EXT. M'S FLAT -- LONDON -- NIGHT
Streetlights illuminate the night and pouring rain. A black Jaguar
comes to a stop in front of the flat.
M exits and opens an umbrella. He walks to the front door.
INT. M'S HALL -- CONTINUOUS
M enters his darkened flat and shuts the door. He flips on the light
and shakes out his umbrella before dropping it in the bin. He walks
down the corridor and enters his study.
INT. M'S STUDY -- CONTINUOUS
M walks over to the desk and flips on the desk lamp. The light
gleams off a model battleship. He reaches for a glass of scotch on
the desk, when he is startled by a voice.
BOND
007 reporting for duty.
M turns around immediately to see the silhouette of a man against
the blackened window on the other side of the office.
M
(angrily)
Where the devil have you been?!
BOND
Enjoying death.
M walks over to the wall and flips the light switch, bathing the room
in light. Bond shields his eyes with one arm, while holding a bottle of
vodka in his other.
M
Why didn't you call?
Bond takes a drink from the bottle.
BOND
I was getting around to it. You know,
you should really try it sometime, get
away from everything. It really lends
perspective.
M
Ran out of drink, did you?
Bond moves away at from the window and looks angrily towards M.
BOND
You should have told me Blofeld was
alive.
M
I made a judgement call. You were
getting married. So I sent 008, instead.
BOND
It wasn't 008's fight.
M
What do you want? A bloody apology?
(beat) You know the rules of the game,
you've been playing it long enough. (beat)
As I have.
BOND
Perhaps too long.
M
Speak for yourself.
Bond pauses. He finishes his drink and slams the bottle on the table
next to him.
Bond
And now 008's dead.
M
Yes.
BOND
So that's it. We're both played out.
M
If that's how you feel, why did you come
back?
BOND
Good question.
M
Because we're under attack. But I've no
use for a drunk, worn out agent.
Bond sighs.
BOND
Well either way, I'm here.
M relents.
M
You'll have to be debriefed and declared
fit for active duty. You cannot be
reinstated until you've passed evaluations,
so take them seriously.
BOND
I'll go home and rest up.
M
We've sold your flat and put what wasn't
into storage. Standard procedure upon the
death of an unmarried employee, you'll
recall.
Bond tenses up at the omission of his dead wife.
BOND
I'll find a hotel.
M
Well you're not staying here.
M doesn't say another word and exits the room.
EXT. LONDON STREETS -- DAY
A black car drives through rainy London. Bond, still unshaven, sits in
the backseat, while Tanner is in the front. The car passes through an
opening gate and proceeds underground.
INT. BUNKER -- CONTINUOUS
The car proceeds through the bunker.
TANNER
A missile was fired from an undisclosed
location. Luckily it contained a fairly week
payload or else the damage would have
been far greater. Also, the mainframe
computer was attacked (beat) remotely.
BOND
Remotely?
TANNER
Over the new ARPAnet system. A radio
signal was bounced off a satellite from
somewhere around the globe. We aren't
sure where. When we investigated further,
we discovered his schedule had been
deleted. Whoever did this knew he'd be
out of the building.
BOND
Then they weren't targeting him. They
wanted him to see first hand. (beat) Where
are we Tanner?
TANNER
New digs.
The car stops in front of a gate. Bond and Tanner exit the car.
TANNER
After the attack, the old building was
deemed strategically vulnerable.
BOND
You don't say.
TANNER
They were able to digitally attack the
most secure building in the United
Kingdom. We're on foot from here.
Bond and Tanner walk up to the door and stop. Tanner presses a
button on the intercom to his right.
GUARD
(static)
Name and purpose.
TANNER
William Tanner, Chief of Staff. Requesting
entrance with Royal Navy Officer
Commander James Bond.
GUARD
(static)
One moment.
CLUNK! The lock releases and Tanner opens the door. He and
Bond pass through.
INT. BUNKER CORRIDORS -- CONTINUOUS
Bond and Tanner meander through several long hallways.
BOND
This was Churchill's bunker, was it not?
TANNER
Correct. This is where the high brass took
refuge during the bombing of London. We're
on war footing now.
BOND
Seems appropriate.
TANNER
We're still discovering tunnels dating back to
the end of the Renaissance Era. It'd make a
great home if it weren't for the rats.
BOND
Charming. When do I see M?
TANNER
Tomorrow. You'll see M and Mallory too, most
likely.
BOND
Mallory?
TANNER
Gareth Mallory, the new Chairman of the
Intelligence and Security Committee. A very
outgoing personality, I think you two will get
along famously.
Bond and Tanner pass under an archway, beyond which is visible a
brightly lit room with many desks and workers.
TANNER
Welcome to the new MI6.
INT. TRAINING ROOM 1 -- MONTAGE
Bond and Tanner are in a room with stone walls and metal tables. Bond
runs on a treadmill with wires attached to him. Tanner stands before him
with several other men about.
TANNER
Using ARPAnet, we attempted to reverse the
signal to it's source. However, the system is
still in it's infancy and our signal was blocked.
There are many, the PM included, who believe
the system shouldn't be approved for field use
until proper testing and safeguarding can be
done.
INT. TRAINING ROOM 2 -- MONTAGE
The second room is much similar to the first. This time, Bond is doing
crunches with Tanner kneeling before him.
TANNER
Q branch and the 00 sector have been
attempting to discover the source behind
the theft of the manifest, but without
knowing the identity of the man from Málaga,
we have had nothing to go. The common
belief is that it's someone from his past.
Perhaps from when he was running things in
Greece. He has no idea what it could possibly
mean.
Bond stops at the top of his sit-up.
BOND
And you believe that?
Tanner doesn't respond.
INT. TRAINING ROOM 3 -- MONTAGE
In another similar room, Bond does pull-ups.
TANNER
The truth is, we don't have any idea who took
the manifest or what they plan to do with it.
The scariest part of which is that they've had
it for two months and have made nary a peep
about it.
Bond stops doing his pull-ups. He lowers himself to the ground and
rests against the columns of his pull-up bar. He GRUNTS.
TANNER
We can continue this later.
Bond breathes heavily.
BOND
You know what? (beat) Let's.
Tanner walks towards the exit and motions for the others to follow
him. Bond watches until they exit and then collapses to the ground,
panting.
INT. SHOOTING RANGE -- LATER
The room is long with Bond at one end and a target several yards
down range, at the other. The target is a white piece of cardboard
with a black silhouette.
BANG! Bond fires at the target, but the shot misses to the silhouette's
left. Bond hesitates and rubs his right shoulder. He resets himself and
raises his arm to fire again. His arm shakes as he tries to steady himself.
BANG! The second shot also misses the silhouette, but to the other side.
Bond glances over at the evaluator who gives a disapproving glare back.
Bond walks towards the target and fires all five of the remaining rounds.
BANG! BANG! BANG! BANG! BANG!
He stops after the final one to examine his results. Only one shot has hit
it's mark, in the upper left shoulder of the blackened silhouette.
INT. INTERROGATION ROOM -- LATER
The room is white with a two-way mirror on one wall. Bond sits at a table
across from the MI6 psychiatrist, Sir James Maloney. Files litter the table.
INT. ROOM BEHIND MIRROR -- SIMULTANEOUS
M, Tanner and Mallory stand in a darkened room. They watch the scene
unfold in the next room through the two-way mirror.
INT. INTERROGATION ROOM -- SIMULTANEOUS
The psychiatrist wipes off his glasses and replaces them on his face.
MALONEY
Good morning, 007.
BOND
Maloney.
MALONEY
I would like to start with some word
associations. It's simple. I will say a word
and then you reply with the first thing that
pops into your head. For example, I might
say day, you might say--
BOND
Wasted.
Maloney rolls his eyes.
MALONEY
Fair enough. (beat) Let's begin.
Maloney folds his hands and stares at Bond, who looks bored and
annoyed with the whole game.
MALONEY
Car.
BOND
Toy.
MALONEY
Gun.
BOND
Shot.
MALONEY
Country.
BOND
England.
MALONEY
Spy.
BOND
Provocateur.
MALONEY
Drink.
BOND
Heavily.
MALONEY
M.
BOND
Arse.
INT. ROOM BEHIND MIRROR -- SIMULTANEOUS
Tanner rolls his eyes. Mallory glares at M.
MALLORY
Well, this is going well.
M ignores him and stares at Bond, clearly perturbed.
INT. INTERROGATION ROOM -- SIMULTANEOUS
The conversation continues.
MALONEY
Murder.
BOND
Job.
MALONEY
Sky.
BOND
Fall.
MALONEY
Tracy.
Bond doesn't respond. His eye twitches and his muscles clench.
MALONEY
Tracy.
Bond hesitates, but responds.
BOND
Piss off.
Bond gets up. He glares menacingly at M through the mirror and
storms out of the room.
INT. BOND'S FLAT -- LONDON -- NIGHT (FLASHBACK)
Snow falls outside the window. Inside, the room is mostly quiet
and dark save for the light from the fireplace and the crackle of
the fire.
Tracy sits on the sofa. She has a photo in her hand. Bond walks
over with a bottle of Dom Perignon and two glasses. He sits down
next to her and works on opening the bottle.
POP! The cork comes off and Bond pours some Champagne into
each glass. He hands one to Tracy.
BOND
To the future Mrs. James Bond.
TRACY
And to all the memories that will be had.
CLINK! They toast and take a drink. Bond kisses her passionately.
She pulls away.
BOND
Something wrong?
TRACY
No, I was just thinking.
BOND
Hmm, what about?
Tracy hands the photo to Bond. It is of an old manor, SKYFALL
LODGE. Three people stand in front of it: a man, a woman and
a boy. He examines it. A look of pain comes across his face.
TRACY
I found this amongst your things.
Bond doesn't respond. He stares at the photo.
TRACY
James?
BOND
This was where I grew up.
TRACY
Really? It's beautiful.
Bond nods. He appears to be lost in thought.
TRACY
Are those your parents?
BOND
Yes.
TRACY
So, is that you?
Tracy points to the little boy. Bond nods.
TRACY
When was this taken?
Bond hesitates.
BOND
The day they left for their climbing trip.
This was the last time I ever saw them.
Bond strains to get the words out.
TRACY
I'm sorry, James.
Tracy embraces Bond. He tosses the picture aside and tries to
regain his composure.
BOND
Don't be. It's ancient history.
TRACY
Why do you say that?
BOND
After they died, I left. Never went back.
Tracy pauses and thinks to herself. She looks into Bond's eyes.
TRACY
Maybe it's time.
BOND
What do you mean?
TRACY
Take me there. Take me to Skyfall.
BOND
I can't.
TRACY
It could help.
Bond doesn't respond. He looks away.
TRACY
Please, for me?
Bond turns back to her.
BOND
For you.
Tracy kisses him and she falls onto her back with Bond on top
of her.
INT. MI6 BUNKER MAIN HALL -- DAY
The hall is populated with desks and MI6 personnel. Bond,
dressed in a dark blue suit, walks through the hall to a corner
office. He opens the door and walks through.
INT. MONEYPENNY'S BUNKER OFFICE -- CONTINUOUS
Bond enters Moneypenny's office. It's small with only a desk.
Moneypenny sits behind it with a file in front of her.
BOND
Miss Moneypenny.
MONEYPENNY
James. You look awfully spry for a
corpse.
BOND
I never said I was a corpse did I?
MONEYPENNY
I've got no proof that you're not.
BOND
Well we'll just have to do something
about that then, won't we?
Moneypenny smiles. The levity seems to relax Bond slightly.
The red light on Moneypenny's intercom blinks. She presses
the button.
M
(static)
Send in 007. We're on a tight
schedule.
MONEYPENNY
Yes sir.
She releases the button.
MONEPENNY
In you go.
BOND
Once more....
Bond walks past Moneypenny and proceeds through the door
to M's current office.
INT. M'S BUNKER OFFICE -- CONTINUOUS
Bond enters into a short staircase and hooks around a corner
into the main portion of M's office. The office is barren save for
a desk situated in front of a large glass wall overlooking the
main hall. M sits behind the desk opposite two chairs, one
occupied by Mallory.
Bond walks towards the chairs as Mallory stands.
M
007 meet Gareth Mallory.
Mallory extends his hand. Bond shakes it.
MALLORY
Nice to finally meet you Mr. Bond.
BOND
Mallory.
They both sit down. M picks up a folder and opens it. Bond
notices M's butterfly case.
BOND
The whole building is destroyed and
yet that bloody thing survives.
M
The butterfly is far more resilient than
you might think. Apparently, much like
you. You've passed your evaluations
(beat) barely.
M closes the folder and places it on the desk.
M
(to Mallory)
Would you excuse us?
MALLORY
Of course, Admiral.
Mallory gets up and proceeds to the exit. Bond avoids his gaze.
Mallory stops at the top of the stairs and turns to Bond.
MALLORY
I just have one question, Bond.
Bond turns to face Mallory.
MALLORY
Why come back? You've been through
a traumatic ordeal. You could've left
your demons behind, lived by yourself
far away from the problems of the world.
BOND
Hire me or fire me. It's entirely up to you.
M
(to Mallory)
If Bond says he's ready then he is.
MALLORY
Right then. (beat) Good luck 007, I
don't need to remind you how
delicate this situation is.
Mallory leaves. M uses his intercom.
M
Moneypenny, bring in the file from Q.
MONEYPENNY
(static)
Of course, sir.
M
(to Bond)
Q has traced the radio signal that
triggered the missile launch. Now that
you've had your clearance restored, I
can inform you that it came from one of
our own bases in South Cerney.
Moneypenny emerges from the stairs carrying a file. She walks
over to M and hands it over. M opens it and removes a dossier.
He hands it to Bond.
M
This is Colonel Davis, head of the RAF
South Cerney base.
M places the dossier on his desk.
M
You are to go there and meet with him.
Find out who sent that radio signal.
Hopefully, it will lead us to the manifest.
Be sure to stop in Q branch on your way
out of the building.
BOND
Sir.
Bond gets up. He nods towards Moneypenny and walks towards
the exit.
M
And Bond?
Bond stops and turns to look at him.
M
You are ready for this? You understand
the consequences should you fail?
BOND
Yes sir.
With that, Bond exits M's office.
MONEYPENNY
With all due respect sir, are you sure you
know what you are doing?
M
What do you mean?
MONEYPENNY
You know very well. James didn't pass
the tests.
M doesn't respond. He watches Bond walk across the hall.
INT. Q'S OFFICE -- MOMENTS LATER
The room is small. Schematics litter the desk. An older gentleman,
50s, sits in the chair pouring over a document with "ARPAnet"
written in bold letters at the top. Bond enters and stops in front of
Q's desk.
Q
Science fiction is a fascinating genre,
don't you think?
BOND
I don't deal in fiction.
Q
Fiction can teach us so much about
our reality. Particularly, when that
fiction starts to morph into our own
world. Take this ARPAnet for instance.
With it, we can now digitally store and
send information to computers are over
the world.
BOND
Or sabotage them.
Q
Yes, well there are still a few bugs to
work out, but the possibilities of what
we can do with computers is
incalculable. (beat) Right, follow me
007.
Q gets up and motions for Bond to follow him. They exit his office.
INT. Q'S LAB -- CONTINUOUS
Bond follows Q past several tables of employees tinkering with
computers, printouts and film cannisters.
They stop at a table with various boxes and equipment. Q picks
up the first, which resembles a harpoon and handles it to Bond.
BOND
A harpoon?
Q
Similar concept, but different execution.
This one fires a reinforced cable that
when properly anchored, can act as a
zipline. To be used in need of escape.
BOND
Could've been useful in Málaga.
Q rolls his eyes. He picks up the next, a black case and opens it.
Inside are a gun and an empty indention.
Q
Walther PPK/S 9mm. Holds six rounds
with a seventh in the chamber.
BOND
I'm familiar with this gun, Q. What goes
here?
Bond points to the indentation. Q retrieves a watch off the table
and shows it to Bond.
Q
Your new wristwatch. Press here and it
turns the watch into a powerful flashbang
grenade. The flash and shockwaves will
disorientate anyone for a period of about
four seconds.
Bond takes the watch and places it in the indentation in the case
and closes it.
BOND
That's all?
Q
What were you expecting, a voice
manipulator? We're understaffed and
underbudgeted. You're on your own
from here.
Q leads Bond towards the door.
Q
Good luck, 007. Please try to return the
equipment in pristine order.
BOND
Some things never change.
EXT. RAF SOUTH CERNEY BASE -- ENGLAND -- DAY
Bond drives up the main gate of the base in his 1969 Aston
Martin DBS. He pulls up to the gate and stops. He lowers the
window.
RAF GUARD
Name and purpose of visit.
BOND
Commander James Bond, MI6. Here to
see Colonel Davis.
RAF GUARD
Identification.
Bond reaches into his coat pocket and removes his ID. He
hands it to the guard who glances at it and hands it back.
RAF GUARD
Park in that lot there.
(points to a lot to the left)
Sign in at the desk.
The gate opens and Bond drives to the lot and parks.
INT. MAIN HALL -- MOMENTS LATER
Bond enters into the main hall and walks up to a desk in front
of the back wall. He stops in front of the receptionist, a young
man in Army fatigues. The man stands and salutes upon
seeing Bond.
ARMY RECEPTIONIST
Name, sir?
BOND
Commander James Bond.
ARMY RECEPTIONIST
Sign in, please sir.
Bond signs his name on the register in front of him.
ARMY RECEPTIONIST
Thank you, sir. Take a seat over there
and somebody will be down to escort
you shortly.
Bond does as he's told and moves to the chairs
against the wall. Instead of sitting, he gazes at the
portraits on the wall.
WOMAN
Commander Bond?
Bond turns around. He sees a woman in a light
blue sweater and a black skirt. The sweater
accentuates her breasts drawing his eyes to them.
WOMAN
Up here.
Bond raises his head to hers. She is very beautiful
with brown eyes and black hair. This is Andress.
BOND
My apologies, Miss?
ANDRESS
Andress. Follow me, Colonel Davis has
precious little time.
BOND
Yes, ma'am.
Bond follows Andress down a hallway to the last door. She
stops at a door and opens it. He follows her through.
INT. ANDRESS'S OFFICE -- CONTINUOUS
Bond follows across the room. The room is small with a desk
and a file cabinet. She moves to the door on the far side and
KNOCKS.
DAVIS
(muffled)
Come in.
Andress opens the door and enters.
INT. DAVIS'S OFFICE -- CONTINUOUS
Andress enters and stands next to the open door.
ANDRESS
Commander Bond to see you.
DAVIS
Send him in.
She gestures for Bond to enter, which he does.
BOND
Thank you, dear.
She exits without saying a word. Bond walks over to the desk.
DAVIS
Have a seat Commander.
BOND
Thank you sir.
Bond sits in the chair opposite him. Davis' office is larger and
resembles M's MI6 office. There is a window to the right and
military paraphernalia adorns the walls.
DAVIS
What can I do for you, Commander?
Bond reaches into his pocket and pulls out his gunmetal
cigarette case and removes a cigarette.
BOND
Do you mind?
DAVIS
Not at all.
Bond puts the cigarette to his lips and replaces the cigarette
case in his pocket. He pulls out a lighter and lights it. He puffs
on the cigarette and exhales.
BOND
We tracked the radio signal that caused
the missile launch to this base.
DAVIS
And?
BOND
What do you know of it?
DAVIS
What are you insinuating?
BOND
You tell me.
DAVIS
The signal was sent from a malfunctioning
radio tower. The matter has already been
taken care of.
Bond takes a drag on his cigarette and exhales the smoke
directly at Davis.
BOND
That's all?
DAVIS
Machines are made by man. They break.
It's an unfortunate truth.
BOND
Indeed it is.
Davis pauses before replying.
DAVIS
Let me remind you that we aren't the ones
under investigation. (beat) You don't get to
be suspicious.
BOND
How convenient.
DAVIS
I'm sorry, I can't be more help.
Davis shifts his chair slightly to the right. Bond notices.
BOND
Right then. If the matter's settled, I'll be
on my way.
Bond crushes out his cigarette in the ash tray on Davis's
desk and stands up. He turns and walks to the door and
opens it.
BOND
Good day, Colonel.
Davis doesn't respond. Bond exits through the door.
INT. BOND'S CAR -- NIGHT
Bond stops the car on the side of the road. Ahead of him,
we see the RAF South Cerney Base. Bond is dressed in a
black sweater and black pants. He grabs the zip line gun
on the seat next to him and exits the car.
EXT. ROAD -- CONTINUOUS
Bond slings the zip line gun over his shoulders. He runs
across the street and stops at the chain link fence surrounding
the Base. He removes a pair of side cutters from his pocket
and cuts through a number of the chain links and creates a
hole to climb through.
EXT. RAF SOUTH CERNEY BASE -- CONTINUOUS
Bond slips through the fence and sticks to the shadows as he
works his way across to the main building. He stops at a door
near the main entrance. Bond can hear movement from the other
side of the door. He waits in the shadows.
A soldier emerges from the door and Bond quietly slips inside as
it closes behind the soldier.
INT. RAF SOUTH CERNEY BASE -- CONTINUOUS
Bond emerges inside the darkened base and makes his way
towards Davis's office.
INT. ANDRESS'S OFFICE -- MOMENTS LATER
Bond walks across Andress's empty office and stops at the
door to Davis's office. He tries the knob, but it's locked. Bond
removes a lockpick from his pocket and uses it to unlock the
door.
Bond hears a CLICK indicating the door has been unlocked.
He opens the door and pockets the lockpick. He passes
through.
INT. DAVIS'S OFFICE -- CONTINUOUS
Bond closes the door behind him. He pulls out and turns on a
flashlight and proceeds to Davis's desk. He stops behind it and
moves the chair. He kneels down and runs his hand along the
ground until he feels a moveable panel. He presses down on it,
which creates a handle and he pulls up on it revealing a safe in
the floor.
Bond pulls out a safecracking device and attaches it to the dial
on the safe. He presses a button on the device, activating it. It
turns for a moment and stops. Bond pulls up on the safe's lever,
opening it.
Inside Bond finds a number of files. He removes and quickly
examines them. He stops on one showing a picture of the man
from Málaga. Bond sees the caption that reads "OTTO SCHNEIDER."
The document also shows a copy of an iternary of a trip to Saigon.
Bond folds the document and inserts it in his pocket. He replaces the
files in the safe and closes it. He exits the office locking the door behind
him.
INT. HALLWAY -- MOMENTS LATER
Bond moves quickly down the hallway towards the exit. Bond hears
footsteps ahead of him and he slips into a doorway.
The source of the footsteps approaches and passes the doorway Bond
is in. Bond steps out from his hiding spot and subdues the figure from
behind.
The figure fights back, but to no avail. Bond turns it over and is surprised
at who he sees. It's Andress, dressed in stealth attire, like him.
BOND
Well, I certainly did not expect this.
ANDRESS
(surprised)
You!
All of a sudden the lights turn on.
GUARD
Stop right where you are.
BOND
(to Andress)
We've out stayed our welcome. Come
on.
Bond takes her by the arm and they run down the hallway. Ahead of them,
two soldiers appear with their guns trained on them. Bond and Andress
come to a halt.
ANDRESS
This way.
Andress busts open the door adjacent to them and leads Bond through.
INT. STAIRWELL -- CONTINUOUS
Bond follows Andress into a stairwell and they race up a staircase. Bond
hears a CRASH ahead and sees a door open on the above floor.
He pulls his gun out of its holster. BLAM! BLAM! Bond fires two shots at
the door where two soldiers have emerged. They slip back behind the wall
following the shots and Bond and Andress continue up the stairs past the
doorway.
They pass another door, but Bond gets hit from behind after a soldier
crashes through it. Bond drops his gun, but fights back. He elbows the
soldier in the groin. The soldier keels over in pain. Bond punches him in the
face and the soldier falls to the ground. Bond grabs his gun and he and
Andress race to the top of the stairwell.
They stop at a door. Bond tries it, but it's locked. BLAM! He shoots the lock
and kicks the door open. He pulls Andress through.
EXT. ROOFTOP -- CONTINUOUS
They appear on the rooftop of the building. Bond SLAMS the door shut
behind them. Spotlights are visible in the distance. Bond runs to the edge of
the roof and peers over.
The spotlights re-aim themselves on Bond. He raises his hand to shield his
eyes. He sees the soldiers on the ground pointing their guns at him.
DAVIS
(through megaphone)
You are surrounded. Surrender now or
be shot.
Bond retreats out sight of the soldiers. He frantically searches around him.
He focuses his gaze on a tree in the distance.
He pulls the zip line gun off his back and loads it.
ANDRESS
What are you doing?
BOND
Trust me.
He fires at the tree and hits it. Bond takes the other end of the zip line and
secures it to a pole next to them.
ANDRESS
You must be joking?
BOND
Do you have any better ideas?
Just then the door behind them CRASHES open and three soldiers emerge.
BOND
No time to argue!
Bond uses the zip line gun as a handle and Andress holds onto him as they
jump up and coast down the zip line. The soldiers on the ground fire at them,
but miss.
The soldiers on the roof run to the zip line and cut it down.
EXT. ROADWAY -- CONTINUOUS
Bond and Andress fall to the ground as the zip line falls. They land on the other
side of the fence. The soldiers continue firing at them. Bond pops up and grabs
Andress.
BOND
Come on!
They run to Bond's car just down the road. Bond enters on the driver's side and
Andress enters on the passenger side.
INT. BOND'S CAR -- CONTINUOUS
Bond starts the car and takes off down the road. Bond watches the lights of the
base fade in the distance until it is out of sight.
BOND
So I'm guessing you aren't really the
Colonel's secretary.
ANDRESS
You figure that out all on your own?
BOND
MI6 isn't totally incompetent.
ANDRESS
I'm MI5. (beat) I was undercover
trying to find out who attacked
your miserable arses.
BOND
For how long?
ANDRESS
Two months.
BOND
And did you find out?
ANDRESS
No and now I won't because of
you.
Bond pulls the document out of his pocket and hands it to her. She
examines it.
ANDRESS
Otto Schneider. (beat) What's the
connection?
BOND
He's the one who stole the troop
manifest.
ANDRESS
Where is he now?
BOND
Saigon.
The Aston Martin drives down the darkened road.
INT. INDOOR POOL ROOM -- HOTEL -- SAIGON -- NIGHT
The pool room is on the top floor of the hotel with the Saigon skyline in the
distance. The pool is dark save for some dim lights along the wall and the
illumination from the pool's underwater lights.
Bond swims the length of the pool. He stops at the wall and pulls himself out
of the water. He breathes heavily and stares off across the illuminated skyline
of Saigon.
INT. HOTEL BAR -- LATER
Bond sits at a bar with a dark, glossy finish. The barmen delivers Bond a
chilled Martini. He takes it and sips.
An attractive woman walks up to him. Bond sizes her up.
MESSENGER WOMAN
Commander Bond?
BOND
Yes?
MESSENGER WOMAN
A message for you.
BOND
I'm glad I asked for delivery in
person.
She hands him a note and walks off. He opens it and reads:
"OTTO SCHNEIDER ARRIVING TO SAIGON AIRPORT AT 22:30 EN
ROUTE FROM KIEV."
Bond folds the note and replaces it in his pocket. He finishes the rest
of his martini and leaves the bar.
INT. SAIGON AIRPORT TERMINAL -- NIGHT
Bond stands amongst the crowd wearing a black suit, sunglasses and
a black ascot cap. He waits at the arrival gate. A man walks through
wearing gray trousers and a black jumper. It's Otto.
He walks past Bond, who avoids eye contact. Otto makes his way to the
baggage claim carousel. Bond follows several yards behind. Otto comes
to a stop at the carousel and waits for his bag. Bond stops near a column
and holds up a newspaper to hide his face.
Otto retrieves a black briefcase and walks off. Bond follows.
EXT. SAIGON AIRPORT CARPARK -- MOMENTS LATER
Otto enters a taxi and drives off. Bond, already in the driver's seat of a
black Renault, follows at a distance.
EXT. SAIGON STREETS -- MOMENTS LATER
The motorway is congested and the road is lit by car and sporadic
street lights. Otto rides along with Bond, several cars behind in pursuit.
The taxi exits the highway. Bond follows.
Otto's taxi meanders through the cramped back streets before coming
to a stop in front of partially constructed hotel, many of whose floors are
open to the air. Bond stops at the end of the street and watches Otto,
who exits his car holding the black briefcase and walks to the building.
INT. BOND'S CAR -- CONTINUOUS
Bond opens the glove box of the Renault and retrieves his Walther PPK/s.
He checks to ensure the gun is loaded and holsters it under his left
shoulder. He exits the car.
EXT. SAIGON STREETS -- CONTINUOUS
Bond proceeds to the hotel entrance and enters.
INT. UNFINISHED HOTEL LOBBY -- CONTINUOUS
The interior of the hotel is dark. Bond surveys the unfinished lobby. A sheet
of plastic flaps on the other end of room. Bond walks to it. The plastic has
been cut open, behind is a concrete stairwell. Bond advances through.
INT. UNFINISHED HOTEL STAIRWELL -- CONTINUOUS
Faint FOOTSTEPS are heard coming from above. Bond begins to climb the
stairs. Several floors up Bond notices a scaffolding at the end of a hallway.
He proceeds through the empty doorway.
EXT. HOTEL ROOF -- SIMULTANEOUS
Otto emerges onto the roof, still holding the briefcase. It's cluttered with
various building equipment and materials. He advances to the edge of the
roof and places the briefcase on the ground. Across the clearing is another,
taller building. The floor is well lit and several people are visible behind the
windows.
EXT. SCAFFOLDING -- SIMULTANEOUS
Bond climbs out of the unfinished floor and onto the scaffolding. He begins
to ascend to the top.
EXT. HOTEL ROOF -- SIMULTANEOUS
Otto opens the briefcase and extracts various pieces. He assembles a sniper
rifle. Once completed he aims down the scope towards the building opposite
him.
An enigmatic young woman, 20s, opens a door and ushers in a man wearing
a South Vietnamese General's uniform. The man walks to an empty chair and
sits.
He appears to be talking to the other people in the room. The woman remains
several yards away. Otto readies the gun.
EXT. SCAFFOLDING -- SIMULTANEOUS
Bond reaches the top of the scaffolding and hoists himself up. He peers over
the ledge to see Otto aiming a rifle at the other building. Bond pulls himself
onto the roof.
EXT. HOTEL ROOF -- CONTINUOUS
Bond lands with a soft THUD. Otto turns back, but cannot see Bond whose
figure is obscured by the various debris. He turns his attention back to the
situation in the room.
Bond withdraws his PPK and slowly creeps towards Otto.
Otto re-aims the rifle at the back of the South Vietnamese General's head.
PFFT! CRACK! Otto fires, breaking the glass of the window and the General
slumps off his chair, dead. Bond approaches Otto.
Suddenly, Otto spins around and fires at Bond, who ducks. Bond lunges
towards Otto, who counters and knocks Bond away. He drops his PPK and
stumbles over the edge, but grabs Otto's rifle and pulls himself back onto the
roof.
Bond throws a punch and hits Otto in the face. Otto loses his balance and
Bond wretches the rifle from his grip. But Otto regains himself and tackles Bond.
Otto grabs ahold of the rifle and presses it towards Bond's throat. Bond resists.
Otto presses harder. Bond tries to push Otto off, to no avail.
Bond searches for anything to use. He reaches for the PPK near his hip, but Otto
kicks it away. Just then, Bond grabs the handle of Otto's suitcase and swings it at
him. He connects and Otto loses his balance and trips over the edge. Bond leaps
up and grabs his hand, keeping Otto from falling.
BOND
Where's the manifest?!
Otto doesn't answer. His hand begins to slip from Bond's grasp.
BOND
Tell me, who's got it?!
Otto still doesn't answer. His hand slips completely from Bond's and he falls to his
death.
BOND
Dammit.
Bond backs away from the edge and looks across to see the woman staring back
at him. She turns and walks away.
Bond pulls himself to his feet and examines the briefcase. It's mostly empty save
for a casino chip embedded in the felt. Bond removes it and checks it. There's an
engraving of a Bronze Dragon and the edge reads: BANGKOK.
INT. M'S OFFICE -- LONDON -- NIGHT
M sits at his desk, which is covered in papers. He looks very tired. KNOCK! KNOCK!
M
Enter.
Moneypenny enters. She walks to M who stands up. She hands him three pieces of
paper.
MONEYPENNY
These were brought up from Q.
He said they were sent over the
ARPAnet system.
M examines the first paper. The top reads: HAVE YOU BEEN THINKING? A grouping
of 1s and 0s forms a skull in the middle of the page. He flips to the second and reads
aloud.
M
US Marine Amphibious Force to
advance on Hué, dated today.
(beat) More troop deployments
each week.
M glances at the third page. This one has only one line: THINK ON YOUR SINS.
M
Get Langley on the line. We can't
keep this under wraps any longer.
We have to alert the Americans.
MONEYPENNY
Yessir.
Moneypenny leaves and M slouches back into his chair looking defeated.
INT. BANGKOK HOTEL SUITE -- NIGHT
Bond, wearing a bathrobe, walks from his balcony overlooking the
Chao Phraya River and to the bathroom. He lathers some shaving
cream. KNOCK! KNOCK!
Bond puts down the shaving cream and grabs his PPK. He walks
to the door and peers through the peep hole.
ANDRESS
(muffled)
Room service.
Bond smiles and opens the door. Andress is wearing a white blouse
with a black skirt.
BOND
I didn't order anything.
ANDRESS
I've got a message.
BOND
You flew all the way to Bangkok
for a message?
ANDRESS
More secure than using this
ARPAnet.
BOND
Touché.
Bond walks back to the bathroom. Andress closes the door and follows.
Bond begins to apply the shaving cream to his stubble.
ANDRESS
Colonel Davis has been arrested,
but too late. Whoever stole the
manifest, released the first troop
deployment.
BOND
Surprised it took this long.
ANDRESS
This is just the start. More are
promised next week and the week
after. It's some kind of sick game.
Personally, I think there's more to
this than just the manifest.
BOND
So it would seem.
Bond finishes applying the shaving cream and grabs a straight razor.
ANDRESS
Fleet Street. How very traditional.
BOND
Well, sometimes the old ways are
the best.
ANDRESS
Even in this advancing world.
Bond turns to Andress and holds up the razor.
ANDRESS
Is MI5 still cleaning up after MI6?
EXT. SUITE BALCONY -- MOMENTS LATER
Andress kneels in front of Bond who is sitting in a chair. She is in the
process of shaving him. A towel sits on the table next to them.
BOND
M's already informed me of the
release of the troop deployment.
(beat) Which raises the tantalizing
question of why you're really here?
ANDRESS
Well, then you must also know that
the Americans are screaming for
blood. So the more people on this
case, the quicker we can contain the
situation.
Bond turns his head and Andress touches the razor to his cheek.
BOND
By which you really mean spying for
Mallory.
ANDRESS
You know, Mallory isn't that bad.
BOND
He's a politician.
ANDRESS
You really should do more research,
before you pass judgment. Gareth
Mallory was a Lieutenant Colonel in
the Royal--
BOND
Royal Army who spent six months in
a Nazi concentration camp before
assisting in the downfall of Berlin.
ANDRESS
So, he's not just your typical pen
pusher.
BOND
Sure.
Bond sighs. He steals a glance at Andress's cleavage. She pulls
Bond's chin up and looks into his eyes.
ANDRESS
What did I tell you before? (beat)
Also, keep still.
She slides the razor under his chin and removes the last of the
stubble.
ANDRESS
Much better. (beat) You look like
him now.
BOND
And who's that, exactly?
She puts down the razor and grabs the towel from the table. She
rubs his face with the towel, seductively, removing the excess
shaving cream.
ANDRESS
Why, 007 of course.
EXT. BRONZE DRAGON CASINO -- LATER
Bond, stubble-free and wearing a tuxedo, stands on a boat floating
towards a giant, illuminated, floating casino. The boat floats
underneath an arch of two dragons.
Bond appears relaxed. The boat stops in front of the entrance to the
casino. Bond disembarks and walks up the stairs to the front door.
INT. CASINO -- CONTINUOUS
Bond enters the casino and crosses a bridge that straddles a pit with
two large Indian Pythons. On the other side of the bridge Bond emerges
onto the main casino floor.
The room is lavishly decorated with low light away from the gamblers and
bronze and crimson adorning the walls and tables. Bond approaches
Andress who is leaning against a column, wearing a low-cut, burgundy
dress. She holds two glasses.
BOND
Good evening.
ANDRESS
Welcome to the Bronze Dragon.
She hands him his drink and he sips it.
BOND
This is stirred isn't it?
ANDRESS
Was that not right?
BOND
More or less.
Bond takes another drink.
ANDRESS
I counted three exits and guards
posted at each.
BOND
Also, four more walking the floor.
ANDRESS
We should split up. I'll go upstairs.
BOND
I'll survey the ground floor. Regroup
here in twenty minutes.
Andress begins to leave.
BOND
You look beautiful, by the way.
ANDRESS
You don't look half bad,
yourself.
Andress heads towards the stairs. Bond finishes his drink and places the
empty glass onto the tray of a passing serving girl.
Bond looks up and notices a woman in a sparkling dress staring down at
him from the top of the stairs. It's the same woman from the building, the
other night. This is Sévérine. Bond breaks eye contact and walks towards
the chip exchange counter.
He stops at the counter and removes the chip from his pocket. A young
woman stands behind the counter.
CASINO WORKER
How may I help you sir?
BOND
I'd like to redeem this.
Bond passes her the chip. She looks down and examines it.
CASINO WORKER
One moment please.
The casino worker disappears. Bond removes his cigarettes from his pocket
and lights one. He takes a puff and looks back to where the woman in the
sparkling dress was standing, but she is gone. He returns his gaze to the counter
where a large, bearded man has replaced the female casino worker. He has an
attaché style briefcase.
CASINO THUG
Good fortune tonight.
BOND
I certainly hope so.
Bond opens the case and examines it's contents: several rows and stacks of $100
American notes. He closes the case and the man hands him several plastic chips.
CASINO THUG
Compliments of the house.
Enjoy your night.
BOND
I have a feeling I will.
Bond takes the chips and the briefcase and leaves. He crosses the main floor until
he stops at a craps table.
Bond crushes out his cigarette in an ashtray. He places two small plaques on the table
and the dealer hands him the dice. He tosses them and rolls a six. The dealer gives
Bond his winnings, while the others around the table exchange their plaques.
Bond picks up the dice to throw again as the Sévérine walks up to
him. She takes a drag on her cigarette.
SÉVÉRINE
Now you can afford to buy me a drink.
Bond turns to look at her.
BOND
I might even go for two. (beat) I'm
guessing I've got close to $5 million
in here.
SÉVÉRINE
A great start, but I don't like this
game.
BOND
Why don't we play another then.
SÉVÉRINE
I don't gamble.
BOND
Everyone gambles.
SÉVÉRINE
Except me. (beat) I'm not very lucky.
BOND
A little like our friend in Saigon.
The woman takes a puff of her dying cigarette.
SÉVÉRINE
I've been waiting to meet you. You
made such a bold entrance into our
little soirée.
BOND
I hope I didn't ruin the party.
SÉVÉRINE
Who doesn't appreciate the unexpected
guest, now and then, Mr.?
BOND
Bond, James Bond.
SÉVÉRINE
Sévérine. (beat) So Mr. Bond, shall we
have that drink?
BOND
Alone?
Bond glances towards the two men on the stairs.
SÉVÉRINE
Unfortunately not.
BOND
After you.
Sévérine leaves the table while Bond collects his winnings. Andress walks by.
ANDRESS
She's pretty. If that's your type.
Bond drops the plaques into her drink as she walks by.
BOND
Don't spend it all at once.
Andress sighs to herself and continues walking. Bond moves to follow Sévérine.
INT. CASINO BAR -- MOMENTS LATER
Bond and Sévérine sit at the bar in front of the barmen who shakes a martini shaker and
pours the mixture into a chilled glass.
BOND
Perfect.
Bond takes the glass and sips.
SÉVÉRINE
May I ask you a personal question,
Mr. Bond?
Bond replaces the glass and takes a deep breath.
BOND
Depends on the question.
SÉVÉRINE
It is about death.
Bond grits his teeth.
BOND
Whose death?
SÉVÉRINE
Whose death do you want to talk
about?
Bond
Maybe yours. After all, it takes a specific
kind of woman to wear a low-cut dress
and carry a Luger P08 in her purse.
Sévérine raises an eyebrow at the quip.
SÉVÉRINE
It's a dangerous world. You never know
when you'll meet a tall, handsome man
with a Walther PPK in his jacket. You killed
Otto, did you not?
BOND
You were there, what did you see?
SÉVÉRINE
Why?
BOND
He took something of mine.
SÉVÉRINE
And your response is to kill him?
Bond dodges the question.
BOND
I want to meet your boss.
Sévérine hesitates. She takes another puff of your cigarette, whilst trying to hide her
trembling.
She blows the smoke into Bond's face and crushes out her cigarette.
SÉVÉRINE
Very nice to have met you, Mr. Bond.
She gets up to leave, but Bond grabs her arm. She sits back down.
BOND
You put on a good show, I'll give you that.
But ever since I first saw you, you haven't
stopped looking at your bodyguards.
They're not protecting you, they're watching
you.
Bond turns her wrist over, exposing a tattoo.
BOND
The tattoo on your wrist is Saigon sex trade.
You belonged to one of the houses. One day,
he comes along. Maybe you thought you were
in love. Or maybe you just thought he could
save you. It didn't matter. He was your way out.
No longer would you have to pleasure off-duty
soldiers or drunken businessmen. You could get
clean, start anew. But all you did was trade one
debt for another.
SÉVÉRINE
(whispering)
You know nothing about me.
BOND
I know fear.
Sévérine is visibly shaken.
SÉVÉRINE
What do you know of fear?
BOND
All there is.
Sévérine shakes her head.
SÉVÉRINE
Not like this. Not like him.
BOND
Let me help you.
SÉVÉRINE
How?
BOND
Take me to him.
SÉVÉRINE
Can you kill him?
BOND
Yes.
SÉVÉRINE
Will you (beat) kill him?
BOND
Someone has to.
Sévérine lets out a nervous laugh.
SÉVÉRINE
You can't save me, Mr. Bond. But you can
try.
Sévérine sits back and gestures in the direction of her bodyguards.
SÉVÉRINE
When I leave they are going to kill you. If by
chance you survive, I am on the Goldeneye.
East Harbor. Berth Seven. We set sail in an
hour.
Sévérine gets up.
SÉVÉRINE
Good evening, Mr. Bond.
She walks away. Bond grabs his glass and raises a toast to the bodyguards who
stare back at him.
INT. CASINO ENTRANCE -- MOMENTS LATER
Bond approaches the entrance to the casino with the briefcase in his hand. He
stands on a bridge over a snake pit. Sévérine's bodyguards surround him. He turns
around to see all three encircling him.
Bond feigns bending over and smacks the first one with the briefcase, who falls over
the railing into the snake pit. He turns around and ducks under a punch from the second
before hitting him with the briefcase as well, knocking the second bodyguard to the ground.
The third grabs Bond from behind in a bear hug. Bond tries to wriggle free, but to no avail.
The second bodyguard recovers and attempts to punch Bond who ducks again. The second
guard hits the third in the face, causing him to lose his grip on Bond.
The second bodyguard lunges at Bond, who drops the briefcase, and both fall over the railing.
The two land separately. The first bodyguard is being coiled up and crushed by one of the
snakes.
Bond and the second bodyguard stand up and continue their fight. Bond swings at the
bodyguard, but misses. The bodyguard elbows Bond who falls to his knee. Bond notices a
second python in the shadows. The bodyguard picks him up by his neck and slams him against
the wall.
Bond falls to the ground and winces in pain. The bodyguard walks around the small pit, taunting
Bond.
Bond grabs a handful of dirt from the ground. The bodyguard approaches Bond who flings the
dirt into the bodyguard's face. The bodyguard SCREAMS in agony as he reaches for his eyes.
Bond pops up and pushes the bodyguard behind him into the path of the snake who bites his
leg and drags him into the shadows.
Bond climbs out of the pit and up to the bridge. He peers his head over to find a gun staring him
in the face.
Immediately, a high-heeled shoe crushes the bodyguard's gun hand. The bodyguard looks up as
Andress knocks him out with the briefcase. She looks at Bond and sighs.
BOND
Thank you.
He pulls himself up and onto the bridge. Andress attempts to give him back the suitcase.
ANDRESS
You should be more careful with this
kind of money.
Bond dusts off his jacket and adjusts his bow tie.
BOND
Put it all on black.
He laughs and walks past her. She stares back at him in disbelief.
INT. GOLDENEYE -- LATER
Sévérine, wearing a bathrobe, walks around the elegantly decorated bedroom on the boat. She looks
out the window and runs her hand along the frame of her bed.
KNOCK! KNOCK!
SÉVÉRINE
Yes?
A man in a black mercenary outfit enters.
MERCENARY
It's time to go, ma'am.
SÉVÉRINE
Okay.
The man leaves. Sévérine appears visibly upset. She looks at the bottle of champagne on the nightstand
before turning towards the bathroom and disrobing.
INT. GOLDENEYE -- LATER
Sévérine exits the bathroom covering herself with a towel. She glances at the nightstand and sees the two
glasses missing.
BOND
You know, I like you a lot more without
your Luger.
He hands her one of the glasses.
SÉVÉRINE
I feel naked without it.
The two clink glasses and each drink a sip of their champagne. Sévérine moves close to Bond. He puts a
hand on her cheek and they kiss.
However, Bond pulls away.
BOND
I'm sorry.
SÉVÉRINE
What's wrong?
Bond hesitates, but answers quickly.
BOND
You're a former sex worker. This isn't
right.
SÉVÉRINE
It's alright.
Bond doesn't listen. He makes his way towards the door and opens it. There's another bedroom beyond.
BOND
Just wake me, when we reach our
destination.
Bond closes the door behind, leaving Sévérine by herself.
INT. MALLORY'S OFFICE -- LONDON -- NIGHT
Mallory turns on the television. A news story with Walter Cronkite appears.
CRONKITE
I warn you, the images are disturbing.
US combat forces being killed in an
almost execution like manner.
Footage of Cronkite is interspersed with images of dead US Marines.
CRONKITE
Reports are coming in from our BBC
correspondents in London, that Sir
Miles Masservy has been implicated
as part of a massive security failure
on the part of the British Secret Service.
A photo of M flashes across the screen.
CRONKITE
Unconfirmed reports suggest that the
head of the SIS had lost a report detailing
unit deployments in Vietnam. This has led
to a severe increase in tensions between
the United States and England, whose
relations have already been strained by the
United Kingdom's lack of support for US
policies in Vietnam. At this time, we don't--
Mallory turns off the television.
MALLORY
We don't know who is behind this and can do
nothing but bend over with our heads up our
arses.
M
What are you saying Mallory?
MALLORY
The UK Security Council is bringing a formal
hearing against you and the 00-section. You will
appear before them in three days time.
M
And then what?
MALLORY
It depends on what they decide.
M stands up.
M
They can't do this. We need time to find out who
is behind this.
MALLORY
There is no time! (beat) The public is screaming for
blood. Christ, we're a democracy and we're
accountable to those we're trying to protect. We've
had two world wars in the last fifty years, we can't
afford a third. Against America, no less. (beat) Your
lack of judgment has cost us dearly.
M
Sorry?
MALLORY
Bond never should have been sent to recover that list.
He was mentally unfit for duty and should have been
removed from active service.
M
Excuse me, but I will be the one to have final say on
my agents.
Mallory walks to the window and peers out at the rain.
MALLORY
I'm afraid that time has passed.
M
What do you mean?
MALLORY
You are suspended, pending the result of the
hearing.
M advances towards Mallory, his face reddening.
M
The only way you'll get me out of that office is
by dragging my cold, dead body out of it.
M storms to the door and opens it.
MALLORY
Where's Bond now?
M turns back to face Mallory.
M
Somewhere in Southeast Asia.
MALLORY
That's not very precise.
M
When you've worked with Bond as long as I
have, you realize that somewhere in Southeast
Asia is precise intelligence.
M exits Mallory's office.
EXT. GOLDENEYE BOAT DECK -- CAMBODIAN COAST -- DAY
Sun drenches the boat. Bond emerges from the cabin and walks to the bow. Sévérine, wearing a red
dress, stares at the approaching coast.
BOND
Where are we?
Sévérine answers, but continues staring ahead.
SÉVÉRINE
Cambodia. (beat) It's not too late, we can still
turn back.
Bond looks around. Several mercenaries, armed with M16s, surround them.
BOND
I don't think so.
One man confronts Bond and hits him in the torso with the butt of his gun. Bond falls to his knees. He
GRUNTS. Bond looks up to his attacker who smacks him in the face with his weapon. He falls to the
ground unconscious.
