FROM RUSSIA WITH LOVE"

Screenplay by
Richard Maibaum

Adapted by
Johanna Harwood

Based on the novel by
Ian Fleming

[Note: Passages in brackets appear in thecutting continuity but not in the film]

GUN BARREL LOGO The James Bond trademark which is an IRIS moving to centre of screen circling JAMES BOND. He fires a revolver.

IRIS CUTS OUT. FADE IN: EXT. RENAISSANCE GARDENS - NIGHT - SERIES OF SHOTS

-
WIDE MOVING SHOT: Bond, dressed in a tuxedo, walks across a bridge and down some steps as if stalking someone. He looks back.
-
CLOSE SHOT: The feet of another man, wearing sweat-pants and soft shoes, walk forward.
-
CLOSE SHOT: Bond turns forward again, looks around andcontinues walking.
-
CLOSE SHOT: The other man's feet walk quietly up some steps.
-
WIDE MOVING SHOT: Bond runs down a tree-lined path toward a statue, hears a bird coo and looks back.
-
WIDE SHOT: The other man is crossing the bridge. He is DONALD GRANT. He stops and looks in front of him.
-MEDIUM SHOT: Bond, holding a revolver, moves toward some trees.
-
MEDIUM SHOT: Grant stops on the bridge, looking forward,then cracks a branch of a tree.
-
BOND stops suddenly at the sound. He looks back, pausesthinking, then continues walking.
-
GRANT watches, then moves forward and
-
GRANT'S FEET walk forward but stop, pivot back and walk in adifferent direction.
-
MEDIUM MOVING SHOT: Bond looks back, walks forward, hears a bird cooing again, looks back, then walks forward again.
-
WIDE ANGLE: Bond stops moving and peers behind some bushes.Grant crosses in f.g. holding one arm out.
-
BOND fires a revolver.
-
GRANT stops at the sound then turns and looks back.
2.
-
BOND, still holding the revolver, moves behind a statue thencontinues on.
-
GRANT keeps looking back.
-
BOND walks forward glancing around anxiously.
-
WIDE MOVING SHOT: Grant walks toward a fountain in f.g.,Bond following, then Grant passes it and moves on.
-
BOND emerges from behind a tree, looking in Grant'sdirection.
-
WIDE ANGLE: Bond peers behind another tree then continuesforward. PAN OVER to reveal Grant waiting in f.g., concealed by more trees.
-
CLOSE SHOT: Grant pulls a garrote from his watch.
-
MEDIUM MOVING SHOT: Bond turns a corner, still lookingaround.
-
FRONT ANGLE: Bond steps forward. Grant suddenly emergesfrom the trees behind him and whips the garrote around hisneck. Bond clutches at it helplessly as Grant strangles himand they drop to the ground.

Behind them, the lights of SPECTRE House go on, revealing the MEN OF THE SPECTRE PARTY, standing on a terrace. The men walk forward.

GRANT

rises retracting the garrote into his watch. He looks up to see

MORZENY

approaching followed by the other men.

GRANT

stands at attention as Morzeny reaches him holding a watch.

MORZENY

(to Grant)Exactly one minute, fifty-two seconds. That's excellent.

3.

BOND lies motionless on the ground. Morzeny's hand reaches downand pulls a mask off his face, revealing an UNIDENTIFIED MANwho has been disguised as Bond. TILT UP to reveal Morzeny andGrant walking away toward the house.

CUT TO: THE MAIN TITLES A BELLY DANCER performs as the credits are projected across

various parts of her body.

FADE OUT. FADE IN: EXT. VENICE - ESTABLISHING SHOT - DAY Long shot of the shoreline as TWO GONDOLIERS oar past in f.g.

DISSOLVE TO: INT. CHESS ROOM - VENICE HOTEL A scoreboard reads:

VENICE INTERNATIONAL GRANDMASTERS CHAMPIONSHIP

MATCH FINAL
Czechoslovakia WHITE BLACK Canada
KRONSTEEN 11 1/2 11 1/2 MACADAMS

PULL BACK to reveal KRONSTEEN ('No. 5') and MACADAMS sittingacross from each other at a chess table, the 1st and 2nd UMPIRES, an ATTENDANT and SPECTATORS. Kronsteen smokes a cigarette and flicks an ash into an ashtray.

KRONSTEEN moves his white knight and takes Macadam's black bishop, setting it beside many other black pieces. KRONSTEEN

Check. Kronsteen clicks a timer. OVER KRONSTEEN'S SHOULDER Macadams looks thoughtfully at the board.

4.

ANGLE ON THE SCOREBOARD 1ST UMPIRE Knight takes bishop. The Attendant moves a corresponding white piece on thescoreboard. ATTENDANT

Knight takes bishop. EXTREME WIDE ANGLE The spectators look on murmuring. A WAITER approaches the

table with a tray containing two glasses. CLOSER The waiter sets a glass in front of Macadams then turns to

Kronsteen and puts a glass of water and a mat in front of him. STILL CLOSER Kronsteen stares at the waiter, whose hand still grips the

glass. The hand backs away and Kronsteen picks up the glassand the mat. He starts to drink then looks through the glass. We hear the clock still ticking.

KRONSTEEN'S POV - THE GLASS AND MAT Seen through the bottom of the glass on the mat are the words: 'YOU ARE REQUIRED

AT ONCE.' KRONSTEEN sets the glass down and dabs the mat against his lips.

Meanwhile Macadams looks at the chessboard. Kronsteen tears up the mat. OVER KRONSTEEN'S SHOULDER Macadams moves a black chess piece and clicks the timer. ANGLE ON THE SCOREBOARD 1ST UMPIRE King to rook two. The Attendant moves a corresponding black piece. ATTENDANT King to rook two.

5.

AT THE TABLE
Kronsteen picks up a white piece then glances at Macadams.

Macadams looks back. Kronsteen sets the piece on the table,looks again at Macadams and clicks the timer.OVER KRONSTEEN'S SHOULDERMacadams studies the chessboard.ANGLE ON THE SCOREBOARDThe Attendant moves a corresponding white piece.

1ST UMPIRE Queen to king four. ATTENDANT (repeating)Queen... to king four. WIDE ANGLE The spectators murmur in anticipation. MACADAMS studies the board.

KRONSTEEN stares back at him, eyes unmoving. Macadams' hand reaches forward and touches the top of the black king.

OVER KRONSTEEN'S SHOULDER
Macadams tips over his king onto the table.
KRONSTEEN
stares at him.
OVER KRONSTEEN'S SHOULDER
Macadams rises.

MACADAMS
My congratulations, sir. A
brilliant coup.

Macadams holds out his hand as the spectators applaud.Kronsteen rises and shakes it.

6.

HIGH ANGLE - CRANE SHOT

Kronsteen releases Macadams' hand and, as we CRANE DOWN, walks away from the table. A SPECTATOR reaches out to give him ahandshake but Kronsteen ignores him and keeps walking.

DISSOLVE TO:

EXT. BLOFELD'S ('NO. 1') YACHT - WIDE ANGLE - DAY

The yacht rests in a bay.

EXT. BLOFELD'S CABIN - SAME TIME

A GUARD with a machine gun over his shoulder comes downstairs, Kronsteen following and looking around. The guard rings adoorbell to Blofeld's cabin. Kronsteen looks back and sees a SECOND ARMED GUARD coming down the stairs.

INT. BLOFELD'S CABIN - SAME TIME

ROSA KLEB is looking into a desktop aquarium. She moves backwards looking down at it.

BLOFELD (O.S.)Siamese fighting fish. Fascinating creatures. Brave, but on the whole, stupid.

KLEB'S POV - THE AQUARIUM

Three fish swim in it.

BLOFELD (O.S.)
Yes, they're stupid.

CLOSE SHOT - BLOFELD'S LAP

A white cat rests in his lap and he pets it.

BLOFELD (O.S.)Except for the occasional one suchas we have here...

CLOSE SHOT - AQUARIUM

The fish swim around each other and then, in quick cuts, fighteach other.

BLOFELD (O.S.)...who lets the other two fightwhile he waits... waits until the survivor is so exhausted that he cannot defend himself.

7.

KLEB
watches the aquarium.
CLOSE SHOT - AQUARIUM
The fish continue to fight.

BLOFELD (O.S.)And then, like SPECTRE, he strikes. CLOSE-UP - KLEB KLEB I find the parallel -- amusing. CLOSE SHOT - BLOFELD'S CAT Blofeld handles the cat.

BLOFELD (O.S.)Our organization did not arrangefor you to come over from theRussians...

ANGLE ON KLEB OVER BLOFELD BLOFELD (continuing)...just for amusement, Number

Three. CLOSE SHOT - CONSOLE Blofeld pushes one of four buttons on his desk.

[END OF REEL 1. START REEL 2.]

BLOFELD'S POV - KLEB

stands in f.g. as a door behind her opens and Kronsteen enters.

BLOFELD Come in, Kronsteen. Sit down, Number Three...

CLOSE SHOT - BLOFELD'S CAT

He continues to stroke it.

BLOFELD ... while we listen to what Number Five has devised for us.

8.

CLOSE-UP - KLEB

KLEB

I hope Kronsteen's efforts as

Director of Planning will continue

to be as successful as his chess.

CLOSE-UP - KRONSTEEN

KRONSTEEN

They will be. According to your

instructions, I have planned for

SPECTRE to steal from the Russians

their new Lektor decoding machine.

For this we need the services of a

female member of the Russian

cryptograph section in Turkey and —

- uh —- the help of the British Secret Service.

CLOSE-UP - KLEB

Listening, she looks up at Kronsteen.

KRONSTEEN (O.S.)

(continuing)

Naturally, neither the Russians nor

the British will be aware...

CLOSE-UP - BLOFELD'S CAT

He continues to pet it.

KRONSTEEN (O.S.)

(continuing)

...that they are now working for

us.

BLOFELD (O.S.)

Number Three, is your section ready

to carry out Kronsteen's directives?

CLOSE-UP - KLEB

KLEB

Yes, Number One. The operation

will be organized according to

Kronsteen's plan. I have selected

a suitable girl from the Russian

Consulate in Istanbul. She's

capable, cooperative, and her

loyalty to the State is beyond

question.

9.

WIDE ANGLE OVER BLOFELD AT KLEB AND KRONSTEEN

BLOFELD

And you're absolutely sure she

believes you're still...

CLOSE-UP - BLOFELD'S CAT

He continues to stroke it.

BLOFELD

(continuing)

... head of operations for Soviet

Intelligence?

CLOSE-UP - KLEB

KLEB

It is most unlikely she would know

I'm now working for SPECTRE.

Moscow has kept my defection secret

from everyone but a few members of

the Presidium.

CLOSE SHOT - BLOFELD'S CAT

As he stroke it:

BLOFELD For your sake, I hope so.

BLOFELD'S POV - KLEB AND KRONSTEEN

BLOFELD (O.S.)

Kronsteen, you're sure this plan is

foolproof?

KRONSTEEN (tapping a cigarette

against its case)

Yes, it is, because I have

anticipated every possible

variation of counter-move.

CLOSE SHOT - BLOFELD'S CAT

As he strokes it:

BLOFELD

But what makes you think that 'M,'

the head of British intelligence,

will oblige you by falling in with

your plan?

10.

CLOSE-UP - KRONSTEEN

KRONSTEEN

For the simple reason that it is soobviously a trap.

(he starts to put thecigarette into hismouth then lowers it)

My reading of the British mentality is that they always treat a trap asa challenge. And in any case, theycouldn't possibly pass up even theslightest chance of getting theirhands on a Lektor decoder. Theyhave wanted one for years.

CLOSE SHOT - BLOFELD'S CAT

As he strokes it: BLOFELD (O.S.)

Um-hmm. All that you say could be

true. What else?

CLOSE-UP - KRONSTEEN

KRONSTEEN

As an added refinement, I think

that SPECTRE would probably have

the added chance of a personal

revenge for the killing of our

operative, Doctor No. Because the

man the British will almost

certainly use on a mission of this

sort would be their agent, James

Bond.

ANGLE OVER BLOFELD AT KLEB AND KRONSTEEN

BLOFELD

Let his death be a particularly

unpleasant and humiliating one.

KRONSTEEN

Good. I shall put my plan into

operation straightaway.

KLEB

looks at Kronsteen.

11.

KRONSTEEN

KRONSTEEN And there will be no failure. CUT TO:

EXT. LAKE - MEDIUM CLOSE SHOT - GRANTNaked but for shorts, he lies face-down on a towel on grass. He glances up.

A FEMALE MASSEUSEin a skirt approaches.GRANTcloses his eyes.MEDIUM SHOT - GRANT AND MASSEUSEShe sets a bag down then turns away and unbuttons and removes

her shirt, revealing large breasts in a bra. She pulls downher skirt, revealing shorts, and turns toward Grant.She kneels, picks up a container of ointment then looks up.A HELICOPTERhovers overhead.MEDIUM SHOTThe masseuse massages Grant's back.THE HELICOPTERlands in front of SPECTRE House.

CLOSER ANGLE
Morzeny and other SPECTRE men, including RHODA, approach the
helicopter as it lands.

MORZENY Hurry. Kleb emerges from the chopper. MORZENY

(to Kleb)Welcome to SPECTRE Island. A greathonour. I hope you had a pleasantflight.

12.

CLOSER - MORZENY AND KLEB

KLEB

My time is limited. Is the man I

requested ready?

Morzeny hands her a file.

MORZENY
His dossier.

KLEB
Good.

Kleb look at the file.

KLEB

Donald Grant, convicted murderer.

Escaped Dartmoor Prison in nineteen

sixty. Recruited in Tangier

nineteen sixty-two. Excellent!

Where is he now?

Rhoda turns to Morzeny.

RHODA
At the Lake.

MORZENY Bring him to my office, will you?

Morzeny touches Kleb's elbow as if to escort her; she backsaway repulsed.

KLEB
Take me to the Lake.

MORZENY
(pointing)
Through the training area.

MOVING SHOT

Kleb, Morzeny and Rhoda walk across the grounds.

MORZENY

This Grant's one of the best men

we've ever had. Homicidal

paranoiac, superb material. Though

his methods were a little crude,

his response to our training and

indoctrination have been

remarkable.

13.

EXT. KILLING SCHOOL - MOVING SHOT

Kleb, Morzeny and Rhoda walk along a series of galleries wheremen fire at targets. Other men in judo garb break cinderblocks in f.g. In another gallery, a man fires a flamethrower at a running man. Two men fight with knives. In yetanother gallery, men practice judo.

MORZENY
I hope our work here meets with
your approval?

KLEB Training is useful, but there is nosubstitute for experience.

MORZENY I agree. We use live targets aswell.

WIDE ANGLE

Kleb, Morzeny and Rhoda walk away as the mayhem continues.

DISSOLVE TO:

EXT. LAKE

The threesome approach around a grove of trees and turn toface the Lake.

Grant reclines on his back as the masseuse works on one of his arms. A trampoline and barbell lay nearby. The masseuse looks up at the visitors.

Kleb takes a step forward.

KLEB
Call him.

MORZENY
Grant!

Grant jumps to his feet and stands attention. Kleb looks at him then removes her purse from her shoulder.

Grant walks up to the visitors. He stops in front of Kleb and stands at attention. Kleb circles him, looking him over. As she does, she puts on a knuckle duster.

When Kleb arrives in front of Grant again she suddenly puncheshim hard in the stomach. He barely flinches.

14.

KLEB He seems fit enough. Have him report to me in Istanbul in twenty-four hours.

Kleb immediately turns and walks off, Morzeny and Rhodafollowing.

DISSOLVE TO:

EXT. ISTANBUL - ESTABLISHING SHOT - DAY

Minarets in f.g., a mosque and the Bospherous beyond.

EXT. RUSSIAN EMBASSY - DAY

A sign on an outer wall reads:

CCCP USSR CONSULATE GENERAL

A PORTER holds open a wrought-iron gate and three embassy women emerge onto the sidewalk —- a striking blonde, TATIANA ROMANOVA (known as TANIA), and her friends IRINA and NATASHA. Tania holds a piece of paper.

IRINA

(in Russian)Are you sure you don't want to comewith us?

TANIA
(in Russian)
I have some shopping to do.

NATASHA (in Russian)We'll see you later as the hostel.

IRINA (in Russian)Don't be late. Goodbye for now.

TANIA
(in Russian)
Goodbye for now.

NATASHA
(in Russian)
Goodbye for now.

Irina and Natasha walk away. Tania turns, looking at thepiece of paper, and walks off.

DISSOLVE TO:

15.

EXT. STREET - KLEB'S HOTEL - DAY

Tania walks up a cobblestone path to a policeman and shows him the piece of paper.

TANIA
(in Turkish)
Can you show me this house?

The policeman points further up the path.

POLICEMAN
(in Turkish)
It's the first door on the left.

Tania continues up the narrowing path toward the hotel, which looks more like a sinister tenement.

THROUGH AN ARCHWAY

Tania approaches the hotel, stops, looks at the paper again,looks around, then turns up a flight of stairs.

ON THE STAIRS - MOVING SHOT

Tania continues up the stairs then turns down a walkway. Suddenly a man's shadow crosses a pillar in f.g. He stopsbehind it and watches. It's Grant, in a suit and tie.

Tania stops at a door and knocks.

AT THE DOOR

MOVE IN on the door as it opens with a creak, revealing Kleb.She wears a Russian uniform.

INT. KLEB'S ROOM - WIDE ANGLE

Tania stands on the threshold.

TANIA Corporal of State Security TatianaRomanova.

KLEB
(matter-of-factly)
Come in.

Tania enters the room. We CRANE DOWN AND IN as Kleb shuts the door and follows her down a flight of stairs into an office. It contains a desk and a chair. Kleb sits behind the desk.

KLEB
You know who I am?

16.

TANIA Colonel Kleb. Head of operationsfor -- for SMERSH. I saw you oncein Moscow when I worked for the English decoding crew.

KLEB Did you tell anyone at the Consulate you were coming here?

TANIA
No, the message said --

KLEB
Yes, yes. I know. I sent it.

INTERCUT - TANIA AND KLEB

Tania stands watching her, uncertain.

Kleb dons a pair of black-rimmed glasses and opens a dossier on her desk.

KLEB Your work record is excellent. The State is proud of you.

TANIA
Thank you, Comrade Colonel.

KLEB
Take off your jacket.

Tania is surprised, then unbuttons and removes her jacket.

KLEB
Turn around.

Tania obediently pivots around.

KLEB Umm. You are a fine-looking girl.

Tania glances down diffidently.

KLEB
(politely)
Sit down.

Tania sits in the chair and keeps looking at Kleb, whocontinues to scan the dossier.

KLEB I see you trained for the ballet.

17.

TANIA But I grew an inch over regulation height, and so...

KLEB And then you have had three lovers?

[Tania looks off shocked.

KLEB
Did you enjoy their attention?]

TANIA

(showing her anger)
What is the purpose of such an
intimate question?

Kleb explodes, cracking a short whip against her desk.

KLEB You are not here to ask questions!You forget to whom you arespeaking! [Did you enjoy it?]

TANIA
(softens then smiles)
I was in love.

KLEB
And if you were not in love?

TANIA (thinks deeply, then

smiles again)I suppose that would depend... on the man.

KLEB
Sensible answer.

Kleb rises from her desk.

WIDER ANGLE

We see now that Tania is sitting with her legs crossed and herskirt is raised revealing her knee.

Kleb walks to her holding a photograph, hands it to her thensits on the edge of the desk holding the whip.

KLEB
This man, for instance.

18.

TANIA

(studying the photo)I cannot tell. Perhaps if he waskind and kulturny.

KLEB
Corporal...

Kleb rests a hand on Tania's knee but withdraws it at Tania's look of distaste. DOLLY IN CLOSER to them.

KLEB ...I have selected you for a mostimportant assignment. Its purposeis to give false information to the enemy. If you complete itsuccessfully you will be promoted.From now on you will do anything he says.

TANIA
And if I refuse?

KLEB Then you will not leave this roomalive.

Tania looks at her aghast, then regains her composure.

TANIA
I will obey your orders.

ANGLE ON KLEB

She rises from the desk, then we PAN on her as she crosses behind Tania.

KLEBGood. Now these are your instructions. You report to mehere.

TANIA
Yes.

KLEB But the Consulate security man mustnot know that I am in Istanbul. This is classified far above his level.

TANIA
I will say nothing to anyone.

DOLLY OUT as Kleb steps toward her.

19.

KLEB
If you do, you will be shot!

(she cracks thewhip hard againstthe chair, then softens)

Come, come, my dear.
(she strokes Tania's

shoulder)You are very fortunate to have beenchosen for such a simple,delightful duty.

(her hand moves up to stroke Tania's hair)

A real labour of love... as we say.

DOLLY IN to Tania looking down at the photograph.

DISSOLVE TO:

EXT. RIVER - DAY

A punt glides by with a MAN and YOUNG WOMAN inside. He is piloting.

MAN
Great sport, this!

YOUNG WOMAN
What did you say?

MAN
Great sport, this punting!

The punt continues off. TILT DOWN TO REVEAL another punt,resting on the shoreline beneath a tree. Inside are Bond and SYLVIA, embracing and kissing. An ice bucket and glasses arebeside it.

BOND
I couldn't agree with him more.

SYLVIA I might even give up golf for it.

BOND
Really?

He tugs on a cord that extends between his toes into thewater, pulling up a bottle of champagne. He touches it.

BOND
Not quite.

20.

He lowers the bottle again. Sylvia notices something on his back —- a scar. She runs her finger across it.

SYLVIA Ooh! Souvenir from another jealouswoman?

He turns back and slips an arm around her.

BOND Yes, but I haven't turned my backon one since.

He fully embraces her and they kiss. Suddenly a BEEPER goes off. Bond looks back, disheartened.

BOND
Excuse me.

SYLVIA
What?

He reaches into his coat pocket and switches off the device.

WIDER ANGLE

Bond climbs out of the punt with his jacket, then turns back.

BOND
Give me my shirt, will you?

SYLVIA
(tossing it to him)
What's going on?

BOND
I have to make a phone call.

PAN ON BOND as he walks to his car —- a classic green convertible.

SYLVIA (O.S.)

(calling)
But we haven't eaten yet! I'm
starving!

Bond opens the driver's door and picks up a phone while raising his shirt.

BOND

(into phone)Come in, Univex. James Bond here. Over.

21.

INT. MISS MONEYPENNY'S OFFICE - SAME TIME

She sits holding her phone and with her other hand taps acigarette against a file on her desk.

MISS MONEYPENNY He's been asking for you all morning. Where in the world are you, James?

[END OF REEL 2. START REEL 3.]

MEDIUM SHOT - BOND

He is in his shirt now, buttoning it.

BOND Well, I've just been reviewing anold case.

SYLVIA

approaches in a huff. PAN ON HER as she walks to Bond.

SYLVIA Oh, so I'm an old case now, am I?

BOND
Shh! It's the office.

(into phone)Err... tell him I'm on my way, willyou?

Sylvia snatches the phone from him.

SYLVIA
(into phone)
He is not on his way.

BOND (taking the phone

back)Sylvia, behave! We'll do this again some other time, soon.

(he keeps buttoninghis shirt)

SYLVIA Do what? The last time you saidthat you went off to Jamaica.

(she undoes one ofhis buttons)I haven't seen you for six months.

He slaps her hand.

22.

BOND
(into phone)
I'll be there in an hour.

INTERCUT - MISS MONEYPENNY

She now holds a lit cigarette.

MISS MONEYPENNY
Hey, your old case sounds
interesting, James.

INTERCUT - BOND AND SYLVIA

Sylvia has completely unbuttoned Bond's shirt.

BOND (into phone)Er... make that an hour and a half.

He returns the phone to its cradle as Sylvia quietly claps herhands together. Bond passes her and raises the convertible top. DOLLY IN till it conceals him and Sylvia and the screengoes black.

BOND
Now, about that lunch...

SYLVIA
(giggling)
Hmm-hmm.

FADE IN:

INT. A DOOR - MEDIUM CLOSE SHOT

The door opens to reveal Bond dressed in a suit and tie andholding his hat. As he enters, PULL BACK TO REVEAL

INT. MISS MONEYPENNY'S OFFICE

Unseen by Bond, 'M' stands with Miss Moneypenny at a filing cabinet behind the door. 'M' holds a file marked 'SECRET.' They look up.

Bond tosses his hat at a hat-rack and it lands perfectly on a hook. He turns to Miss Moneypenny and begins to close thedoor.

BOND
For my next miracle, I...

'M' comes into view. Bond stops cold. The others just lookat him. Chagrined, Bond gently leans against the door to shutit the rest of the way —- and it creaks loudly.

23.

Wordlessly, 'M' nods to Bond to follow him. PAN ON THEM as they cross the room and pass through an open doorway into 'M's' office. BOOTHROYD ['Q'] stands just outside the officeholding a briefcase and waiting. Bond closes a padded doorbehind them.

MISS MONEYPENNY

(to Boothroyd)It'll be a miracle if he can explain where he's been all day.

INT. 'M's OFFICE

'M' walks toward his desk, Bond following having just closedthe padded inner door.

BOND
But I've never even heard of a
Tatiana Romanova.

'M'
Ridiculous, isn't it?

BOND
It's absolutely crazy.

'M' Of course, girls do fall in love with pictures of film stars.

'M' stops behind his desk and gestures to Bond to sit.

INTERCUT - BOND AND 'M'

BOND But not a Russian cipher clerk witha file photo of a British agent.Unless she's, uh... mental.

'M'
Mmm.

BOND
No, it's some sort of trap.

'M'

(filling his pipe)Well, obviously it's a trap, andthe bait is a cipher machine. A brand new Lektor.

BOND A Lektor, no less. The C.I.A.'s been after one of those for years.

24.

ANGLE ON 'M'

over Bond's shoulder. 'M' lights his pipe and sits.

'M'

Yes. So have we. When she

contacted Kerim Bey, head of

Station T, Turkey, and told him she

wanted to defect, she said she'd

turn it over to us, on one

condition: that you went out to

Istanbul and brought her and the

machine back to England.

(he takes a photo

from the file)

Here's a snapshot Kerim managed to

get of her.

BOND

takes the photo, glances at it absently, then looks up.

BOND

Well, I don't know too much about

cryptography, sir, but, uh... a

Lektor could decode their top

secret signals. The whole thing's

so fantastic, it just could be...

(he finally looksat the photo andcatches himself)

...true.

INSERT - THE PHOTO

shows Tania standing at a railing aboard a ship with one handraised provocatively, holding her hair back.

'M' (O.S.)
Hmm. That had occurred to me.

BOND

continues to look at the photograph

'M' (O.S.)

Besides, the Russians haven't been

up to any tricks recently.

BOND

Well, really, I'm not too busy at

the moment, sir.

25.

INTERCUT - BOND AND 'M'

'M' You're booked on the eight-thirty plane in the morning. If there's any chance of us getting a Lektor,we simply must look into it.

BOND Suppose when she meets me in theflesh, I don't come up toexpectations?

ANGLE ON 'M'

over Bond's shoulder.

'M'
Just see that you do.

He presses a switch on his intercom.

'M' Miss Moneypenny, ask the EquipmentOfficer to come in, please.

(he releases the switch)Q Branch has put together a smartlooking piece of luggage for us.

ANGLE ON THE PADDED DOOR

Boothroyd enters carrying the briefcase. PAN ON HIM as he walks to the desk, to include Bond and 'M'.

'M' (O.S.)We're issuing this to all double-o personnel.

Boothroyd nods to Bond and sets the briefcase on the desk.Bond rises to face him.

BOOTHROYD An ordinary black leather case...

(tilts it up and pointsto two buttons on its back edge)

... with twenty rounds of
ammunition here and here.

Boothroyd presses one of the buttons and a narrow tube pops up. Bond does the same to the other button and another tube pops up.

26.

MEDIUM SHOT - BOND AND BOOTHROYD

BOOTHROYD

(indicating the tube)Now, if you take the top off,you'll find the ammunition inside.

Bond opens the top and drops a couple of bullets into hishand, then returns them to the tube. Meanwhile Boothroyd turns the briefcase the other way around.

BOOTHROYD
In the side here: flat throwing
knife.

CLOSE SHOT - THE BRIEFCASE

Boothroyd's hand enters.

BOOTHROYD (O.S.)
Press that button there...

(he presses a releaseand a knife popsout)

... out she comes.

Bond's hand enters and takes the knife.

MEDIUM SHOT - BOND AND BOOTHROYD

Boothroyd opens the briefcase and sets it down flat.

BOOTHROYD
Inside the case...

CLOSE SHOT - THE BRIEFCASE

The inside is bright red and contains what looks like part of a rifle. Boothroyd's hand picks it up.

BOOTHROYD (O.S.)...you'll find an AR Seven foldingsniper's rifle.

(he pulls the heeloff the grip,revealing a barrelhidden inside)

Point-two-five calibre, with an infra-red telescopic sight.

He reattaches the heel and sets the rifle beside the briefcase. Then he pulls on a strap connecting the case's lidto its body. A hidden strap comes out of the inner lining andgold sovereigns are embedded in it.

27.

BOOTHROYD Then, if you pull out these straps, inside are fifty gold sovereigns.Twenty-five in either side.

He slides the strap back into the lining.

TIGHT TWO-SHOT - BOND AND BOOTHROYD

BOOTHROYD
Now watch very carefully.
(he reaches down)

MEDIUM CLOSE SHOT - THEIR TORSOS

Boothroyd takes a tin of talcum powder from his pocket. It bears the trademark 'Club.'

BOOTHROYD (O.S.)An ordinary tin of talcum powder.Inside, a tear gas cartridge.

TWO-SHOT

BOOTHROYD That goes in the case against theside...

MEDIUM CLOSE SHOT - THE BRIEFCASE

DOLLY IN as Boothroyd's hand attaches the tin to the inside of the case.

BOOTHROYD (O.S.)
... here, like that. It's
magnetized so it won't fall.

His hands shut the case and close the catches.

BOOTHROYD
Shut the case.

TWO-SHOT

BOOTHROYD Now, normally to open a case like that...

MEDIUM CLOSE SHOT - THE BRIEFCASE (BOND'S POV)

Boothroyd's thumbs rest on the catches.

28.

BOOTHROYD (O.S.)

... you move the catches to the

side.

(his thumbs movesideways withouttouching the catches)

If you do, the cartridge will explode -- in your face.

TWO-SHOT

BOOTHROYD

Now, to stop the cartridge

exploding...

MEDIUM CLOSE SHOT - THE BRIEFCASE (BOND'S POV)

Boothroyd's fingers twist the catches sideways.

BOOTHROYD

... turn the catches horizontally,

like that. Then open normally.

His thumbs open the catches and the briefcase pops open.

TWO-SHOT

BOOTHROYD
Now you try it.

MEDIUM CLOSE-UP - 'M'

Pipe in his mouth, 'M' looks up at Bond, removes the pipe andblows out smoke.

MEDIUM TWO-SHOT - BOND AND BOOTHROYD

Bond moves behind the upright case and lays his fingers the catches.

BOND
Hmm. Turn the catches...
(twisting them)
...like that...

BOOTHROYD
That's right.

BOND
And open ordinarily.

Bond snaps the briefcase open then grins in satisfaction.

29.

BOOTHROYD You've got it? BOND Yes, I think so. BOOTHROYD (to 'M', off)Is that all, sir? 'M' (O.S.)Yes, thanks very much. BOOTHROYD Right. Thank you. Boothroyd exits as Bond closes the briefcase.

BOND That's a nasty little Christmas present. But I shouldn't think I'll need it on this assignment, sir.

CLOSE-UP - 'M' 'M' All the same, take it with you. WIDE ANGLE OVER 'M's SHOULDER 'M' Good luck, Double-o-seven. BOND

Thank you, sir. Bond heads for the door. CLOSE-UP - 'M' He returns the pipe to his mouth and looks down at the file. INT. MISS MONEYPENNY'S OFFICE - SAME TIME Bond enters from 'M's office flipping the padded door shut

behind him. PAN WITH HIM as he walks to Miss Moneypenny'sdesk and sets the briefcase down.

BOND 'Once more into the breach, dear friends.'

Miss Moneypenny holds up an airline ticket.

30.

MISS MONEYPENNY
And one plane ticket.

Bond sits on the edge of her desk and takes the ticket fromher. SLOW DOLLY IN to tight two-shot as they talk.

MISS MONEYPENNY

Lucky man. I've never been to

Istanbul.

BOND
You've never been to Istanbul?

MISS MONEYPENNY
No.

BOND

(leaning toward her)

Where the moonlight on the

Bospherous is irresistible.

MISS MONEYPENNY (rising and touching

her forehead to his)

Maybe I should get you to take me

there some day. I've tried

everything else.

BOND

Darling Moneypenny, you know I

never even look at another woman.

MISS MONEYPENNY
Oh, really, James?

BOND

Uh-huh. Let me tell you the secret

of the world...

(he leans back toher ear)

Just then her intercom buzzes.

CLOSE SHOT - INTERCOM

Miss Moneypenny's finger switches it on. PULL BACK TO MEDIUM TWO-SHOT of Bond and Miss Moneypenny.

'M' (over intercom)

Miss Moneypenny, ask Double O Seven

to leave the photograph. I'm sure

he'll recognize the lady when he

sees her.

31.

Miss Moneypenny holds out her hand. Bond takes out Tania's photograph and sets it on her palm. Then he picks up a pen.

CLOSE SHOT - THE PHOTOGRAPH

Bond's hand writes the words 'WITH LOVE,' then adds above it 'FROM RUSSIA.'

MEDIUM TWO-SHOT

Bond picks up the briefcase and steps off the desk.

MISS MONEYPENNY
(watching him go)
Good luck.

BOND
(passing in front
of her)
Ciao!

MISS MONEYPENNY
Ciao!

SLOW DISSOLVE TO:

EXT. ISTANBUL AIRPORT - DAY

A plane lands on a runway marked '2.' PAN ON IT as the nosewheel touches down.

INT. CONTROL TOWER - SAME TIME

A number of AIRPORT OFFICIALS look out the windows.

1ST OFFICIAL

(into microphone)Hello, London. Your flight P-A-One just landed Istanbul.

CUT TO:

INT. AIRPORT LOUNGE - REVERSE TRUCKING SHOT

Bond, wearing a grey suit and holding his briefcase, walksthrough the lounge, surrounded by other passengers.

He passes a CHAUFFEUR who stands holding a glass at a drinktray manned by a DRINK SELLER. The chauffeur sports amustache and wears a grey suit, black tie, cap and gloves.

CHAUFFEUR
(seeing him)
Mr. Bond!
(MORE)

32.

CHAUFFEUR (cont'd)(to the drink seller,in Turkish)Tesekkόr ederim.

Bond stops and looks back. The chauffeur walks to him.

CHAUFFEUR Kerim Bey sent a car for you, sir.

BOND
Oh, fine.

(reaches into hiscoat and takes out a cigarette case)

Can I borrow a match?

CHAUFFEUR
I use a lighter.

BOND
(opening the case
to reveal cigarettes)
It's better still.

CHAUFFEUR
Until they go wrong.

BOND
(shutting the case)
Exactly.

Bond gestures to the chauffeur to move on.

CHAUFFEUR
I'll get the car, sir.

The chauffeur walks off. Bond follows in REVERSE TRUCKING SHOT, returning the cigarette case to his pocket. Bond walks off and we HOLD on a man in b.g. watching him —- HASSAN. Hassan steps forward, staring after him.

EXT. TERMINAL BUILDING - LONG SHOT - SAME TIME

Bond follows the chauffeur to a black Rolls Royce waiting atthe curb. Meanwhile we see GRANT'S FACE reflected in the driver's door mirror of a car in f.g., watching them. He raises a gloved hand to his mouth. PAN TO GRANT. He chews on one of the gloved fingers.

BOND'S ROLLS ROYCE

PAN ON IT as it drives away, then HOLD on the front of theterminal. Hassan emerges watching it go. A black Citreon car pulls up. Hassan climbs into the passenger seat.

33.

GRANT
sits in his car watching.
THE CITREON
PAN ON IT as it drives off. [Mistake: the passenger seat is

vacant!]WIDE ANGLE - ENTRANCE TO TERMINALThe Citreon drives away.INT. ROLLS ROYCE - DRIVING - DAYThe chauffeur is in f.g., Bond behind him in the back seat.

Bond waves his hat across his face against the heat. Throughthe rear window we see the Citreon following.

CHAUFFEUR Kerim Bey suggested that you seehim before going to the hotel, sir. Would that be convenient?

BOND

Fine. Bond glances back, sees the Citreon following, then looksforward again and continues fanning his face with his hat.

EXT. ISTANBUL STREET - SAME TIME PAN ON THE ROLLS as it drives on. Then HOLD on ancient ruins in b.g. as the Citreon passes following it.

DISSOLVE TO: EXT. NARROW STREET - DAY The Rolls continues past some buildings and continues down an

open road. The Citreon keeps following.INT. ROLLS - SAME TIMEthe Citreon still visible through the rear window.

BOND I suppose it's customary to havepeople trailing you in these parts.

CHAUFFEUR Oh, yes, sir. Today it's CitreonH-three-one-eighty-four on duty.

(MORE) 34.

CHAUFFEUR (cont'd)They are Bulgarians working for theRussians. They follow us, we follow them. It's a sort of understanding we have.

BOND
That's very friendly.

EXT. STREET - SAME TIME
CRANE BACK ON THE ROLLS as it swings over toward the Grand
Bazaar and stops.

THE CITREON

stops just short of the Rolls. Hassan jumps out and looks off.MEDIUM LONG SHOT - A COBBLESTONE STREETBond and the chauffeur walk down the street. PAN ON them as

they walk into the bazaar.
INT. GRAND BAZAAR - SAME TIME
PAN ON THEM as the chauffeur leads Bond through the Bazaar.

It is filled with people and Bond glances back at some of them. They continue past us and walk off.

HASSAN
stands in a passageway drinking a cup of coffee and watching
them.

HASSAN'S POV - BOND AND THE CHAUFFEURThey turn into a shop where Turkish rugs hang outside.INT. SHOP (STUDIO SEQUENCE) - SAME TIMEThe chauffeur leads Bond through the shop to a door covered by

a hanging tapestry. Salesmen are showing rugs to customers.
CLOSER ANGLE
The chauffer pulls a cord which retracts the tapestry,

revealing a door. He opens the door to reveal an office. Bond starts to step inside but stops, seeing KERIM'S MISTRESSwithin. She is picking up a hat, dons it and walks toward thedoorway straightening the shoulder of her blouse. DOLLY BACK as she exits past Bond pulling her skirt down and straightening her hat.

35.

Bond steps into the office followed by the chauffeur.

KERIM (O.S.)
Ah, my friend, come in!

INT. KERIM'S OFFICE - SAME TIME

PAN ON BOND as he walks in, the chauffeur following. The office is well-appointed with curtains, pillars, and a large bed with a golden cover that KERIM BEY is straightening. He turns to Bond.

KERIM Come in! Glad to see you! Welcome to Istanbul!

Kerim walks to Bond and shakes his hand, then PAN ON THEM as they walk to Kerim's desk.

BOND Oh, thank you for sending the car,but, uh —- it does rather tie you in with me.

Bond sits in a chair across from the desk. Kerim picks up ayellow plastic cigarette holder and a wooden cigarette box.

KERIM You are in the Balkans now, Mr. Bond. The game with the Russians is played a little differentlyhere. In the day-to-day routine matters we don't make it too difficult to keep a tab on eachother.

Kerim holds out the box to Bond.

ANGLE ON BOND

BOND (taking a cigarette

from the box)So I gathered from your chauffeur. He's a rather intelligent youngman, by the way.

Bond lights the cigarette.

KERIM

steps back behind his desk.

KERIM
He should be. He's my son.

36.

Kerim picks up a bell and rings it.

ANGLE ON BOND

He puffs on the cigarette.

KERIM (O.S.)
Coffee?

BOND
Medium sweet.

A YOUNG MAN enters through the doorway behind him.

CLOSE SHOT -KERIM

KERIM
Two, medium sweet.

ANGLE ON BOND, KERIM IN F.G.

The young man nods and shuts the door.

KERIM
He also is my son.

INTERCUT - BOND AND KERIM

Kerim sits at his desk, his cigarette burning in the yellowholder.

KERIM

All of my key employees are my

sons. Blood is the best security

in this business.

BOND

You must have quite an

establishment here.

KERIM

Biggest family payroll in Turkey.

Not bad for a man who started life

breaking chains and bending bars

with his teeth in a circus. But

let's talk about this business of

yours.

BOND

Well, 'M' thinks I'm wasting my

time here.

37.

KERIM
And so do I.

(points to his nose)This is an old friend of mine. And it tells me something smells.

BOND Maybe. But if there's a chance of getting a Lektor... Now you tell me. Where can I contact this girl?

KERIM She said she would make her own arrangements. You'll just have towait.

A knock sounds at the door.

KERIM
(rising)
Ah!

[END OF REEL 3. START REEL 4.]

A YOUNG MAN

walks in carrying a tray containing two demitasse cups. PAN ON HIM as he walks to Kerim's desk and sets the tray down.

KERIM
Thank you.

The young man exits. Kerim sets his cigarette in an ashtray, hands Bond a cup and takes the other cup.

KERIM My friend, if you really want myadvice...

DOLLY IN on Kerim.

KERIM ... you should spend a few pleasantdays with us here in Istanbul,then... then go home.

DISSOLVE TO:

EXT. BAZAAR - DAY

The Rolls Royce drives through an archway and down a street.[Mistake: there are no passengers.] The Citreon immediatelyfollows.

38.

MEDIUM SHOT - HASSANemerges from the Bazaar looking at both cars.HASSAN'S POV - BOTH CARSdrive off.INT. CITREON - SAME TIMEGrant is driving and, in f.g., is a pair of tied-up hands.

Cut to:
THE DRIVER
lies bound and gagged in the back seat bleeding from a gash on

his temple.
TILT UP to Grant who glances back then continues to drive.

DISSOLVE TO: INT. KRISTAL PALAS HOTEL - LOBBY - DAY DOLLY IN on Bond as he enters carrying his briefcase; the

chauffeur follows carrying Bond's suitcase. They stop at the

front desk.
A MALE CONCIERGE turns to Bond; there is a FEMALE RECEPTIONIST
behind him.

BOND James Bond. You have a reservation for me.

CONCIERGE
Ah, Mister Bond. Your room is
ready.

(to the receptionist)

Number thirty-two. The concierge rings a bell. A PORTER walks up and takes thesuitcase from the chauffeur.

FEMALE ASSISTANT(to the porter)Thirty-two for Mister Bond.CONCIERGE(to Bond)Hope you enjoy your stay.BONDThank you.

39.

The chauffeur tips his hat to Bond, then Bond and the portercross the lobby and enter a lift. The doors close. WIPE BOTTOM TO TOP TO:

INT. SITTING ROOM - DAY The porter opens the door for Bond. Bond enters, crosses the room and drops his briefcase on the bed. He hears the porterclear his throat and turns back.

PORTER Will there be anything else, sir? Bond slips some cash into his pocket. BOND

No, only this. Thank you. Bond turns to the bathroom door. The porter peeks at the money.

PORTER
Thank you, sir.

The porter exits.
Bond opens the bathroom door and looks inside, then turns to a
painting on the wall and looks behind it, then walks to
another painting and looks behind it. Then he crosses the
room, glances at a clock, then looks behind another painting.
On the wall behind it are a microphone and a cord.

BOND backs away, continuing to look around. He sees a chandelier

overhead, walks under it and turns it around, then steps forward and looks at: INSERT - A PHONE resting on the nightstand. BOND turns up his briefcase, moves the catches sideways and opens

it. He takes out a test instrument and picks up the phone. INSERT - PHONE Bond places the instrument beneath it. The meter rises and

crackles.

40.

BOND

drops the phone onto the bed and picks up the receiver.

BOND
Mister Bond here.

RECEPTIONIST'S VOICE Yes?

BOND
I'm afraid the room won't do.

RECEPTIONIST'S VOICE I'm sorry.

BOND
The bed's too small.

INTERCUT - FRONT DESK

RECEPTIONIST
(into phone)
One moment, sir.

She turns to the concierge, who stands in a back room holdinga receiver. A WOMAN sits behind him at a console wearingheadphones.

RECEPTIONIST
(to the concierge)
Did you hear that?

CONCIERGE
Tell him that's all there is,
unless he would like the Bridal
Suite.

The concierge raises the receiver to his ear.

RECEPTIONIST

(into phone)I'm sorry, sir. That's all we have available, except the Bridal Suite.

INTERCUT - SITTING ROOM

BOND

(into phone)Well, let's have a look at it. I may like it.

41.

INTERCUT - FRONT DESK The receptionist cups her hand over the receiver and looksback at the concierge. He nods to her. RECEPTIONIST (into phone)The porter will show it to you. He will be up immediately. She rings the bell. The concierge walks up to her. CONCIERGE

Good. INTERCUT - BOND He cups his hand over the mouthpiece, hears a click, grins

tightly and hangs up.

CUT TO: EXT. RUSSIAN CONSULATE - DAY A whistle sounds as the Citreon drives up and stops at the

curb. Grant emerges. PAN ON HIM as he walks off removing his
gloves, then HOLD on the doorman.
GRANT
gets into a green car which drives away.

THE DOORMAN
walks to the Citreon, suddenly sees something and pulls the
back door open.

THE DEAD DRIVER'S HEAD
which was leaning against the door falls forward.
INT. GREEN CAR - DRIVING - SAME TIME
Grant sits in back with Kleb.

KLEB
Good work.
(puts on her glasses

and looks at a dossier)Who can the Russians suspect but the British? The Cold War in Istanbul will not remain cold verymuch longer.

CUT TO:

42.

EXT. A MOSQUE - ESTABLISHING SHOT

with the Bospherous in b.g. We hear a wailing prayer. DISSOLVE TO:

INT. KERIM'S OFFICE - DAY

Kerim's mistress lies on a bed tonguing a string of black

pearls. KERIM'S MISTRESS

Ali Kerim Bey?

She looks off then glances at her watch.

WIDER ANGLE

Kerim sits in a chair writing in a file. The mistress turns

over and looks at him. KERIM'S MISTRESS Ali Kerim Bey! KERIM (glancing back)

Hmm?

THE MISTRESS

drops the string of pearls from her mouth.

KERIM'S MISTRESS Ali Kerim Bey. ANGLE ON KERIM He sits unmoved, continuing to write.

THE MISTRESS gets up, straightens her skirt, walks over to Kerim and puts her hands around him.

KERIM'S MISTRESS

You're not glad to see me this

morning, sirree?

KERIM
(annoyed)
Overjoyed.

43.

KERIM'S MISTRESS
I... I no longer please you?

KERIM
Be still.

Giving up, he slaps the file down on his lap then sets it on atable.

KERIM
(rising)
Back to the salt mines.

KERIM

walks toward the bed unbuttoning his jacket. From behind, his mistress removes it. [MISTAKE: She starts further away.]

Kerim turns. She wraps her arms around him and they kiss.Suddenly an explosion occurs which bathes them both in red. She screams and they fall.

KERIM'S DESK

one leg broken crashes to the floor as smoke envelops it tillthe image turns black.

FADE IN:

KERIM'S STORE

PAN ON BOND as he walks through the store then through theopen doorway into Kerim's office. Workmen are clearing thedebris.

KERIM
Careful with those papers!

DOLLY IN as Bond approaches Kerim who dusts a table-top with his handkerchief.

BOND
Well, who won?

KERIM
I had visitors.

CLOSER ANGLE

PAN ON KERIM as he moves the table to one side and sets it down.

44.

KERIM Limpet mine on the wall outside,timed to catch me at my desk. But by good fortune, I was relaxing onthe settee for a few moments. The girl left in hysterics.

BOND (grinning)Found your technique too violent?

KERIM I cannot understand this sudden breach of the truce. It is unlike our Russian friends to break the peace this way.

BOND It's most inconsiderate. I think my visit might have something to dowith it.

KERIM
Let's try and find out.

Kerim walks off; Bond follows.

KERIM'S SHOWROOM - SAME TIME

DOLLY BACK as Kerim leads Bond into the showroom, grabs aflashlight from the wall and goes to a door covered by a tapestry. Kerim pulls a cord, withdrawing the tapestry toreveal a door which he opens.

KERIM
(to an assistant)
Close up after us.

Bond goes through the doorway, Kerim follows and shuts thedoor. An ASSISTANT walks up and retracts the tapestry.

INT. UNDERGROUND CISTERN

Bond and Kerim walk down a flight of stairs.

BOND Quite a place you've got here.

KERIM The Emperor Constantine built it asa reservoir sixteen hundred years ago.

BOND
Really?

45.

KERIM (tossing him theflashlight)

Here. Kerim unties a boat, they get in (Bond sitting and Kerimstanding), and Kerim moves them away with an oar.

CLOSE SHOT - THE OAR

Rats climb across it. Kerim tilts it to drop them back into
the water.
LONG SHOT
Kerim continues rowing them through the cistern.

DISSOLVE TO: THE BOAT passes more pillars.

KERIMMy daily exercise. At eleven in the morning; at three in the afternoon.

CLOSE SHOT - THE OAR continues guiding them. KERIM (O.S.)

Tie her up, will you? LONG SHOT Bond gets out and ties the boat to a dock, then Kerim gets

out. PANNING SHOT KERIM

Mind your head now. They walk across a cobblestone path. INT. ALCOVE - SAME TIME They pass through an archway into another part of the cistern.

KERIM Underneath the Russian Consulate. He pulls a tarpaulin off a periscope.

46.

KERIM
A present from your navy.

CLOSER TWO-SHOT

Kerim raises the periscope and wipes the lens with his handkerchief.

KERIM Our friends were turned out while the Public Works Ministry conducted a survey. The story was that theheavy traffic was shaking thefoundations. By the time the placewas declared safe, I had this installed.

BOND I can see everything 'M' said aboutyou is right.

KERIM
Or, why I stay in this mad
business?

BOND Well, it could be that you findselling rugs a bore.

KERIM My friend, you should be a mindreader.

Kerim looks into the periscope.

KERIM'S POV - A CONFERENCE ROOM

GENERAL VASSILI, KOSLOVSKI, BENZ and another MAN sit at a conference table.

KERIM Head of the table is General Vassili, Director of MilitaryIntelligence. On his left, Koslovski, Chief of Security.Opposite him, Benz, one of his agents.

He pans the periscope to one side.

KERIM I can't see the face of the other man —- the one the general is shouting at.

47.

BOND AND KERIM Kerim steps back and Bond looks through the periscope. BOND He's giving him a hell of a blowing

up for something. BOND'S POV - THE CONFERENCE ROOM Bond pans across the room.

KERIM (O.S.)It's too bad we can't hear as well as see.

BOND AND KERIM BOND Tell me, does our girl Romanovaever come to this room? KERIM

Sometimes with messages. BOND'S POV - THE CONFERENCE ROOM Koslovski leans back in his chair, revealing the other man.

BOND (O.S.)I can see the face of the other man now.

BOND AND KERIM Bond steps back and Kerim looks through the periscope again. KERIM (exclaiming)

Krilencu! KERIM'S POV - THE CONFERENCE ROOM KRILENCU, an evil-looking man with a mustache, is speaking

vociferously. KERIM So he's back! Another Bulgarianthey use as a killer.

48.

BOND AND KERIM

Looking up at them from a LOWER ANGLE

KERIM Just the man for that limpet minejob. I have had trouble with him before. But he's stayed away fromIstanbul for over a year now. Take a look —- you should remember him. This man kills for pleasure.

Bond looks through the periscope.

BOND'S POV - THE CONFERENCE ROOM

Krilencu is still talking, then suddenly stops and looks at the door which is opening.

BOND (O.S.)Nice face. —- Just a moment...

A smart-looking pair of female legs enter —- Tania.

BOND (O.S.)
A girl's just come in.

BOND AND KERIM

KERIM Probably Romanova. She's the only one who's allowed to. How does she look to you?

BOND'S POV - THE CONFERENCE ROOM

The periscope pivots, following Tania's legs.

BOND (O.S.)Well, from this angle, things areshaping up nicely. I'd like to see her in the flesh. Yes.

BOND AND KERIM

Bond backs away from the periscope.

BOND Could you get me a plan of thatplace?

KERIM
I wish I could.

49.

BOND
But there must be the original
architect's drawings registered
somewhere.

KERIM
I'll get onto that.

(lowers the periscope)Now, I need a little time to deal with this stinking Krilencu. It will be better if you didn't stayat the hotel tonight. Come.

PAN ON THEM as Kerim walks off, Bond following.

DISSOLVE TO:

EXT. ROAD TO GYPSY CAMP - DAY FOR NIGHT - LONG SHOT

A station wagon approaches.

[END OF REEL 4. START REEL 5.]

INT. STATION WAGON - SAME TIME

Bond and Kerim sit in back. Kerim fans his face with his hat. Bond glances back then forward again.

BOND I see now why you keep the Rolls.

KERIM One of my sons is driving it, withtwo dummies in the back... in the opposite direction. They'll followit for hours. You'll like my Gypsyfriends. I use them like the Russians use the Bulgars. I'm afraid it's created a blood feud between them.

THE STATION WAGON - DAY FOR NIGHT

It continues on.

EXT. GYPSY ENCAMPMENT - NIGHT

TWO BULGARS in dark clothes lurk in f.g. behind an archway,one of them holding a walkie-talkie.

DOLLY IN THROUGH THE ARCHWAY as the station wagon drives upand stops in front of a house. TWO SENTRIES approach it.

50.

CLOSER ON THE STATION WAGON

Bond and Kerim [actually a stand-in] get out of the car.

1ST SENTRY
(in Romany)
Ah, Kerim Bey!

They walk toward the house.

BEHIND THE ARCHWAY

The Bulgar with the walkie-talkie pulls out an antenna.

1ST BULGAR
(into walkie-talkie)
Hello, Krilencu?

EXT. GYPSY CAMP - MEDIUM SHOT

Krilencu listens on a walkie-talkie, surrounded by OTHER BULGARS. He glances at his watch, speaks into the walkietalkie in Bulgarian, then rises with the others and gets intoa lorry which drives off.

EXT. GYPSY CAMP - HIGH ANGLE - SAME TIME

Bond and Kerim approach. A GYPSY MAN comes running forwardand converses with Kerim in Romany.

CLOSER ANGLE

The Gypsy man finishes talking and runs off.

CLOSER ANGLE - BOND AND KERIM

KERIM It seems we have come on the wrong night. Two girls in love with thesame man have threatened to kill each other. It must be settled in the Gypsy way. As I am an old friend of the family, I think we'llbe allowed to stay.

A GYPSY GIRL steps toward them speaking in Romany and gesturing forward.

KERIM
We are bidden to table. I hope
you're good at eating with your
fingers.

51.

VAVRA (O.S.)(shouting)Kerim Bey! GYPSY CAMP - HIGH ANGLE Bond and Kerim follow the Gypsy girl across the encampment.

CLOSER ANGLE PAN ON ANOTHER GYPSY GIRL carrying a liquor bottle and pulling out the cork with her teeth. She stops at the head tablewhere Bond and Kerim are sitting with Vavra, the Gypsychieftain.

KERIM

Ah, Rachi. Filthy stuff. The Gypsy girl fills his glass while A THIRD GYPSY GIRL walks up to Bond carrying a cushion. He rises, she sets it on his seat, and he sits again, thanking her in Romany.

CUT TO: A FEMALE GYPSY DANCER rises into frame raising her arms seductively behind her head

and starts to dance. SERIES OF SHOTS

-
Bond and Kerim look back at her.
-
She moves past their table dancing erotically and passes theMUSICIANS who are playing.
-
Bond, Kerim and Vavra watch her (Kerim grinning broadly).
-
She continues to dance; TILT DOWN on her swaying hips.
-
Kerim holding the Rachi bottle refills his glass.
-
The dancer's hips continue to sway.
-
Kerim sips from his glass.
-
Now she moves her belly in and out seductively.
-
Bond, Kerim and Vavra continue to watch.WIDER ANGLE - THE DANCERraises her arms above her head and swings her body erotically.

52.

EXT. A GATE - SERIES OF SHOTS - SAME TIME

-
A SENTRY stands on the gate watching the encampment.
-
Krilencu's head rises over a wall looking at him.
-
The sentry continues watching, then glances back.
-
Krilencu throws a knife at him.
-
The knife pierces the sentry's heart and he falls dead.
-
Krilencu gestures to OTHER BULGARS.

KRILENCU
Quick!

WIDE ANGLE - THE ARCHWAY

Krilencu beckons and the lorry drives through the archway. It stops for a moment for Krilencu to get into the passenger seat then continues on. PAN ON IT to reveal Grant in f.g., holdinga pistol and watching.

SERIES OF SHOTS

-
The Gypsy dancer continues to sway seductively, then dropsto her knees swaying.
-
Bond, Kerim and Vavra continue to watch.
-
The dancer rises and wiggles her ass frantically, revolvesaround then moves forward.
-
She approaches Bond who looks on appreciatively.
-
She smiles at him as she dances.
-
Bond watches intently as she wiggles her ass in front of him.
-
Kerim, looking on, grins.
-
The dancer leans backwards so that her breasts are almost in Bond's face. Her mouth comes close to his and they almostkiss, then she runs off and the music stops.

BOND AND KERIM

BOND
Tell our host his hospitality
overwhelms me.

THREE-SHOT - BOND, KERIM AND VAVRA

Kerim turns to Vavra and speaks in Romany.

53.

TWO-SHOT - BOND AND KERIM Bond grins at Kerim as Kerim grins off at Vavra. VAVRA (O.S.)

Thank you! Thank you! Bond and Kerim laugh. MEDIUM SHOT - ZORA'S CARAVAN TWO GYPSY MEN approach. The first one opens the door. ZORA,

wearing a scarf and green top, immediately comes out. PAN WITH HIM as he walks to VIDA's caravan, pulls back a tarp,beckons and tells her in Romany to come out. She emerges,wearing a red top, and walks down some steps.

Zora glares at her then lunges at her and they embrace in
battle.
THREE-SHOT - BOND, KERIM AND VAVRA
Vavra calls out in Romany.
The first man separates the two girls.
Kerim turns to Bond.

KERIM No matter what happens now, say and do nothing.

WIDE REVERSE ANGLE - THE HEAD TABLE The two girls approach as Vavra talks to them in Romany. THREE-SHOT - BOND, KERIM AND VAVRA As Vavra continues speaking in Romany, DOLLY IN on Bond and

Kerim. KERIM (to Bond)He's asking them whether they'll cease their blood feud and give upthis fight. The elders of the tribe will then decide who, in the

end, will marry the chief's son. Vida's voice sounds from O.S. in Romany, replying to Vavra. TWO SHOT - THE GIRLS Vida is speaking angrily.

54.

BOND AND KERIM

KERIM
She's saying that...

BOND Yes, I think I got it without thesub-titles.

Kerim laughs. THE TWO GIRLS start to fight. SERIES OF SHOTS

-
A Gypsy man separates them.
-
The girls run forward.
-
Kerim watches intently.
-
Zora pulls off her scarf and ties it around her waist.
-
Vida, watching her angrily, ties her own scarf around herwaist.
-
The two girls face each other.
-
Bond, Kerim and Vavra look on.
-
Vida holds her hands up like finger-nailed weapons.
-
Zora lunges forward but passes her.
-
Vida turns toward her, again holding up her nailed fingers. WIDE ANGLE Bond, Kerim and Vavra watch in b.g. as the two girls face off

in f.g. The girls grab each other and pivot round and round.Vavra watches intently.CLOSER ANGLE - THE GIRLSclutch each other. Vida holds back Zora's hand which tries to

gouge her face. TILT DOWN to their feet as they circle eachother.WIDER ANGLE - THE GIRLSZora trips Vida. She falls to the ground and rolls across it.

55.

As the men watch in b.g., Zora jumps at Vida but misses and lands face-down. Vida jumps onto Zora's back and starts tostrangle her.

BOND
watches intently.
THE GIRLS
roll around on the ground, clutching each other's throats, as

the men keep watching in b.g.
CLOSER ANGLE - THE GIRLS - SERIES OF SHOTS

-
Each tries to strangle the other, Zora atop Vida.
-
Zora keeps strangling.
-
Vida, looking up, strangles back.
-
Vida kicks Zora backwards.
-
Zora lands on her ass.
-
Both on their knees now, the girls face off.
-
Zora glares at Vida.
-
The girls rise and clutch each other again. WIDER ANGLE The girls fall against a table, men scattering to make room

for them. Vida picks up a bottle, ready to smash Zora's facewith it. Suddenly a GUNSHOT sounds. The girls freeze and look up. ZIP TILT UP AND ZOOM IN on a sentry on a wallfalling dead in a puff of smoke.

THE HEAD TABLE

DOLLY IN on Bond, Kerim and Vavra jumping up. Bond grabs agun from inside his coat.THE ARCHWAYThe Bulgar's truck drives in.CLOSER ANGLE - THE TRUCKKrilencu rides in the passenger seat.Kerim fires a revolver at him.

56.

Krilencu, outside the truck now, runs forward holding arevolver and fires it.

WIDER ANGLE - THE ENCAMPMENT A Gypsy falls dead as A DOZEN BULGARS run in through the archway firing guns.

BOND

A Gypsy runs past him then Bond rises, aims his revolver andfires. KRILENCU hears the gunshot and dashes off. KERIM still sitting at the head table tries to fire his revolver but

it is jammed. REVERSE ANGLE Finally Kerim [actually a stand-in] shoots an oncoming Bulgar

who drops to the ground. ANOTHER BULGAR runs toward Kerim. FRONT ANGLE The Bulgar jumps onto the table. Kerim upturns it, flinging

the Bulgar to the ground. REVERSE ANGLE Kerim [actually a stand-in] fires his gun over the overturned

table. AT A CARAVAN A Bulgar with a flaming torch sets the caravan ablaze. WIDER ANGLE Bond dashes past in f.g. A Gypsy shoots the Bulgar with the

torch. From O.S., a dagger flies at Bond. It misses him, lodging in a tent-pole. A fighting Gypsy and Bulgar fall intothe tent. Bond grabs the dagger and cuts down the tent onthem.

KERIM
on his knees fires his revolver again.

57.

KRILENCU
holding his own revolver takes a step back and fires it.
KERIM
is wounded in the arm; he grabs the bullet-hole as blood

gushes out.
BOND
aims his revolver off at Krilencu.
KRILENCU
darts away between two caravans.
BOND
runs forward, chasing him.
A CARAVAN
blazes in flame.
KERIM
looks at his bloody arm. A GYPSY runs behind him firing a

revolver. Kerim picks up his revolver with his other hand and
fires it.
A BULGAR drops dead from the bullet.

ANOTHER ANGLE
A GYPSY fights off a BULGAR with a knife in f.g. as a horse
runs away in b.g.

REVERSE ANGLE

A caravan blazes behind them. Bond enters.

BOND

hits the Bulgar in the neck with a judo-chop and he falls.

THE GYPSY AND BULGAR

roll across the ground clutching each other.

As a caravan blazes behind them, a GYPSY throws a BULGAR over

a corral fence.

58.

AT THE BLAZING CARAVAN Bond slices a holding rope with the dagger. THE CARAVAN rolls forward, crashing into the fighting Gypsy and Bulgar

against the corral fence. ANGLE FROM BEHIND - BOND Bond sees Krilencu. He takes a step back and aims the dagger. KRILENCU steps sideways and fires his revolver. BOND throws the dagger at him. KRILENCU runs behind a caravan, avoiding it. BOND runs forward then stops beside a caravan. MEDIUM LONG SHOT Bond trips a BULGAR running by. The Bulgar falls to the

ground. Bond leans down, smashes the Bulgar's head with the

butt of his pistol, then runs off.

A HIGH ARCHWAY Grant, holding a revolver, steps through the archway onto ahigh ledge and crouches, watching the fracas.

REVERSE ANGLE - OVER GRANT'S SHOULDER

Men fight below as horses run past.

UPWARD ANGLE ON ANOTHER LEDGE

A BULGAR on the ledge fires a pistol. A GYPSY jumps him from

behind. They struggle. A horse crosses in f.g. BOND runs forward, aims his revolver and shoots an ONCOMING BULGAR

in the stomach. TILT DOWN as the Bulgar falls and Bond runs

off.

59.

ON THE LEDGE

The fighting men roll off the ledge to the ground as men past
in f.g.
BOND
gripping his gun runs toward a small lake; beyond it is a high

wall and ledge. We glimpse Vavra and a BULGAR running at each

other at the base of the wall.
Bond sees a Bulgar behind him and shoots him. A white horse
runs past.

On the ground, beneath the white horse, Gypsies and Bulgars

are fighting.Bond turns. He sees Vavra and the Bulgar fighting at the baseof the wall. Above them, a BULGAR aims a rifle downwards from the ledge.

BOND

Head down! Vavra drops to the ground. Bond drops to one knee aiming atthe Bulgar on the ledge.

Bond fires. The Bulgar falls. Vavra rises waiving to Bond. VAVRA Thank you! Thank you! Vavra runs off. Bond runs forward firing his revolver again.

Then Bond pivots and upturns a table on which a Bulgar andGypsy are fighting. The men land in the lake.ANGLE OVER GRANT'S SHOULDERHe continues to watch as men fight below and horses run past.

Below him, a BULGAR stands on a straw roof, also watching.
MEDIUM LONG SHOT - BOND
Bond stops and shoots a BULGAR running by; the Bulgar falls

over an overturned table.MEDIUM SHOT - THE STRAW ROOFThe Bulgar, gripping a knife, jumps off the roof. He lands

just behind Bond.
The Bulgar raises the knife to stab Bond in the back.

60.

GRANT
watching through the archway, fires his pistol.
BOND AND THE BULGAR
The Bulgar drops to the ground. Bond turns and notices him

for the first time.
ANGLE OVER GRANT'S SHOULDER
Grant fires again at the Bulgar as Bond looks at the body.

The body whirls around from the force of the shot.BONDlooks around in confusion, then looks off and fires his gun.MEDIUM SHOT - THE GATEWAYBulgars begin running out toward the truck. Krilencu follows

then stops and shouts back in Bulgarian to retreat.

More Bulgars run toward the gateway, shooting behind them asthey run. Krilencu fires his gun at someone then keeps gesturing and

shouting as still more Bulgars run past. Krilencu runs out after them.

HIGH WIDE SHOT - THE GYPSY CAMP The battle ends as Gypsies surround the remaining Bulgars asothers retreat in b.g.

EXT. THE ENCAMPMENT - NIGHT PAN ON BOND returning his revolver to its holster as he walks.He reaches a tent where Kerim holds a bottle of Rachi. KERIM Did you get Krilencu? BOND No. Bond takes the bottle and pours alcohol on Kerim's wound. A GYPSY GIRL walks by. BOND (to the girl)Just a minute. Here. (he takes her scarf)Thank you.

61.

The girl walks off. Bond presses Kerim's handkerchief againsthis would.

KERIM You fought well. I am nothing buta clumsy old man.

A SCREAM sounds from O.s.

[END OF REEL 5. START REEL 6.]

THEIR POV - THE GYPSY CAMP Vavra and some torch-bearing Gypsies surround a Bulgar on the ground. KERIM (O.S.)They are making one of the woundedBulgars talk. Vavra looks back. VAVRA

Kerim Bey! Vavra continues speaking in Romany. BOND AND KERIM The scarf has been tied like a sling over Kerim's arm and

shoulder. Kerim holds the Rachi bottle. KERIM It was me they were after. Whywould they want me out of the way? Bond steps behind him and adjusts the sling. KERIM Tomorrow we will have to find Krilencu's hide-out. Bond steps to his other side and takes the bottle from him. BOND In the meantime, I'll take care of this filthy stuff. VAVRA (O.S.)[He calls to them in Romany.] Vavra approaches speaking fondly. When he reaches them he pats Bond's shoulder.

62.

KERIM
Vavra thanks you for saving his
life. You are now his son.

BOND
(to Vavra)
Oh, thank you.

(to Kerim)
I'd like to ask him a favour.
Could he stop the girl fight?

Kerim speaks to Vavra in Romany. Vavra replies with a laugh,pats Bond's shoulder again and exits.

KERIM

(to Bond)He says your heart is too soft to be a real Gypsy. But he'll let youdecide the matter.

BOND
As if I didn't have enough
problems!

He raises the Rachi bottle and sniffs it.

WIDE ANGLE - THE ENCAMPMENT

More Gypsies now surround the Bulgars and their truck.

DISSOLVE TO:

INT. VAVRA'S TENT - NIGHT

Bond sits at a bowl washing his face then picks up a towel.

He hears something and looks back. DOLLY BACK TO REVEAL Zora and Vida entering demurely, then Kerim follows smoking acigarette. He leans devilishly against a tent-pole.

KERIM

(to Bond)Vavra said for you to decide. So decide. They are both yours.

He puts the cigarette in his mouth, turns and exits chuckling.

BOND
(to himself)
This might take some time.

DISSOLVE TO:

63.

EXT. THE ENCAMPMENT - DAY

PAN ACROSS the camp as Gypsies make repairs, tend animals and cook.

EXT. VAVRA'S TENT - SAME TIME

Bond reclines on cushions with a coffee tray beside him asZora and Vida kneel before him. Zora hands him a cup ofcoffee as Vida sews his shirtsleeve.

Bond raises the cup but lowers it again so Vida can cut the thread with her teeth. DOLLY BACK.

DISSOLVE TO:

EXT. THE GYPSY HOUSE - NIGHT

The station wagon waits at the porch. Kerim is in the passenger seat and his driver behind the wheel.

Bond emerges from the house with Vida on his arm, followed by Zora, Vavra and a GUARD. Vida takes Bond's hands, then Bond turns to the car. She calls to him.

The driver opens the back door.

BOND

(to Kerim)

Did you pick up that package at the

hotel?

KERIM
It's on the seat.

DOLLY IN as Bond climbs into the back seat and Kerim passesthe rifle back to him.

BOND
Thank you.

Bond shuts the door and the car drives off. TILT UP to the porch where the Gypsies all wave goodbye and call out inRomany.

DISSOLVE TO:

EXT. A SIDE STREET IN ISTANBUL - NIGHT

Bond and Kerim walk round a corner. Behind them stands a two-story apartment house with a billboard mounted on it.

The billboard contains a picture of Anita Ekberg and thewords, 'HARRY SALTZMAN, ALBERT R. BROCCOLI PRESENT BOB HOPE AND ANITA EKBERG in CALL ME BWANA.'

64.

Bond and Kerim stop at a dark alcove beside a shop and lookback.

KERIM Twice has Krilencu tried to kill me.

CLOSER ANGLE - BOND AND KERIM They step further back into the alcove. KERIM The third time he will succeed... unless I get him first. That I'll do tonight. BOND Not with that arm, you won't. Bond takes the folded rifle from his jacket. BOND You'd better leave it to me. KERIM

I'm already too much in your debt. BOND'S HANDS assemble the rifle.

BOND (O.S.)How can a friend be in debt? TWO-SHOT BOND

Here. He hands Kerim an infra-red telescopic lens. Kerim looks through it.

KERIM'S POV - THE BILLBOARD (THROUGH LENS) KERIM (O.S.)Infra-red lens. It pans across the billboard then stops on Ekberg's mouth. KERIM (suddenly)Shh!

65.

BOND AND KERIM

They step back and look through some fencing. They see aclear street. They keep looking. From their POV, TWO POLICEMEN come walking down the street

beyond the fence. Bond and Kerim keep watching, Bond gripping

the rifle. The policemen come closer then stop. Kerim signals Bond to do nothing, then steps forward. The policemen turn away.

KERIM My sons. They will ring hisdoorbell. He has a private escapehatch.

Kerim hands the infra-red lens to Bond.WIDE ANGLE - THE STREETBond and Kerim lurk in f.g. as the two policemen approach the

apartment house in b.g.
IN THE ALCOVE
Bond raises the rifle to look through it but it wobbles.

Kerim steps in front of him. KERIM Try this for size.

Bond rests the barrel across Kerim's shoulder and peers through the lens.BOND'S POV - THE BILLBOARD (THROUGH LENS)We PAN ACROSS the billboard to reveal two windows.

KERIM (O.S.)Do you notice anything? BOND (O.S.)Not yet. He keeps looking. KERIM (O.S.)She has a lovely mouth, that Anita. We PAN BACK ACROSS the billboard to Anita's mouth. BOND (O.S.)Yes. I see what you mean.

66.

LONG SHOT - THE SIDE OF THE HOUSE The two policemen approach. BOND AND KERIM

KERIM

(frustrated)Arm or no arm, I have to pull that trigger.

BOND (handing him the

rifle)Here, if you think you can. You've got one shot, remember.

KERIM

It'll have to do. Kerim puts the rifle on Bond's shoulder and looks through thesight.

LONG SHOT - SIDE OF HOUSE The two policemen stand at the door. CLOSE SHOT - THE DOORBELL The hand of one of the policemen rings the bell. WIDE ANGLE - FRONT OF HOUSE The light in one of the windows goes out, then suddenly a

trap-door opens in Anita's mouth and light streams through. BOND (O.S.)

Quick! He's coming! ZOOM IN to the trap door. Krilencu peers out. SERIES OF SHOTS

-
Kerim takes aim over Bond's shoulder.
-
Krilencu lowers a rope through the opening.
-
DOLLY IN on Kerim watching intently.
-
Krilencu climbs out the opening.
-
Kerim keeps watching.

BOND
Quick!

67.

-
Krilencu dangles from the rope.
-
DOLLY IN closer on Kerim. He fires the rifle.
-
Krilencu spins around, shot in the back.
-
Kerim looks up at him over Bond's shoulder.
-
Krilencu hangs desperately from the rope, then falls with a scream. WIDE ANGLE - THE APARTMENT HOUSE Krilencu's body tumbles to the ground. CLOSER ANGLE TILT DOWN on Krilencu's falling body. It lands with a CRUNCH. BOND AND KERIM KERIM (handing him the rifle)That pays many debts. Kerim walks off.

BOND
She should have kept her mouth
shut.

WIDE ANGLE - THE STREET
Bond and Kerim walk off around the corner.

DISSOLVE TO: INT. LOUNGE OF BOND'S BRIDAL SUITE - NIGHT Bond enters the darkened room, turns on the lights and looks

around. He walks to a table where his briefcase rests, sets

his folded rifle on it and tosses down his key. DOLLY BACK as he slips off his shoes, picks up the briefcaseand rifle, walks to a couch and sits. A set of French doors behind him is open, revealing a balcony, but he doesn't notice.

He sets down the briefcase, opens it, places the rifle insideand closes it. Then he rises, removes his jacket and holster,and picks up a telephone.

68.

BOND

(into phone)

Hello?... Uh, breakfast for one at

nine, please... Green figs,

yogourt, coffee very black... Thank

you.

He sets down the phone, removes his tie and walks to thebathroom door, then turns and looks back. He sniffs, but ignores it and turns back to the door unbuttoning his shirt.

IN THE BATHROOM

The door opens. Bond enters removing his shirt and turns on the lights. The tosses his shirt aside and turns the tap onthe bathtub. Steaming water comes out.

He removes his socks, then DOLLY IN as he removes his pants.Suddenly he hears a soft noise. He glances around then finishes removing his pants. He hears a louder noise. He pulls a towel around his waist and leaves the bathroom.

IN THE LOUNGE

Bond comes out of the bathroom. He picks up his gun and goesout onto the balcony.

BOND'S POV - THE BEDROOM

We see it through curtains on a set of French doors. A naked Tania runs past and climbs into the bed.

IN THE BEDROOM

Bond enters through the French doors. He looks ahead.

Tania, in bed, whips a blanket around her.

PAN ON BOND as he walks toward her aiming his gun.

TANIA You look surprised. I thought youwere expecting me.

BOND
Oh, so you're Tatiana Romanova.

TANIA
My friends call me Tania.

BOND
Mine call me James Bond.

He places the gun in his other hand and shakes her hand.

69.

BOND Well, now that we've been properly introduced...

Bond moves toward her holding the gun. She pushes it away.

TANIA
Careful. Guns upset me.

He sits on the edge of the bed and sets the revolver on thenightstand.

BOND I'm sorry. I'm a bit, eh... upsetmyself.

CLOSE-UP - TANIA

TANIA You like just like your... yourphotograph.

CLOSE-UP - BOND

[BONDYou look even better than yours.Much... much better.

TANIA If you are looking for concealed weapons...

She touches a black band around her neck.

BOND I take it this is your traveling outfit?

TANIA Oh, you don't think this kulturny?

BOND Well, I'll tell you somethingkulturny.] You're one of the most beautiful girls I've ever seen.

CLOSE-UP - TANIA

TANIA Thank you, but I think my mouth istoo big.

70.

CLOSE-UP - BOND

BOND No, it's the right size...

EXTREME C.U. - TANIA

Her lips part invitingly.

BOND

BOND ... for me, that is.

He leans forward and they kiss.

BOND Yes. (he kisses her again)Is it here?

TANIA What?

BOND (brushes his lipsagainst hers)The decoding machine —- the Lektor.

TANIA (kissing him)Must we talk about it now?

BOND Or is it at the Russian Consulate?

They kiss again, lingering.

TANIA Umm... yes.

BOND Yes.

(he leans back)I would need a plan of the place.If you could get one, we can meetat the Saint Sofia Mosque, like we were tourists.

TANIA (leaning forward)Why don't you ask me that... later?

71.

She embraces him, then runs a finger down his back until ittouches the scar. BOND (O.S.)Now what are you looking for? INTERCUT - BOND AND TANIA

TANIA
The scar. You see, I know all
about you... from your file.

BOND Mmm, do you? Well, I hope you'renot, uh... disappointed.

She leans back onto the pillow seductively. TANIA

I will tell you in the morning. Bond embraces her and they kiss. ANGLE ON THE BED revealing a mirror behind it as Bond and Tania kiss. PAN UP

to the mirror.
REVERSE ANGLE ON BOND AND TANIA
We see them now through the other side of a one-way mirror.

PULL BACK TO REVEAL Kleb and a MAN in a storeroom; he is filming Bond and Tania in bed. He nods to Kleb. DISSOLVE TO:

EXT. ISTANBUL - DAY A wide shot looking at the Aya Sofia Mosque over theBospherous.

GALATA BRIDGE - DAY Tania approaches the bridge and walks up some steps. Hassan enters in f.g. and watches her.

DISSOLVE TO: EXT. AYA SOFIA MOSQUE - DAY PAN ON Tania as she walks past the mosque, then HOLD. Hassan

peers around the corner of the building at her.

[END OF REEL 6. START REEL 7.]

72.

INT. AYA SOFIA MOSQUE - WIDE ANGLE - SAME TIME

A GUIDE leads a TOUR GROUP through the mosque.

GUIDE We are now approaching the mostinteresting corner of SaintSofia... including these two greatred porphyry columns stolen andbrought from Egypt.

Tania enters through a side door. Bond enters behind the sightseers. He wears sunglasses and carries a bag. As theywalk away he turns to one side.

GUIDE (O.S.)In front of them, alabaster urn was brought from Bergama, a famoushistorical city near Smyrna. It dates back from the Alexander the Great period.

Bond stops beside a towering column.

Hesitantly, Tania walks closer. She stops and pulls her hairback from her eyes and looks at him. Bond takes off his sunglasses and looks back. Tania looks back.

Bond gestures with the sunglasses for Tania to move off.

GUIDE (O.S.)About sixteen forty-eight, Sultan Murad the Fourth brought it fromBergama. It was used as an ablution fountain. It contains a thousand litres of water. Rightafter the ablution fountain we are going to a highly interestingcolumn over there...

Tania moves off and Bond does the same.

We CONTINUE WITH BOND as he passes more columns then reachesthe base of a huge pillar-complex. Right ahead he seesHassan, looking around the far end of the complex. Bond darts forward to conceal himself against it.

GUIDE ... known for centuries as Saint Sofia wishing column. Tens of thousands of people have wishedhere, putting their right hand andmiddle finger in the hole.

73.

LONG SHOT - TANIA approaches the pillar-complex as Hassan watches from f.g. BOND runs to the other side of the complex to intercept Tania but

doesn't see her. TANIA stops at pillar on the side of the complex near Hassan and

opens her handbag. BOND sets his bag down behind a pillar and runs forward pulling out

his revolver. He wraps a handkerchief around it. Then he returns to the base of the complex and peers around at Hassan,who still stands looking around the corner ahead.

TANIA

Her hand sets down a compact at the base of the pillar. TILT UP as she walks away.AT THE PILLAR-COMPLEXHassan, looking around the corner, watches her go.Bond, behind the next corner, watches Hassan. Bond steps back

to see Tania go then steps forward again.
Hassan heads for the pillar where Tania left the compact.
Bond looks back, looks in Hassan's direction, looks back

again.
HASSAN
His hand starts to pick up the compact at the base of the

pillar.
Suddenly ANOTHER MAN enters. His foot smashes down onto the
hand holding the compact and he bashes Hassan's neck with two

Karate chops. Hassan drops to the floor dead, the compact in
his hand.
BOND
looks in Hassan's direction then steps around the corner and

heads for the spot where Hassan had stood.

74.

HASSAN'S BODY

His attacker starts to walk away then turns back, pulling offa pair of gloves. It's Grant. He looks ahead.

GRANT'S POV - BOND

walks along the pillar-complex toward the corner.

GRANT

walks quietly away.

WIDE SHOT - BOND

DOLLY IN as he arrives at Hassan's body.

Bond reaches down and takes the compact from his hand. He looks inside and sees a piece of paper. He removes and opensthe paper. It is a small, hand-drawn map.

CUT TO:

ANOTHER MAP

a large blueprint of the same area. It lowers revealing

INT. KERIM'S OFFICE - DAY

PULL BACK as Kerim sets the blueprint on his desk. Bond sits on the edge of the desk holding the compact.

KERIM I promise you it wasn't one of mymen who killed him.

BOND Well, he didn't die of old age.All I know is that it saved me a job.

(removes the hand

drawn map)Once he'd seen the girl, she was obviously compromised and so...

KERIM

(indicating the compact)
And he wasn't killed because of
that!

BOND Let's just say that Istanbul's arough town.

75.

DOLLY IN as Bond sets down the compact, approaches Kerim andunfolds the hand-drawn map.

BOND Now, let's see how Tania's map ofthe Russian Consulate compares withyour architect's plans.

ANGLE ON THE DRAWINGS

Bond's finger points between the two maps.

BOND This is the Conference Room in the Russian Consulate. Yeah, that checks. And this is the Communication Room. That's the same.

TILT UP to TWO-SHOT of Bond and Kerim.

BOND Now, she says she works there withthe Lektor every day between twoand three.

KERIM How is she going to get the machineover to us?

BOND Well, she's leaving that to me. She'll do anything I say.

Kerim laughs. DOLLY BACK as he picks up the architect'sdrawing and sits on the edge of his desk in f.g.

KERIM Anything? My dear James, you arenot using this.

(taps his head)
It all sounds too easy to me.
(starts folding the

drawing)We don't even know if she's tellingthe truth.

BOND
Well, I intend to find out.

KERIM
Where? In the hotel?

76.

BOND No, she won't go there again. Saysit's too dangerous.

KERIM The old game! Give a wolf a taste then keep him hungry. My friend,she's got you dangling.

BOND That doesn't matter. All I want is that Lektor.

KERIM All? (looks back at Bond)Are you sure that's all you want?

BOND
Well...

They both grin, then Kerim laughs then Bond laughs.

CUT TO:

EXT. BOSPHEROUS - DAY

A ferry boat passes by in the crowded harbor and toots itswhistle.

ON THE FERRY BOAT

Bond walks upstairs onto a deck then along the deck. He wears a hat and sunglasses and carries a camera. He stops, leansback against a railing and removes his sunglasses.

Tania rounds a corner of the deck ahead of him. She wears sunglasses, a scarf and long coat.

Bond looks at her. She looks back. He approaches her butstops short, turning to the railing and opening his camera case. Tania walks up beside him.

TWO-SHOT - BOND AND TANIA

Bond winds the camera.

BOND
Lovely view.

TANIA James, we must leave here now. If that agent reports my seeing you...

77.

BOND
Don't worry. He won't.

TANIA But you don't understand —- it's a danger.

Bond looks at her unconcerned.

He steps back and aims the camera at her.

TANIA
James, look...

BOND
Smile!

He presses a button, then gestures to her to move back as aMAN walks past them.

BOND
Another one. Further back.

DOLLY IN as they move to a corner of the deck and the man walks off.

INTERCUT CLOSE-UPS - BOND AND TANIA

BOND
About the machine...

TANIA That's all you're interested in.Not me.

BOND
Business first.

TANIA I know. Once you have got what you want...

BOND I haven't got it yet. But if youtell me about the machine, well... afterwards we won't always beworking on the company's time.

TANIA. All right. What do you want toknow?

Bond glances around then lowers the front flap of the cameracase, revealing a tape recorder.

78.

BOND
Talk into this. Answer my
questions quietly but clearly.

BOND
How long is the machine?

TANIA
Like... like a typewriter.

BOND
Weight?

TANIA About ten kilos. In a brown case. Brown like your eyes.

BOND
Keep it technical. Self-
calibrating or manual?

TANIABoth. With an in-built compensator. James, couldn't we...?

BOND
Not now. Talk into the camera.
How many keys?

TANIA
Symbol or code keys?

BOND
Both.

DISSOLVE TO:

A LARGER TAPE RECORDER

The reels are spinning. PULL BACK to reveal:

INT. 'M'S' OFFICE - DAY

The tape recorder is on 'M's' desk and he sits listening. Moneypenny sits beside him taking notes. Across the desk sit a NAVAL OFFICER, an ARMY OFFICER and FOUR OTHER SUPERNUMERARIES. 'M' lights and puffs his pipe.

Bond and Tania's voices come through the speakers:

79.

TANIA'S VOICE

There are twenty-four symbols,

sixteen code keys. It is inserted

in a slot. And the message comes

out on a paper roll from another

slot on the other side. And the

mechanism is... oh, James...

James... will you make love to me

all the time in England?

BOND'S VOICE

Day and night. Go on about the

mechanism.

TANIA'S VOICE

Oh, yes, the mechanism. Once when

it was being repaired I saw the

inside. There were many perforated

discs made, I think, of copper,

with a small light...

ANGLE ON 'M' AND MISS MONEYPENNY

TANIA'S VOICE

Dooshka, tell me the truth. Am I

as exciting as all those Western

girls?

Miss Moneypenny blinks, then breaks into a cryptic grin.

BOND'S VOICE

Oh, once when I was with 'M' in

Tokyo, we had an interesting

experience.

'M' shuts off the machine.

'M'

Thank you, Miss Moneypenny. That's

all, that's all.

She gets up and exits past the men. We hear a door close, then 'M' re-starts the tape recorder.

BOND'S VOICE
Later, later.

IN MISS MONEYPENNY'S OFFICE - SAME TIME

Miss Moneypenny flips on her intercom and sits down at herdesk. She hears the tape playing in the other room.

BOND'S VOICE Those copper discs, are they light?

80.

TANIA'S VOICE Of course. Light, light. James, come closer. I want to whispersomething.

BOND'S VOICE Go on with what you were tellingme... No, not that! The mechanism!

'M'S VOICE (OVER INTERCOM)Miss Moneypenny, as you're no doubtlistening, perhaps you'd take thiscable. Text reads... merchandise appears genuine...

DISSOLVE TO:

INT. KERIM'S OFFICE - DAY

Bond sits across from Kerim's desk reading the telegram aloud.

BOND

(overlapping 'M')'... merchandise appears genuine.Stop. Go ahead with deal. Signed'M'.'

Kerim walks up to Bond, a cigarette in a yellow holder in hismouth. Kerim takes the telegram, sits on the edge of his deskand reads.

BOND

(to Kerim)Now all I have to do is to tell the girl the date.

KERIM
The thirteenth?

BOND
The fourteenth.

DISSOLVE TO:

EXT. RUSSIAN CONSULATE - DAY

A taxi pulls up to the curb. Bond hands the driver some moneyand gets out. TRUCK WITH HIM as he walks to the embassy gate.A PORTER opens the gate for him.

BOND
Visa?

The porter opens the gate and gestures to Bond to enter. Bond passes into the compound.

81.

INT. CONSULATE VESTIBULE - SAME TIME

Bond steps up to a DOORMAN.

BOND
Visas?

DOORMAN
(pointing; in Russian)
There.

BOND
Thank you.

PAN ON BOND as he walks into a large reception room. He stopsat a desk where a CLERK faces a MAN. There is a large clockon the wall in b.g.

CLERK

(in Russian)Take and fill in this form, write your surname and bring it back tome in five minutes.

MAN
(in Russian)
Yes, thank you.

The man walks away.

BOND
(to clerk)
Visa, please.

The clerk hands him a form.

BOND
Your clock.
(glances at it)
Is it correct?

CLERK
Always.

BOND
Of course.

Bond walks to a bench at the wall. The clerk calls out "Agregarium!" A SECOND MAN rises from the bench and walks off.

Bond looks at his watch.

82.

CLOSE SHOT - BOND'S WATCH

It shows 3:00.

INT. UNDERGROUND CISTERN - SAME TIME

Kerim sits on a box looking at his watch. A detonator rests at his feet. In b.g., rats scurry about through a break inthe cavern wall.

[END OF REEL 7. START REEL 8.]

IN THE RECEPTION ROOM

Bond walks back to the clerk, who is still talking to the second man.

BOND Excuse me. You did say your cockwas correct?

CLERK
Russian clocks are always —-

A sudden explosion smashes through the floor behind Bond. The clock falls from the wall. Debris cascades down from the ceiling.

Bond rises with a big grin. He says something to himself andturns to an archway behind him.

Embassy men run frantically around as Bond exits through thearchway.

The clerk starts grabbing drawers from his desk. Other EMPLOYEES run behind him with drawers and files.

IN A HALLWAY

Smoke fills it. Bond runs down the hall carrying a gas mask.

TRUCK WITH HIM as he passes through a swinging door intoanother hall and puts on the mask. He continues into the conference room then turns to an iron gate. At the same time, a LADY emerges through the gateway carrying files.

CLOSER ANGLE - THE GATEWAY

Bond lunges toward the gateway. A GUARD holding a gun triesto close the gate. Bond grabs his arm and makes the gun firewide.

83.

INT. COMMUNICATIONS ROOM - SAME TIME

Tania looks up from her desk, which she had been wiping with acloth. The Lektor sits on the desk.

BOND AND THE GUARD

Bond wrestles the guard to the floor and knocks him out with ajudo-chop to the neck.

IN THE COMMUNICATIONS ROOM

DOLLY IN as Bond runs in. He sees the machine.

BOND
Is this the Lektor?

TANIA
(unplugs it and hands
him the cord)
Yes!

Tania starts to cough. Bond hands her the gas mask.

BOND Here, take this. It's only tear gas.

TANIA I thought it was for tomorrow, as today is the thirteenth, isn't it?

BOND
This is a hell of a time to be
superstitious.

(he shuts the case
and grabs the Lektor)
Come on!

He runs through the gateway; Tania follows holding the gasmask.

IN THE CONFERENCE ROOM

A few flames burn. Bond and Tania run inside.

BOND
Come on, quickly!

DOLLY WITH THEM as he leads her across the room to a hole in the floor. He climbs into the hole, Tania following.

84.

EXT. CONSULATE - LOW ANGLE - SAME TIME

Smoke pours out as men run from the Consulate carrying documents.WIDER ANGLE - THE STREETA fire truck pulls up as a crowd watches.ANGLE ON THE CONSULATEFiremen run toward the building with hoses.IN THE UNDERGROUND CISTERN - A CAVERNKerim helps Bond and Tania down some steps from a tunnel.

BOND
(to Tania)
Keep your head down.

DOLLY BACK as they walk under an archway into a second cavern. Suddenly they see a flood of rats running at them. Tania screams.

BOND Back inside! He and Tania turn back. The rats keep coming. IN THE FIRST CAVERN Kerim watches as Bond and Tania enter under the archway. KERIM This way! Quickly! They run off. The rate keep coming.

WIDE ANGLE ON CAVERN - TRUCKING SHOT Kerim leads Bond and Tania through a forest of pillars. PAN ON THEM as they run to a stairway.

They dash up two flights of steps. INT. A KIOSK A knock sounds from under a trap-door in the floor. A MAN

opens it. Kerim comes up followed by Tania.

85.

EXT. KIOSK - LONG SHOT - DAY Kerim, Tania and Bond run outside. They are across the streetfrom the Consulate. The street is blocked by fire trucks and spectators. They run across the street, avoiding traffic.

CUT TO: EXT. ISTANBUL STATION - DAY PAN ON Kerim, Tania and Bond as they run across a platform to

a train. Bond jumps over a newsrack to keep up with them. An announcement is being broadcast in Turkish. Tania suddenly stops. Bond stops and runs back to her. BOND What's the matter? TANIA (looking off)Benz, the Russian security man. TWO-SHOT - BENZ AND ANOTHER MAN sit at a table eating. Benz looks off at Tania and rises. BOND AND TANIA He takes her arm. BOND Come on, never mind!

ANGLE ON THE TRAIN Kerim stands on the steps with a PORTER on the platform besidehim.

KERIM
(calling back to Bond)
Hurry! Hurry!

WIDE ANGLE - THE TRAIN Bond and Tania jump aboard and the train starts to move. Benz and the other man look on in f.g.

ANGLE ON BENZ
He suddenly jumps up, grabbing a briefcase and hat.

86.

BENZ
(to the other man;
in Russian)
Telephone the Consulate!

OTHER MAN
(in Russian)
Yes... yes...

BENZ

(in Russian)Dear Corporal Romanova has defectedto the English!

He runs to the passing train and jumps aboard.

Grant watches him through a window of one of the compartments.ZOOM IN on Grant as he closes the window.

INT. CORRIDOR OF TRAIN - DAY

Kerim leads Tania and Bond down the corridor.

KERIM Here's one of them... and there's the other one.

Kerim steps into the first compartment as Bond and Tania turnto the other.

IN THE FIRST COMPARTMENT (TANIA'S)

Kerim opens a connecting door to the other compartment, revealing Bond and Tania. Kerim hands Bond two passports.

KERIM Your passports. The pictures donot do you justice. I have rarelyseen a handsomer couple.

Bond looks at them. Tania looks over his shoulder.

BOND (reading)Mister and Misses David Somerset. (to Tania)Your name's Caroline.

He hands her a passport.

TANIA
Caroline. I like that name.

87.

BOND You're accompanying me on abusiness trip. On the way back toDerbyshire.

TANIA
To our children?

BOND
No children.

DOLLY BACK as Bond and Kerim turn to the door to the corridor.

TANIA
Not even one little boy?

BOND
(turning back)
Nyet.

KERIM
I like big families myself. In
fact, my whole life has been a
crusade for larger families.

BOND
So I've heard.

Kerim turns down the corridor. Bond stops in the doorway.

BOND
Tania?

TANIA
Yes?

BOND Keep the door locked. I'll knock three times.

TANIA
Okay.

He shuts the door and she locks it.

IN THE CORRIDOR

Bond looks out the window. Kerim takes out his yellow cigarette holder and his cigarette case.

KERIM
I'll go see the conductor now.

BOND
You sure he'll cooperate?

88.

KERIM Oh, we've done business before. He'll stop the train near theBulgarian frontier where my sonswill be waiting with a car. We'll be there... about six o'clock.

A WOMAN IN A SCARF turns into the corridor and walks toward them.

BOND And the airstrip?

KERIM Twenty miles.

Bond and Kerim pause and back up. She walks between them and down the corridor then enters a compartment.

KERIM The plane is chartered to Athens.You'll be in London tomorrow.

Kerim places a cigarette in the holder and turns down thecorridor.

BOND We'll drink to that in London.

He knocks three times on the compartment door.

IN TANIA'S COMPARTMENT

She opens it to admit Bond. He enters closes it behind him. She wraps her arms around him.

TANIA So, we are really on our way toEngland!

BOND Yes, with a lovely two-day honeymoon before us.

TANIA

Honeymoon? wear. And I have nothing to
Ah! BOND

He holds up her black ribbon and puts it around her neck.

BOND Your trousseau!

89.

TANIA
(holding the ribbon)
Oh, James!

BOND
(holding up a finger)
Ah, one moment.

He backs away raising his jacket cuffs then holds up his handsas if to say there's nothing there, then he disappears behind the door to the other compartment.

Tania looks on in puzzlement.

Suddenly the door is kicked open revealing Bond holding up ablue negligee.

TANIA
Oh, no! James, James!

(she hugs him, thenglances downsurprised)

Oh, look! Look!

She kneels in amazement to a suitcase and looks through theclothes in it.

She rises holding another blue negligee. She swings aroundthen holds it up against herself. Bond takes the black ribbon from her hand and holds it against her neck.

BOND
There.

She laughs.

CUT TO:

EXT. TRAIN - DAY

PAN on it as it barrels past.

DISSOLVE TO:

INT. TANIA'S COMPARTMENT - DAY

Tania wears a blue negligee and dances around humming "TheBlue Danube." Bond sits on the couch reading a newspaper.She drops down and lies across him. He wraps an arm aroundher neck.

TANIA Oh, I will wear this one... in Piccadilly.

90.

BOND
You won't. They've just passed
some new laws there.

IN THE CORRIDOR

Benz stands at door to Tania's compartment, listening, then moves on. Kerim rounds the corner behind him and watches.

Benz pauses the next compartment door, listens and moves on.

Kerim watches closely, then knocks on Tania's door.

IN TANIA'S COMPARTMENT

Through the doorway to Bond's compartment we see her feet as she lies with him in bed.

BOND (O.S.)
You're nearest.

TANIA
Oh, all right.

Tania gets up and walks into her compartment. She is weaeringher negligee and has her hair tied up in a bun. She opens thedoor. Kerim enters and looks at her approvingly.

KERIM
Charming! Charming!

Kerim turns to the doorway to Bond's compartment. Bond emerges tying his tie.

KERIM
Let's go to the restaurant car,
James, for... that drink.

BOND
Surely.

KERIM
(off to Tania)
Charming!

Kerim exits past Tania. Bond follows putting his coat on.

BOND

(to Tania)
We'll continue the fashion show
later.

He goes out into the corridor and she shuts the door and locksit.

91.

IN THE CORRIDOR

Bond and Kerim look out the window.

KERIM Everything is arranged for me tostop the train. We'll get off fromthe restaurant car...

(he nods down the hall)
It's up that end.

BOND Fine, we'll meet you there at sixo'clock then.

KERIM Make it just a little later. But there are slight complications.

(he turns and looks

up the hall)One of the Russian security men, Benz —- he watches the airports and the stations —- he's on the train.

BOND But he couldn't have had time to contact the Consulate before he boarded.

KERIM Well, just in case, I'll keep himcompany for the next two hoursuntil it's time to get off.

PAN on Kerim as he starts down the corridor.

KERIM Perhaps you'd like me to introduceyou?

BOND
(approaching him)
Charming!

They walk together down the corridor.

IN BENZ' COMPARTMENT

Benz stands looking out the window. He hears a knock at the door and turns.

KERIM (O.S.)
Ticket control.

92.

Benz walks to the door taking some money from his pocket. He opens the door then freezes. Kerim's hand aims a gun at hisstomach. Benz backs away, drops onto the couch and drops theas Kerim follows.

Bond shuts the door. PAN OVER to Kerim. He pulls Benz'handkerchief from his pocket and stuffs it in his mouth.

KERIM Do not be alarmed, my friend. We will make you as comfortable aspossible.

Bond and Kerim pull Benz to his feet. Kerim takes a gun from inside his jacket then Bond pulls the jacket down over his arms.

KERIM Now I'm sure Commissar Benz will have a much safer journey.

Bond pivots Benz forward.

BOND I'm not mad about his tailor. Are you?

Bond shoves him and he drops back onto the couch.

KERIM You know, James, life in Istanbul will never be the same without you.

BOND I'll see you in the restaurant car.

Bond walks off. TILT DOWN with Kerim as he sits beside Benz and starts to raise his yellow cigarette holder.

KERIM I've had a particularly fascinating

life. it? Would you like to hear about
Benz grunts.
KERIM

You would?

IN THE CORRIDOR

Bond walks away through a doorway into the next train car.Grant emerges from behind the doorway, wearing his gloves. He glances back at Bond then walks forward.

93.

IN TANIA'S COMPARTMENT

She lies on the couch wearing a blue nightdress and looking ather face in a mirror. She holds a lock of hair under her nose like a mustache.

She hears a triple-knock at the door, jumps up and opens it. Bond enters looking at her and smiling.

TANIA
Do you like it?

She walks toward the couch. Bond follows.

BOND
Yes. It does rather suit you.

TANIA
I will save everything else for
England.

BOND Uh, it is four o'clock, you know.

TANIA

It is not kulturny in the

afternoon?

(Bond looks at her)

Even on a honeymoon?

(Bond keeps looking)

Than I will take it off.

She steps forward out of frame removing a strap as Bondwatches.

BOND I think we are talking at cross-purposes again. [A couple of hours will straighten that out.

Bond pulls down the blind.]

CUT TO:

EXT. TRAIN - DAY

FOLLOW the spinning wheels.

DISSOLVE TO:

INT. TANIA'S COMPARTMENT - DAY

CLOSE SHOT of the wall, then TILT DOWN to reveal Bond and Tania lying on the couch. She smokes a cigarette.

94.

BOND
Tania...

TANIA
Um-mm?

BOND
We'd better get dressed now.

TANIA
Why?

BOND
It's almost six.

TANIA
So?

BOND
Well, it's, uh... it's tea time.

TANIA We'll have it in here. We'll have all our meals here.

BOND Yeah, that would be splendid. But I've arranged to meet Kerim in the restaurant car.

TANIA
Mmm, you go alone. I will stay
here.

Bond takes her cigarette, rises and walks to the window whichis covered with the blind.

BOND
My dear Mrs. Somerset, we're
supposed to be a respectable
English couple.

(he pulls on the

blind)We would certainly have tea in the restaurant car —

The blind rolls up with a loud snap that startles Bond. Tania walks up to him.

BOND
Now, listen...
(kisses her)
Just do as I say, will you?

95.

TANIA
Yes, James.

He picks up his tie and passes her, smacking her bottom.

TANIA
But there are some English
customs...

BOND
(looking back)
Hmm?

TANIA ... that are going to be changed.

BOND
(wrapping his tie
around her finger)
But of course, darling.

She holds the tie between her teeth and starts laughing. Bond grins.

CUT TO:

[END OF REEL 8. START REEL 9.]

EXT. TRAIN - HIGH ANGLE - DAY

PAN on it as it rushes forward.

DISSOLVE TO:

INT. BOND'S COMPARTMENT - DAY

Seen through the open doorway of Tania's compartment, Bond and Tania are dressed. She wears her long jacket and buttons it.Bond wears his shoulder holster and puts on his coat.

TANIA
Do I look nice, Mister Somerset?

BOND
Yes. —- Uh...

He faces her and puts a ring on her finger.

BOND
Misses Somerset.

TANIA
(in Russian)
How pretty!

96.

Bond opens the compartment door, picks up the Lektor and theystep into the corridor.

IN THE CORRIDOR
Tania holds up and admires the ring as Bond shuts the door.
They turn down the hall.

REVERSE ANGLE A CONDUCTOR suddenly runs down the corridor calling urgently. CONDUCTOR

Mister Somerset! Mister Somerset! BOND AND TANIA turn back. The conductor approaches.

CONDUCTOR
(anxiously)
You are the friend of Kerim Bey?
BOND
Yes?

CONDUCTOR There has been a terrible accident. Please come quickly.

The conductor turns back down the corridor. Bond opens thedoor and pushes Tania back into her compartment, handing herthe Lektor.

TANIA No tea? BOND Later. Keep the door locked. He shuts the door. REVERSE ANGLE Bond follows the conductor down the corridor.

IN THE CORRIDOR OF THE NEXT CAR The conductor leads Bond to the door to Benz' compartment as aMAN walks past them. The conductor looks both ways thenstarts to open the door.

97.

IN BENZ' COMPARTMENT

The door slides open the rest of the way revealing Bond andthe conductor.

CONDUCTOR
They killed each other!

DOLLY BACK as Bond walks in, to reveal Kerim and Benz lyingdead. Kerim lies face-down on the floor with a knife in his back. Benz lies on the couch with a bullet-hole in his chest. Near Kerim's face is his yellow cigarette holder.

Bond kneels and lays his hand on Kerim's shoulder, surveyingthe scene, then rises.

BOND

(to the conductor)
This must be kept quiet until we
reach Trieste.

CONDUCTOR
It will be difficult.

BOND
(reaching into his
jacket, with disdain)
I'm sure.
(Bond takes out some

cash and counts it)Kerim Bey was a very influential man. He had many influentialfriends. I'm sure they also willreward you.

He gives some money to the conductor and puts the rest away.

CONDUCTOR
I'll try.

Bond frowns with disdain again, then looks down at Kerim.

ANGLE ON KERIM

Bond's hand reaches down and squeezes his shoulder. Then Bond picks up the cigarette holder.

TWO-SHOT - BOND AND THE CONDUCTOR

Bond rises and, with a last look back, turns into the corridor followed by the conductor, who closes the door behind them.

CUT TO:

98.

EXT. TRAIN TRACKS - DAYThe train races forward. Kerim's chauffeur stands in front of

the station wagon on a cross-road watching. PAN on the train as it passes him.THE CHAUFFEURwith his hands on his hips watches in puzzlement.From his POV, the train keeps passing by.The chauffeur keeps watching.From his POV, the train now travels into the distance.The chauffeur looks at his watch then runs back to the station

wagon. ANOTHER MAN sits at the wheel. The chauffeur calls to him in Turkish (we hear the word "telefona") then jumps intothe passenger seat and the car drives off.

CUT TO: INT. TANIA'S COMPARTMENT - DAY She sits on the couch folding a sweater. A triple-knock

sounds at the door. She gets up and unlocks it. From outside, Bond slams the door open and glares at her. TANIA What is it? She looks at him, not comprehending. BOND Kerim's dead! TANIA Dead? BOND

Um-umm. Tania backs up and sits on the couch, shocked. Bond approaches.

BOND

Now, I want the truth! He reaches down, grabs her wrists and yanks her to her feet.DOLLY IN closer.

TANIA
James, you're hurting me!

99.

BOND I'll do worse than that if youdon't tell me! You're doing thisunder orders, I know. What are they?

TANIA
I don't know what you mean.

BOND
Liar!

He slaps her face and she flies back, landing on the couch.

TANIA

(holding her cheek)Even if you kill me I can say nothing. I did not know anythinglike Kerim's death would happen.But when we get to England, I tell you.

Bond goes to her.

BOND
Go on.

TANIA
(falling back crying)
Oh, no!

BOND

(sitting beside her)Tania, maybe they didn't let you in on all of this, but whatever you doknow, tell me.

He grabs her arms from behind. She responds by stroking hishand.

TANIA I know I love you, James. I love you.

BOND
Just tell me.

TANIA I love you, I love you, it's true.

BOND
Sure.

100.

He rises, takes the Lektor from an overhead luggage rack, goes into his compartment and shuts the door. We hear Tania crying.

CUT TO: EXT. TRAIN - DAY The train races forward. PAN on it as it goes by. FADE IN a

SUPERIMPOSITION of a map of Europe and PAN across it, showing the train's route, from 'Sofiya' to 'Beograd.' DISSOLVE TO:

EXT. BELGRADE STATION - NIGHT The train approaches the station. The SUPERIMPOSITION FADES OUT.

GUARD (O.S.)
(calling)
Belgrade! Belgrade!

AT A RAILING
Kerim's son MAHMET, wearing a suit and tie and holding his
hat, watches.

THE TRAIN

comes to a stop at the platform. Bond immediately alightsreaching inside his coat.MAHMETsees him and follows.ALONG THE TRAIN - TRUCKING SHOTBond walks past the train putting a cigarette in his mouth.

Through the windows behind him we see Grant inside followinghim. Bond stops and looks back. Grant disappears behind apartition. Bond walks forward again. Grant again follows.

Nearing the end of the train, Bond stops and looks around at people walking by ALONG THE TRAIN - TRUCKING SHOT Mahmet, holding a cigarette, hurries to Bond. MAHMET Excuse me.

101.

Bond turns to face him.

MAHMET
May I borrow a match?

BOND (lighting his cigarette)I use a lighter.

MAHMET
Better still.

BOND
Until they go wrong.

Bond gestures feebly, slips the lighter into his pocket andstarts walking with Mahmet; TRUCK with them.

MAHMET My brother telephoned me. Why didthe train not stop?

BOND Well, I... I have some... some bad news.

Bond stops and gives Mahmet a direct look.

BOND
Your father's dead.

MAHMET
Who did it? Tell me.

BOND Well, he took care of that himself. The other man died first.

(all business)
Now, listen.

Bond tosses his cigarette aside. DOLLY IN closer.

BOND I'll need some help to get across the frontier strip betweenYugoslavia and Trieste. I want youto send a message to 'M' in London.Tell him to send someone from Station Y to meet me in Zagreb.All right?

MAHMET
I will.

102.

BOND
Good.

Bond nods to him, then PAN on Bond as he walks away. Then he stops and turns back.

BOND
Oh.

DOLLY BACK as Bond returns to Mahmet taking out Kerim's walletand cigarette holder.

BOND (handing them to

Mahmet)You'll, uh —- I think you'll want these.

CONDUCTOR (O.S.)(calling to Bond

in French)
Monsieur Somerset, the train is
leaving!

MAHMET
(to Bond)
Thank you.

BOND
(backing away)
Ciao.

CONDUCTOR (O.S.)
(in English)
The train is leaving!

Bond turns and walks off. Mahmet turns the other way andlooks at the objects in his hands. DOLLY BACK as he walks away. Then HOLD on the train. We see Grant looking outthrough a window in a door of the caboose.

The train starts moving. Grant turns into the corridor.

EXT. TRAIN - NIGHT - SAME TIME

PAN on the wheels as they gather speed.

UP ANGLE ON THE TRAIN

Passenger windows fly by, many with people looking outside.

DISSOLVE TO:

103.

THE JOURNEY - MONTAGE - NIGHT PAN on the wheels as the train speeds along. Then DISSOLVE TO a wider angle of the train continuing into the distance. Then

DISSOLVE TO a deserted station as the train races by. Then DISSOLVE TO the speeding wheels again. Meanwhile FADE IN a SUPERIMPOSITION of the map of Europe. PAN

across it showing the route from Belgrade to Zagreb.

DISSOLVE TO: EXT. ZAGREB STATION - NIGHT The train pulls into the station. FADE OUT the

SUPERIMPOSITION. The train sounds its whistle. DISSOLVE TO a shot of the passenger windows passing by.

THE STATIONseen through a window in a door. A sign comes into view:'ZAGREB.' Grant steps to the door and opens it.

EXT. TRAIN - SERIES OF SHOTS - SAME TIME

-
Grant steps onto the platform, looks around and walks off.
-
Bond walks along an inside corridor glancing out thewindows.
-
A man in a business suit holding a briefcase stands in the station waiting. He is NASH.

ALONG THE TRAIN - TRUCKING SHOT
Grant puts a cigarette in his mouth and walks purposefully
through the station past many people.

He reaches Nash. We see them speak and gesture but we don't

hear them.
They start walking forward. Grant tosses his cigarette aside,
pulls a pair of gloves from his pocket and puts them on.

They turn to the restroom. Grant pats Nash on the back andNash goes in first. Grant looks around then follows.MEDIUM SHOT - THE TRAINBond steps onto the platform, looks around and starts walking.

OUTSIDE THE RESTROOM
Grant emerges carrying the briefcase and donning Nash's hat.
He pulls off the gloves and walks off.

104.

ANGLE ON THE TRAIN - TRUCKING SHOT

Bond walks forward looking around. Grant passes him. Bond looks down at Grant's briefcase. Grant backs away a bit thenstops and looks at Bond. He walks up taking a cigarette casefrom his pocket.

A gush of steam from the train drowns them out so we only seethem speak and gesture.

At the end of their conversation, a whistle sounds. Bond gestures to hurry. Grant boards the train and Bond follows. The conductor closes the door and the train starts moving.

INT. TRAIN - CORRIDOR - SAME TIME

Bond and Grant face each other. A conductor guides some passengers in b.g.

GRANT
(offering a handshake)
Nash. Captain Nash.

They shake hands.

BOND
Bond, traveling as Somerset.

Grant hands him a card.

GRANT
My card.

Bond looks at it —- a touch of concern crossing his face —then slips it into his pocket.

BOND
What kept you?

GRANT Oh, I'm so sorry. I only got 'M'swire an hour ago. I busted everyrecord getting here.

BOND
What were 'M's orders?

GRANT Only to, uh, contact you and thelady on the train.

BOND
Good. Come this way.

105.

Bond leads him to another car, then waits to let him go first.

GRANT
Thank you.

Bond follows him down the next corridor.

IN TANIA'S COMPARTMENT

She opens the door to a triple knock. Bond immediately entersfollowed by Grant.

BOND This is my wife Caroline. CaptainNash.

NASH
(taking off his hat)
Oh, uh, how do you do.
(shakes her hand)
I'm so pleased to meet you.

BOND
This way, Nash.

Bond opens the door to his compartment and they go in.

BOND
Sit down, will you?

NASH
Thank you.

IN BOND'S COMPARTMENT

Bond closes the door. Grant drops Nash's briefcase and hatonto the couch, sits, crosses his legs and sighs. Bond leans back against the doorjamb.

BOND
Been long in Yugoslavia?

GRANT
About three years.

BOND
Interesting work?

GRANT Yes, sometimes. Well, you know how it is, old man.

BOND
You look very fit, Nash.

106.

INTERCUT - BOND AND GRANT

GRANT Yes, I try to keep in shape.

They look at each other.

GRANT So what's our problem, sir?

BOND Well, I can't risk taking this...(points to the Lektor

on the luggage rack)... through the customs at theYugoslav-Trieste border.

GRANT No stops till then. We'll have to jump off.

BOND (nods)Can you get us across?

GRANT Any of the opposition around?

BOND Well, not in any condition to worryabout.

GRANT Good. We'll make it. I know this territory like the back of my hand.

He glances down at the back of his hand.

TWO-SHOT

Bond watches him.

GRANT

(leaning forward)Uh, sir, do you mind if we have abite to eat first? I've been on the go since breakfast.

BOND No, of course not. Leave yourthings there. We'll go to the restaurant car.

Bond opens the connecting door.

107.

BOND Caroline, you go on with CaptainNash to the restaurant car.

IN TANIA'S COMPARTMENT

She rises and takes her coat as Grant walks in past Bond.

BOND
I'll join you there in a few
minutes.

GRANT
(patting his shoulder)
Whatever you say, old man.
(passing Tania)
Excuse me.

He opens the door for her and steps into the corridor. She follows. Grant look back at Bond with a half-smile then closes the door.

Bond walks over and locks the door then goes back into his compartment.

IN BOND'S COMPARTMENT

Grant's hat and briefcase rest on the couch. Bond sits beside them and lifts the briefcase. He turns the latches sidewaysand pops it open.

Inside are a man's shirt and a tie. He reaches beneath them and sees a revolver. He picks it up, feeling its heft, thenputs it back.

[END OF REEL 9. START REEL 10.]

INT. RESTAURANT CAR

Grant sits with Tania at a table waiting. He looks back at the entrance then at his watch.

GRANT
Excuse me.

He gets up and steps toward the entrance. Just then Bond enters carrying the Lektor.

GRANT Ah, there are you, old man. I was worried something had happened to you.

They walk back to the table. Bond sits beside Tania, Grant across from them.

108.

ANGLE ON BOND AND TANIA A WAITER walks up to their table. WAITER Pardon, monsieur. He hands Bond a menu. BOND Thank you. He hands a menu to Grant, off. GRANT (O.S.)Thank you. Bond looks at the menu. BOND I'll have the grilled sole. He looks at Tania for approval. She shrugs. BOND And for madam. (to Grant, off)What about you, Nash? ANGLE ON GRANT GRANT Yes. That sounds very nice. Make that three of those, will you? WIDER ANGLE - THE TABLE BOND I'll have a bottle of the Blanc de Blanc. GRANT Make mine Chianti. WAITER White Chianti, monsieur? GRANT Uh, no. The red kind. Bond, unfolding his napkin, glances up at Grant. The waiter walks away.

109.

GRANT Well, enjoy your dinner, old man.I think I've got the answer to our problems. Very simple, really.

BOND
Good.

CUT TO:

EXT. TRAIN - NIGHT

The train races by.

DISSOLVE TO:

INT. RESTAURANT CAR - AT THE TABLE - LATER

Bond, Tania and Grant are eating dinner. In front of Bond and Tania are glasses of white wine and a wine bottle. In front of Grant is a glass of red wine, the bottle nearby.

GRANT

(glancing at his watch)We should reach the border in about an hour.

CLOSE SHOT - GRANT'S HAND

reaches for the salt but knocks over Tania's wine glass.

THREE-SHOT

GRANT
Oh, I'm terribly sorry, Misses
Somerset. Most clumsy of me.

Grant dabs the spot with his napkin.

BOND
(calling)
Waiter?!

WAITER (O.S.)
Oui, monsieur?

Grant picks up the wine bottle and Tania's glass, then glancessharply back.

GRANT
Waiter?!

WAITER (O.S.)
Tout suite, monsieur!

110.

CLOSE SHOT - GRANT'S HAND

refills the glass and at the same time drops a white pill into
it.
OVER GRANT'S SHOULDER
Bond eats as Grant sets down the wine bottle and glass.
WIDER ANGLE - THE TABLE
The waiter picks up something.

WAITER Excuse me. Merci. He walks away.

GRANT You'll, uh... you'll find Triestequite interesting. Of course, it's not London.

Grant lets out a little laugh and picks up his glass. GRANT Cheerio! Bond raises his glass. BOND Cheerio.

They toast each other, Grant letting out another little laugh,
and they drink.
MEDIUM CLOSE SHOT - TANIA
absently picks up her glass, looks off at Bond then sips.

DISSOLVE TO: INT. CORRIDOR - NIGHT Bond walks down the corridor carrying the Lektor, opens the

[unlocked] door to Tania's compartment and goes it. She follows, tipping from one wall to the other. TANIA

I don't feel very well. My head! Grant holds her from behind. Bond looks out from the compartment.

111.

GRANT
The lady's come over faint.
BOND
Bring her in here.
GRANT

May I? He guides Tania to the doorway. Bond backs up and Grant walksher inside.

IN TANIA'S COMPARTMENT Bond takes her and lies her down on the couch. She moans. BOND (to Grant)Let's go next door. He opens the door to his compartment. GRANT (looking at Tania)Exhaustion, I'd say. BOND Hmm. Grant steps into Bond's compartment. Bond turns off the light

in Tania's compartment then follows Grant, closing the door
behind him.
IN BOND'S COMPARTMENT
Bond locks the door and turns his back on Grant.

BOND What was it —- the stuff you put in her drink?

GRANT Chloral-hydrate. Quick but mild. Bond takes out his pistol and turns, aiming it at Grant. BOND And? GRANT (raising his arms)Take it easy, o-o-seven. Bond glares at him.

112.

GRANT
My escape route's only for one.

(smiles slightly)What are you after, the girl or theLektor?

BOND
(relenting, stops
aiming at Grant)
All right. What is your plan?

GRANT
Explain it better on a map.
(gestures with one
hand to his pocket)
All right?

Grant takes a map from his pocket, sits on the couch and opensthe map on Nash's briefcase. Bond puts his pistol in hispocket and looks down. Grant points to the map with bothindex fingers.

GRANT
Now, we're here, you see?

Bond crouches beside him.

GRANT When we reach there, there's a steep gradient. The train slows down there.

ANGLE ON THE MAP

Grant's left hand continues pointing to the map as his righthand comes down to his leg.

GRANT (O.S.)
We'll block the line. Make for
that main road.

TWO-SHOT

GRANT
Pick up a car... there.

GRANT'S RIGHT HAND

goes to his ankle. He takes a pistol from a holster under hispant leg.

GRANT (O.S.)
A truck, in fact.

113.

BOND (O.S.)That must be about... TWO-SHOT BOND

... twenty miles from here. Grant suddenly slams the butt of his pistol against the baseof Bond's skull. Bond groans and drops to the floor.

Grant jumps up.Bond rolls across the floor.LOW ANGLE - BOND AND GRANTBond lies on his side in f.g. Grant kicks his leg to see if

he'll react.
Then Grant reaches down, rolls Bond onto his back, puts his
pistol to Bond's temple, takes Bond's gun from his shoulder

holster and slips into his pocket. He feels Bond's legs formore weapons, then takes his cigarette case.ANGLE ON BONDGrant opens the cigarette case, sees only cigarettes, and

slips it into his pocket. He takes cash from Bond's inside pocket. Bond starts to raise his hand. Grant slaps it down.

LOW ANGLE Grant pockets the money, then takes Bond's silencer from another pocket and rises aiming his gun at Bond.

INTERCUT - BOND AND GRANT Struggling, Bond sits up. GRANT Keep still! Bond looks back. GRANT All right, get up on your knees. Bond rises to his knees. GRANT Put your hands in your pockets. Keep 'em there. Grant sits on the couch, still aiming his gun at Bond.

114.

BOND (kneeling with his

hands in his pockets)

Red wine with fish. That should

have told me something.

GRANT

(slips the silencer intohis pocket and rests hisfree arm on his knee)

You may know the right wines, butyou're the one on your knees. How does it feel, old man?

BOND

'Old man'? Is that what you chaps

in SMERSH call each other?

GRANT
SMERSH?

BOND

(looks up with realization)

Of course! SPECTRE! Then it

wasn't a Russian show at all.

You've been playing us off against

each other, haven't you?

Grant stares back at him.

BOND

Then it was SPECTRE who killed the

Russian agent in the mosque. You?

GRANT
Um-hmm.

BOND
Kerim and the other man?

GRANT
Um-hmm.

BOND
And Nash?

GRANT

Well, I don't mind talking. I get

a kick out of watching the great

James Bond find out what a bloody

fool he's been making of himself.

He takes Bond's gun from his pocket, sets it on the couch,then takes out the silencer.

115.

GRANT
We're pros, Mister Bond.

He attaches the silencer to Bond's gun.

GRANT We sweated your recognition codeout of one of your men in Tokyo —before he died. I've been keepingtabs on you. I've been yourguardian angel. I saved your lifeat the Gypsy camp.

BOND
Oh, yes. I am much obliged.

GRANT We were keeping you alive till youcould get us the Lektor.

BOND So you had me deliver it on aplate. It's brilliant. Go on, I'm fascinated.

GRANT Now that we've got it, you and thegirl are expendable. Between here and Trieste.

He picks up Bond's gun with his left hand and aims it at him.

BOND The girl? Isn't she working forSPECTRE, too?

GRANT No. She thinks she's doing it allfor Mother Russia. She takes her orders from Colonel Kleb.

BOND Well, Rosa Kleb's Russian. Head of operations for SMERSH.

GRANT Was. Kleb works for SPECTRE now. The girl doesn't know that.

BOND
Well then, why kill her?

GRANT
Orders.

116.

Grant slips his own gun into his pocket then reaches intoanother pocket.

GRANT
That's only half of it, old man.

Bond stares at him. Grant takes out a roll of 8mm movie film.

GRANT Here's a roll of film. She'll have this in her handbag.

He tosses the film onto the couch and takes an envelope fromhis pocket.

GRANT And on you... they'll find this letter. It's from her. Threatening to give the film to thepress unless you marry her forhelping you get the Lektor.

He sets the letter down.

BOND
What film?

GRANT Taken in the bridal suite at yourhotel. Something else the girldidn't know about. Or you.

(he snickers)
[What a performance!]

BOND Must be a pretty sick collection ofminds to dream up a plan like that.

GRANT Can't you see the headlines?'British agent murders beautifulRussian spy, then commits suicide'?

BOND Tell me. Which lunatic asylum didthey get you out of?

GRANT Don't make it tougher on yourself.

DOLLY BACK as Grant walks over to Bond and slaps his facehard.

117.

GRANT My orders are to kill you anddeliver the Lektor. How I do it is my business. It'll be slow and painful.

BOND How much are they paying you?

GRANT
What's it to you?

BOND
We'll double it.

GRANT Your word of honour? As an Englishgentlemen?

Bond just stares at him. Grant glances down, smirks as ifthinking, then looks at Bond again.

GRANT The first one won't kill you. Nor the second. Not even the third. Not till you crawl over here andyou kiss my foot!

BOND
How about a cigarette?

GRANT
Not a chance.

BOND
I'll pay for it.

GRANT
What with?

BOND
Fifty gold sovereigns.

GRANT
Where are they?

BOND
Up there, in my case.

Grant glances up at the luggage rack. Bond watches him.

Grant switches the gun to his right hand and takes thebriefcase with his left. Bond keeps watching.

118.

GRANT
You show me.

He tosses the briefcase onto the couch. It lands on top ofNash's. Bond takes his hands from his pockets and raises the case. Grant watches.

[END OF REEL 10. START REEL 11.]

ANGLE ON BOND

over Grant in f.g. aiming the gun at him. Bond opens thecase, removes the straps with the sovereigns and holds them out to Grant.

BOND
Here you are. What about that
cigarette?

REVERSE ANGLE - OVER BOND'S SHOULDER AT GRANT

Grant starts pulling a glove onto his left hand.

GRANT
Throw 'em down there.

Bond tosses the straps onto the couch.

GRANT
Any more in the other case?

ANGLE ON BOND

Grant in f.g. continues pulling on the glove [onto his righthand as he holds Bond's gun with his left]. Bond stares at him.

BOND
I should imagine so. It's a
standard kit.

He sets Nash's case aside and turns his own case to face him.

BOND
I'll have a look.

ANGLE ON GRANT - OVER BOND'S SHOULDER

Grant finishes pulling the glove onto his right hand. His left hand is also gloved.

GRANT
Put your hands back in your
pockets!

119.

MEDIUM CLOSE SHOT - BOND obeys and returns his hands to his pockets. ANGLE ON GRANT OVER BOND'S SHOULDER

GRANT Keep them there. He sits on the couch and turns Bond's case toward himself. MEDIUM CLOSE SHOT - BOND watches. ANGLE ON GRANT OVER BOND'S SHOULDER He turns the first catch on the case. MEDIUM CLOSE SHOT - BOND still watches. CLOSE SHOT - THE CASE Grant's hand moves to the other catch and flips it open. MEDIUM CLOSE SHOT - BOND still watches. Suddenly a gushing sound occurs O.S. MEDIUM CLOSE SHOT - GRANT flies backwards in a gale of smoke shooting from the case. SERIES OF SHOTS

-
Bond lunges through the smoke at Grant and grabs the armwith the gun.
-
Bond shoves Grant against the wall.
-
Grant twists forward.
-
They struggle over the gun. The gun fires.
-
A bullet smashes the light.
-
Bond and Grant, bathed in blue moonlight, keep struggling inthe smoke. Bond grabs the gun and throws it.
-
The gun smashes through the window. We see the men's reflections in the glass. Bond grabs Grant by the collar andtwists him around.
120.
-
Bond tries to pull Grant's jacket down over his arms.
-
WIDER ANGLE: Bond pulls Grant downward then slams a kneeinto his face. Grant flies backwards.
-
IN TANIA'S COMPARTMENT: Grant crashes in through the door.He bounces off the couch (where Tania is sleeping) and flies forward. His head butts into Bond's stomach
-
IN BOND'S COMPARTMENT: Bond crashes against the wall andfalls onto the couch.
-
IN TANIA'S COMPARTMENT: Grant dives at Bond.
-
Bond pivots and Grant lands on the couch in front of him. Bond stands on the couch and kicks Grant in the back then in the face. Grant flies backwards.
-
Grant lands in a corner then ducks as Bond tries to step onhim. Bond's foot goes wide and his legs arch over Grant.
-
Bond tries to wrap his legs around Grant's neck. Grant grabs his legs and pushes upwards in a tackle.
-
Bond lands backwards on the couch, Grant atop him. Bond grabs his neck with both hands and they roll onto the floor.
-
Grant pushes Bond backwards against the couch.
-
Bond smashes two fists into Grant's face.
-
Grant falls backwards. Bond grabs him by the neck with onehand.
-
With the other, Bond punches him in the face. Grant falls backwards, landing in the doorway to Tania's compartment.
-
Bond lunges forward.
-
Grant jumps to his feet as Bond dives at him.
-
Both on their feet now in the doorway, Bond throws a punchat his face. Grant ducks then punches Bond in the stomach.
-
WIDER ANGLE: Grant pulls his arm back readying anotherpunch.
-
Bond slams the connecting door into his face.
-
Grant falls backwards onto Tania's couch.
-
He lunges at Bond and grabs him around the waist. Bond grabs him under the arms and slams him against the doorjamb.
121.
-
CLOSER: As Grant rebounds, Bond slams him against the other doorjamb, then against the first one...
-
WIDER: ... then against the second one, then against thefirst one. Grant suddenly heaves him backwards.
-
Bond falls against his couch.
-
Bond sinks down then kicks at Grant.
-
Bond's foot connects with Grant's face and Grant flies backwards, landing on his back.
-
Bond jumps up and runs forward.
-
Grant jumps up and runs forward.
-
Bond throws a punch at Grant and misses. Grant punches himin the face then repeatedly in the stomach as Bond raises hishands to defend himself.
-
Grant's face is contorted in anger.
-
Bond grabs Grant around the neck.
-
Grant pushes Bond against the wall. Bond keeps one hand onGrant's back and plants the other on his face, trying to breakhis neck.
-
CLOSER: Bond's hand pushes Grant's head back.
-
Bond judo-chops both sides of Grant's neck then grips the bar on the overhead rack.
-
WIDER: Bond swings his legs forward and kicks Grant in thechest. Grant falls backwards.
-
Grant lands on Bond's couch. Bond releases the bar and dives at him. Grant rolls aside. Bond lands face-down on the couch. Grant jumps onto his back and grabs him around theneck, then swings him around so Bond is almost sitting onGrant's lap.
-
CLOSE ON GRANT'S HANDS: He wears the watch containing the garrote.
-
Bond reaches back, struggling to grab Grant's hands. Grant reaches for his watch.
-
CLOSE ON GRANT'S HANDS: He pulls the garrote from hiswatch.
-
Grant slings the garrote around Bond's neck. Bond clutches at it as Grant strangles him. The back of Bond's right handis bloody. He looks down at his briefcase and reaches for it.
122.
-
Grant continues to strangle Bond.
-
CLOSE ON THE BRIEFCASE: Bond's hand tries to press thebutton to release the knife.
-
Grant continues strangling him. Bond glances down.
-
His hand still fumbles with the briefcase.
-
Grant continues strangling him, Bond still looking down.
-
Bond's finger presses the button. The knife pops out theside of the case. Bond's hand grabs it and turns it upward.
-
Bond swings around with the knife.
-
Bond plunges the knife into Grant's shoulder. Grant screams. Bond grabs him by the neck and whips him around.
-
Bond slings the garrote around Grant's neck.
-
Grant falls backwards as Bond strangles him.
-
Grant's head dangles now from the garrote.
-
Bond pulls the garrote tighter. Grant gasps. Bond pullsstill tighter. Grant's head slumps back and he lands on thecouch dead.

ANGLE ON BOND

He backs away, breathing heavily. He straightens his tie andbuttons his coat. Then he goes to the couch, picks up variousthings and puts them in his pocket.

He takes his hat and briefcase and starts to back away, butreturns to Grant and reaches inside his coat, taking out thecash.

BOND You won't be needing this, old man.

IN TANIA'S COMPARTMENT

Bond enters, closing the connecting doors behind him andlocking them. He turns to the compartment door, opens it andlooks outside.

BOND'S POV - THE RAILROAD TRACKS - DAY FOR NIGHT

A truck with its hood up sits on a railroad crossing blocking the tracks up ahead. The train sounds its whistle.

123.

BOND puts on his hat. DOLLY BACK as he shuts the door. BOND Tania! He goes to her and grabs her shoulders. BOND Wake up! He pulls her up by the collar. She is barely conscious. BOND

Wake up or I'll leave you behind! She sinks back onto the couch, groaning. He grabs her again and pulls her up into a sitting position.

BOND Oh, Tania, wake up or I'll leaveyou behind! Do you hear me?!

TANIA
Don't leave me; never leave me.

EXT. RAILROAD CROSSING - DAY FOR NIGHT - SAME TIME We see the truck now in f.g. There is a bed of flowers in back. The driver —- Rhoda —- stands next to it waiving to the approaching train to stop. The train slows and sounds its whistle.

The train wheels grind to a halt.
IN TANIA'S COMPARTMENT
Bond lifts Tania to her feet and leans her against the wall.

BOND Tania, this is Nash's escape route.Do you understand? We've got toget off here.

He hands her a sweater from a coat-hook. BOND Take this. Come on. He picks up his briefcase and the Lektor and leads her outinto the corridor.

124.

EXT. TRAIN CROSSING - DAY FOR NIGHT - SAME TIME
TWO PORTERS run toward the truck calling out in Turkish.

Rhoda gets behind the wheel as one of them goes to thepassenger door. They move to push the car off the tracks.EXT. TRAIN - ANGLE ON DOORWAYBond leads Tania down the steps.

BOND

Must get to the other side of the

train. Under here.

He pushes her down and follows.

AT THE CROSSING

The porters push the car off the tracks.

WIDE ANGLE - THE SIDE OF THE TRAIN

Bond and Tania emerge from underneath it, run behind some

trees and duck.
AT THE CROSSING - SERIES OF SHOTS - BOND AND RHODA

-
The train starts slowly forward as the porters run back toit.
-
Bond watches from behind a tree.
-
The train wheels pick up speed.
-
Bond darts forward and jumps onto the train. He looks around.
-
The train reaches the crossing. Bond jumps off and couches.The rest of the train passes by. Bond runs across the tracks to the passenger side of the truck as Rhoda walks back alongthe driver's side.
-
Rhoda peers down the track.
-
Bond crouches, watching him.
-
Rhoda lets out a sharp whistle.
RHODA
Grant! Where are you?
-
Bond keeps watching.
-
Rhoda walks back along the driver's side of the truck.

125.

RHODA
Grant!
(he whistles again)

-
Bond rises, ready to strike.
-
Rhoda steps in front of the truck, whistles again, andreaches up to close the hood. Bonds leaps forward and slamsit shut on Rhoda's arms. Bond grabs Rhoda's hair.
BOND
Excuse me.
-
Bond punches him in the face.
-
Rhoda falls to the ground. Bond kneels, pulls off Rhoda'sbelt and ties his wrists behind his back.
-
The train continues into the distance.
-
Bond frisks Rhoda, finds a gun and tosses it aside. Then he rolls Rhoda over.
-
Bond lifts Rhoda, places him in the passenger seat of thetruck and shuts the door. BOND Now don't run away. TANIA lies sleeping behind the trees. Bond runs to her. BOND Come on! She moans. BOND Come on or I'll leave you here! TANIA

Stay here with me! Bond picks up his briefcase and the Lektor with one hand andpulls Tania up with the other.

TANIA
(exclaiming)
Oh!

WIDER ANGLE PAN on them as they run along the tracks to the truck. Bond lifts Tania into the bed of the truck atop the flowers.

126.

BOND Sleep it off in there. You'll feet better in the morning.

Tania rolls onto her side, her eyes flickering closed. We hear the hatch close.

AT THE DRIVER'S SIDE OF THE TRUCK Bond opens the driver's door climbs behind the wheel. Rhoda is still unconscious.

BOND Come on, wake up. Rhoda barely moves. Bond closes the door and drives away. DISSOLVE TO: EXT. A DIRT ROAD - DAY The truck approaches. IN THE TRUCK - SAME TIME Bond continues to drive, Rhoda still unconscious beside him. HELICOPTER SHOT - THE TRUCK continues along the road. IN THE HELICOPTER - SAME TIME The PILOT and a GUARD holding a rifle look down at the truck. THEIR POV - THE TRUCK continues down the road. BOND behind the wheel looks up at the chopper. SERIES OF SHOTS - BOND AND THE HELICOPTER

-
The chopper's passenger waves at Bond to stop driving.
-
Bond looks forward, ignoring him.
-
The helicopter flies across the truck, circles around andflies back.
-
The pilot and passenger look down at the truck.
-
From their POV, ZOOM IN on Tania looking up at them.
127.
-
The chopper whizzes past overhead, the passenger stillwaiving at Bond to stop.
-
Bond glances up but keeps driving.
-
The helicopter flies over the truck.
-
Bond glances up again but keeps driving.
-
The helicopter flies over the truck again.
-
Its tail passes directly above the bed of the truck. Tania looks up.
-
The helicopter circles again.
-
The passenger holds a hand grenade and pulls out the pinwith his teeth.
-
The chopper zooms right overhead.
-
An explosion goes off right behind the truck.
-
Bond ducks but keeps driving.
-
The chopper zooms right overhead again.
-
Bond looks up then back at the road.
-
The chopper zooms across the truck.
-
The passenger holds another hand grenade.

PILOT
Try and straddle the truck.

The passenger nods, pulls the pin out with his teeth and leansover the side.

-
From their POV, they cross the truck again.
-
Another explosion goes off behind the truck.
-
The helicopter zooms right overhead again.
-
Another explosion goes off, this one beside the truck. The truck stops.
-
Bond gets out, looking up at the chopper
-
The chopper circles around again.
-
Bond rushes out with the Lektor and his folded rifle and slams the door behind him.

128.

-
Bond runs to the back of the truck.
-
Tania looks up at him.
BOND (O.S.)I'll get them away from here! You hide under the truck.
-
Bond runs forward again and looks up.
-
The helicopter zooms by right overhead.
-
Bond runs away from the truck and up a hill.
-
From the chopper's POV, we see Bond running onto thehilltop.
-
The chopper passes by right in front of us.
-
The chopper passes over Bond and he drops to the ground.
-
The chopper zooms away.
-
Tania peers around the back of the truck then climbs underneath it.
-
The chopper zooms right overhead again.
-
From the chopper's POV, Bond runs forward as the choppertries to run him down. Bond drops flat to the ground and thechopper continues on.
-
Bond looks up at the chopper.
-
The chopper starts to circle again.
-
Bond runs forward.
-
The chopper flies right at us.
-
From the chopper's POV, Bond runs over the crest of the hillthen ducks as the chopper passes by.
-
The chopper starts to circle again.
-
Bond turns and looks up.
-
The chopper flies right over him and he drops to the groundagain as it passes by. He jumps to his feet and runs forwardagain.
-
The chopper flies right at us again.
-
From the chopper's POV, Bond runs back up the hillside thendrops to the ground.

129.

-
The chopper circles again.
-
Bond runs off.
-
The chopper, nearly at ground level, chases him. Bond dives over an outcropping of rock and the chopper passes over him.It starts to circle. Bond emerges from behind the rock andruns up the hill toward us.
-
Bond runs behind another rock formation. He lies back to let the rock shelter him.
-
The chopper passes right overhead again.
-
Bond picks up his folding rifle.
-
The chopper circles again.
-
Bond assembles the rifle.
-
The chopper now hovers directly overhead.
-
The passenger leans out holding a grenade.
-
Bond aims the rifle at the chopper.
-
The chopper continues to hover.
-
Bond fires the rifle.
-
The bullet strikes the passenger and he drops the grenadeinside the chopper. He and the pilot struggle frantically toreach it.
-
The chopper explodes in a ball of flame.
-
Bond looks up.
-
The chopper drops spinning from the sky.
-
ZOOM IN on Bond as he covers his face.
-
The chopper keeps tumbling.
-
ZOOM FURTHER IN on Bond. An explosion O.S. bathes him inred.
-
The chopper on the ground explodes again.
-
Bond leans against the rock as smoke wafts by. His hat is gone.
-
The chopper explodes yet again.

130.

- Bond looks around the corner of the rock at it. Then, picking up the Lektor, he crawls forward, leaving his hat behind. He runs downhill from the burning chopper.

ANGLE ON THE TRUCK

Rhoda sits fuming in the passenger seat, muttering to himselfin Russian. Tania walks up to the driver's window and leansagainst it, pleased.

Bond turns toward them.

Rhoda keeps muttering. TRUCK FORWARD to Bond arriving. Tania hugs him.

TANIA
Oh, Ja —-

Right behind them the chopper explodes yet another time. Bond shields Tania with his body then looks back.

BOND I'd say one of their aircraft is missing.

He and Tania turn toward the truck.

DISSOLVE TO:

EXT. JETTY - DAY

The truck drives down a road and stops at the jetty where amotor launch waits. It bears four fuel drums.

Bond emerges from the truck wearing a skipper's cap. He grabsthe Lektor, briefcase and rifle and hurries to the back of the truck, where Tania was riding.

BOND
Tania?

She climbs down holding her sweater.

BOND (hands her the

briefcase)Here, take this and cast the ropeoff.

TANIA
All right.

She runs forward. Bond passes behind the truck.

[END OF REEL 11. START REEL 12.]

131.

ANGLE ACROSS RHODA IN THE TRUCK

Bond stops at the passenger door and opens it.

BOND
Where's the key?

No response. Bond jabs the barrel of the rifle into Rhoda'sneck. BOND Where's the key?

RHODA
In my coat. In the pocket.

Bond lifts Rhoda's coat and takes a key from the pocket.

BOND
All right, get out. Move!

Rhoda climbs out of the truck.

WIDE ANGLE

BOND
In the boat!

Rhoda runs down the jetty to the boat. Tania is untying theback rope. Bond follows carrying the Lektor, rifle andRhoda's coat. He unties the front rope and the three of themclimb aboard. Bond starts the engine and the boat moves off.

ON THE BOAT

The three of them stand looking through the windshield.

BOND
(to Rhoda)
Can you swim?

Rhoda looks away.

BOND
(to Tania)
Here, take the wheel.
(to Rhoda)
This way, please.

Bond leads Rhoda to the back of the boat.

BOND
Oop, mind the step!

He makes Rhoda step up onto the edge of the boat. Tania looks back. Bond unstraps Rhoda's belt from his wrists.

132.

BOND
It just isn't your day, is it?

Bond pushes him over the side of the boat into the water.Rhoda screams back at him in Russian.

Tania smiles as Bond walks back to her.

TANIA
Where are we going?

BOND Venice. Look in that locker, will you?

She passes him and he takes the wheel.

She opens the locker.

TANIA
Chart, pistol, some flares...

BOND
Here, give me those charts.

She hands him a chart. He unfolds it on the cabin and looks at it.

BOND
(pointing at the map)
Yes, we're here. Near Istria.

He looks back and sees the four fuel drums.

BOND Well, we've got plenty of fuel.With a bit of luck we should be there by tomorrow morning.

CUT TO:

MEDIUM CLOSE SHOT - BLOFELD'S CAT

He strokes it.

BLOFELD (O.S.)Three men were found dead on the train at Trieste. One of them was Grant.

PULL BACK to reveal:

INT. BLOFELD'S CABIN ON HIS YACHT - DAY

Blofeld swivels forward to face Kleb and Kronsteen.

133.

BLOFELD
What do you have to say, Number
Five?

KRONSTEEN He was Kleb's choice. Her peoplefailed.

KLEB

(to Kronsteen)It was your plan! They followed itimplicitly.

KRONSTEEN
Impossible. It was perfect.

KLEB Except for one thing. They weredealing with Bond!

KRONSTEEN
Who is Bond... compared to
Kronsteen?

Blofeld continues stroking his cat.

BLOFELD (O.S.)Exactly. What have you to say tothat, Number Three?

Kleb looks at him fearfully.

Blofeld presses a white button on his desk.

Morzeny enters through the doorway behind them. DOLLY IN as he approaches the desk.

BLOFELD Bond is still alive and the Lektor is not yet in our possession. I have already negotiated with theRussians to return it to them. We've agreed a price. And SPECTRE always delivers what it promises.Our whole organization depends on our keeping those promises.

Morzeny quietly puts his feet together and a knife shoots outof the toe of one of his boots.

BLOFELD

(still stroking his cat)I warned you. We do not tolerate failure, Number Three.

134.

Kronsteen looks smugly at Kleb. Kleb sweats profusely.

BLOFELD (O.S.)
You know the penalty?

KLEB
Yes, Number One.

The boot with the knife leans back, preparing to strike.

BLOFELD (O.S.)
Our rules are very simple.

Kleb keeps sweating. Kronsteen turns smugly to Blofeld. Blofeld keeps stroking his cat.

BLOFELD (O.S.)
If you fail...

Morzeny's boot turns sideways toward Kronsteen, and suddenlykicks him in the ankle. Kronsteen cries out in pain anddoubles over. Kleb looks on, amazed.

Kronsteen rises, a look of total incomprehension on his face. He starts to fall then braces himself against the edge ofBlofeld's desk. DOLLY BACK. Kronsteen shakes his head at Blofeld in disbelief and slowly sinks to the floor.

BLOFELD Twelve seconds. One day we mustinvent a faster working venom. -Number Three.

KLEB
(snapping to attention)
Yes, sir.

BLOFELD (O.S.)I do not wish to have to tell the Russians that there will be another delay.

KLEB There will be no delay, Number One.There's still time.

CUT TO:

EXT. GULF OF VENICE - LONG SHOT - DAY

Bond's boat races across the water in the distance, leaving awhite wake.

135.

IN THE BOAT Tania licks her finger and holds it to the wind. Bond, steering, smiles at her. TANIA Which way are we going? BOND The shortest route. (holds up the chart)Which is between those two mountains... He points to mountains looming up ahead. BOND

... and straight along the coast. They look peacefully into the distance. Suddenly a motorboat rounds a point in front of them, heading

for them.
BOND
spins the wheel, turning back in the direction they came from,

throwing a wide wash behind. They race ahead at fullthrottle. They hear Morzeny's voice calling through a megaphone: MORZENY (filtered)Ahoy, Mister Bond! Tania looks back. THE MOTORBOAT races to catch up. MORZENY (filtered)Ahoy, Mister Bond!

CLOSER SHOT - THE MOTORBOAT Morzeny holds the megaphone and stands beside the PILOT; TWOSPECTRE MEN sit behind him.

MORZENY (filtered)(to Bond)Heave to! Heave to!

136.

BOND glances back then puts on even more speed. Suddenly he sees another motorboat up ahead round a point and

race at him, then another. He swerves to avoid them, completing another half arc. MORZENY (filtered)You're trapped, Mister Bond!You're trapped! You cannot escape!

You cannot escape! WIDE ANGLE - THE SEA Bond's boat speeds ahead, leaving a wide wake, with three

motorboats racing after it. ZOOM BACK to an even wider angle. MORZENY'S BOAT speeds forward. One of his men kneels on the bow aiming a

machine gun. Morzeny barks orders into the megaphone: MORZENY (filtered)

Rifle grenade, prepare to fire! ANGLE OVER MORZENY The other two boats are right ahead, chasing Bond's boat in

b.g. On each bow a man crouches with a machine gun. MORZENY (filtered)We're coming through! Pull over, SPECTRE Green! (lowers the megaphoneand waves)Get out of the way! His boat passes between the other two. MORZENY (to a man behind him)

Give them a warning shot! The man behind him fires a rifle grenade. ANGLE ON BOND'S BOAT An explosion occurs just behind it. ON MORZENY'S BOAT He calls through the megaphone to the boat on his left.

137.

MORZENY (filtered)Rifle grenade fire! A man on that boat fires a rifle grenade. REVERSE ANGLE ON BOND'S BOAT An explosion occurs right in front of it. ON MORZENY'S BOAT He calls through the megaphone to the man on his bow. MORZENY (filtered)Forward machine gun fire! MEDIUM SHOT - ANOTHER BOAT A man fires a rifle grenade.

BOND'S BOAT Another explosion occurs behind it and we hear machine gun fire.

MORZENY'S BOAT The man on the bow is firing his machine gun. Morzeny callsthrough the megaphone to the two boats behind him. MORZENY (filtered)

You're firing too close! ON ANOTHER BOAT A man fires another rocket grenade. ANGLE ON BOND'S BOAT Another explosion occurs behind it.

MORZENY (O.S., filtered)SPECTRE Red, SPECTRE Green, you'refiring too close!

MORZENY'S BOAT

He turns to the boats behind him. A man on his stern fires another grenade. ON BOND'S BOAT Tania looks back. An explosion occurs right behind her. The

three SPECTRE boats follow in b.g.

138.

MORZENY'S BOAT

Morzeny continues on the megaphone.

MORZENY (filtered)

(to the others)You're trying to stop them, not tosink them!

ON BOND'S BOAT

Bond glances back. Machine-gun fire and another explosion erupt behind him. Tania ducks and looks back.

MORZENY'S BOAT

comes right at them, the man on the bow firing his machine gun.

ON BOND'S BOAT

Bond glances back at the fuel drum. Bullets puncture each ofthem and fuel pours out. Bond keeps looking. More fuel.

He touches Tania's arm.

BOND
Here, take the wheel!

Tania takes the wheel. Bond turns, unties the drums and pushes three of them off the boat. They splash into the water. PAN BACK to show the drums floating between Bond's boat and the others.

MORZENY

raises a pair of binoculars. He sees the drums in the water.

[END OF REEL 12. START REEL 13.]

MORZENY
(to skipper)
Slow down!

The three boats pass one of the fuel drums. ZOOM BACK to a wide angle.

MORZENY
Slow down all boats! Green, go
alongside, while we keep you
covered.

139.

BOND'S BOAT Bond rolls the last fuel drum off the boat. It splashes intothe water. Bond starts to reach down. MORZENY (O.S.)Hands up, Mister Bond! Bond raises his hands as Tania looks back. TANIA Why are you giving up? Without those drums the boat must be lighter. We can go faster. BOND

Hand me that Very Pistol. MORZENY'S BOAT He calls to Bond through the megaphone.

MORZENY Keep your hands up, Mr. Bond.We're sending a boat along to take you off.

ON BOND'S BOAT Tania hands Bond the pistol. He aims and fires it. SERIES OF SHOTS

-
A fuel drum blows up.
-
The fuel in the water explodes around the SPECTRE boats asBond speeds away.
-
Bond fires the pistol again.
-
More explosions in the water.
-
Flames roar up.

ON BOND'S BOAT

He glances back grinning.

BOND

(to Tania)There's a saying in England:'where there's smoke there's fire.'

140.

SERIES OF SHOTS

-
Two SPECTRE boats collide amidst the flames and smoke, setting off an explosion between them. The man on the bow of one of the boats catches fire and jumps overboard.
-
Morzeny's boat comes forward through the flames.
MORZENY
(yelling at another boat)
Green, change your course!
-
The other boat passes through deep smoke and, when it emerges, the man on the bow is gone.
-
Morzeny yells at the others:
MORZENY All boats, toss your ammunition!Get rid of it -- quick!
-
PAN across a boat on fire.
-
Morzeny stands on his burning boat, waving back at the other boats.
MORZENY
Get rid of it!
-
On another boat, the man on the bow shields his face againstthe flames.
-
Flames engulf Morzeny's boat.
-
It passes through more fire.
-
Fire burns on the water.
-
Morzeny calls to his men.
MORZENY
Quick as you can! Let's jump!
-
His boat passes into a cauldron of flame.
-
Morzeny is ablaze. He falls backwards into the water.
MORZENY
(screaming)
Ahhh!
-
His boat explodes. SLOW DISSOLVE TO:

141.

EXT. VENICE - ESTABLISHING SHOT - DAY

laying serenely on the Mediterranean.

ON A HOTEL BALCONY

Tania sits in a chair. A champagne bottle and glasses are onthe table beside her, and Bond stands lighting her cigarette.DOLLY IN. Bond wears a shirt and tie but no jacket. He kisses the back of her neck.

A phone rings inside.

BOND
Don't go away.

He goes into their room. PAN on him through the window as hewalks to the phone.

INT. SALON - SAME TIME

Bond picks up the phone.

BOND

(into phone)Yes?... Oh, thanks. Tell him to wait, will you? And, uh, send up a porter for the luggage... Thank you.

A knock sounds at the door.

BOND
(calling back in
Italian)
Avanti!

The door to the suite opens and Kleb enters dressed as achambermaid.

KLEB

(in Italian)Permesso, signor. (By your leave,sir.)

BOND
(in Italian)
Si, prego. (Yes, please.)

Kleb shuts the door and walks off.

BOND

(into phone)And also, uh, get me the BritishConsul... Thank you.

142.

He replaces the receiver. PAN on him as he walks to a table where the Lektor sits and shuts the case. Kleb, behind him, is dusting a couch.

Bond picks up his shoulder holster, which hung over a chair atthe table, and walks into the bedroom putting it on.

DOLLY IN on Kleb. She walks to the table and picks up theLektor.

The phone suddenly rings again. She sets the Lektor down and takes an ashtray from the table.

BOND

emerges from the bedroom. PAN on him as he grabs his coatfrom the chair, passes Kleb holding the ashtray, goes to thephone putting his coat on and picks up the phone.

BOND

(into phone)
Yes?... Oh, Mister Maxwell,
please... James Bond.

TANIA

enters the salon, holding a green coat over her shoulder.

TANIA James, we will miss the plane andwe will...

She freezes, seeing Kleb.

KLEB

looks at Tania and puts a finger to her lips, shushing her.

TANIA

DOLLY IN on her as she mouths the words, "Rosa Kleb."

BOND (O.S.)

(into phone)Hello, Paul. Bond here. Just to tell you we're off in a few minutesand I want to thank you foreverything. And signal the officewe are on our way back, will you?

ANGLE ON BOND

Tania stands in b.g. near the door. Kleb, holding a suitcase,picks up the Lektor from the table and turns toward the door.

143.

BOND (continuing)... What was that? (he sees Kleb andpoints)Here, leave that! I'll take it. Kleb sets the Lektor down. BOND listens on the phone and laughs.

BOND What?... Oh, no. It should be routine from here on in. Y'know, so many times-

He looks off at Kleb and stops.MEDIUM CLOSE SHOT - KLEBaims a gun at him.BONDstares at her. Meanwhile we hear Paul over the phone:

PAUL (filtered)Hello, what was that you're saying?Hello, hello?

KLEB
gestures to him to hang up.
BOND
Realization crosses his face.

BOND (to himself)Kleb. KLEB gestures again for him to hang up. MEDIUM SHOT - BOND Again we hear Paul over the phone:

PAUL (filtered) James! Are you still there?Hello!

144.

Bond puts the phone down. KLEB makes an upward gesture with the gun. BOND turns and puts his hands up. TANIA looks at Bond shaking her head, as if to say she's not in on

this.

BOND

looks at her in chagrin then glances down. KLEB (O.S.)Romanova!

WIDER ANGLE Bond stands in f.g. with his arms raised as Tania and Klebstand in b.g.

KLEB The door! BOND looks at Tania. TANIA looks back, shaking her head again. KLEB KLEB (yelling now)Romanova! BOND glances at Tania.

THREE-SHOTTania opens the door. DOLLY UP as Kleb walks over to Bond, takes his gun and tosses it aside.

145.

BOND

looks on.

CLOSER ANGLE - TANIA AND KLEB

Kleb picks up the Lektor and hands it to Tania. KLEB Take this. Tania takes it from her. BOND watches.

ANGLE ON THE DOORWAY Tania steps out into the hall with the Lektor. DOLLY IN as Kleb starts closing the door, still aiming at Bond.

BOND

watches.

ANGLE ON KLEB

DOLLY IN closer on she closes the door further, still aiming

at Bond.
BOND
DOLLY IN CLOSE as he watches.
ANGLE ON KLEB
Suddenly the door bursts open and Tania lunges in and grabs

Kleb.
SERIES OF SHOTS

-
The gun lands on the floor.
-
Bond lunges forward.
-Tania falls to the floor as Kleb rises, facing Bond. She backs away ripping off her cap.
-
Bond runs forward then hesitates.
-
Kleb knocks her feet together. A knife shoots out from the toe of one of her shoes.

146.

BOND

backs away and grabs a chair, aiming it to block her, and steps forward.ANGLE ON KLEB'S FEETThey step forward. She shouts and kicks out with her shoe.

Bond's feet approach her. TILT UP as he pushes the chair

against her and pins her to the wall. She curses at him in

Russian and tries to hit him.

BOND'S FACE

Her fist misses him.

ANGLE ON KLEB'S FEET

Her knifed foot keeps kicking at him.

TWO-SHOT

Bond keeps Kleb pinned against the wall.

TANIA

on the floor on her side grabs Bond's gun, rolls onto her back

and aims it at one and then the other. BOND AND KLEB DOLLY IN as he keeps her pinned and she tries to hit and kick

him. THEIR FEET Kleb's feet keep kicking at Bond's legs but he moves to avoid

them. She curses again in Russian.

TANIA

aims the gun again at one and then the other and then fires.

KLEB KLEB (screaming)Ah! Ah! Her arms fly up. BOND watches her.

147.

KLEB

sinks down along the wall to the floor then tips over.

BOND

backs away and sets the chair down. DOLLY BACK as Tania walks up to him still holding the gun and looking at Kleb. She rubs Bond's shoulders. He takes the gun from her.

TANIA
Horrible woman.

BOND
Yes.
(he rubs his eyes)
She's had her kicks.

CUT TO:

EXT. VENICE CANAL - DAY

A flock of pigeons fly into the air. FOLLOW THEM as theycross the canal. Matt Monro sings "FROM RUSSIA WITH LOVE."

CLOSER ON THE CANAL

TILT DOWN from a bridge above the canal to gondolas streamingforward.

IN A GONDOLA - SAME TIME

Bond and Tania ride in the back seat. He wears his suit and she her green coat. She takes the wedding ring off her fingerand hands it to him.

TANIA Here you are, in case you ever needit again.

BOND

(taking it)Oh, yes. All government propertyhas to be accounted for.

(slips the ring into

his pocket)But as I said before: 'We won't always be working on the company'stime,' will we?

TANIA
No.

They kiss, Bond squeezing Tania's shoulder.

148.

FAVORING BOND They continue to kiss then Tania suddenly sits upright andstraightens her hair. TANIA James, behave yourself! We are

being filmed! Surprised, he glances back. BOND'S POV - A BRIDGE OVERHEAD An ELDERLY COUPLE stands on the bridge. The man films them as

the woman takes snapshots. ON THE GONDOLA - FAVORING TANIA BOND Oh, not again!

He takes the reel of film given to him by Grant from his pocket. FAVORING BOND He unspools the start of the roll and holds it up to the

light. BOND (looking at it)He was right, you know. [What aperformance!]* FAVORING TANIA TANIA What is it? BOND I'll show you. He slings an arm around her and they kiss. TILT UP to the

canal. Bond's hand rises into frame holding the reel, swingsit around and tosses it.CLOSE SHOT - THE CANALThe reel lands in the water.

* At this moment there is a skip in the soundtrack where the line was removed, which is obvious because the lyric skips.

149.

BOND'S HAND

waves goodbye to it.

THE WATER

PULL BACK as 'THE END' comes on, then TILT UP to the receding Venice shoreline as another title comes on:

NOT QUITE THE END
JAMES BOND
WILL RETURN IN
THE NEXT
IAN FLEMING THRILLER
'GOLDFINGER'

END CREDITS ROLL.

FADE OUT.

THE END





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