THE DEATH COLLECTOR (first draft - Revised Act 1 and Act 2a)
GUN BARREL LOGO
OPENS ON:
EXT. KARACHI EMPRESS MARKET – DAY
A ball made of plastic bags and elastic bands is being kicked by a young boy.
Superimpose: KARACHI, PAKISTAN: We’re in the bustling market square on Friday shortly after the prayers have finished. We pick up the frantic footsteps of SHAH. He turns back to check if he is being followed, sweat on his face.
BOB FRANKLIN (V.O.)
Keep moving. Keep moving. Come to papa.
BOND (V.O.)
Couldn’t the brains trust of the CIA have come up with an extraction route that didn’t involve our man wading through the entire population of Karachi?
INT. CIA VANTAGE POINT – OPERATIONS ROOM – DAY
FRANKLIN scowls. He is in an operations room surrounded by three agents monitoring screens whilst Franklin surveys the scene through bifocals.
BOB FRANKLIN
(with disdain)
Negative oh oh seven. The crowd is perfect cover for our man.
BOND (V.O.)
It’s a British life at stake here, let’s not pretend otherwise. It’s certainly not how I would have approached it.
BOB FRANKLIN
Didn’t you hear Bond? Britannia doesn’t rule the waves anymore. Our drones do. So we call the shots. Besides, your man claims to have information on Magic 66. That gives us authority.
BOND (V.O.)
You might need those drones of yours. Suspected target. Three o’clock. Dark shirt. Dark glasses. Dark rucksack.
Franklin pulls his bifocals tight to his eyes and wheels round. Through Bi-Focal lenses we see a suspect matching Bond’s description marching purposeful through the crowds in the direction of Shah. The eyes are concealed behind designer shades and the face is expressionless.
FRANKLIN
All agents poised to intercept.
EXT. KARACHI EMPRESS MARKET – DAY
Suddenly we become aware of a cluster of thinly disguised CIA operatives amongst the bustling hoards. They are gathered in front of a white lorry which is parked in front of the Empress Market building. They motion towards the suspected target.
BOB FRANKLIN (V.O.)
Only on my signal, not before.
The suspect closes on Shah who continues to look over his shoulder at irregular intervals. The two are on a collision course. Shah suddenly turns and bumps straight into the target. The CIA operatives reach for their weapons. But the suspect only gives him a quizzical look and then moves on ahead.
BOB FRANKLIN
(with relief)
Stand down. All agents stand down.
The agents relax and motions towards Shah.
BOND (V.O.)
Wait.
The suspect has stopped and is removing his sunglasses. Now he is removing his backpack.
BOND (V.O.)
There are two more of them. Your men are cornered.
Through Franklin’s bifocals we see two more bombers perform a similar ritual with their sunglasses and rucksacks, forming a perimeter around Shah and CIA agents. They are closed in with the white lorry blocking any possible exit. The agents look helpless.
FRANKLIN (V.O.)
(In defiance)
Everyone hold your position. We wait it out. Wait it out.
BOND (V.O.)
We wait we lose him. I can’t do that.
FRANKLIN (V.O.)
I’ve got skin in the game too. But this operation is to be conducted with extreme discretion. You will stand down. Bond?! Bond?!
The three bombers move in on Shah and the agents with slow precision. Shah, fully aware of what is happening looks terrified. One of the CIA agents motions for his gun but…
BOMBER #1
No!
The original suspect, BOMBER #1 clocks this and swiftly unveils his explosives. The civilians panic and begin to scatter leaving the CIA team and Shah surrounded as the crowds thin out. The sound of an engine revving accompanies the panic screams. Shah closes his eyes expecting the inevitable whilst the CIA agents hover nervously over the weapons. BOMBER #1 goes for the cord and motions to shout. Suddenly the WHITE LORRY bursts into life and rams Bomber #1 and runs him over. An explosion goes off with shrapnel and large amounts of paper from the lorry fly everywhere.
The lorry has muffled the blast. BOMBER’S #2 & #3 arise from the dirt to see Shah making a run for it. They immediately chase in pursuit. The team of CIA agents lay scattered and incapacitated by the blast.
From the wreckage of the Lorry emerges BOND, kicking through the remains of the windscreen and hauling his way out. He breaks into a sprint to join the pursuit. Shah follows a stampede of people running from the explosion all the while checking the whereabouts of the two bombers. Bomber #2 follows his exact path but is blocked by the hordes of fleeing civilians. Bomber #3 breaks off from the chase and heads into a commercial building. Bond recognises the split pursuit and makes the decision to follow Bomber #3 into the commercial building up a flight of stairs that opens onto an open balcony with a view of the panicked crowds.
EXT. FIRST FLOOR BALCONIES – DAY
Bomber #3 bustles past several people almost knocking an elderly woman off her feet. He has a clear view out over the crowds and we see Shah being followed by Bomber #2. Bomber #3 becomes aware of screams from behind him. Bond has drawn his pistol but can’t get a clear shot as Bomber #3 continues to run along the open balconies parallel to the other chase.
EXT. KARACHI EMPRESS MARKET – DAY
We are now back with Shah and Bomber #2 who has closed distance as he has the advantage that people tend to get out of the way of someone with a suicide bomb strapped to their chest. Shah, sensing this, heads in the direction of a nearby mosque and enters.
INT. MOSQUE – DAY
He finds some open space and glances behind as Bomber #2 has difficulty with the crowd trying to stop his entrance to the place of worship. This has bought Shah breathing space and Bomber #2 decides to change approach and enters a side room.
EXT. FIRST FLOOR BALCONIES – DAY
Back with Bond who manages to get two shots off with his pistol but both are wide of the mark. Bond is closing fast so Bomber #3 takes cover behind a wall turns and lifts his backpack in front of his face and torso and sprints straight at Bond with a scream. Hesitating to shoot the bomb, Bond lowers his aim and fires a shot at his leg which causes Bomber #3 to stumble forward and launch himself at Bond, the scream suggesting that he is about to explode his device. Bond dives through a shop window to avoid the impending blast… But it never comes and Bomber #3 tumbles down a flight of stairs which seemingly puts him out of action.
Bond picks himself up and heads in the direction of Shah and his pursuer. We see Shah emerging from the mosque.
EXT. MOSQUE & BUSTLING MAIN STREET - DAY
Shah carries on down a bustling main street. There are large groups of women in burkas on the street, having come from prayers.
A burka-clad individual emerges from the mosque; it is Bomber #2 who has switched outfits and now stalks amongst the women in the crowd. Shah pushes his way through the crowd looking back to see a sea of women in burkas.
POV BOMBER #2
We see Shah ahead turning back. He has slowed to a snail’s pace as he tries to locate his pursuers, unaware of the impending danger. Tension builds as we inch closer to him.
EXT. FIRST FLOOR BALCONIES & BUSTLING MAIN STREET – DAY
Bond is almost directly on top of Shah now but he can’t see any sign of Bomber #2, only women in burkas. He pauses.
Shah still hasn’t located the danger. We see Bomber #2’s eyes as he readies himself to detonate his device.
Suddenly SHOTS FIRED.
Bond has fired two shots in the air and only one ‘woman’ in a burka has looked up, the rest have screamed and scattered. Bond leaps off the balcony and clatters into Bomber #2 forcing his head into the ground in an effective if ungainly move.
Bond, picking himself up, grabs Shah and throws him inside a family home but Bomber #2 is on Bond in a flash and both men grapple and burst through the door of the same house.
INT. FAMILY HOME – DAY
Shah flees up a flight of stairs as Bomber #2 gains an upper hand on Bond and delivers an elbow to the face. Freeing himself from Bond, Bomber #2 heads up the stairs. As he reaches the top he stops, the room seemingly empty. He walks toward the middle of the room and smiles as he sees a cabinet ever so slightly out of place. But…
A GUNSHOT
Bomber #2 collapses in a heap on the floor as Bond emerges at the top of the stairs. Shah also emerges from behind a cabinet and looks at Bond with gratitude.
The street outside is beginning to clear and there is a moment of calm. But… there is the clattering sound of hurried footsteps from the floor below, footsteps with a limp.
BOND
(Whispered)
Quickly!
Bond drags the body of Bomber #2 from the middle of the room and looks toward the open window.
The footsteps slow and head in the direction of the stairs. We hear the sound of the limping footsteps slowly coming up the stairs. As he inches into view we see the wounded Bomber #3, a face full of rage.
Stopping at the top of the stairs he sees an obscured view of a man, dressed in Shah’s clothes, propped behind a cabinet in a reflection of glass.
BOMBER #3
Aghh!
AN EXPLOSION
EXT. SIDE STREET - DAY
Bond drags Shah, who is now dressed in the burka away from the exploding building. There is the sound of panic and sirens heading toward the scene of the explosion. A team of CIA agents intercept Bond and Shah. Weapons are raised at Bond who stops in his tracks but Shah is whisked away out of sight. Franklin emerges and confronts Bond.
BOB FRANKLIN
You disobeyed a direct order from a superior officer. You compromised the discretion of the mission. And you put the lives of American agents at risk. I will end you for this.
Franklin turns and walks off with his team leaving Bond alone, bloodied and bruised.
BOND
(Sarcastically)
You’re welcome.
MAIN TITLES
EXT. HOTEL LE MAURICE – PARIS – DAY
We open on a wide shot of man walking down a Parisian street. He is well dressed, a sophisticated man: GALTIE. He crosses the street and enters the hotel.
INT. HOTEL LE MAURICE – PARIS – DAY
A porter greets him and Galtie allows his to take his coat. He does not speak but simply gives the porter a nod.
INT. DINNING ROOM – HOTEL LE MAURICE – PARIS – DAY
Galtie enters the dining room and is shown to a table by a window. He is at home in the lavish surrounding: antique mirrors, crystal chandeliers and elegant frescoes, creating a stunning setting for the outstanding cuisine.
Galtie nods across the table. We see a shot of him sitting in his chair but the person opposite is cropped out of the shot by the window frame. A waiter pours a glass of water for Galtie who opens the menu.
GALTIE
The information you provided was precise. Surgical even.
A look of admiration from Galtie before he returns to the menu.
GALTIE
However, our friends in Karachi were unable to utilise it… effectively. As you know, an Englishmen muddled with their plans.
The waiter returns and Galtie points to in item on the menu. The waiter turns and leaves with the menu.
GALTIE
You consider this Englishmen a suitable candidate?
(Again we do not see the response)
Good.
For the first time in the conversation, the shot changes to a close up of GALTIE. His face calm and assured.
GALTIE
In which case you must make the necessary arrangement. I authorise Kifo Ushuru.
BIG BEN CHIMES (O.S.)
EXT. WHITEHALL – LONDON – MORNING
An establishing shot of Whitehall and the foreign office.
M (V.O.)
To hell with Bond’s professionalism.
INT. M’S OFFICE - MORNING
M is hunched over his desk with Bob Franklin sat causally opposite him.
M (Cont.)
That information was provided by our agent.
Franklin lifts himself out of his chair and casual makes for the window.
FRANKLIN
(Disinterested)
I’m sorry M. But this decision has come from the top. We can’t share sensitive information that might jeopardise our source.
M
(With sarcasm)
The mythical Magic 66. And what about our source? A British Operative under lock and key at the CIA’s every whim. It’s one rule for you and another for everyone else.
FRANKLIN
(Shifting to a more serious tone)
Listen, you put your house in order and we will play ball.
M
The problem is Bob, we’re playing different ball games altogether. I’m playing defender of the realm; you’re playing the bully from Brooklyn.
FRANKLIN
Like I said, this comes from the top. You have read my report.
Franklin puts his finger on the report on M’s desk. He looks M in the eyes with a steely stare.
FRANKLIN (Cont.)
Bond goes.
M
And his defence?
FRANKLIN
He hasn’t provided any, has he? No report? No defense.
Franklin gets up and heads for the door.
FRANKLIN (CONT.)
Cut the deadwood M. And we can talk in Denmark.
He stop at the door and turns to M.
FRANKLIN (CONT.)
It’s a shame Bond couldn’t be here to see his career going down the toilet. I’d love to see the look on his face.
INT. LONDON HOTEL ROOM – DAY
We open on Bond’s face relaxed in a bed, he is clearly enjoying himself. A mane of red hair moves into shot. Bond has company in the form of MARIA. She bites him playfully on the shoulder.
MARIA
(Without any conviction)
Tell me I’m the only one.
Bond is puzzled by this.
BOND
(Deadpan with no emotion)
You’re the only one.
Maria wrestles to a position where she is on top of Bond, her hands pressed into his shoulders and leans in to kiss him.
MARIA
The things I would do to you if I had you tied to a chair.
Bond twists her so he is on top. And she laughs playfully.
INT. CORRIDOR OF LONDON HOTEL – DAY
We see a shot of the corridor leading to the room. We hear the playful noises of Maria through the walls.
INT. LONDON HOTEL ROOM - DAY
We are back in the room, Maria is half dressed on the end of the bed. Bond, behind her, is beginning to button his shirt.
MARIA
Time to leave.
Bond nuzzles into her neck and whispers into her ear.
BOND
Right now?
Maria, initially enjoying the suggestion, regains her poise and pushes him away.
MARIA
James! Now!
Maria gets up and fiddles with her hair as she looks in the mirror. Bond makes a final play and nuzzles her from behind. She enjoys it but insists.
MARIA (CONT.)
James, you’re a monster-
Suddenly…
THE KEY CARD ACTIVATES AND THE DOOR OPENS
MARIA (CONT.)
(Whispered)
S***!
Maria pulls away and sits on the end of the bed facing away from the door. Bond, half dressed, and strolls to the door where he sees Bob Franklin standing mouth wide open.
Bond walks towards Franklin who is stunned into silence. His shock overwhelming his anger. Bond slips casually past him at the door.
INT. CORRIDOR OF LONDON HOTEL – DAY
BOND
(cheerfully)
You’re welcome.
Bond walks with a swagger away from Franklin in the background. He wears a cruel devil may care smile on his face as he walks down the corridor.
M (V.O)
His wife?!
INT. M’S OFFICE - AFTERNOON
Bond is sat in front of M’s desk like a naughty school boy without a care in the world.
BOND
(Nonchalant)
I was just proving a point.
M
(Incredulous)
Which was?
BOND
She’s a security risk. And therefore so is he.
M
(Angry, throwing his hands in the air)
Spare me that rubbish. I haven’t the patience to play these games.
BOND
Then maybe I should find something else to do.
M
Quite.
Bond is slightly taken aback by M’s bluntness. M sits and opens a draw on his desk taking out a small card which he fiddles with.
M (CONT.)
Earlier this morning Bob Franklin walked into my office and told me that there was a major terrorist attack against Britain’s international interests imminent.
Bond’s expression has changed; the smug look has gone, replaced with concern.
M(CONT.)
It could be a bomb at an embassy, the assassination of a high profile British national or an attack on British holiday makers on some beach, destination unknown. And yet he refused to share further information under the pretence that it would risk his source, Magic 66.
BOND
But sir that’s-
M
-In reality, he offered a trade. Information, for your resignation.
M slides the card across the desk to Bond who doesn’t pick it up but reads it from the table: MARK HAZZARD, INTERNATIONAL SERCUITY.
M (CONT.)
An offer. A friend of mine runs an international private security company. Thought it might suit your skillset.
Bond is trying to conceal his hurt and anger.
M (CONT.)
It’s an offer. Nothing more. If you wish to continue in your current post, I will need your report delivered in full by morning.
BOND
(Bitterly)
Will that be all sir?
M nods. Bond, leaving the business card on the desk, exits the room.
INT. MONEYPENNY’S OFFICE - AFTERNOON
Bond storms through Moneypenny’s office a face like thunder.
MONEYPENNY
(Jovially)
Well James, hows—
A slam of the door as Bond exits. Moneypenny is bemused.
INT. BOND’S OFFICE – AFTERNOON
Bond opens his laptop on his desk. He opens an email attachment entitled: REPORT OVERDUE. The attachment is incredibly long and detailed. He deletes the email and opens a web browser. He enters into a search engine: COPENHAGEN SECURITY SUMMIT. He strolls down the page to news article: CIA ANTI-TERROR AND SECURITY CHIEF TO ADDRESS SUMMIT. There is an image of Bob Franklin and Maria arriving outside the Bella Tower in Copenhagen. Bond’s eye’s glare intensely at the image.
THE SOUND OF A PLANE SOARING (O.S.)
EXT. BELLA TOWER – COPENHAGEN - DAY
SUPERIMPOSE: COPENHAGEN, DENMARK: A plane flies over head of the post-modern Bella Tower. There is snow on the ground. The venue for the Copenhagen Security Summit.
INT. COPENHAGEN SECURITY SUMMIT – MAIN CONFERENCE HALL - DAY
Bob Franklin is addressing a large of audience.
FRANKLIN
Friends, partners. The threats that we face from a globalised world implore us to share information and to cooperate when the lives of citizens of any and all nations are at risk. As Americans, as global leaders in the struggle against international terrorism, we put a target on our backs.
M, flanked by Moneypenny, is in the audience. His face appalled at the hypocrisy of Franklin.
FRANKLIN (CONT.)
But we do so with the full knowledge that with your support and cooperation, the risks to America are far outweighed by the peace and prosperity we are able to bring across the globe. Thank you.
Franklin finishes his speech to warm applause and makes his way of the platform. M intercepts him and offers a frosty smile and his hand.
M
Excellent speech Bob.
(Shaking hands)
Though I’m sure the irony was lost on most.
Franklin continues on unashamed. M glares at him as he leaves the conference hall.
INT. COPENHAGEN OPERA HOUSE
We are in the Copenhagen opera house, another post-modern building. A performance of Carmen’s Habanera: The sensual song of a temptress. We pan up to a shot of Maria in the balcony seats of the stunning Copenhagen opera house. She is alone, her mind elsewhere. As her husband joins her in the seats she shifts uncomfortably. He leans in to kiss her on the cheek, but she pulls away.
MARIA
I need some air.
She gets up to leave and Franklin, distanced from her, signals for a member of his security team, SECURITY #1 to go with her. He follows her out.
INT. COPENHAGEN OPERA HOUSE FOYER – NIGHT
Maria walks disinterestedly in the foyer, Security #1 in tow. A waiter walks up to her with a glass.
WAITER
May I offer you a drink?
She goes to take the glass but looking up she sees that it is Bond!
MARIA
(Under her breath)
Bastard!
BOND
Now now.
MARIA
What the hell are you doing here?
BOND
I need a favour.
MARIA
(Sarcastically)
Why don’t you ask my husband?
BOND
(Smiling)
Because I think he would say no.
She looks at him angrily. How dare he?!
BOND (CONT.)
Your minder is standing 20 feet away and yet we are still having this conversation.
She considers this for a second. Bond knows that he has her attention.
BOND (CONT.)
Let’s lose him. Get on the boat in two minutes.
(Looking towards a nearby water taxi)
Make sure you are the last passenger to board.
SECURITY #1 has decided enough is enough and comes between the two of them.
SECURITY #1
Excuse me sir, I’m going to have to ask you to back away.
BOND
(Nose to nose)
You’re going to make me, are you?
The two men are a mirror of each other, both from a military background, neither giving an inch.
Suddenly, SECURITY #1 gives an extravagant mock salute. Bond doesn’t flinch. SECURITY #1 continues to smile smugly as he backs away and heads back to Maria.
SECURITY #1
(Smugly)
I think you might be a little out of your league here sir.
BOND
(Also smug)
We’ll see.
Bond walks away leaving Maria with the security guard. We see him giving her a dressing down from Bond’s perspective across the foyer. She storms off petulantly towards…
EXT. DOCK AREA – COPENHAGEN OPERA HOUSE
Bond stalks in the shadows as she makes another scene outside the opera house. People are boarding the nearby water taxi and it is almost ready to leave.
MARIA
I’m getting on the boat.
Security #1 gives her a look that says no, but then relents knowing he will not win an argument with this woman tonight. She motions to get aboard and he follows her.
Bond walks quickly up behind him and targets the little finger on his right hand. Security #1 is completely caught off guard and writhes in pain as his little finger is broken. He drops to his knees, allowing Bond to board the boat with Maria at the last possible second.
Security #1 watches as the boot slowly moves away. He sees Bond in the back of the boat with Maria. Bond salutes. His face a picture of rage. He gets to his feet and runs frantically along the dock to a nearby motorboat, shoving the owner out of the way.
INT. WATER TAXI – NIGHT
Bond now has Maria in the water taxi, not alone, but without the attention of her security minders. He speaks with intensity, has hands on her shoulders.
BOND
The next stop is in three minutes, I’ve only got two. I need your full attention and if you don’t like what I have to say, I will leave and you will never see me again.
He looks her in the eyes, a flicker of agreement.
BOND (CONT.)
You don’t love your husband do you? You never have done.
Again the same flicker of acknowledgement.
BOND (CONT.)
Good, that will make this easier. Your husband has information vital to the lives of British citizens across the globe. He is refusing to share that information and I need you to think-
MARIA
-How would I—
BOND
-His laptop, emails, a phone call. Anything. You can read him can’t you? You know when he is lying, when you have stumbled upon something. Anything from the last few days? I just need a destination, a city, a place—
MARIA
-Kenya.
(Beat)
It’s Kenya.
BOND
(Genuine)
Thank you.
And with that he looks up and opens an escape hatch above them.
EXT. MOTOR BOAT – NIGHT
Security #1 is in pursuit of the water taxi in a motorboat. He closes in rapidly on the slow moving taxi ahead but has to slow as he approaches a low hanging bridge which the water taxi has just passed under.
EXT. COPENHAGEN BRIDGE
We see a shot of the motorboat beginning to pass under the bridge.
SUDDENLY BOND SWINGS DOWN
kicking Security #1 in the face. We see Security #1 tumble off the side of the boat into the water. Bond, still clinging on to the railings on the bridge, hanging for a couple of seconds. Satisfied that his work is done, he pulls himself up.
EXT. COPENHAGEN NYHAVN HARBOUR – NIGHT
Bond looks down at Security #1 paddling frantically in the freezing cold water. He gives him a salute and walks off with a swagger against the beautiful backdrop of Nyhavn waterfront, a colourful collection of buildings and boats.
Security #1’s motorboat, still gently accelerating crashes tamely into some of the other boats in the harbour and a flurry of people rush to the scene as Bond exits.
INT. COPENHAGEN SECURITY SUMMIT – MAIN CONFERENCE HALL - DAY
We are back in the conference hall, M is giving his address.
M
I’d like to build on what Bob Franklin said yesterday. I believe in cooperation and the sharing of intelligence between friends and allies.
M is stumbling through his notes with no conviction. This is further compounded when he see’s Bond walking down the left isle of the conference hall.
M (CONT.)
And as Bob said, we are collectively a lot safer when we partner together.
Bond has been intercepted by Moneypenny. Moneypenny then heads to the stage with a note in her hand.
M (CONT.)
Excuse me.
M takes the note and reads it. He then resumes with improved confidence.
M (CONT.)
But intelligence sharing only works when it’s a two way street. One ill-timed snub can build a culture of suspicion and ultimately, endanger the lives of the citizens that we are all privileged to serve.
M is now speaking directly to Franklin in the audience who is seemingly unmoved at the pointed remarks.
M (CONT.)
I would like to digress from my notes and end with a story of where it is working: Kenya
Franklin face turns to thunder: how did he get that information?!
M (CONT.)
Yes in Kenya, the sharing of intelligence between Kenyan, US and, more recently, British intelligence services has given us the upper hand in the region. The fight against Al-Shabaab is one that we are winning. And I believe we will continue to do so, as long as we all play our part. Thank you.
M leaves the stage to warm applause. Franklin is not happy. Then he sees Bond with Moneypenny, this does little to improve his mood.
INT. SMALL CONFERENCE ROOM – BELLA TOWER – DAY
M follows Moneypenny and Bond into a conference room. They have already started work, laptops and projectors with information and images on.
M
007.
BOND
Sir.
A look of mutual respect is shared between them.
M
What have we got? Leads, sources. I’ll contact our station in Nairobi.
MONEYPENNY
Nothing concrete sir, but 007 thinks she might be worth leaning on.
An image of a beautiful African woman is on the screen. She is dressed in all black and wears a hijab.
MONEYPENNY (CONT.)
Lupita Npyo. British national with Kenyan roots, radicalised whilst at University. Now a key member of a terror cell coordinating attacks in Kenya and the surrounding region.
M
Where was she studying?
MONEYPENNY
American studies at UCL.
M
American studies?!
BOND
It fits the profile. A stark contrast to the culture of her family which she is persuaded cannot be reconciled with her Islamic faith, leaving her open to more radical approaches. Usually by a dominant male.
An image of a male terrorist pops up on the screen on a second screen. Brandishing an AK-47, he wears the green khaki and the black head gear that is a trademark of Al-Shabaab. The face is worn and menacing.
M
Hassan Zufar. Masterminded the university attacks in Kenya. Nasty piece of work. What’s your approach?
BOND
I plan to spook her. Let her know we know all her secrets, the net is closing in. And then offer her a way out.
MONEYPENNY
An offer from a dominant male.
M
Very good.
Moneypenny goes to leave. Leaning in close to Bond, with the image of Lupita behind her.
MONEYPENNY
Careful James. Forbidden fruit rarely tastes as good as it looks.
Bond smiles playfully at her and then follows her to the door.
M
007.
Bond stops and turns at the door.
M (CONT.)
Whilst I’m grateful-
BOND
(Hurriedly)
-Whilst you are grateful for the intelligence, this doesn’t change the fact that you are still basically pissed off with me.
M is slightly taken back by Bond’s bluntness.
M
(With both eyebrows raised)
Extremely.
BOND
Sir.
INT. MAIN CONFERENCE HALL - DAY
Franklin has a phone to his ear. We see Bond leaving the small conference room over his shoulder, the two exchanging the briefest of glances.
FRANKLIN
(Into his phone)
Yeah that’s right. You are going to have company.
EXT. NAIROBI STREETS – MONTAGE - DAY
SUPERIMPOSE: NAIROBI, KENYA: We seem a montage of bustling Nairobi streets. Children are playing on the streets, some with the footballs made of plastic bags and elastic bands. Street sellers hustle at passers-by. Everywhere there is noise. We see the poverty of the Kibera slum contrasted to the skyscrapers of the central business district. And we see planes flying overhead.
INT. JOMO KENYATTA AIRPORT ARRIVALS – DAY
Bond walks through the arrivals at Nairobi airport. He is dressed in a casual warm climate suit. We see over the shoulder of MAN IN THE SHADOWS. He see’s Bond make his way across the arrivals floor.
We are now back with Bond, as he is approached by a well-dressed taxi driver.
TAXI DRIVER
Taxi sir?
BOND
(Dismissive)
I’m fine, thank you.
TAXI DRIVER
(Under his breath)
Stupid Muzungu!
Bond continues towards the exit but catches a glimpse of the man in the shadows who promptly backs away further into the shadows. Bond’s eyes continue to follow him.
Suddenly Bond bumps into a BEAUTIFUL KENYAN WOMAN. She is startled and drops her suitcase and all her luggage falls out.
BEAUTIFUL KENYAN WOMAN
I’m so sorry.
BOND
Here, let me help you.
Bond puts down his own suitcase and begins to help her put her spilled luggage back in her suitcase. He reaches for some elegant underwear but she grabs it at the same time. She looks at him sheepishly and pulls it away.
BEAUTIFUL KENYAN WOMAN
Thank you.
Bond catches her eyes one last time, she looks at him as if butter wouldn’t melt and then shuts her suitcase and walks off.
Bond watches her leave and then reaches for his own suitcase. It’s gone! He looks around, but it is nowhere to be seen. Realising he has been played, he looks after the woman. She has quickened her pace and headed for the exit. Bond sets off at a pace.
He reaches her just as she is about to enter the taxi. He grabs her by the arm.
BOND
(Aggressively)
Excuse me, but I believe you have something of mine.
TAXI DRIVER
Are you looking for this sir?
Standing behind Bond with the widest grin on his face is the Taxi Driver whom Bond snubbed moments earlier. He holds out Bond’s suitcase and burst into a contagious laugh. This is Wycliffe, 50’s, a charming man with a big smile and bigger personality.
WYCLIFFE
(Laughing)
I couldn’t resist playing the old Mazungu one, two, three. A game we have been playing Kenya for generations. We call it reparations for colonialism.
The tension has left Bond’s face as he realises he is amongst friends. The girl gets out the taxi. CARO, early 30’s, a beautiful woman and she knows how to use it. She looks at Bond with that same butter wouldn’t melt look and takes his suitcase from Wycliffe.
CARO
Allow me.
She puts it in the trunk.
WYCLIFFE
(Laughter with a mock warning)
We have a saying in Kenya: Even the most beautiful fig may contain a worm.
(Continues laughing as he looks at Caro who smiles)
Rarely do I discover a man’s weakness so quickly.
(Shakes Bond’s hand)
Wycliffe Oleledama, Nairobi station at your service. And this is Caro on loan to us by Kenyan Special Services.
BOND
(Smiling at Caro and then Wycliffe)
Well, now that you have me all figured out.
WYCLIFFE
Welcome to Nairobi James, let’s go.
EXT. JOMO KENYATTA AIRPORT PICK UP POINT - DAY
Bond follows Wycliffe and Caro to a car and gets in the front.
WYCLIFFE
I’m sorry to hurry you, but an opportunity has presented itself and I didn’t think you would want to miss it. Your luggage will be taken care of.
As the car drives off, we again see the MAN IN THE SHADOWS from earlier. His eyes hidden behind shades. He beckons a cab.
INT. CAR – DAY
Bond looks out on the street, a hub of activity: this is a sprawling district full of trade and trickery.
WYCLIFFE (CONT. O.S.)
Easliegh District. This is Somalia in Nairobi; it’s where Al-Shabaab mingle. Hidden like rats amongst a sea of innocent mice.
EXT/INT. MAKESHIFT OPERATIONS ROOM IN A COLLAPSING BUILDING – DAY
The car pulls up outside a half collapsed multi-story building. Bond follows the two Kenya’s up a flight of stairs to a vantage point which has become a makeshift operations room. There are two operatives sat at open desks using listing devices.
The vantage point overlooks another, slightly less, dilapidated apartment building over the street.
WYCLIFFE
(To operatives on listening devices)
Is she in?
The operative nods.
WYCLIFFE
(to Bond)
Your girl is inside, along with half a terror cell. They have been camped out for several days, plotting some new act of hell, no doubt. We play a game of cat and mouse from time to time. They settle in a building. We rattle their cage, watch them scatter and try and pick off a few key members.
CARO
Last month we launch tear gas canisters into a crowded building. Picked off five high level targets. But community groups in Eastleigh complained that we were profiling Somali’s indiscriminately.
BOND
So tear gas is off the menu, then.
CARO
Not exactly.
WYCLIFFE
(Smiling)
We have a saying in Kenya. Once you have been tossed by a buffalo. A black ox looks like a buffalo.
BOND
(Reciprocating the smile)
Why do I get the impression that nothing here in Kenya is as it seems?
Fade to…
EXT. AL-SHABAAB HIDEOUT
Bond has taken up a strategic position whilst Caro has gone to the front of the building.
WYCLIFFE (V.O. through a radio)
Two weeks ago I had the district council development officer do a survey of the building. I also had him install a small explosive device on the gas piping in the basement. All being well it should imitate the sensation of a tear gas canister. Watch as they scatter like rats in the sewer.
Caro is now at the door.
WYCLIFFE (V.O.)
Once Caro pressess the doorbell we have a 10 second delay before the fireworks, ready James?
BOND
Smoke them out.
Caro pushes the doorbell and walks swiftly away from the building. After 10 seconds there is a small explosion in the building.
WYCLIFFE (V.O.)
She’s all yours James.
Members of Al-Shabaab pour out of the building, fearing a tear gas explosion. They are also expecting hordes of police to chase them. But none appear. The girl emerges, heading in a different direction to her frightened colleagues.
Bond sets off in hot pursuit. Ducking and weaving through the urban jungle. Unlike the other members of Al-Shabaab, Lupita doesn’t panic. She is calm and assured and her movement’s measured. She turns to see Bond pursuing her.
Lupita sets about leading him on a merry chase through a shanty town. A group of children shout ‘Mzungu’ and chase after Bond but he ignores them, focusing only on his target. She has doubled her pace. Bond smiles at the challenge.
As Bond leaves the shot, we see the shadowy figure from the airport appear, apparently joining the pursuit. He still wears his dark glasses concealing his face.
Lupita has made some space between her and Bond. She decides to try and lose him permanently, climbing on top of a tin roof and performing two jumps. She rounds a corner and hides behind a fruit stand. She looks around the corner. No sign of Bond. But…
BOND
Hello.
She turns sharply to see Bond standing behind her, casually handling some fruit. He offers her some fruit. She stamps hard on his foot and bolts towards the train station. He smiles through gritted teeth at her defiance and carries on the chase.
EXT. NAIROBI TRAIN STATION – DAY
An old train gears up to leave the platform. Lupita has made a play for it and is looking to get on the train before Bond can catch up. Sensing this Bond breaks into a jog and corners her before she gets on the train. He grabs Lupita by the arm.
LUPITA
Don’t touch me.
BOND
Lupita Npyo of Lewisham Grove. Eldest of four. American studies at UCL. Long distance champion at secondary school. Cautioned once for shoplifting-
LUPITA
-Don’t do that. Don’t act like you know me.
BOND
But we do know you all about you. We know that you have betrayed your country. The nets closing in Lupita. And, believe it or not, I’m your salvation.
A crowd has gathered over Bond’s shoulder. Lupita spots ZUFAR, Al-Shabaab leader in Kenya, amongst them. This is their rendezvous point following the raid.
LUPITA
(to Bond)
You don’t know what you are doing.
Zufar and his squad take two steps closer but he calls them to stop. One of his lieutenants, YOUSEF, carries on forward but Zufar holds him back. The shadowy figure has also appeared in the background. We see him draw his pistol from his holster. Bond turns to see Zufar and the other members of Al-Shabaab. The sound of the train starting to move ramps up the tension.
BOND
He doesn’t look best pleased. You had better come with me.
Bond urges Lupita aboard, and she has no choice but to oblige. Yousef urges Zufar to board but he doesn’t, instead he smiles revealing the missing front tooth. The shadowy figure in the dark glasses does board however, gun in hand.
INT. TRAIN CARRAGE – DAY
We are with the shadowy figure. The tension mounts as he stalks the corridor. He bursts into a compartment using his shoulder to force the door open. But as he enters, the compartment is empty.
Suddenly, he feels a gun in his spine.
BOND is behind him.
BOND
(Cocky)
Felix Leiter. Now what the hell’s the score?
LEITER puts his hands in the air, his gun limp in his left hand; he has been beaten by his old friend. Bond takes the gun from his hand and weighs it before giving it back to Leiter.
LEITER
The girl?
Bond motions to the bathroom. Leiter snatches the gun back from Bond and leans in close to him.
LEITER (CONT.)
(Pointed and through gritted teeth)
She’s one of ours.
This time it is Bond’s face that drops. Leiter turns to bathroom and open the toilet door which reveals Lupita on the floor, retching. Leiter turns to Bond.
LEITER (CONT.)
James Bond, meet Magic 66.
Lupita lifts her head and looks at Bond.
LUPITA
(Angry and frightened)
Bastard!
INT. BAR CARRAGE – TRAIN – LATE AFTERNOON
Bond takes a slug of whisky, alone at an empty bar. Leiter joins him.
LEITER
The girl is fine, just in case you were wondering.
BOND
(Defensive)
This is what happens when you don’t share intelligence Felix. This whole Magic 66 has had a stink to it from the beginning. That Karachi job was a set up.
LEITER
Blow her cover and then accuse her of being a traitor. Go easy on the girl James.
BOND
Date, timing, location. They had the works Felix. I’m not saying it’s necessarily the girl. But there is certainly a leak somewhere in Langley.
LEITER
Why must it be Langley? Why not London?
Bond doesn’t respond. It’s a valid question. Leiter stands up and has a little wonder towards an open window.
LEITER
(CONT.)
It’s a shame you intervened when you did. She has been our hottest property for over two years now. And she was onto something-
Leiter has stopped at the window; he is looking curiously out of the train. There is nothing there, nothing on the top of the train, and nothing parallel.
BOND
What is it?
LEITER
Nothing.
(Leaving the window and heading back to Bond)
She has information on an immanent attack-
SUDDENLY… A man wielding an AK-47 flies though the window crashing into Leiter and firing wildly into the room. Bond draws his pistol and fires a shot right between the eyes. The man dressed in Al-Shabaab gear collapses to the ground in a heap on top of Leiter. Bond picks the body off of him and surveys the damage: Leiter’s leg is injured from a bullet wound.
LEITER (CONT.)
They have come for the girl!
At this Bond leaves Leiter to tend his own wound and puts his head down to get to the girl.
INT. SECOND CARRIAGE – LATE AFTERNOON
As Bond heads down the narrow corridor, he hears a creaking sound that forces him to pause.
SUDDENLY the right side of the carriage begins to rip open.
EXT. TRAIN TRAVELLING ON KENYAN PLAINS – LATE AFTERNOON
We see a shot of the train coasting through the plains. A fleet of bikes and open top Jeeps run parallel to the train. There is a group of Al-Shabaab motorbikes attached to wires that are pulling against the carriage. After a few seconds the tension from the wires is too much and the right side of the carriage comes clean off, leaving Bond exposed in the open carriage.
INT/EXT. SECOND CARRIAGE – LATE AFTERNOON
Bond opens fire but soon realises his pistol is no match for their automatic weapons. So instead he decides to make a dash down the carriage. Two kamikaze bikers clatter into the carriage, leaping from their bikes on impact. One of them taking Bond down. FIGHTER #1 puts his automatic weapon around Bond’s neck, strangling him. FIGHTER #2 then proceeds to assault Bond’s torso with the butt of his gun. Bond, strangled from behind and assaulted from the front, decides to use Fighter #1 as a weapon. He jerks suddenly knocking Fighter #2 out of the carriage underneath the wheels of the train. The carriage jerks as the body goes under the wheels but regains its balance. Fighter #1’s grip is still tight so Bond drags him through to the next carriage hammering against the door to try and loosen the grip.
INT. THIRD CARRIAGE – LATE AFTERNOON
Bond struggles wildly down the corridor before dropping to his knees.
EXT. TRAIN TRAVELLING ON KENYAN PLAINS – LATE AFTERNOON
An open top jeep pulls up close to the front of the train and several members of Al-Shabaab board the train. It’s a hijack. Yousef, on a motorbike cuts in an inlet and fires at the couplings.
INT. THIRD CARRIAGE – LATE AFTERNOON
Bond, realising the carriages ahead of him are being uncoupled, wrestles with the Al-Shabaab fighter, trying to free himself from the strangle hold. But it’s no use. The fighter has his gun tight to Bond’s neck. Bond scrambles frantically, fighting for a breath, but it’s no use, his strength starts to fade.
A GUNSHOT, the fighter loosens his grip and Bond breathes freely. Leiter has emerged, hobbling his way to the carriage, and shot the fighter in the back. The pair exchange a brief glance of mutual respect.
Bond, sensing he has no time, bustles his way to the end of the carriage too late to make a jump across the chasm. His carriage is slowly decelerating and the bandits of Al-Shabaab have got away with their loot: Lupita who looks terrified. Bond stares at the next carriage as it speeds away. Zufar glaring back at him with Lupita under his arm. Leiter limps to Bond’s position and joins him as the train carriages lose momentum and the train speeds off, flanked by its fleet of motorbikes, into a beautiful African sun set. Bond and Leiter look defeated.
EXT. KENYAN PLANES AND TRAIN CARRIAGES – DUSK
A glorious Kenyan sunset is followed by a montage of Kenyan wildlife shots; a giraffe, a Hyena and a Lion.
A helicopter slowly descends into the shrubbery in the vast plans landing near the remaining train carriages. Bond and Leiter walk towards the helicopter which is being flown by Caro. Wycliffe leaps out and greets them.
WYCLIFFE
James?
BOND
Wycliffe Oleledama, meet our American friend; Felix Leiter.
Wycliffe and Felix shake hands.
WYCLIFFE
And the girl?
FELIX
(Half in Bond’s direction)
She’s was an American friend too.
Bond doesn’t respond, Wycliffe is puzzled. Caro leans back from the cock-pit.
CARO
Where to?
Bond and Leiter board the chopper.
LEITER
Mombassa.
INT. CENTRAL MOSQUE MOMBASSA – MORNING
Lupita and Zufar remonstrate in Arabic inside the central mosque’s courtyard.
LUPITA
(Subtitled)
Arms dealers, offering us trade.
ZUFAR
(Subtitled)
Where did you meet them?
LUPITA
(Subtitled)
I told you I met on of them in Eastleigh, two weeks ago.
ZUFAR
(Subtitled)
But he was harassing you.
(Raising his hand to stop her)
Save it. I’ll be back in an hour. You will have some answers.
Zufar walks out of the courtyard. Lupita walks over to the edge the courtyard and takes out a white scarf and places it over an open window.
INT. CIA OPERATIONS ROOM – MOMBASSA - DAY
LEITER
That’s her SOS. Let’s get her out of there. Get a team to the rendezvous.
The interior of a CIA operations room is full of operatives monitoring screens of the Central Mosque. Leiter is in command. Bond and Wycliffe are passive observers. Bond looking a little sheepish, knowing that he blew her cover.
LEITER
(To his team)
Let’s do this quietly.
(To Bond pointedly)
You can stay here.
Leiter leaves with a team of CIA operatives. Wycliffe puts a hand on Bond shoulder. Bond is subdued.
WYCLIFFE
James, go to the hotel. Relax.
EXT. INDIAN OCEAN – DAY
UNDERWATER
We see from beneath the ocean a man dive into the water. It’s Bond, he is snorkelling with a harpoon in the shallows. He swims aggressively, he is angry not relaxed. Up ahead he spots something: A BARRACUDA. He swims towards it, before holding his position and lining up a shot. He has the barracuda in his sights and is about to pull the trigger when suddenly…
A SECOND BARRACUDA comes out of nowhere and hits Bond right in the solar plexus. Bond, taken by surprise and in pain, makes for the surface.
SURFACE
As he wades his way back in he tends the left side of his lower abdomen. It’s bleeding, significantly. The barracuda has attempted to take a chunk out of him. He winces in pain and continues to make his way to shore.
Caro is coming down the beach towards him. She spots his wound and concern comes over her face.
BOND
I’m fine.
CARO
That looks nasty. Here.
(Removing her crop top to reveal a bikini)
Try this.
Bond looks at her at her lustfully as she applies pressure to his lower abdomen. She shoots him a flirtatious look in response.
CARO
What was it?
BOND
A barracuda. I had one of its friends cornered, then this one blindsided me and tried to take a bite out of me.
CARO
(Suggestively)
I’m sure it’s not the first time someone has tried to take a bite out of you.
He holds her gaze in a game of chicken and she blinks first, averting her gaze back to the wound.
CARO
We better get you cleaned up. Message from Wycliffe: Leiter got the girl out. They are meeting us at the dock at nine. I believe Whycliffe has quite a show planned for us.
Fade to…
EXT. BEACH VILLA DOCKING STATION - NIGHT
Bond dressed in his dinner jacket waits at the dock for the Dhow to arrive.
EXT. DHOW - NIGHT
On board the Dhow is Leiter, dressed in his own dinner jacket and Lupita, in an elegant yet modest dress, head still covered. Off duty but still evidently observing her Muslim faith. Caro, in a stunning evening dress, beckons Bond aboard.
Bond and Leiter exchange glances and then Bond heads for Lupita. He grabs two glasses of champagne of a waiter.
BOND
(Offering her a drink)
For you?
LUPITA
(Dismissively)
I don’t drink.
BOND
(Tossing the contents of her glass overboard)
Not just a part of your cover then?
LUPITA
I thought you knew all about me, Mr Bond?
BOND
(Genuine)
James, please. Look, I made a mistake. I put you in danger and I’m sorry. I’m just glad you got out safely.
LUPITA
(Turning to analyse him)
Bond, James Bond. An unsophisticated brute. A man without principal who will sacrifice anything and anyone. An island, loyal to no one, save for his Queen and his country.
Bond, smiles, enjoying her description.
LUPITA (CONT.)
A womaniser, a gambler, a killer.
Bond takes a gulp of champagne.
BOND
Unsophisticated? I’m hurt, is this coming from Felix?
LUPITA
(Ignoring his question)
To be avoided at all costs.
BOND
(Leaning towards her)
What if you have me all wrong too?
They stare into one another, attempting to read something. But Bond’s attention is arrested by the approaching Caro.
CARO
(Cutting in and taking Bond’s glass from him)
May I?
Caro, looking stunning in her evening dress, gives Bond a flirtatious look. He responds and then catches Lupita’s eye.
Lupita gives Bond a knowing look and he can only look sheepish in response. It breaks the ice. She leaves Bond and Caro joining Leiter. Caro whispers playfully in Bond’s ear but he is distracted, looking at Lupita across the boat.
EXT. FORT JESUS COURTYARD – NIGHT
As the Dhow docks at FORT JESUS, a majestic 16th century fort, they are treated to a sound and light show, explaining the history of the fort: from its Portuguese origins right through to the British using it is as a prison.
Bond, Caro, Lupita, and Leiter all exit the boat. As they enter the courtyard they are greeted and entertained by a group of performers. They enact a theatrical performance of slaves being sold and purchased, mistreated and punished before Wycliffe emerges from the crowd.
WYCLIFFE
Friends, welcome.
Wycliffe greets them at the steps and beckons them to a table. It’s a wonderfully atmospheric setting: a candle lit dinner in the open courtyard of the Fort, under the stars. Bond sits with Caro, opposite them Leiter who sits with Lupita. At the head of the table, acting as a sort of moderator is Wycliffe.
WYCLIFFE
(Gesturing for them to eat.)
Please.
Fade to…
EXT. FORT JESUS COURTYARD – NIGHT
They are now finishing their meal but the conversation is still flowing.
LEITER
(Regarding Lupita)
She has done her share, she’s out.
BOND
Fine, but at least fill us in on the details. My understanding is it’s a British target here.
LUPITA
That’s the intelligence we have, but we couldn’t give you a concrete target.
CARO
How do you know it’s British then?
LUPITA
Two months ago Zufar received an offer from anonymous contact. He said he had opportunity that would wipe the British from this country forever. Zufar set up a meeting, where this fixer was to provide elements for a dirty bomb, but the negotiations backfired and it ended in a firefight. Two weeks ago, this fixer re-established contact.
BOND
Sounds like we need to move quickly.
LEITER
The difficulty is we can’t get a lock on them. They travel around like gypsies. We couldn’t risk Lupita carrying a tracking device. The only meeting point we have is the central Mosque.
BOND
Can’t we hit them at the mosque?
LUPITA
(Exasperated)
You can’t hit the mosque.
CARO
If that’s the only location we can get a lock on them.
LUPITA
You don’t understand do you? Any of you: Because you’re not Muslim. This is a battle of ideals. You hit the mosque; you pour fuel on the flames of every confused young Muslim’s fears. You give them a grievance. You do that, you sell the soul of this country, and you lose the whole region.
CARO
Some would say we already have. I thought you said you were out. Why don’t you leave it to those of us with a little fight left in us?
The two women glare at one another.
WYCLIFFE
Caro, that’s enough.
(To Lupita)
This fixer, did he have an alias.
LUPITA
He went by the name Kifo Ushuru.
Upon hearing the name, Wycliffe’s face looks like he has seen a ghost. He reclines in his chair, eyes wide.
WYCLIFFE
Kifo Ushuru? Are you sure that was the name?
Lupita nods. Bond and Leiter look to Wycliffe for an explaination. He takes a few seconds to digest the information before regaining his composure.
WYCLIFFE
Kifo Ushuru. It’s an old Mau Mau legend. The Mau Mau formed a guerrilla insurgency, resisting British rule.
LEITER
(In Bond’s direction)
So the British locked them up in concentration camps.
Bond doesn’t bite.
WYCLIFFE
They put them in prisons, attempted to break them, tortured them in places like this. Pretty brutal stuff. The story goes that one man escaped the gulags and headed for the hills in defiance. The British sent a squad after him but in the hills and plains he picked them off one by one leaving trails of body parts to act as breadcrumbs.
Lupita squirms at hearing the story.
WYCLIFFE (CONT.)
Word spread back amongst the Mau Mau, and his defiance become legendary. He became known as Kifu Ushuru, or The Death Collector.
BOND
Charming story. One wonders how much of it is true. This was all sixty years ago. What does this have to do with Al-Shabaab now?
LUPITA
I’m not sure. But any man who can spook Al-Shabaab is to be feared.
BOND
And you say this Kifu Ushuru was providing a bomb for them?
LUPITA
No, not exactly. He was providing the chemical TATP, enough of it to raise an entire district to the ground.
BOND
That’s too much explosive for the consulate in Mombassa.
LEITER
It could be the high commission in Nairobi.
BOND
(Shaking his head)
That’s still too much.
LUPITA
He provided the explosive capabilities but Al-Shabaab were unable to source a suitable synthesised container, that’s why the deal fell through. And that’s why I told them you were an arms trader.
BOND
Well, can’t we go through with that, then? What parts were they missing?
Lupita looks over to Felix.
LEITER
No! She’s out.
BOND
(Raising his voice)
Listen, Felix-
WYCLIFFE
(Holding a hand up)
Alright, alright, that’s enough for one night. Let’s enjoy the evening, sleep on it, and talk in the morning.
Everyone leaves the table to enjoy the entertainment but Bond stays, his eyes fixed on a certain point. He eventually gets up and heads to join Leiter. They both watch an elaborate performance. Bond, on the opposite side of the drama, is focused on Felix. The two performers drag another and mimic torturing him.
NARRATOR (O.S)
Below, the torture chambers of Fort Jesus. Enter at your own risk. The souls of the damned are vengeful spirits.
The drums beat accelerates and ramps up the tension as Bond continues to eye Leiter across the stage. The performace comes to a dramatic crescendo with one of the performers ending in the crucifix pose. There is applause for the performers and Leiter joins in. Bond, however, has crossed over to Felix’s position.
BOND
(Grabbing Felix by the arm)
Listen, even if it’s only an introduction, then you can get her out of there. I’ll take my chances alone.
FELIX
Not a chance. She’s suffering from Post-Traumatic-Stress. You are-
A SCREAM. Followed by several other screams coming from down below in the depths of the Fort.
Bond and Leiter, passing screaming civilians, rush down to
INT. OLD TORTURE CELLS – NIGHT
Bond arrives first. His face turns to ash. Lupita is turned away unable to look at the scene, propped against the wall seemingly paralysed by distress. Leiter arrives and his face is also horrified.
FELIX
God!
We do not see what it is but we are left in no doubt that the scene is appalling. Wycliffe arrives and gasps.
WYCLIFFE
(A shocked whisper)
Caro!
Bond hasn’t looked away from the scene, whatever it is, his face intensifying with every second. Leiter grabs him by the arm.
FELIX
James, get Lupita away from here. Take her to your hotel. I’ll clean this up with Wycliffe.
Bond’s eyes haven’t shifted. We fade to:
EXT. BEACH VILLA – NIGHT
A car arrives and two figures get out and enter the beach property.
INT. BEACH VILLA - NIGHT
Bond pours a glass of scotch and sits in the living room contemplating Caro’s brutal death. Lupita sits on the end of Bond’s bed, head in hands, visibly shaking.
Wycliffe arrives in a car outside and Bond goes out to the veranda to speak with him.
EXT. BEACH VILLA – VERANDA – NIGHT
Bond passes Wycliffe a glass of scotch and takes a slug from his own.
WYCLIFFE
We’ve sealed the perimeter. Leiter’s people are checking for prints, DNA, Fibres anything.
BOND
The girl was in hysterics. She won’t sleep tonight. You think its Al-Shabaab sending a message?
Wycliffe shakes his head.
WYCLIFFE
Two years after the squad killings, and the British were losing face in Kenya. An old police commissioner was sent from Scotland Yard to bring some order to the chaos. Tough nut, a bit of blunt instrument. A real colonial old bobby as the Brits used to say. Why is it you call your policemen Bobbies?
BOND
Sir Robert Peel, founder of the metropolitan police force. Robert, Bob, Bobby.
WYCLIFFE
Well this colonial old bobby, instigated a lot of police brutality, treated the Africans in his district badly. On his way home one day, he was hauled over by one of his own African police captains. The captain drew his pistol, shot him twice in the leg, dragged him back to his residence and, so the legend goes, skinned him alive.
Bond gives Wycliffe a disturbed look.
WYCLIFFE (CONT.)
Word spread that it was the work of Kifu Ushuru, he had signed up as a British police captain. One week later the British High Commission received a parcel with the commissioners rotting skin in it.
Bond takes a slug of scotch.
Fade to…
INT. BEACH VILLA – DAWN
Bond, having finished a bottle of scotch has managed to fall asleep in a chair in the living room. He is startled awake by…
THE SOUND OF A KNIFE REPEATEDLY HAMMERING INTO A CHOPPING BOARD.
He gets up and goes to the kitchen where Lupita is frantically chopping away at a vegetable. She hasn’t slept and she looks agonised. She just continues slicing, even when the vegetable is in tiny slither, tears coming down her face. Bond watches for a while then decides he has seen enough. As Bond approaches her she drops the knife and then collapses to the floor.
BOND
Come on.
He pulls her up and takes her outside.
EXT. BEAUTIFUL SECLUDED BEACH - DAWN
We are outside on a beautiful beach, not another soul in sight. Bond and Lupita walk side by side not saying anything. Her arms are folded and she looks cold and fragile.
Bond finds a beautiful vantage point above a rock formation and encourages her to sit. She sits, both of them in silence not saying anything. Then…
LUPITA
I just want to get out. I gave up two years of my life, put myself in more danger than I could have imagined. I want my life back. I want to get stuck on the tube and go on second rate package holidays.
BOND
Why did you sign up?
LUPITA
I love my country, Kenya I mean. And I hate seeing what’s being done to it in the name of my religion.
BOND
So why CIA?
LUPITA
(Looking away and ignoring his question)
I wanted to see it through. But…
(A pause while she stares into the distance)
If you gaze for long into an abyss, the abyss also gazes back at you.
(Turning to him)
Do you understand?
BOND
(He inhales)
He who fights with monsters might take care, lest he thereby become a monster.
LUPITA
(Surprised, she smiles for the first time since Fort Jesus)
An educated brute.
BOND
(Sheepishly)
An educated monster perhaps?
LUPITA
This world can do that to you. But no man is born an executioner. Do you ever think about getting out?
BOND
(Bond smiles wryly)
No.
LUPITA
I don’t believe you. Is this the life you really want?
A moment passes between them. But Bond retreats into his shell.
BOND
Right now, I want to stop a terrorist attack and find the person responsible for Caro’s death.
She looks away unable to look him in the eye, reintroduced to the reality of their situation.
BOND (CONT.)
And I think your friends might be my best hope.
(Taking her hands and re-establishing eye contact)
Take me to them, and then you are out. I promise.
LUPITA
(Hesitantly but persuaded)
OK.