, but you must follow exactly in my tracks.
Mosolov sets off on a wide zigzag route. Bond follows first, then Rivke and Lapkin at the rear. Suddenly there is an explosion and Lapkin’s skidoo is blown apart, his body tossed into the air. His screams are audible through the ommunicators. All three agents stop their skidoo’s and turn to look back.
MOSOLOV
Fool. He must have hit a mine.
BOND
That was no mine – look.
Bond points to a distant ridge. We see a huddle of soldiers. Two pairs are using grenade lauchers, while four more snow scooters head to intercept them. They have machine pistols mounted on the handlebars of their skidoos. While Mosolov continues his twisting route, explosions reign about them. Another soldier fires a flare into the sky, bathing the site in a beautiful sea green.
There is another explosion and Rivke’s screams fills Bond’s ears. He turns to look. Rivke is lying prostrate beside her damaged skidoo. Bond is about to turn back, when bullets start to zip all around him. He sees the soldiers approaching on skidoos and follows Mosolov into the forest.
{Theme music accompanies this scene}
There follows a short exciting chase sequence through the forest.
Mosolov abandons his skidoo and continues his escape on skis. When his pursuers slow to a stop and inspect the skidoo, Mosolov presses a remote control detonator. The skidoo explodes killing the soldiers.
Bond is outflanked by one of his pursuers. Turning into a small clearing, the two skidoos collide. Bond recovers fast and kills the soldier with a karate kick. Suddenly the second skidoo appears from the trees. Bond dodges aside and leaps onto the rear seat, struggling with the soldier. The skidoo heads straight towards the pine trees. At the last moment Bond jumps off backwards and the skidoo crashes into the trees, killing the soldier.
Bond rises to his feet and Mosolov skis up to him
MOSOLOV
My, my, what smashing fun.
BOND
I’m not amused, Mosolov. We’ve lost Rivke.
MOSOLOV {deadpan}
And Lapkin. They both knew the risks.
BOND
You’re a heartless bastard.
MOSOLOV
There’s something else.
{He indicates the badge of the Ninth Armoured Troop Division on the soldier’s uniforms}
These men are from Blue Hare.
BOND
So they’re protecting something
.
MOSOLOV
Exactly. It looks like the exchange is happening already. We need to move fast.
*****
SCENE 71
BLUE HARE WEAPONS DEPOSITORY
{Long shot}
Arc lights illuminate the depository. There should be two huge storage warehouses on opposite sides of a quadrangle. On the third side should be a fuel dump and on the fourth a series of squat mess huts. A convoy of Arctic Terrain Vehicles (ATVs) are driving up to the warehouse doors, being loaded with casques of weapons and driven away to the turning point. The process is swift.
{Medium shot}
Soldiers direct the ATVs, dressed in heavy Arctic overcoats and hats. The ATVs are waiting in a long queue snaking out to the entrance of the depot.
The camera focuses on the perimetre of the depository where there is a line of pine trees. Bond and Mosolov are wathing the proceedings.
BOND
No fences, Mosolov? That’s very remiss of your military.
MOSOLOV
Who are we keeping out in this wilderness? The wolves?
BOND
Fair point.
{Cut}
We see more of the loading operation.
{Cut}
BOND
Come on. We’ve got to hijack one of those ATVs.
*****
SCENE 72
BLUE HARE, COMPOUND FUEL DEPOT
Two soldiers stand guard, talking. They speak in Russian.
SOLDIER ONE
We’ll get a good bonus out of this.
SOLDIER TWO
Something to spend when the girls come over from Alakurtii.
SOLDIER ONE
I’ll need all the money I can get if Fat Olga’s coming!
They laugh and are then knocked unconcious from behind. Their assailants are Bond and Mosolov, who strip them of their overcaots and hats.
Bond and Mosolov re-appear dressed in the soldier’s uniforms. They walk the quadrangle and approach one of the loaded ATVs. Bond taps on the cabin door and the driver stares at him. Bond indicates there is an external problem and the driver dismounts. Bond makes a pretence of showing the driver the imaginary problem, allowing Mosolov the time to knock him out. Bond and Mosolov drag the driver back to the cabin and bundle him inside, followed by themselves.
BOND
Find something to tie him with.
MOSOLOV
Can you drive one of these?
BOND
Of course. How hard can it be?
Bond ponders the controls. In front of him he sees the convoy start to move forward. With a jolt he starts the engine and finds first gear.
*****
SCENE 72
LAPLAND TERRAIN
{Long shot}
{Theme music accompanies this scene}
The ATV convoy proceeds across the snow and tundra.
*****
SCENE 73
ICE PALACE ENTRANCE
The convoy enters a forest clearing. Floodlights hidden in the tree line switch on, illuminating the approachway.
Seemingly out of the earth a huge pair of double doors neumatically opens, revealing a ramp descending into the ground. The doors are big enough for a pair of double decker buses. The entrance way is bathed in yellow light. Armed NSA soldiers run out of the bunker to line the convoy, like sentries.
The first ATV drives forward and descends into the bunker. Gently the convoy moves forward.
{ATV interior}
Bond drives forward. His face should display some apprehension. Mosolov watches him. Bond pauses at the tip of the ramp.
BOND
Iguess it’s too late to stop now.
MOSOLOV
Exactly, Bond. It is also time for honesty.
Mosolov produces his P7 automatic and points it at Bond. Outside the ATV the sentries raise their machine guns. Bond dismounts from the ATV. Mosolov follows him. A sentry takes Bond’s place in the cab. Meanwhile an officer strides forward.
BOND
I had a feeling you would let me down, Mosolov.
MOSOLOV
I am happy to live up to your expectations, Bond. As you see I am a double agent. I’m F.B.S., but I am N.S.A. first. And so is an old friend of yours.
The officer removes her cap and scarf to reveal herself as Paula Vacker, whose ash blonde hair swirls in the wind.
PAULA
{in a heavy faked German accent}
Herr James Bond, for you the war is over.
BOND
Or maybe it’s just beginning, Paula.
Bond is marched towards the entrance. The gangway should be plain concrete and illuminated with bright flourescent bulbs. Paula indicates for Bond to be searched. While this happens they continue to converse.
PAULA
Welcome to the Fuhrer bunker, James.
BOND
Good God, they’ve really got to you haven’t they, Paula?
MOSOLOV
I got to her first, Bond.
PAULA
Kolya and I are lovers, James. You almost caught us in Helsinki.
BOND
Of course; the Turkish cigarettes. I should have realised.
MOSOLOV
A stupid oversight.
BOND
Like not letting those goons finish me off at your flat?
PAULA
{winking}
You were too good for them, James.
They descend the ramp and enter a giant cavern, eight stories high, hewn from solid rock. The rock walls should be white washed. The ATVs are parked in the centre of the cavern waiting to be unloaded. Passageways lead off at several points around the cavern. There should be water, air conditioning ducts and fuel pipes visible. The hanger should be illuminated with arc lights.
PAULA
What do you think, James? Impressive isn’t it?
BOND
Clearly.
PAULA
It used to be a nuclear weapons depository, We expanded it by ten times the capacity. Do you want a guided tour?
BOND
Well, I’m not busy right now.
The three of them walk away. There follows a series of short scenes where Bond gets to see the operations of the N.S.A. The dialouge should be edited over the scenes, making it appear to be a seemless tour.
*****
SCENE 74
COMMUNICATIONS ROOM
Bond, Paula and Mosolov enter a communications centre full with maps, diagrams, computer terminals and operating personell.
MOSOLOV
This is the nerve centre of the High Command, a communications room in constant contact with our other Kommando units across the globe.
BOND
To order more mass murder? Terrorism won’t win you any friends.
PAULA
The N.S.A. isn’t about terrorism. It’s about preparing for the future.
A better future: free from the oppression of false ideology, free from the politics of greed, a new way, a new life of morality and open mindedness.
*****
SCENE 75
LECTURE THEATRE
The small hall should feature a group of about twenty students attendinga lecture.
PAULA
We aim to improve the skills of all recruits. We develop their language skills, sciences, art, economics, basic trades. The N.S.A is not a closed shop.
*****
SCENE 76
GYMNASIUM
Recruits, both male and female, are practicing hand to hand combat.
PAULA
We teach them to be fit. Clean. Athletic. Prepared.
BOND
And killers.
MOSOLOV
A useful skill in an army.
*****
SCENE 77
WEAPONS LABORATORY
Armourers are testing gas grenades.
MOSOLOV
Our best scientists are developing weapons. Though later they will be concentrating on agriculture, architecture and medicine.
BOND
So you can rebuild what you have just destroyed.
*****
SCENE 78
LOVER’S GALLERY
The trio are walking down one of the passageways.
BOND
You won’t convince me. You’re merely replacing one ideology with another, however you advertise it.
PAULA
But one with no discrimination. Belief in the New Way is the only essential.
BOND
I had observed you don’t exclude on race or age or sex.
They enter a long corridor lined on each side with windowed doors. Each door leads into a cubicle containing a double bed.
PAULA
Except here. Age, health and fertility are important here.
Bond peers through the third window and we see his POV – a naked couple making love.
BOND
You could say I’m in favour of the old fashioned ideologies.
PAULA
Chauvanist.
MOSOLOV
Have you seen enough, Bond? We don’t want to keep our Fuhrer waiting.
*****
SCENE 79
VON GLODA’S SUITE
{Exterior}
Bond is ushered into a small ante-room. Two N.S.A. guards man the door and they salute. Mosolov wraps on the door and Bond is ushered inside.
BOND
Ok, so it’s Martini time.
{Interior}
The room is not luxurious, but comfortable and expensive compared to the spartan accommodation Bond has just walked through. The floors and walls are panelled in oak and pine. An orate chandelier hangs from the ceiling above a circular table, laid with breads, cold meats and coffee for breakfast.
At the far end, dominating the room, hangs Fritz Erler’s floor to ceiling portrait of Adolf Hitler. Before that is a mahogany desk, empty bar a single lamp. Sitting upright in a comfortable chair is Otto Von Gloda. He is a grey haired man, sprightly despite his being almost eighty years old. He wears the khaki uniform of the Nazi Party and sports an armband emblazoned with the N.S.A. insignia. Next to him stands Gunther, a bulky, shaven headed body guard, who is dressed in black trousers and sweater.
Paula and Mosolov offer salutes. Von Gloda rises, half a smile on his face, and beckons with his fingers. Bond approaches the desk, looking at his surroundings. He doesn’t look directly at Von Gloda, but over his shoulder at the portrait. Von Gloda turns to admire it.
VON GLODA
You like it ?
BOND
I’ve only seen photographs of it. I didn’t like them, so it follows I don’t like the real thing.
VON GLODA
I see.
BOND
It is the genuine article, I assume?
VON GLODA
You assume correct, Mr Bond.
BOND
Another relic from a bygone era. A little like yourself, Von Gloda.
PAULA {sharply}
Address the Leader as Fuhrer!
BOND {angry}
You call this crazy old man a Fuhrer? You’re just a small time S.S. officer basking in the adoration of a band of brainwashed fanatics. Where’s it going to get you, this terrorist game you’re playing? A few hundred people dead in the streets –
VON GLODA
Silence!
At the same moment, Gunther skips across the floor and silences Bond with a vicious slap across the face.
VON GLODA
James Bond, in a matter of days you have rattled the foundations of the National Socıalıst Army. In Colombia you infiltrated my private affairs. In the Cayman Islands you killed Hector Martinez, my most trusted ally. And now you are here and here for one reason only; one which will become clear in due course.
{Pause}
However, I am not beyond geniality and there are some things I wish to share with you. I always eat breakfast before I work. Please, join me.
Von Gloda walks from behind the desk and walks towards the food-laden table.
*****
SCENE 80
M’S OFFICE
M is pacing the room, agitated. Tanner stands, looking a little uncomfortable.
M
Are you sure, Tanner? People don’t just disappear. That’s why we issued 007 with the tracer pills. What’s in that area, Tanner? Have we got any satellite data?
TANNER
Yes, but it doesn’t reveal any unusual activity or unlikely structure.
M
Whose information are you using?
TANNER
The Russians, Sir, and we’re expecting something from the Pentagon soon.
M
{with a deep sigh}
Have you tried our own data, Tanner?
*****
SCENE 81
VON GLODA’S SUITE
Von Gloda, Bond, Mosolov and Paula all sit at the table. During the following dialouge they will drink coffee and smoke cigarettes.
VON GLODA
When the war was over and the Fuhrer had died gallantly in Berlin...
BOND
{Casting a quizzical look}
I wouldn’t call suicide gallant.
VON GLODA
{Ignoring the comment}
I hid in Germany. Many of us did, waiting for the moment to escape. The novelists romantically call it the Odessa Line, but in reality there were several dedicated groups of the S.S. who, even before 1945, had the wit to interpret the worst and prepare for it. In time we all left. Initially I travelled to Argentina and then to Paraguay. All the wanted Nazi’s were there, in safe compounds where we lived out the dream. But we threw away our heroism. National Socıalısm as we knew it became a champagne party for an elite. Meanwhile Europe and Asia plunged into communist dictatorships, military regiemes and hardline religious fanatacism.
BOND
It hasn’t all been like that. You make it sound like peristroika never happened.
VON GLODA
The fall of communism has only seen the advent of rampant capitalism, Mr Bond, an evil almost as harmful. Where is the protection and hope for the under privileged? Across the world people have been crying out for a new order: a world of heroes, not peasants and victims.
BOND
No victims? What about the Death Squads and those they kill?
PAULA
Of course, there will be casualties, James.
VON GLODA
{nodding agreement}
A decade ago I made my first forays out of Paraguay and laid the foundations of the Fourth Reich. Kolya Mosolov was one of my earliest converts, allowing me to purchase and build this extraordainary bunker. He also introduced me to Hector Martinez, whose narcotics business allowed me to purchase weapons and labour. His transportation fleet allowed me to develop bases across the globe. The N.S.A., Mr Bond, is now in possession of sixteen bunkers such as this, each one primed for a strike assault at a moments notice.
BOND
You must have sympathisers at the very top of governments. Places like this don’t stay hidden easily.
MOSOLOV
It’s amazing how many blind eyes can be bought, Bond.
VON GLODA
Precisely. Why do you think the international response has been so slow? After the Jerusalem incident I published my famous Communique Number One.
BOND
Infamous.
VON GLODA
The response I had was phenomenal. The N.S.A. has many friends in many places.
BOND
But what happens when the rest of the world catches up with you. You’re still just a terror organisation.
VON GLODA
{Nodding to indicate the point is understood}
Phase two of the new order is about to commence. It will provide us with a platform at the negotiation table.
{Pause}
I plan to pervert a coup in the Russian Republic of Kallingrad.
BOND
Good God! The Kremlin won’t let you get away with that.
MOSOLOV
My F.B.S. connections are most aminable. Their own greed blinds them to their folly. When the time is right they will be eliminated.
BOND
I was right. You are crazy. It’s insane. Come on , Paula, you don’t agree with this surely? This isn’t how you save the world.
PAULA
It isn’t about saving the world, James. It’s about the future.
Von Gloda raises a hand for silence.
VON GLODA
However there is a tiny risk. And that is why I need you here, Mr Bond. My soldiers know the New Way comes before all else. This is part of our success – death before dishonour. Not one prisoner has been taken, not one corpse identified.
{Pause}
Until recently, in London, a soldier was captured. This soldier was fundamental to the planned coup. Unfortunately he had some doubts about the operation and we chose to eliminate him. We failed.
{Pause}
His name was Emil Zatopek. I know, Mr Bond, that you have been investigating this man, but, despite the resources at my disposal, I do not know what secrets he has told the British Secret Service.
BOND
I’m sorry there’s nothing to tell.
VON GLODA
I think there is. Think very hard, Mr Bond.
BOND
I am aware that Emil Zatopek carried out a terrorist atrocity in London. But I have no knowledge of his survival or any interrogation.
VON GLODA
{Standing to his feet}
You will tell us everything. Everything that British Intelligence knows about the N.S.A.
BOND
Then you will be disappointed. Do you think I would have access to all the facts? My superiors are not fools.
VON GLODA
And I cannot afford to be. Come, breakfast is over. Gunther, Mosolov, bring Mr Bond to the Ice Chamber.
*****
SCENE 82
THE ICE CHAMBER
A steel door slams open and clangs against the rock wall. Lights flicker on, illuminating the cave in a pale green light. Icicles hang from the ceiling. There is a large expanse of ice stretching across the floor of the chamber. Across the ceiling runs a pully and chain system. A flight of stone steps covered in ice descends to the chamber floor.
Bond, Mosolov, Von Gloda and Gunther walk down the steps, accompanied by two sentries. Gunther carries a chain saw. Everyone except Bond is wearing heavy coats, gloves and hats. The two sentries strip Bond of his clothes. Meanwhile Gunher strides out onto the ice, activates the chainsaw and cuts an untidy hole into it. The two sentries chain Bond’s hands together, pull them above his head and clasp the chain to a hook on the pulley.
While this happens, Von Gloda starts to speak.
VON GLODA
We are below the line of the bunker here, Mr Bond. In the summer the water in this lake rises quite high, but in winter it provides a nice bath tub. You will get to know it very well.
Bond is winched across the ice sheet. He is left dangling over the rough-cut circle. He spins around uncontrolably. Mosolov steps onto the ice and grabs Bond’s jaw to keep him still.
MOSOLOV
James, my friend. You should tell us now before we go on. You know what we want. A simple yes or a no.
BOND
No.
MOSOLOV
Your people have one of our men. Where is he held? What has he told his interrogators?
BOND
I don’t know anything.
Mosolov shruggs and punches Bond in the stomach. He steps back and nods at the sentries, who activate the pulley system. The chains rattle and Bond is dropped with a splash into the water.
We view Bond struggling in the freezing lake. After several seconds, he is pulled out. His body hangs wet, but ice particles should immediatly start to form on his eyebrows and hair. His lips should begin to look red, later they should appear bluish.
Bond splutters and tries to cough out the freezing water. He opens his eyes. Mosolov fills his vision.
MOSOLOV
Ok. That was a little taste. So again. Where is our man being held prisoner?
BOND
I don’t know of any prisoner.
MOSOLOV
What has he told your people?
BOND
There’s no man being held.
MOSOLOV
Ok. Again.
Bond is plunged into the lake again. When he is pulled out this time his condition has worsened.
VON GLODA
Where is my soldier?
MOSOLOV
What do you know?
BOND
Nothing.
VON GLODA
The prisoner in London. What has he told you?
BOND
No prisoner.
Mosolov flicks his arm and Bond’s body is plunged back into the lake.
{Dramatic music underlines the tension}
The scene should dissolve into a series of edits and cuts: the rattling chains, Bond stuggling underwater, Mosolov and Von Gloda shouting questions, Bond’s eyelids fluttering, splashing water.
MOSOLOV
{Close up}
Tell us what you know.
BOND
{Weakly}
No. No prisoner. No prisoner.
The camera zooms in on Bond’s face and then his bloodshot eyes. The pupils are more and more dilated and the eyelids heavy with ice. The sounds of the interrogation fade away.
{Scene fades away to black screen}
*****
Lieutenant
Posted 09 September 2008 - 10:03 PM
Icebreaker – Part Five
SCENE 83
HOSPITAL WARD
{The scene should start with Bond’s POV as he regains conciousness, with total darkness giving way to flickering lights and hazy vision.}
The hospital room has four beds in opposite pairs. Each bed has a small cabinet upon which sits a reading lamp with a broad reflective shade. The usual hospital equipment should line the walls. Bond turns to see Rivke in the bed next to him. She has a bandaged face and has one leg in plaster.
RIVKE
Are you awake, James?
BOND {grimly}
Yes.
RIVKE
You look terrible. What did they do to you?
BOND
They took me for a swim in a winter wonderland. Quite chilling. What about you? I thought you were dead.
RIVKE
Knocked out by the grenade. And look at me now: a broken leg and two ribs. I’m not going anywhere.
BOND
But your alive. {Thoughfully] Both of us are.
RIVKE
What’s wrong?
BOND
I’m alive. I thought perhaps...
RIVKE
James...
She stretches out a hand towards him and Bond offers a thin smile. She mouths the words “I love you” and smiles.
BOND
Have they asked you any questions? Interrogated you in any way?
RIVKE
Not as such. A few questions about you. It’s you they seem to want.
BOND
Yes, I know. Von Gloda is convinced Zatopek is alive.
RIVKE
Is he?
BOND
Yesterday I would have said yes. Today I’m not so sure. But if he is alive, if he has betrayed Von Gloda, that’s not the worst of it.
RIVKE
What do you mean?
BOND
Rivke, before we left Salla I swallowed a location transmitter. It only has a range of a hundred miles or so and that’s why I needed the Saab. It’ll be transferring the data back to London....
*****
SCENE 84
COMMUNICATIONS CENTRE
Von Gloda, Mosolov and Paula are listening to the conversation between Bond and Rivke.
BOND
It’ll be transferring the date back to London. The pill won’t be functioning now, but they’ll have the location of the Ice Palace.
VON GLODA
{In German}
My God! My God! This is a disaster.
MOSOLOV
What can we do?
VON GLODA
Nothing can stop the coup. We must close the High Command.
MOSOLOV
And Bond?
VON GLODA
Kill him.
MOSOLOV
With pleasure.
Paula catches Mosolov’s arm. She already has her automatic pistol in her hand.
PAULA
Kolya, let me. It would be an even greater pleasure.
VON GLODA
Go! Do it now!
*****
SCENE 85
HOSPITAL WARD
Bond inclines his head, listening. There is the sound of a klaxon audible outside the ward room.
BOND
Sounds like an alarm. Something’s up.
The door opens and the alarm momentarily sounds louder. Paula enters. She brandishes the pistol in one hand and carries a small rucksack in the other. She puts a finger to her lips for silence. Bond and Rivke look at each other, confused.
Paula drops the rucksack on Bond’s bed and spins the pistol in her hand, so she holds it by the barrel. She deftly uses the butt of the gun to smash the bulb in the lamp next to Bond’s bed.
PAULA
James. Get up. We’re getting out of here.
BOND
Paula? What’s going on?
Rivke suddenly rolls out of the plaster cast and onto the floor. Paula shuffles her grip on the pistol again and takes aim at Rivke, who performs an evasive manouvre and brings her own gun to bear. There is an exchange of several shots. Bond reaches helplessly towards Rivke, calling her name. Rivke is shot twice in the chest and her blood splatters over Bond. She collapses to the floor.
BOND
Jesus Christ! What the hell’s going on?
Paula looks at the bullet holes in the wall behind her.
PAULA
Who do you think she is, James? Can’t you see?
Bond slips out of bed and crouches next to Rivke’s crumpled, semi-naked body. He removes the bandages from her face so he can look at the profile.
BOND. Is she –
PAULA
Von Gloda’s pride and joy. The Fuhrer’s beloved daughter. They’ve been reeling you in, James. You didn’t tell them a thing in the ice chamber, but they know everything you said to darling Rivke. The electronics were in the light bulbs.
BOND {rising}
So tell me whose side you’re on again?
PAULA
James, how could you ever doubt me?
BOND
What are you? A maverick? A loose cannon?
PAULA
No, I’m SUPO, Finnish Intelligence.
{She throws him the rucksack}
I’ll explain when there’s time.
*****
SCENE 86
ICE PALACE CAVERN
The klaxon sounds at ten second intervals. Von Gloda, Mosolov and Gunther are directing soldiers to load equipment into the ATVs. A tannoy announcement overides the klaxon.
ANNOUNCER
Do not be alarmed. This is a not a drill. The High Command is moving location. All essential equipment must be removed in the next few hours. Wait for instructions from your superiors. Do not be alarmed. This is not a drill....
{The announcement should be audible in the background through the next few scenes}
*****
SCENE 87
HOSPITAL WARD
Bond is finished dressing in an N.S.A. uniform. Paula hands him a hat with the N.S.A. insignia on it.
PAULA
Keep your head down and we’ll be ok. This evacuation is a perfect cover for us to get out.
BOND
Not yet, Paula. There’s something you’re forgetting. This coup. The plans. The other bases. We must get that information.
PAULA
I’ve never seen the plans.
BOND
Of course you haven’t. But I think I know where they are. You have to get me into Von Gloda’s suite.
PAULA
What? Are you serious?
BOND
I am afraid I am.
*****
SCENE 88
ICE CAVERN
There are more scenes of evacuation.
In the distance Bond and Paula can be seen sneaking out of one passage and into another.
Across the cavern floor, Mosolov spots them. He speaks to Von Gloda, the exchange of words is silent.
*****
SCENE 89
VON GLODA’S SUITE
{Exterior}
The sentries are still at their post. Paula appears and salutes.
PAULA
Have you not heard the alarm? What are you still doing here?
SENTRY
Our orders are to remain at our post.
PAULA
Don’t be ridiculous! This isn’t a drill. Save yourselves.
The sentries appear confused.
PAULA
That’s an order!
The sentries start to move from the door and Paula steps aside. She launches a karate blow to the neck of one sentry. The other turns and Bond appears from the passageway and knocks him out.
They open the doors, pull the bodies bodies inside and take their machine pistols.
Bond closes the door and strides towards the portrait of Hitler.
PAULA
What are you looking for, James?
BOND
There’s something familiar about this picture.
PAULA
I didn’t think you liked it.
BOND
I don’t. But I’ve seen the frame before.
Bond runs his hand down the side of the picture frame until he finds the hidden catch. There is a click and the portrait swings out on its hinges, revealing a steel door in which sits a safe combination key pad.
PAULA
What now?
Bond and Paula crouch to inspect the keypad and behind them the door noiselessly opens and Mosolov enters.
MOSOLOV
May I be of assistance?
Bond and Paula whirl around, weapons pointing at him.
Mosolov smiles and reaches inside his coat.
PAULA
Careful.
Mosolov produces Bond’s safe cracking device and waves it in the air. He walks towards them.
PAULA
Close enough, Kolya.
Mosolov stops in front of the desk and Paula moves in a position to cover him at close quarters.
Mosolov tosses the device onto the desk and Bond picks it up.
BOND
Why are you helping us now, Kolya?
MOSOLOV
I am an agent of the F.B.S. Trust me.
BOND
I’m not trusting anyone any more.
Bond activates the LCD x-ray screen and begins to trace the safe combination.
When the last digit clicks in the steel door opens to reveal a small communications room. There are three computer terminals.
BOND
Keep him covered, Paula. I’m going to steal the hard drives.
Bond proceeds to smash each hard drive tower with the butt of his machine pistol and then tear out the hard drive. When his work is done he places them inside his tunic.
Bond exits the communications room and closes the safe door.
An alarm sounds.
Startled, Paula turns away from Mosolov and he grabs her machine pistol. There is a brief struggle and Paula punches Mosolov in the stomach and hits him over the head with the gun.
Bond makes a move for the door.
BOND
This didn’t happen in Colombia.
*****
SCENES 90, 91, 92
These scene should be edited into Scene 89 to create dramatic tension. The safe cracking scene can be edited down to allow the action to flow.
SCENE 90
HOSPITAL WARD
A nurse enters, carrying thermal clothes for her charges.
She sees the prone figure of Rivke, blood splattered all across the floor, drops the clothes and screams.
*****
SCENE 91
HOSPITAL WARD
Von Gloda sees Rivke’s body. He sinks to his knees next to her.
{Close up}
A single tear trickles down Von Gloda’s cheek.
Gunther stands at a discreet distance. Slowly Von Gloda gets to his feet.
VON GLODA
I want the people responsible killed. Bond must die. Vacker must die. Stop at nothing.
*****
SCENE 92
A PASSAGEWAY, THE ICE PALACE
Von Gloda and Gunther are walking quickly. A new alarm rings intermittently through the sound of the klaxon. They both stop and look at each other.
VON GLODA
Quick, my office. Someone’s breached the safe.
*****
SCENE 93
M’S OFFICE
Tanner and M are inspecting a satellite photograph on M’s viewing screen. It is similar to the one Bond saw in Mosolov’s private jet.
M
There’s something there, Tanner. And it isn’t a nuclear bunker.
TANNER
I agree. Shall I get onto the P.M?
M
No. Get me the Russians first.
*****
SCENE 94
THE OFFICE OF THE HEAD OF RUSSIAN
FEDERAL SECURITY SERVICES
The office should be sleek and high-tech, a contrast to M’s more austere surroundings.
General Markov is a large man with a thick moustache and a balding head. He is dressed in a formal business suit.He sits back in his chair, relaxed, his hands folded in his lap.
A male and a female attache hovver close by.
Markov is talking out loud in fractured English through an web-phone, on which there is an image of M and Tanner in M’s office.
MARKOV
I assure you, if there was any foreign fortress hiding in Russian territory we would be well aware of it. Do you think our security measures are so weak?
M
Of course not, General. Yet the disappearance of one of our agents in Lapland has raised some alarm.
MARKOV
If your agent was foolish enough to enter our territory, he may well have been eliminated.
M
I appreciate that.
MARKOV
Good. Then I don’t want to hear any more of this nonesense. Thank you for your concern, Admiral.
M nods and the screen switches off.
Markov turns to his attaches.
MARKOV
{In Russian}
What’s this all about? I thought we had an agent inside the N.S.A?
*****
SCENE 95
VON GLODA’S SUITE
Mosolov is rising from the floor, shaking his head.
Von Gloda and Gunther enter the suite.
VON GLODA
Who was it?
MOSOLOV
Bond. He’ll be heading for the garages.
VON GLODA
Then get after him. I’ll send out a general alert.
*****
SCENE 96
A PASSAGEWAY, THE ICE PALACE
Bond and Paula are sneaking through the warren of passages.
The tannoy barks an announcement.
ANNOUNCER
Attention. All armed personel: be alert. We have been infiltrated. The traitor Paula Vacker and the spy James Bond are to be shot on sight. I repeat, shot on sight.
PAULA
That’s not good.
BOND
How well do you know the pasageways?
PAULA
Like my own body.
BOND
{glancing at Paula and then at the ceiling}
Could you find your way from up there?
Paula looks up and sees the air conditioning ducts.
At the far end of the passage way two soldiers appear. Startled, they unswing their machine guns. Bond and Paula dart back and bullets cut in to the cement work. There is a brief exchange of gunfire. One of the soldiers is injured. Bond and Paula escape.
*****
SCENE 97
PASSAGEWAYS, THE ICE PALACE
There follows a short sequence of Bond and Paula running down two or three different passages and hiding in various alcoves or rooms, possibly the lecture theatre etc.
Soldiers are in pusuit and there can be brief gun battles.
During the chase, Mosolov and Gunther join the soldiers.
Mosolov directs Gunther and two guards down the passage that heads to the Lover’s Gallery.
MOSOLOV
Head them off.
*****
SCENE 98
THE LOVER’S GALLERY
Gunther and a guard enter the gallery. There is no-one to be seen. Gunther peers through the first window and then the second.
The camera obseves his POV in through the second window. A blond woman and an unseen man are making love under a sheet. Gunther moves on, but the camera remains on the couple in the room. We see it is Bond and Paula.
Paula gives Bond a kiss on the the lips.
PAULA
Do you think he’s gone?
BOND
We can’t wait to find out. Come on.
They throw back the sheet and we see they are still wearing most of their clothes. Paula pulls a t-shirt over her naked torso. Bond pulls the bed across the room so it is underneath the air conditioning vent. He stands on it and smashes the vent several times with his machine pistol.
*****
SCENE 99
A PASSAGEWAY, THE ICE PALACE
Mosolov meets Gunther, who shruggs. Mosolov runs a hand through his hair.
MOSOLOV
That’s impossible. We had this section surrounded. They can’t have escaped. Look again. I’ll head for the garage.
*****
SCENE 100
AIR CONDITIONING DUCT
Paula and Bond are wriggling along the air conditioning channel.
*****
SCENE 101
THE LOVER’S GALLERY
Gunther stares at the broken grill. He indicates to the soldier with him, who starts to speak into his communicator.
*****
SCENE 102
VON GLODA’S OFFICE
Von Gloda surveys the damage in his secret communications room. He takes a seat at one of the terminals and cradles his chin in his hand.
The crackle of the communicator in his suite interrupts his thought and he stands up to answer it.
*****
SCENE 103
THE TRANSPORT GARAGE
The garage is in darkness. It is spartan in decor and full of snow scooters. Outdoor equipment lines the walls.
In the ceiling a ventilation grill buckles and crashes to the floor. Paula climbs through the opening and drops to the floor. Bond follows.
Paula turns on the lights. To their left is an open lift shaft, with an elevator platform in place.
BOND
Does that lead to the surface?
Paula is grabbing outdoor clothing from the wall.
PAULA
Of course. Come on, grab a skidoo.
*****
SCENE 104
THE TRANSPORT GARAGE ENTRANCE
Mosolov, Gunther and the posse of soldiers approach the doors. There are no guards. The soldiers shoot out the lock and Gunther kicks open the door.
They enter the garage. Mosolov sees the lift is in operation.
MOSOLOV
We’ll go after them. Are the skidoos fitted with tracer beacons?
Gunther nods.
MOSOLOV
Good. They won’t get far.
*****
SCENE 105
A KOTA TENT, THE FOREST, EXTERIOR OF THE ICE PALACE
{Exterior}
A kota tent is positioned in the copse of trees, but it is much larger than a traditional Lapp tent. There is the faint sound of hydraulics, followed by the whoosh of an engine starting.
A skidoo driven by Paula and carrying Bond pillion bursts through the front folds of the tent and makes speed through the trees.
*****
SCENE 106
THE MORTUARY
The room is whitewashed and bare. In the centre is a marble slab on which lies Rivke’s body, cleaned up and covered in a flag bearing the N.S.A. insignia.
Von Gloda stands over it, grieving.
VON GLODA
You beautiful creature. So much happiness. Destroyed.
Mosolov and Gunther enter. They pause respectfully.
VON GLODA {Snaps}
Well?
MOSOLOV
They have stolen a skidoo. We can follow the tracer.
VON GLODA
{A look of madness creeping across his face}
Good. You must avenge this murder, Kolya. You must.
*****
SCENE 107
A SNOW COVERED PLAIN
{Long shot}
Daylight. The snow shines in the brightness.
The skidoo carrying Bond and Paula traverses the plain and heads towards a small copse of trees. There is a kota nestling in the undergrowth.
*****
SCENE 108
THE KOTA TENT
{Exterior}
{Close up}
A Lapp appears from the tent. This is Niiles. He carries a machine gun and is initially wary of the approaching skidoo.
It slows to a halt and Paula removes her goggles.
PAULA
{In Finnish}
Niiles! Thank God. This is James Bond. He’s a friend.
Paula brushes past Niiles and enters the tent. Bond follows.
{Interior}
It is dark and smokey. A fire is in the middle of the tent where Aslu sits, cooking reindeer meat. He shows no suprise at Paula’s sudden appearance and merely offers Bond some food. Bond declines with a hand gesture.
Paula throws some reindeer skins to the floor and reveals a radio transmitter.
She switches it on.
PAULA
It’s on a low level frequency. One they can’t trace from the ice palace.
BOND
What are you going to do?
PAULA
Contact my superiors. SUPO have a deal with General Markov.
BOND
The head of the F.B.S? He knows about this?
PAULA
He thinks Kolya is still his agent. Sometimes even Kolya thinks that.
Paula pulls on the headset.
PAULA
Have some breakfast. Aslu’s a brilliant cook.
{She turns to the radio transmitter}
I’m going to arrange an air strike.
*****
SCENE 109
A RUSSIAN AIR BASE
A division of MIG SU-19s begins to take off.
*****
Scene 110
M’S OFFICE
Moneypenny enters the office, quite agitated. M and Tanner both look at her with anticipation.
MONEYPENNY
Sir, you better see this.
She hands over a comminique.
M
Well, well. It seems the Russians have launched a squadron of fighter jets. And they’re heading straight to the Arctic Circle.
MONEYPENNY
Do you think 007 is still there, Sir?
M
If he is, he’s a bloody fool.
*****
SCENE 111
COMMUNICATIONS CENTRE, THE ICE PALACE
A radar operator notices the approach of the MIG fighters. He gestures urgently to his superior.
COMMUNICATIONS OFFICER
Its probably nothing. The Russians have flown over here countless times before.
*****
SCENE 112
RUSSIAN AIR SPACE
The MIG fighters are sweeping across the Arctic terrain, the sunlight reflects on the wings of the planes.
The jets pass over an extended copse of trees next to which sits a kota tent.
*****
SCENE 113
A HILLTOP RISE
Paula and Bond are ascending to the top of a low rise, one that gives a view across the forest towards the ice palace. They have skis on their feet.
The MIG fighters zoom overhead and they both look up to see them.
On reaching the top of the rise, they see the first attack run.
The sudden burst of flame and plume of smoke appears a few seconds before the bang of the explosion.
PAULA
They’ll be using AS-7 rock penetrators, probably with a time delay.
BOND
It’s gonna be hell. The poor deluded bastards.
*****
SCENE 114
MAIN CAVERN, THE ICE PALACE
Explosions tear apart the cavern. Bodies and equipment are thrown everywhere. Fires start and people rush to ty to extinguish them, but as soon as they start, more explosions occur. Masonry falls from the walls and ceilings.
There should follow several short cuts of explosions and devestation in the ice palace and the MIG fighter jets swooping on more attack runs
*****
SCENE 115
THE KOTA TENT
Niiles is standing outside and watches as the MIGs circle for another attack run. Suddenly he is grabbed from behind and stabbed in the chest. He lets out a startled cry.
Aslu appears from inside the kota, calling out for his compatriot. He too is set upon by the unseen assailants.
*****
SCENE 115
VON GLODA’S OFFICE
The sound of the explosions is getting closer. Von Gloda is opening the steel safe. Behind him stands Gunther and a pilot.
The door swings open and they walk through the small room. At the rear of the room, Von Gloda presses a brick in the wall and a tiny section of the rear wall clicks open, revealing a passageway.
*****
SCENE 116
THE HILLTOP RISE
Bond and Paula watch the final attack run. The skyline appears to be ablaze. The fighters swoop past on a victory roll.
BOND
I doubt anybody can survive that sauna.
PAULA
Come on, James, we need to get going. We’re still in Russian teritory here.
BOND
You’re right. It wouldn’t do to get caught here now.
Behind Bond and Paula, Mosolov and three N.S.A. soldiers have arrived and are taking aim at them with their machine pistols.
MOSOLOV
It’s too late for that.
Bond and Paula turn around slowly.
BOND
Of course, the sting in the tail.
MOSOLOV
This is quite simple, Bond. You have something I need. The locations of all the N.S.A. bases. Hand them over to me and I’ll let you go.
BOND
And if I don’t?
MOSOLOV
Then I kill you. I get them either way.
PAULA
But what do you want with them, Kolya?
MOSOLOV
I can sell them to the United Nations. Or maybe back to the N.S.A.
BOND
I thought you said you were F.B.S.?
MOSOLOV
I am F.B.S. I’m also N.S.A. But I am always Kolya Mosolov. Now, the hard drives, please.
Behind the soldiers, Aslu has crawled up the rise. He aims his machine gun at the group of men and opens fire. One of the bullets catches Mosolov in the shoulder who drops his machine gun and falls to his knees.
A short, vivid gun battle ensues, during which the soldiers and Aslu are all killed. Mosolov is left on his knees, blood spurting from his mouth. He grabs for his fallen gun, but Bond kicks the gun away.
BOND
I think you need to come with us. I’m sure General Markov will be interested in your deceptions.
MOSOLOV
Not that, James. Not that, my friend. I’m dying. He’s shot my lung.
PAULA
Then you’d better just die, Kolya.
MOSOLOV
How pleasant; and after all those awful nights we spent together.
{Pause}
I think this moment requires a cigarette.
Mosolov reaches into his coat. Bond and Paula both relax and lower their weapons. Mosolov pulls a revolver from his coat and levels it at Bond.
Paula responds quickest and fires a short burst from her machine gun.
Mosolov spins backwards, shot dead.
*****
SCENE 117
FOREST, EXTERIOR OF THE ICE PALACE
The ground is aflame and smoke billows from the bunker area. It is impossible to tell what was once forest and what was once the bunker. Masonry, machinery and forest debris intermingles in a complete mess.
From behind the carnage a small autogyro helicopter rises, heading away from the ice palace.
*****
SCENE 118
HONEYMOON SUITE, HOTEL REVONTULI, SALLA
{Exterior}
{Long shot}
A view of the hotel. The camera zooms in on the windows of the top floor honeymoon penthouse suite.
{Interior}
The suite is modern, with a big double bed occupying most of the main room. There are big double doors leading to a balcony and several tables dotted about the walls. The furnishings should be modern.
Paula is wearing a short silk night dress. She is acting light headed and we can see a half empty champagne bottle sitting in an ice bucket and two glasses on one of the tables.
PAULA
James, you are so romantic. You didn’t have to change our room to the honeymoon suite. Any room would have done for what I had in mind.
Bond appears at the entrance to the bathroom, naked except for a towel around his waist.
BOND
But I feel I’ve just started to understand you, Paula. All those contradictions are starting to make sense.
PAULA
Well, of course, you know I was working for SUPO before I even met you. Our meeting wasn’t entirely unplanned.
Bond chuckles and retires into the bathroom. He turns on the shower and steps under it.
Paula pours herself some more champagne. There is a knock at the door.
VOICE {Muffled}
Room service.
PAULA
James, what now?
Paula walks to the door and opens it. A waiter stands with a tray containing a bottle of vodka, a plate of smoked salmon, a dish of caviar and a basket of blinis.
PAULA {Smiling}
Caviar and salmon! Oh, James, you shouldn’t have!
Bond is showering and doesn’t hear what Paula says.
The camera focuses on the hot water streaming out of the shower head indicating the passing of time.
The water is turned off and the steady stream becomes a trickle and the stops altogether.
Bond steps out of the shower. He picks up the towel from the rack and recieves a mini-electric shock. He ruffles his hair with the towel and grabs a bath robe, pulling it tight around his waist. He turns towards the door, which is ajar and opens it.
BOND
So, Paula, what were you saying –
Von Gloda, Gunther and the auto-gyro pilot are in the room. Von Gloda carries a small automatic, the other two carry machine pistols. Paula is lying on the bed, upright and unbound, but with her hands behind her head.
There are a few seconds of silence.
VON GLODA
I assume you considered me to have died in that holocaust.
BOND {Grimacing}
If you want to call it that.
VON GLODA
As you can see I am very much alive. They couldn’t find me in 1945 and they cannot find me now. Not even with missiles. This is proof of my destiny.
BOND
Or your good fortune.
VON GLODA
If you wish. Now, all I need from you, Mr Bond, are the hard drives. Then we can kill you both and be on our way.
BOND
They’re in my tunic.
The pilot rummages through Bond’s clothes and holds up the three drives.
VON GLODA
Excellent. Now, on the bed. Since you obviously planned to spend the evening together, you may as well die together.
Bond settles onto the bed next to Paula.
BOND
There was one thing. Call me old fashioned, but it would be nice to smoke a cigarette before I die. They are my own special blend. Morlands.
Von Gloda silently considers the request, then curtly nods.
The pilot rummages through Bond’s luggage and raises a pack of cigarettes, which he tosses across the room to Bond.
BOND
My lighter is over there.
Bond gestures to the table closest to Von Gloda.
Von Gloda walks over to the table and reaches for the lighter, a silver plated Ronson. As soon as Von Gloda touches it there is crack of static electricity and he jumps back wards, surprising everyone except Bond.
Bond’s gun hand slips under the pillow and re-emerges holding Paula’s automatic. He shoots once, while rolling off the bed, and Von Gloda spins, his head jerking back with the impact of the bullet. Bond fires again.
Paula jumps at the pilot and grasps the machine pistol. The two start to struggle and fight.
Gunther lets out a yell and his machine pistol levels at Bond, moving sideways as he prepares to fire. Bond shoots at him, but only hits the gun, which buckles under the impact. Gunther changes direction and attacks Bond, who lets off one more shot, that hits Gunther in the arm, hardly stopping his lunge.
There follows a fight scene involving all four persons. It should be swift and vicious, with furniture broken and ornaments used as weapons.
The pilot is killed by Paula, who stabs him at close quarters with the broken neck of the champagne bottle.
Gunther and Bond crash through the double doors and onto the balcony. Bond manages to punch Gunther into submission, the bodyguard starting to keel over. Bond launches an upwards kick at Gunther’s jaw and his body snaps upright. Bond grabs Gunther’s knees and upends him over the balcony railings.
There is a tremendous crash from below, followed by squeals of alarm.
Bond looks ove rthe balcony edge. Paula joins him. Below they see Gunther has crashed straight through the glass roof of the restaurant below and landed on a dining table, shattering it on impact. Diners scatter in every direction.
BOND
I never liked his table manners.
*****
SCENE 119
GENERAL MARKOV’S OFFICE
Markov is talking to M on the digital phone.
MARKOV
A wonderful coup, Admiral. Bond and Vacker have excelled themselves. I do not suppose there would be an opportunity to thank them both personally?
M
I’m sure we can arrange something. Tanner, do we have the Vacker girl’s number?
*****
SCENE 120
PAULA’S APARTMENT, HELSINKI
The telephone rings. The apartment is empty. After several rings the answer-phone clicks in with Paula’s recorded voice.
PAULA
I’m sorry I am not able to answer the telephone. I am refreshing my mind and my body and my memories.
*****
SCENE 121
A SAUNA, SOMEWHERE IN FINLAND
Bond and Paula are caressing each other with vihta branches. They appear to be naked and only the steam preserves their modesty.
BOND
We had nothing like this in Paris, Paula.
PAULA
I don’t want to think about Paris. I want to think about now. How long have I got you for?
They kiss hungrily.
BOND
Two weeks, Paula. I hope we have enough champagne.
PAULA {Laughing}
And vodka martinis.
BOND
Or water for these stones. It’s getting a little chilly in here.
While Bond reaches for the water spatula, Paula sits back on the bench, her feet nudging his torso.
PAULA
Be careful what you touch.
BOND
Don’t worry, I’ll wear gloves.
PAULA
It wasn’t your hands I was worried about, James.
Bond douses the stones and a plume of steam rises, obscuring Bond and Paula as they embrace and kiss.
*****
CLOSING TITLES
The steam should form ice crystals that take on the shapes of Bond and Paula, along with other silhouetted women. The sweeping, haunting theme song “Break the Ice” sung by Kylie Minogue, plays throughout the closing credits.
The end of Icebreaker
James Bond will return in Licence Renewed
CAST
James Bond – Daniel Craig
Paula Vacker – Dominique Swain
Rivke Ingber – Karolina Kurkova
Kolya Mosolov – Kevin McKidd
Hector Martinez – Walter Moura
Otto Von Gloda – Ian McKellern
Gomez – Luis Guzman
Juanita – Gabriella Phillips
Michael Gambon – M
Emily Booth – Q
With
Bill Tanner
Moneypenny
Emil Zatopek
Jane Aitken
Miguel Torres
Lapkin
Seth
Gunther
General Markov
Swales
Ingrid
And
The Doorman
Niiles
Aslu
U.N. Delegate
French Delegate
British Delegate
German Delegate
Death Squad Leader
Sipuli Waiter
Cayman Taxi Driver
Hotel Manager
Bank Clerk
Harbour Master
London Policeman
Surgeon
Casino Manager
Hotel Night Clerk
Finnish Thugs
Von Gloda’s Sentries
Blue Hare Soldiers
N.S.A. Nurse
Auto-Gyro Pilot
Communications Officer
Card Player
And
The James Bond Girls