THE DEATH COLLECTOR
(2016)
Screenplay
By
Michael Brown
Based on the character by Ian Fleming
THE DEATH COLLECTOR -
GUN BARREL LOGO
OPENS ON:
EXT. KARACHI EMPRESS MARKET – DAY 1
A ball made of plastic bags and elastic bands is being kicked by a young boy.
Superimpose: KARACHI, PAKISTAN: We're in the bustling market square on Friday shortly after the prayers have finished. We pick up the frantic footsteps of SHAH. He turns back to check if he is being followed, sweat on his face.
FRANKLIN (V.O.)
Keep moving. Keep moving. Come to papa.
BOND (V.O.)
Couldn't the brains trust of the CIA have come up with an extraction route that didn't involve our man wading through the entire population of Karachi?
INT. CIA VANTAGE POINT – OPERATIONS ROOM – DAY 2
FRANKLIN scowls. He is in an operations room surrounded by three agents monitoring screens whilst Franklin surveys the scene through bifocals.
FRANKLIN
(With disdain)
Negative oh oh seven. The crowd is perfect cover for our man.
BOND (V.O.)
It's a British life at stake here, let's not pretend otherwise. It's certainly not how I would have approached it.
FRANKLIN
Didn't you hear Bond? Britannia doesn't rule the waves anymore. Our drones do. So we call the shots. Besides, your man claims to have information on Magic 66. That gives us authority.
BOND (V.O.)
You might need those drones of yours. Suspected target. Three o'clock. Dark shirt, dark glasses.
Franklin pulls his bifocals tight to his eyes and wheels around. Through bifocal lenses we see a suspect matching Bond's description marching purposeful through the crowds in the direction of Shah. The eyes are concealed behind designer shades and the face is expressionless.
FRANKLIN
All agents poised to intercept.
EXT. KARACHI EMPRESS MARKET – DAY 3
Suddenly we become aware of a cluster of thinly disguised CIA operatives amongst the bustling hoards. They are gathered in front of a white lorry which is parked in front of the Empress Market building. They motion towards the suspected target.
FRANKLIN (V.O.)
On my signal, not before.
The suspect closes on Shah who continues to look over his shoulder at irregular intervals. The two are on a collision course. Shah suddenly turns and bumps straight into the target. The CIA operatives reach for their weapons. But the suspect only gives him a quizzical look and then moves on ahead.
INT. CIA VANTAGE POINT – OPERATIONS ROOM – DAY 4
FRANKLIN
(with relief)
Stand down. All agents stand down.
EXT. KARACHI EMPRESS MARKET – DAY 5
The agents relax and turn towards Shah.
BOND (V.O.)
Wait.
The agents bundle Shah into a black car with tinted windows.
The car slots into the middle of a convoy of three black cars. They stick out as expensive government cars amongst the regular traffic.
BOND (CONT V.O.)
He's been marked. Your extraction is compromised.
EXT. KARACHI EMPRESS MARKET ROOFTOPS – DAY 6
We are now on the rooftops overlooking the square. There are several gunmen preparing for an ambush.
EXT. KARACHI EMPRESS MARKET – DAY 7
FRANKLIN (V.O)
Negative. We stick to the course.
The cars slowly make their way off on the road leading out of the empress market square.
BOND (V.O.)
Listen, I'm telling you, he has been marked. Your men are in danger.
INT. CIA VANTAGE POINT – OPERATIONS ROOM – DAY 8
Franklin pauses, considering his options. Again we see through his bifocals but there is no obvious sign of danger.
FRANKLIN
We stick to script.
BOND (V.O.)
We stick to the script, he dies. I can't let that happen.
Franklin pulls his speaker to his mouth aggressively.
FRANKLIN
This is my operation, you will stand down. Bond! Bond!
EXT. KARACHI EMPRESS MARKET – DAY 9
Ahead of the three black tinted CIA cars, there is a crash. Two cars have collided, causing the traffic to stop.
FRANKLIN (CONT. V.O.)
Shit!
On the ground we pick up three motorbikes snaking their way through the traffic towards the convoy of black tinted cars.
The leader of the group, BOMBER #1, crawls up behind the middle of the black cars and pulls out a LIMPET MINE from his backpack. 20 feet away, the WHITE LORRY's engine starts and purrs gently in the background.
FRANKLIN (CONT. V.O.)
All agents, watch for enemy contact.
EXT. KARACHI EMPRESS MARKET ROOFTOPS – DAY 10
On the rooftops, the gunmen form up ready to fire on the CIA cars below.
EXT. KARACHI EMPRESS MARKET – DAY 11
BOMBERS #2 & #3 amble alongside the middle tinted car. BOMBER #1 edges closer to the rear bumper of the car. He leans forward with the limpet mine in his hand.
SUDDENLY… the WHITE LORRY bursts into life and rams through several cars and smashes into the rear of the car and simultaneously BOMBER #1. The lorry continues to shunt BOMBER #1 on his motorbike past the convoy.
INT. CIA VANTAGE POINT – OPERATIONS ROOM – DAY 12
Franklin's face drops.
FRANKLIN (CONT.)
What the he-
EXT. KARACHI EMPRESS MARKET - DAY 13
SUNDDENLY… a medium sized explosion goes off with shrapnel from the lorry flying everywhere. The lorry has muffled the worst of the blast. There is panic among the civilian crowds, with people leaving their cars and a mass exodus of people from the market. The gunmen on the rooftops fire down on the three black cars with CIA operatives getting out and returning fire.
SHAH gets out of his tinted car and makes a run for it, joining the exodus of people from the square.
BOMBER'S #2 & #3 arise from the dirt to see Shah making a run for it. They ditch their bikes and pursue him on foot. The team of CIA agents are engaged in a fire fight with the gunmen ambushing them from above and are unaware of Shah's whereabouts.
From the wreckage of the Lorry emerges BOND, kicking through the remains of the windscreen and hauling his way out. He breaks into a sprint to join the pursuit.
Shah follows a stampede of people running from the explosion all the while checking the whereabouts of the two bombers. Bomber #2 follows his exact path but is slowed by the hordes of fleeing civilians.
Bomber #3 breaks off from the chase and heads up a flight of stairs into a commercial building. Bond recognises the split pursuit and makes the decision to follow Bomber #3 into the commercial building and up the flight of stairs which opens onto an open balcony with a view overlooking the panicked crowds.
EXT. FIRST FLOOR BALCONIES – DAY 14
Bomber #3 bustles past several people almost knocking an elderly woman off her feet. He has a clear view out over the crowds and we see Shah being followed by Bomber #2. Bomber #3 becomes aware of screams from behind him. Bond has drawn his pistol but can't get a clear shot as Bomber #3 continues to run along the open balconies parallel to the other chase.
EXT. KARACHI EMPRESS MARKET – DAY 15
We are now back with Shah and Bomber #2 who has closed distance on his target. Shah, sensing this, heads in the direction of a nearby store and enters.
INT. STORE – DAY 16
Shah finds some open space and glances behind as Bomber #2 has difficulty making his way through the crowd. This has bought Shah breathing space and he makes his exit out of the rear of the store.
Bomber #2 stalks through the store, grabs a hat and a jacket from the shelf.
EXT. FIRST FLOOR BALCONIES – DAY 17
Back with Bond who manages to get two shots off with his pistol but both are wide of the mark. Bond is closing fast so Bomber #3 takes cover behind a wall, pulls out a pistol turns and lifts his backpack in front of his face and torso and sprints straight at Bond firing a pistol. Hesitating to shoot at the backpack, Bond crouches, lowers his aim and fires a shot at his leg which causes Bomber #3 to stumble forward and launch himself at Bond. Using Bomber #3's momentum, Bomb judo throws him over his shoulder. Bomber #3 tumbles down a flight of stairs which seemingly puts him out of action.
Bond picks himself up and heads in the direction of Shah and his pursuer. We see Shah emerging from the store.
EXT. STORE & BUSTLING MAIN STREET – DAY 18
Shah carries on down a bustling main street. There is a large crowd of slow moving people blocking any quick movement on the street. Shah swims his way through them.
A man wearing a designer jacket and hat emerges from the store; it is Bomber #2 who has switched outfits and now stalks amongst the people in the crowd. He draws a knife. Shah pushes his way through the crowd, looking back to see a sea of faces.
POV BOMBER #2
We see Shah ahead, looking back. He has slowed to a snail's pace as he tries to locate his pursuers, unaware of the impending danger. Tension builds as we inch closer to him.
EXT. FIRST FLOOR BALCONIES & BUSTLING MAIN STREET – DAY 19
Bond is almost directly on top of Shah now but he can't see any sign of Bomber #2 amongst the crowd. He pauses.
Shah still hasn't located the danger. We see Bomber #2's eyes as he readies himself with the knife in his hand.
Suddenly SHOTS FIRED.
Bond has fired two shots in the air and only one person in the crowd has looked up, the rest have screamed and scattered. Bond leaps off the balcony and clatters into Bomber #2 forcing his head into the ground in an effective, if ungainly move.
Bond, picking himself up, grabs Shah and throws him inside a family home but Bomber #2 is on Bond in a flash, brandishing the knife. Both men grapple and burst through the door of the same house that Shah has fled into.
INT. KARACHI FAMILY HOME – DOWNSTAIRS - DAY 20
Shah flees up a flight of stairs as Bond dislodges the knife. But Bomber #2 gains an upper hand on Bond and delivers an elbow to the face. Freeing himself from Bond, Bomber #2 heads up the stairs.
INT. KARACHI FAMILY HOME – UPSTAIRS – DAY 21
As he reaches the top he stops, the room seemingly empty. He walks toward the middle of the room and smiles as he sees a cabinet ever so slightly out of place. But…
A GUNSHOT
Bomber #2 collapses in a heap on the floor as Bond emerges at the top of the stairs. Shah also emerges from behind a cabinet and looks at Bond with gratitude.
The street outside is beginning to clear and there is a moment of calm. But… there is the clattering sound of hurried footsteps from the floor below, footsteps with a limp.
BOND
(Whispered)
Quickly!
Bond drags the body of Bomber #2 from the middle of the room and looks toward the open window.
The footsteps slow and head in the direction of the stairs. We hear the sound of the limping footsteps slowly coming up the stairs. As he inches into view, we see the wounded Bomber #3, a face full of rage.
Stopping at the top of the stairs he sees an obscured view of a man, dressed in Shah's clothes, propped behind a cabinet in a reflection of glass.
With his pistol in hand, he rounds the corner to see Bomber #2 in Shah's clothing and the flashing of a limpet mine.
BOMBER #3
Aghh!
AN EXPLOSION
EXT. KARACHI SIDE STREET – DAY 22
Bond drags Shah, who is now dressed in the jacket and hat that Bomber #2 had been wearing, away from the exploding building. Behind them the stairway which helped them escape, collapses with the rest of the building. There is the sound of panic and sirens heading toward the scene of the explosion.
A team of CIA agents intercept Bond and Shah. Weapons are raised at Bond who stops in his tracks but Shah is whisked away out of sight.
Franklin emerges and confronts Bond.
BOB FRANKLIN
You disobeyed a direct order from a superior officer. You compromised the discretion of the mission. And you put the lives of American agents at risk. I will end you for this.
Franklin turns and walks off with his team leaving Bond alone, bloodied and bruised.
BOND
(Sarcastically)
You're welcome.
MAIN TITLES 23
EXT. THE MARLBOROUGH CLUB – LONDON – DAY 24
We open on a wide shot of man walking down a street in central London. He is a well-dressed sophisticated man: GALTIE. He crosses the street and enters a private members club: THE MARLBOROUGH.
INT. THE MARLBOROUGH CLUB – LONDON – DAY 25
A porter greets him and Galtie allows him to remove his coat. Galtie removes his watch and places his phone and other electronic items in an elegant box which is then locked and stored for safe keeping by the porter. He then proceeds through an airport-security-like scanner, which doesn't highlight anything. The porter nods and Galtie continues.
INT. DINNING ROOM – THE MARLBOROUGH CLUB – LONDON – DAY 26
Galtie enters the dining room and is shown to a table by the window. He is at home in the lavish surroundings: antique mirrors, crystal chandeliers and elegant frescoes. At the tables are distinguished men of a certain age, many sitting alone with newspapers and others engaged in muted conversation.
Galtie sits and nods across the table at a companion. We see a shot of him sitting in his chair but the person opposite is cropped out of the shot by the window frame.
Galtie points to an item on the menu. The waiter turns and leaves with the menu.
GALTIE
My gratitude, the information you provided was precise. Surgical even.
A look of admiration from Galtie before he returns to the menu.
GALTIE (CONT.)
However, our friends in Karachi were unable to utilise it to its full effect. An Englishmen muddled with their plans.
Galtie puts his hand inside his jacket pocket and removes a photograph. He slides it across the table.
PHOTO OF BOND
The waiter returns and pours Galtie a cup of tea and leaves.
GALTIE (CONT.)
You consider this Englishmen a suitable candidate?
(Again we do not see the response)
Good.
For the first time in the conversation, the shot changes to a close up of GALTIE. His face calm and assured.
GALTIE (CONT.)
In which case you must make the necessary arrangements. Activate Kifo Ushuru.
BIG BEN CHIMES (O.S.)
EXT. WHITEHALL – LONDON – MORNING 27
An establishing shot of Whitehall and the foreign office buildings.
M (V.O.)
To hell with Bond's professionalism.
INT. M'S OFFICE – MORNING 28
M is hunched over his desk with Bob Franklin sat casually opposite him.
M (Cont.)
That information was provided by our agent.
Franklin lifts himself out of his chair and casual makes for the window.
FRANKLIN
(Disinterested)
Sorry M. But this decision has come from the top. We can't share sensitive information that might jeopardise our source.
M
(With sarcasm)
The mythical Magic 66. And what about our source? A British operative under lock and key at the CIA's every whim. It's one rule for you and another for everyone else.
FRANKLIN
(Shifting to a more serious tone)
Listen, you put your house in order and we will play ball.
M
The problem is Bob, we're playing different ball games altogether. I'm playing defender of the realm; you're playing the bully from Brooklyn.
FRANKLIN
Like I said, this comes from the top. You've read my report.
Franklin puts his finger on the report on M's desk. He looks M in the eyes with a steely stare.
FRANKLIN (Cont.)
Bond goes.
M
And his defence?
FRANKLIN
He hasn't provided any, has he? No report? No defence.
Franklin gets up and heads for the door.
FRANKLIN (CONT.)
Cut the deadwood M. And we can talk in Denmark.
He stops at the door and turns to M with a smirk on his face.
FRANKLIN (CONT.)
It's a shame Bond couldn't be here to see his career going down the toilet. I'd love to see the look on his face.
INT. LONDON HOTEL ROOM – DAY 29
We open on Bond's face relaxed in a bed, he is clearly enjoying himself. A mane of red hair moves into shot. Bond has company in the form of MARIA. She is ten to fifteen years his senior, a beautiful mature woman.
BOND
How long have we got?
She bites him playfully on the shoulder.
MARIA
Not long enough.
He responds by repositioning himself on top of her and kissing her passionately.
MARIA (CONT.)
(Approving)
So much energy! James, you're like an excitable little puppy!
Bond continues to nuzzle her neck.
BOND
(In between kisses)
You bring the best out of me.
Maria laughs playfully. Then she wrestles to a position where she is on top of Bond, her hands pressed into his shoulders aggressively and she leans in to kiss him.
MARIA
I need a leash. You need restraining.
Bond looks her in the eyes and then twists her again so he is on top. Again she laughs.
INT. CORRIDOR OF LONDON HOTEL – DAY 30
We see a shot of the corridor leading to the room. We hear the playful noises of Maria through the walls.
INT. LONDON HOTEL ROOM – DAY 31
We are back in the room, Maria is half dressed on the end of the bed. Bond, behind her, is beginning to button his shirt.
MARIA
(Business-like)
Time to leave.
Bond nuzzles into her neck and whispers into her ear.
BOND
(Playful)
Right now?
Maria, initially enjoying the suggestion, regains her poise and pushes him away.
MARIA
James! Now!
Maria gets up and fiddles with her hair as she looks in the mirror. Bond makes a final play and nuzzles her neck from behind. She enjoys this and turns to face him. She kisses him passionately.
MARIA (CONT.)
(Whispering in his ear)
The things I would do to you if I had you tied to a chair.
SUDDENLY…
THE KEY CARD ACTIVATES AND THE DOOR OPENS
MARIA (CONT.)
(Whispered)
Shit!
Maria pulls away and sits on the end of the bed facing away from the door. Bond, half dressed, strolls to the door where he sees Bob Franklin standing, his mouth wide open.
Bond walks towards Franklin who is stunned into silence; his shock overwhelming his anger. Bond slips casually past him at the door.
BOND
(Cheerfully)
You're welcome.
INT. CORRIDOR OF LONDON HOTEL – DAY 32
Bond walks with a swagger away from Franklin in the background. He wears a cruel devil may care smile on his face as he walks down the corridor: the home breaker leaving the ruins of a relationship behind him.
M (V.O)
His wife?!
INT. M'S OFFICE – AFTERNOON 33
Bond is sat in front of M's desk like a naughty school boy without a care in the world.
BOND
(Nonchalant)
I was just proving a point.
M
(Incredulous)
Which was?
BOND
She's a security risk. And therefore so is he.
M
(Angry, throwing his hands in the air)
Spare me that rubbish. I haven't the patience to play these games.
BOND
Then maybe I should find something else to do.
M
Quite.
Bond is slightly taken aback by M's bluntness. M sits and opens a draw on his desk taking out a small card which he fiddles with.
M (CONT.)
Earlier this morning Bob Franklin walked into my office and told me that there was a major terrorist attack against Britain's international interests imminent.
Bond's expression has changed; the smug look has gone, replaced with concern.
M(CONT.)
It could be a bomb at an embassy, the assassination of a high profile British national or an attack on British holiday makers on some beach, destination unknown. And yet he refused to share further information under the pretence that it would risk his source, Magic 66.
BOND
But sir that's-
M
-In reality, he offered a trade. Information, for your resignation.
M slides the card across the desk to Bond who doesn't pick it up but reads it from the table: MARK HAZZARD, INTERNATIONAL SERCUITY.
M (CONT.)
An offer. A friend of mine runs an international private security company. Thought it might suit your skillset.
Bond is trying to conceal his hurt and anger.
M (CONT.)
It's an offer. Nothing more. If you wish to continue in your current post, I will need your report delivered in full by morning.
BOND
(Bitterly)
Will that be all, sir?
M nods. Bond, leaving the business card on the desk, exits the room.
INT. MONEYPENNY'S OFFICE – AFTERNOON 34
Bond storms through Moneypenny's office with a face like thunder.
MONEYPENNY
(Jovially)
Well James, hows—
A slam of the door as Bond exits. Moneypenny is bemused.
INT. BOND'S OFFICE – AFTERNOON 35
Bond opens his laptop on his desk. He opens an email attachment entitled: REPORT OVERDUE. The attachment is incredibly long and detailed. He deletes the email and opens a web browser. He enters into a search engine: COPENHAGEN SECURITY SUMMIT. He strolls down the page to a news article: CIA ANTI-TERROR AND SECURITY CHIEF TO ADDRESS SUMMIT. There is an image of Bob Franklin and Maria arriving outside the Bella Tower in Copenhagen. Bond's eye's glare intensely at the image.
THE SOUND OF A PLANE SOARING (O.S.)
EXT. BELLA TOWER – COPENHAGEN – DAY 36
SUPERIMPOSE: COPENHAGEN, DENMARK: There is snow on the ground. A plane flies over the post-modern Bella Tower. The venue for the Copenhagen Security Summit.
INT. COPENHAGEN SECURITY SUMMIT – CONFERENCE HALL – DAY 37
Bob Franklin is addressing a large audience.
FRANKLIN
Friends, partners. The threats that we face from a globalised world implore us to share information and to cooperate when the lives of citizens of any and all nations are at risk. As Americans, as global leaders in the struggle against international terrorism, we put a target on our backs.
M, flanked by Moneypenny, is in the audience. His face appalled at the hypocrisy of Franklin.
FRANKLIN (CONT.)
But we do so with the full knowledge that, with your support and cooperation, the risks to America are far outweighed by the peace and prosperity we are able to bring across the globe. Thank you.
Franklin finishes his speech to warm applause and makes his way down from the platform. M intercepts him and offers a frosty smile and his hand.
M
Excellent speech Bob.
(Shaking hands)
Though I'm sure the irony was lost on most.
Franklin continues on unashamed. M glares at him as he leaves the conference hall.
INT. COPENHAGEN OPERA HOUSE 38
We are in the Copenhagen opera house, another post-modern building. A performance of Carmen's Habanera: The sensual song of a temptress. We pan up to a shot of Maria in the balcony seats of the stunning Copenhagen opera house. She is alone, her mind elsewhere. As her husband joins her in the seats, she shifts uncomfortably. He leans in to kiss her on the cheek, but she pulls away.
MARIA
I need to get some air.
She gets up to leave and Franklin, distanced from her, signals for a member of his team, SECURITY #1 to go with her. He follows her out.
INT. COPENHAGEN OPERA HOUSE FOYER – NIGHT 39
Maria walks disinterestedly into the foyer, Security #1 in tow. She ambles towards the bar area, looking glum. At the bar, she is approach by a Danish man.
DANISH MAN
May I buy the lady a drink? Cheer her mood?
MARIA
(Smiling)
That's very-
SECURITY #1
-Excuse me sir, I'm going to have to ask you to leave.
DANISH MAN
But-
SECURITY #1
(Grabbing him aggressively)
-It wasn't a question.
Security #1 manhandles the man out of the building. The Danish man struggles as he gets shoved to a door. He remonstrates with Security #1 but it's no use.
Maria, a kept woman, looks disinterestedly at the scene unfolding 20 feet away. A waiter walks up to her with a glass of champagne.
WAITER
May I offer you a drink?
She goes to take the glass but looking up she sees that it is BOND!
MARIA
(Under her breath)
Bastard!
BOND
Now, now.
MARIA
What the hell are you doing here?
BOND
I need a favor.
MARIA
(Sarcastically)
Why don't you ask my husband?
BOND
(Smiling)
I'm not sure I'm on his Christmas list this year.
She looks at him angrily. How dare he?!
BOND (CONT.)
Your minder is 20 feet away and yet we're still having this conversation. Call him?
She considers this for a second but does nothing. Bond knows that he has her attention.
BOND (CONT.)
Let's lose him. Get on the boat in two minutes.
(Looking towards a nearby water taxi)
Make sure you are the last passenger to board.
SECURITY #1 has finished with the Danish man and now comes between the two of them.
SECURITY #1
Excuse me sir, I'm going to have to ask you to back away.
BOND
(Nose to nose)
You're going to make me, are you?
The two men are a mirror of each other, both from a military background, and neither is giving an inch.
SECURITY #1
(Smugly)
I think you might be a little out of your league here sir.
BOND
(Also smug)
We'll see.
Suddenly, SECURITY #1 gives an extravagant mock salute. Bond doesn't flinch. SECURITY #1 continues to smile smugly as he backs away and heads back to Maria.
Bond walks away leaving Maria with the security guard. We see him giving her a dressing down from Bond's perspective across the foyer. She storms off petulantly towards…
EXT. DOCK AREA – COPENHAGEN OPERA HOUSE 40
Bond stalks in the shadows as she makes another scene outside the opera house. People are boarding the nearby water taxi and it is almost ready to leave.
MARIA
I'm getting on the boat.
Security #1 gives her a look that says no, but then relents knowing he will not win an argument with this woman tonight. She motions to get aboard and he follows her.
Bond walks quickly up behind him and targets the little finger on his right hand. Security #1 is completely caught off guard and writhes in pain as his little finger is broken. He drops to his knees, allowing Bond to board the boat with Maria at the last possible second.
Security #1 watches as the boat slowly moves away. He sees Bond in the back of the boat with Maria. His face a picture of rage. He gets to his feet and runs frantically along the dock to a nearby motorboat, shoving the owner out of the way.
INT. WATER TAXI – NIGHT 41
Bond now has Maria in the water taxi, not alone, but without the attention of her security minder. He speaks with intensity, his hands on her shoulders.
BOND
The next stop is in three minutes, I've only got two. I need your full attention and if you don't like what I have to say, I will leave and you will never see me again.
He looks her in the eyes, a flicker of agreement.
BOND (CONT.)
You don't love your husband do you? You never have done.
Again the same flicker of acknowledgement.
BOND (CONT.)
Good, that will make this easier. Your husband has information vital to the lives of British citizens across the globe. He is refusing to share that information and I need you to think-
MARIA
-How would I—
BOND
-His laptop, emails, a phone call. Anything. You can read him can't you? You know when he is lying, when you have stumbled upon something. Anything from the last few days? I just need a destination, a city, a place—
MARIA
-Kenya.
(Beat)
Whatever's happening, it's happening in Kenya.
BOND
(Genuine)
Thank you.
Bond holds her gaze for a second and then looks above at an escape hatch.
BOND
And… I'm sorry you married the wrong man.
She looks away saddened by the truth. And with that he opens the escape hatch above them.
EXT. MOTOR BOAT – NIGHT 42
Security #1 is in pursuit of the water taxi in a motorboat. He closes in rapidly on the slow moving taxi ahead but has to slow as he approaches a low hanging bridge which the water taxi has just passed under.
EXT. COPENHAGEN BRIDGE - NIGHT 43
We see a shot of the motorboat beginning to pass under the bridge. Security #1 looks up to see Bond clinging on the bridge. Security #1 pulls out a handgun, readies to aim.
BOND SWINGS DOWN
kicking Security #1 in the face. We see Security #1 tumble off the side of the boat into the water. Bond, still clinging on to the railings on the bridge, hanging for a couple of seconds. Satisfied that his work is done, he pulls himself up.
EXT. COPENHAGEN NYHAVN HARBOUR – NIGHT 44
Bond looks down at Security #1 paddling frantically in the freezing cold water. He stops to give him a mock salute and walks off with a swagger against the beautiful backdrop of Nyhavn waterfront, a colourful collection of buildings and boats.
Security #1's motorboat, still gently accelerating crashes tamely into some of the other boats in the harbour and a flurry of people rush to the scene as Bond exits.
INT. COPENHAGEN SECURITY SUMMIT – CONFERENCE HALL – DAY 45
We are back in the conference hall, M is giving his address.
M
I'd like to build on what Bob Franklin said yesterday. I believe in cooperation and the sharing of intelligence between friends and allies.
M is stumbling through his notes with no conviction. This is further compounded when he see's Bond walking down the left isle of the conference hall.
M (CONT.)
And as Bob said, we are collectively a lot safer when we partner together.
Bond has been intercepted by Moneypenny. Moneypenny then heads to the stage with a note in her hand.
M (CONT.)
Excuse me.
M takes the note and reads it. He then resumes with improved confidence.
M (CONT.)
But intelligence sharing only works on a two way street. One ill-timed snub can build a culture of suspicion and ultimately, endanger the lives of the citizens that we are all privileged to serve.
M is now speaking directly to Franklin in the audience who is seemingly unmoved at the pointed remarks.
M (CONT.)
I would like to digress from my notes and end with a story of where it is working: Kenya
Franklin face turns to thunder: how did he get that information?!
M (CONT.)
Yes in Kenya, the sharing of intelligence between Kenyan and British intelligence services has given us the upper hand in the region. The fight against terror is one that we are winning there. And I believe we will continue to do so, as long as we all play our part. Thank you.
M leaves the stage to warm applause. Franklin is not happy. Then he sees Bond with Moneypenny, this does little to improve his mood.
INT. SMALL CONFERENCE ROOM – BELLA TOWER – DAY 46
M follows Moneypenny and Bond into a conference room. They have already started work, with information and images on large screens.
M
007.
BOND
Sir.
A look of mutual respect is shared between them.
M
What have we got? Leads, sources? I'll contact our station in Nairobi.
MONEYPENNY
Nothing concrete sir, but 007 thinks she might be worth leaning on.
An image of a beautiful African woman is on the screen. She is dressed in all black and wears a hijab.
MONEYPENNY (CONT.)
Ayesha Njeri. British national with Kenyan roots, radicalised whilst at University. Now a key member of a terror cell coordinating attacks in Kenya and the surrounding region.
M
Where was she studying?
MONEYPENNY
American studies at UCL.
M
American studies?!
BOND
It fits the profile. A stark contrast to the culture of her family which she is persuaded cannot be reconciled with her Islamic faith, leaving her open to more radical approaches. Usually by a dominant male.
An image of a male terrorist pops up on the screen on a second screen. Brandishing an AK-47, he wears the green khaki and the black head gear that is a trademark of terrorists in the region. The face is worn and menacing.
M
Abu Zufar. Masterminded the university attacks in Kenya but now on the outskirts of the leadership network. Perhaps trying to buy his way back in. Nasty piece of work. What's your approach?
BOND
I plan to spook her. Let her know we know all her secrets, and then offer her a way out.
M
An offer from a dominant male. Very good.
Moneypenny goes to leave. She leans in close to Bond, with the image of Ayesha behind her.
MONEYPENNY
Careful James. Forbidden fruit rarely tastes as good as it looks.
Bond smiles playfully at her and then follows her to the door.
M
007.
Bond stops and turns at the door.
M (CONT.)
Whilst I'm grateful-
BOND
(Hurriedly)
-Whilst you are grateful for the intelligence, this doesn't change the fact that you are still basically pissed off with me.
M is slightly taken aback by Bond's bluntness.
M
(With both eyebrows raised)
Extremely.
BOND
Sir.
INT. MAIN CONFERENCE HALL – DAY 47
Franklin has a phone to his ear. We see Bond leaving the small conference room over his shoulder, the two exchanging the briefest of glances.
FRANKLIN
(Into his phone)
Yeah that's right. You are going to have company.
EXT. NAIROBI STREETS – MONTAGE – DAY 48
SUPERIMPOSE: NAIROBI, KENYA: We see a montage of bustling Nairobi streets. Children are playing on the streets, some playing football, others skipping. Street sellers hustle at passers-by. Everywhere there is noise. We see the poverty of the Kibera slum contrasted to the skyscrapers of the central business district. And we see planes flying overhead.
INT. JOMO KENYATTA AIRPORT ARRIVALS – DAY 49
Bond walks through the arrivals at Nairobi airport. We see over the shoulder of a MAN IN THE SHADOWS. He watches Bond make his way across the arrivals floor.
We are now back with Bond, as he is approached by a well-dressed TAXI DRIVER.
TAXI DRIVER
Taxi sir?
BOND
(Dismissive)
I'm fine, thank you.
TAXI DRIVER
(Under his breath)
Stupid Muzungu.
Bond continues towards the exit but catches a glimpse of the MAN IN THE SHADOWS who promptly backs away to conceal himself further. Bond's eyes continue to follow him.
SUDDENLY
Bond bumps into a BEAUTIFUL KENYAN WOMAN. She is startled and drops her suitcase and all her luggage falls out.
BEAUTIFUL KENYAN WOMAN
I'm so sorry.
BOND
Here, let me help you.
Bond puts down his own suitcase and begins to help her put her spilled luggage back in her suitcase. He reaches for some elegant underwear but she grabs it at the same time. She looks at him sheepishly and pulls it away.
BEAUTIFUL KENYAN WOMAN
Thank you.
Bond catches her eyes one last time, she looks at him as if butter wouldn't melt and then shuts her suitcase and walks off.
Bond watches her leave and then reaches for his own suitcase. It's gone! He looks around, but it is nowhere to be seen. Realising he has been played, he look for the woman. She has quickened her pace and headed for the exit. Bond sets off at a pace.
EXT. JOMO KENYATTA AIRPORT PICK UP POINT – DAY 50
He reaches her just as she is about to enter the taxi. He grabs her by the arm.
BOND
(Aggressively)
Excuse me, but I believe you have something of mine.
TAXI DRIVER
Are you looking for this sir?
Standing behind Bond with the widest grin on his face is the taxi driver whom Bond snubbed moments earlier. He holds out Bond's suitcase and burst into a contagious laugh. This is WYCLIFFE, early 60's, a charming man with a big smile and bigger personality.
WYCLIFFE
(Laughing)
I couldn't resist playing the old Mazungu one, two, three. A game we have been playing in Kenya for generations. Call it reparations for colonialism.
The tension has left Bond's face as he realises he is amongst friends. The girl gets out the taxi. CARO, early 30's, a beautiful woman and she knows how to use it. She looks at Bond with that same butter wouldn't melt look and takes his suitcase from Wycliffe.
CARO
Allow me.
She puts it in the trunk.
WYCLIFFE
(Laughter with a mock warning)
We have a saying in Kenya: Even the most beautiful fig may contain a worm.
(Continues laughing as he looks at Caro who smiles)
Rarely do I discover a man's weakness so quickly.
(Shakes Bond's hand)
Wycliffe Oleledama, Nairobi station at your service. And this is Caro on loan to us from Kenyan Special Services.
BOND
(Smiling at Caro and then Wycliffe)
Well, now that you have me all figured out.
WYCLIFFE
Welcome to Kenya James, the initiation starts here.
All three enter the car and it leaves the parking bay and heads out of the airport.
As the car drives off, we again see the MAN IN THE SHADOWS from earlier. His eyes are hidden behind shades. He beckons a taxi.
INT. CAR – DAY 51
WYCLIFFE (CONT.)
I'm sorry to hurry you, but an opportunity has presented itself and I didn't think you would want to miss it.
Bond looks out on the street, a hub of activity: this is a sprawling district full of trade and trickery.
WYCLIFFE (CONT. O.S.)
Easliegh District. This is Somalia in Nairobi; it's where terrorists mingle like rats hidden amongst a sea of mice.
EXT/INT. MAKESHIFT OPERATIONS ROOM – DAY 52
The car pulls up outside a half collapsed multi-story building. Bond follows the two Kenya's up a flight of stairs to a vantage point which has become a makeshift operations room. There are two operatives sat at open desks using listing devices.
The vantage point overlooks another, slightly less, dilapidated apartment building on the other side of the street.
WYCLIFFE
(To the operatives on listening devices)
Is she in?
One of the operatives turns and nods.
WYCLIFFE
(To Bond)
Your girl is inside, along with half a terror cell. They have been camped out for several days, plotting some new act of hell. We play a game of cat and mouse from time to time. They settle in a building. We rattle their cage, watch them scatter, and try and pick off a few key members.
CARO
Last month we launched tear gas canisters into a crowded building. Picked off five high level targets. But community groups in Eastleigh complained that we were profiling Somali's indiscriminately.
BOND
So tear gas is off the menu, then.
CARO
Not exactly.
WYCLIFFE
(Smiling)
We have a saying in Kenya. Once you have been tossed by a buffalo. A black ox looks like a buffalo.
BOND
(Reciprocating the smile)
Why do I get the impression that nothing here in Kenya is as it seems?
FADE TO
EXT. TERROR CELL HIDEOUT 53
Bond has taken up a strategic position whilst Caro has gone to the front of the building.
WYCLIFFE (V.O. through an earpiece)
Two weeks ago I had the district council development officer do a survey of the building. I also had him install a small explosive device on the gas piping in the basement. All being well it should imitate the sensation of a tear gas canister. Watch as they scatter like rats in the sewer.
Caro is now at the door.
WYCLIFFE (V.O.)
Once Caro rattles the door we will have a 10 second delay before the fireworks, ready James?
BOND
Smoke them out.
Caro pushes the doorbell and walks swiftly away from the building. After 10 seconds there is a small explosion in the building and we hear panicked screams.
WYCLIFFE (V.O.)
She's all yours James.
Members of the terror cell pour out of the building, fearing a tear gas explosion. They are also expecting hordes of police to chase them. But none appear. The girl emerges, heading in a different direction to her frightened colleagues.
EXT. SHANTY TOWN – DAY 54
Bond sets off in pursuit; ducking and weaving through the urban jungle. Unlike the other members of terror cell, Ayesha doesn't panic. She is calm and assured and her movement's measured. She turns to see Bond pursuing her.
Ayesha sets about leading him on a merry chase through a shanty town. A group of children shout 'Mazungu' and chase after Bond but he ignores them, focusing only on his target. She has doubled her pace. Bond smiles at the challenge.
As Bond leaves the shot, we see the MAN IN THE SHADOWS from the airport appear, apparently joining the pursuit. He still wears his dark glasses concealing his face.
Ayesha has made some space between her and Bond. She decides to try and lose him permanently, climbing on top of a tin roof and performing two jumps.
EXT. FRUIT STALL – DAY 55
She rounds a corner and hides behind a fruit stall. She looks around the corner. No sign of Bond. But…
BOND
Hello.
She turns sharply to see Bond standing behind her, casually offering her some fruit. She stamps hard on his foot and bolts towards the train station. He smiles through gritted teeth at her defiance and carries on the chase.
EXT. NAIROBI TRAIN STATION – DAY 56
An old train gears up to leave the station. Ayesha has made a play for it and is looking to get on the train before Bond can catch up with her. Sensing this, Bond breaks into a jog and corners her before she gets on the train. He grabs her by the arm.
AYESHA
Don't touch me.
BOND
Ayesha Njeri of Lewisham Grove, London. Eldest of four. American studies at UCL. Long distance champion at secondary school-
AYESHA
-Don't do that. Don't act like you know me.
BOND
Once cautioned for shoplifting, though you were forced into by Jake Spencer. Your first boyfriend, am I right?
Ayesha glares at him and then beyond him. A crowd has gathered over Bond's shoulder. Ayesha spots ZUFAR, the head of the terror cell, amongst them. He is a broad chested man with the face of a warrior. This is their rendezvous point following the raid.
BOND (CONT.)
You see we do know you all about you, Ayesha. We certainly know that you have betrayed your country. The nets closing in. And, believe it or not, I'm your salvation.
AYESHA
(to Bond)
You don't know what you are doing.
Zufar and his squad take two steps closer but he calls them to stop. His lieutenant, YOUSEF, steps forward. He is an African albino with a mutilated ear. Zufar holds him back.
The MAN FROM THE SHADOWS has also appeared in the background. We see him draw his pistol from his holster.
Bond turns to see Zufar and the other members of the terror cell. The sound of the train starting to move ramps up the tension.
BOND
He doesn't look best pleased. You had better come with me.
Bond urges Ayesha aboard, and she has no choice but to oblige. Yousef, the albino, urges Zufar to board but he doesn't, instead he smiles.
The MAN IN THE SHADOWS with his dark glasses does board however, gun in hand.
INT. TRAIN CARRAGE – DAY 57
We are with the MAN IN THE SHADOWS. The tension mounts as he stalks the corridor. He bursts into a compartment using his shoulder to force the door open. But as he enters, the compartment is empty.
Suddenly, he feels a gun in his spine.
BOND is behind him.
BOND
(Cocky)
Felix Leiter. Now what the hell's the score?
LEITER puts his hands in the air, his gun limp in his left hand; he has been beaten by his old friend. Bond takes the gun from his hand and weighs it before giving it back to Leiter.
LEITER
Where is she?
Bond motions to the bathroom. Leiter snatches the gun back from Bond and leans in close to him.
LEITER (CONT.)
(Pointed and through gritted teeth)
She's one of ours.
This time it is Bond's face that drops. Leiter turns to the bathroom and opens the toilet door which reveals Ayesha on the floor, retching. Leiter turns to Bond.
LEITER (CONT.)
James Bond, meet Magic 66.
Ayesha lifts her head and looks at Bond.
AYESHA
(Angry and frightened)
Bastard!
EXT. TRAIN - KENYAN PLAINS – LATE AFTERNOON 58
We see a shot of the wheels of the train turning rapidly.
INT. BAR CARRAGE – TRAIN – LATE AFTERNOON 59
Bond takes a slug of whisky, alone at an empty bar. Leiter joins him.
LEITER
She's fine, just in case you were wondering.
BOND
(Defensive)
This is what happens when you don't share intelligence Felix. This whole Magic 66 affair had a stink to it from the beginning. That Karachi job was a set up.
LEITER
Blow her cover and then accuse her of being a traitor. Go easy on the girl James.
BOND
Date, timing, location. They had the works Felix. I'm not saying it's necessarily the girl. But there is certainly a leak somewhere in Langley.
LEITER
Why must it be Langley? Why not London?
Bond doesn't respond; it's a valid question. Leiter stands up and has a little wonder towards an open window.
LEITER (CONT.)
It's a shame you intervened when you did. She has been our hottest property for over two years now. And she was onto something-
Leiter has stopped at the window; he is looking curiously out of the train. There is nothing there, nothing on the top of the train, and nothing parallel.
BOND
What is it?
LEITER
Nothing.
(Leaving the window and heading back to Bond)
She has information on an immanent attack-
SUDDENLY… A man wielding an AK-47 flies though the window crashing into Leiter and firing wildly into the room. Leiter cries out in agony.
Bond draws his pistol and fires two shots into the man's chest. The man, a member of the terror cell, collapses to the ground in a heap on top of Leiter.
Bond picks the body off of him and surveys the damage: Leiter's leg is injured from a bullet wound.
LEITER (CONT.)
Ayesha!
At this Bond leaves Leiter to tend his own wound and puts his head down to go and find Ayesha.
INT. SECOND CARRIAGE – LATE AFTERNOON 60
As Bond heads down the narrow corridor, passengers run past him in the other direction. Forcing his way past them, he hears a creaking sound that forces him to pause.
SUDDENLY the right side of the carriage begins to rip open.
EXT. TRAIN TRAVELLING ON KENYAN PLAINS – LATE AFTERNOON 61
We see a shot of the train coasting through the plains. A fleet of bikes and open top Jeeps run parallel to the train. There is a group of Jeeps attached to wires that are pulling against the carriage. After a few seconds the tension from the wires is too much and the right side of the carriage comes clean off, leaving Bond exposed in the open carriage. Several automatic weapons fire at him.
INT/EXT. SECOND CARRIAGE – LATE AFTERNOON 62
Bond returns fire but soon realises his pistol is no match for their automatic weapons. So instead he decides to make a dash down the carriage. A Jeep swerves towards the open carriage with two fighters standing on top of it. Both of the fighters leap from the jeep on impact. One of them tackles Bond to the floor.
FIGHTER #1 puts his automatic weapon around Bond's neck, strangling him. FIGHTER #2 then proceeds to assault Bond's torso with the butt of his gun. Bond, strangled from behind and assaulted from the front, decides to use Fighter #1 as a weapon. He jerks suddenly knocking Fighter #2 out of the carriage underneath the wheels of the train. The carriage jerks as the body goes under the wheels but regains its balance. Fighter #1's grip is still tight so Bond drags him through to the next carriage hammering against the door to try and loosen the grip.
INT. THIRD CARRIAGE – LATE AFTERNOON 63
Bond struggles wildly down the corridor before dropping to his knees.
EXT. TRAIN TRAVELLING ON KENYAN PLAINS – LATE AFTERNOON 64
An open top jeep pulls up close to the front of the train and several members of the terror cell board the train. It's a hijack. Yousef, the albino, on a motorbike cuts in an inlet and fires at the couplings.
INT. THIRD CARRIAGE – LATE AFTERNOON 65
Bond, realising the carriages ahead of him are being uncoupled, wrestles with the fighter, trying to free himself from the strangle hold. But it's no use. The fighter has his gun tight to Bond's neck. Bond scrambles frantically, fighting for a breath, but it's no use, and his strength starts to fade.
A GUNSHOT, the fighter loosens his grip and Bond breathes freely. Leiter has emerged, hobbling his way to the carriage, and has shot the fighter in the back. The pair exchange a brief glance of mutual respect.
Bond, sensing he has no time, bustles his way to the end of the carriage too late to make a jump across the chasm. His carriage is slowly decelerating and the bandits have got away with their loot: Ayesha who is showing no emotion.
Bond stares at the next carriage as it speeds away. Zufar is glaring back at him, Ayesha too. Yousef and a handful of other bikers and Jeeps ride parallel to the train.
Leiter limps to Bond's position and joins him as the remaining train carriages lose momentum and come to a stop. In the distance the train speeds off, flanked by its fleet of motorbikes, into a beautiful African sunset. Bond and Leiter look defeated.
EXT. KENYAN PLANES AND TRAIN CARRIAGES – DUSK 66
A glorious Kenyan sunset is followed by a montage of Kenyan wildlife shots; a giraffe, a Hyena and a Lion.
Several helicopters slowly descend into the shrubbery in the vast planes landing near the remaining train carriages. Bond and Leiter, who is limping, walk towards the lead helicopter which is being flown by Caro. Other passengers head toward the other helicopters.
Wycliffe leaps out and greets Bond.
WYCLIFFE
James?
BOND
Wycliffe Oleledama, meet our American friend; Felix Leiter.
Wycliffe and Felix shake hands.
WYCLIFFE
And the girl?
FELIX
(Half in Bond's direction)
She's was an American friend too.
Bond doesn't respond and Wycliffe looks puzzled. Caro leans back from the cock-pit.
CARO
Where to?
LEITER
Mombasa.
The helicopter slowly ascends, leaving a cloud of dust.
EXT. MOMBASA – MORNING 67
An establishing shot of the city of Mombasa.
THE CALL TO PRAYER (O.S.)
EXT. CENTRAL MOSQUE MOMBASA COURTYARD – MORNING 68
We are in a large mosque, the biggest in Mombasa. There are hundreds of people mingling around in the outside courtyard, waiting to enter. It is busy as the people gear up for the Eid celebrations.
Ayesha and Zufar remonstrate in Arabic in a corner.
AYESHA
(Subtitled)
Arms dealers, offering us trade.
ZUFAR
(Subtitled)
Where did you meet them?
AYESHA
(Subtitled)
I told you, I met one of them in Eastleigh, two weeks ago.
ZUFAR
(Subtitled)
But he was harassing you.
(Raising his hand to stop her)
Save it. I'll be back in an hour. You will have some answers.
Zufar walks out of the courtyard. Ayesha walks over to the edge of the courtyard and takes off her white scarf and places it over an open window.
INT. CIA OPERATIONS ROOM – MOMBASSA – DAY 69
LEITER
That's her SOS. Let's get her out of there. Get a team to the rendezvous point. She'll be there in 15 minutes.
The interior of a CIA operations room is full of operatives monitoring screens of the Central Mosque. Leiter, his leg heavily strapped, is in command. Bond and Wycliffe are passive observers; Bond is looking a little subdued.
LEITER
(To his team)
Let's do this quietly.
(To Bond pointedly)
I think Britain's finest can sit this one out.
Leiter continues to brief his team of CIA operatives. Bond turns away, stung by Leiter's snub. Wycliffe puts a hand on his shoulder.
WYCLIFFE
James, go to the villa. Relax.
Bond looks away intensely.
EXT. INDIAN OCEAN – UNDERWATER – DAY 70
We see from beneath the ocean a man dive into the water. It's Bond, he is snorkelling with a harpoon in the shallows. He swims aggressively, he is angry not relaxed. Up ahead he spots something: A BARRACUDA. He swims towards it, before holding his position and lining up a shot. He has the barracuda in his sights and is about to pull the trigger when suddenly…
A SECOND BARRACUDA comes out of nowhere and hits Bond right in the solar plexus. Bond, taken by surprise and in pain, makes for the surface.
EXT. INDIAN OCEAN – SURFACE – DAY 71
As he wades his way back towards the shore, he tends the left side of his lower abdomen. It's bleeding, significantly. The barracuda has attempted to take a chunk out of him. He winces in pain and continues to make his way to the shore.
Caro is coming down the beach towards him. She spots his wound and concern comes over her face.
BOND
I'm fine.
CARO
That looks nasty. Here.
(Removing her crop top to reveal a bikini)
Try this.
Bond sneaks a lustfully look at her as she applies pressure to his lower abdomen. She shoots him a flirtatious look back.
CARO
What was it?
BOND
A barracuda. I had one of its friends cornered, but this one blindsided me.
CARO
(Suggestively)
I'm sure it's not the first time someone has tried to take a bite out of you.
He holds her gaze in a game of chicken and she blinks first, averting her gaze back to the wound.
CARO
We better get you cleaned up. The Americans got the girl out cleanly. Wycliffe has arranged a clear the air meeting, I believe he has quite a show prepared for us.
FADE TO
EXT. BEACH VILLA DOCKING STATION – NIGHT 72
Bond, dressed in his dinner jacket, waits at the dock for the Dhow to arrive.
EXT. DHOW – NIGHT 73
On board the Dhow is Leiter, dressed in his own dinner jacket and Ayesha, in an elegant yet modest dress, her head is still covered. Off-duty, but she is still observing her Muslim faith. Caro, who is in a stunning and provocative evening dress, beckons Bond aboard.
Ayesha sees Bond and turns away from him. Bond and Leiter exchange frosty glances as the Dhow sets off.
FADE TO
EXT. DHOW – LATER 74
The Dhow lights up the Indian Ocean as it makes its way along the coast. Guests mingle over aperitifs and canapes.
Bond sees Ayesha alone, looking over the side of the boat. He grabs two glasses of champagne from a waiter and heads in her direction.
BOND
(Offering her a drink)
For you?
AYESHA
(Dismissively)
I don't drink.
BOND
(Tossing the contents of her glass overboard)
Not just a part of your cover then?
AYESHA
(Frosty)
I thought you knew all about me.
BOND
(Genuine)
Listen, I made a mistake. I put you in danger and I apologise. I'm just glad you got out safely.
AYESHA
(Turning to analyse him)
Bond, James Bond. An unsophisticated brute. A man without principal, who will sacrifice anything and anyone. An island, loyal to no one, save for his Queen and his country.
Bond smiles sheepishly, enjoying her description.
AYESHA (CONT.)
A womaniser, a gambler, and a killer.
BOND
Unsophisticated? I'm hurt.
Bond takes a gulp of champagne.
AYESHA
To be avoided at all costs.
BOND
(Leaning towards her)
I may yet surprise you.
AYESHA
(Smiling a little for the first time)
I doubt that.
Ayesha looks out to the sea. The tension has gone from the conversation and she begins to relax.
AYESHA (CONT.)
And just so you know, the shoplifting: he wasn't my first boyfriend.
BOND
No?
AYESHA
Third. A little white lie to appease disapproving parents.
BOND
Little white boyfriends. I can't imagine that went down well.
AYESHA
Not particularly.
BOND
Still, good practice. For keeping secrets I mean.
AYESHA
Truth be told, I was never very good at it.
BOND
Really? Well let's hope you've improved.
AYESHA
Something called a conscience, I'm not sure you would understand.
BOND
A fatal weakness, so I'm told.
AYESHA
Perhaps.
BOND
I suppose we all have one.
AYESHA
A conscience?
BOND
A weakness.
AYESHA
(A short pause)
What's yours?
BOND
(A longer pause)
Women, apparently.
She laughs and then they stare into one another, both attempting to read something. But Bond's attention is arrested by the approaching Caro.
CARO
(Cutting in and taking Bond's glass from him)
May I?
Caro, looking stunning in her evening dress, gives Bond a flirtatious look. He responds and then catches Ayesha's eye.
Ayesha is giving Bond a knowing look and he can only smile sheepishly in response. It breaks the ice.
AYESHA
Excuse me.
Ayesha leaves Bond and Caro and heads over to join Leiter.
Caro whispers playfully in Bond's ear but he is distracted, looking at Ayesha across the boat.
EXT. FORT JESUS DOCKING AREA – NIGHT 75
The Dhow docks at FORT JESUS, a majestic 16th century fort, which is illuminated by flaming torches creating a mythical atmosphere. Cannons face outwards and the fortress walls stand tall as the sea laps gently against them.
Bond, Caro, Ayesha, and Leiter all exit the boat and they are treated to a theatrical performance, explaining the history of the fort: from its Portuguese origins right through to the British using it is as a prison.
NARRATOR (O.S)
Tonight, a journey through time. From King Phillip's Portugal, the Omani Arabs and finally into the hands of the British Empire. Fort Jesus, where the empires of the world meet.
They enact a theatrical performance of slaves being sold and purchased, mistreated and punished.
NARRATOR (O.S)
Below, the torture chambers of Fort Jesus. Tonight the ghosts of the past will come alive for your entertainment.
The performers disperse and the party advances to the courtyard.
EXT. FORT JESUS COURTYARD – NIGHT 76
Wycliffe emerges from the crowd.
WYCLIFFE
Friends, welcome.
Wycliffe greets them at the steps and beckons them to a table. It's a wonderfully atmospheric setting: a candle lit dinner under the stars in the courtyard of the Fort. Bond sits with Caro, opposite them Leiter who sits with Ayesha. At the head of the table, acting as a sort of moderator, is Wycliffe.
WYCLIFFE
(Gesturing for them to eat.)
Please.
FADE TO
EXT. FORT JESUS COURTYARD – LATER 77
They are now finishing their meal but the conversation is still flowing.
LEITER
(Regarding Ayesha)
She has done her share, she's out.
BOND
Fine, but at least fill us in on the details. My understanding is that it's a British target here.
AYESHA
That's the intelligence we have, but we couldn't give you a concrete target.
CARO
How do you know it's British then?
AYESHA
Two months ago, Zufar was in talks with an underworld fixer who claimed he had an opportunity that would wipe the British from this country forever. Zufar set up a meeting, where this contact was to provide elements for a bomb, but the negotiations backfired and it ended in a firefight. Two weeks ago, this fixer re-established contact.
BOND
Sounds like we need to move quickly.
LEITER
The difficulty is we can't get a lock on them. They travel around like gypsies. We couldn't risk Ayesha carrying a tracking device. The only meeting point we have is the central Mosque.
BOND
Can't we hit them at the mosque?
AYESHA
(Exasperated)
You can't hit the mosque!
CARO
If that's the only location we can get a lock on them.
AYESHA
You don't understand do you? Any of you: because you're not Muslim. This is a battle of ideals. You hit the mosque; you pour fuel on the flames of every confused young Muslim's fears. You give them a grievance. You do that, you sell the soul of this country, and you lose the whole region to the terrorists and their kind.
CARO
Some would say we already have. I thought you said you were out. Why don't you leave it to those of us with a little fight left in us?
The two women glare at one another.
WYCLIFFE
Caro, that's enough.
(To Ayesha)
This fixer, this underworld contact. Did he have an alias?
AYESHA
He went by the name Kifo Ushuru.
Upon hearing the name, Wycliffe's face looks like he has seen a ghost. He reclines in his chair, eyes wide.
A long pause.
WYCLIFFE
Kifo Ushuru? Are you sure that was the name?
Ayesha nods. Bond and Leiter look to Wycliffe for an explanation. He takes a few seconds to digest the information before regaining his composure.
WYCLIFFE (CONT.)
Kifo Ushuru. It's an old Mau Mau legend. The Mau Mau formed a guerrilla insurgency, resisting British rule.
LEITER
(In Bond's direction)
So the British locked them up in concentration camps.
Bond doesn't bite.
WYCLIFFE
They put them in prisons, attempted to break them, tortured them in places like this. The story goes that one man escaped and headed for the hills in defiance. The British sent a squad after him but in the hills and plains he picked them off one by one leaving body parts like a trail of breadcrumbs.
Ayesha squirms at hearing the story.
WYCLIFFE (CONT.)
Word spread amongst the Mau Mau, and his defiance become the stuff of legend. He became known as Kifu Ushuru, or The Death Collector.
BOND
Charming story. One wonders how much of it is true. This was all sixty years ago. What does this have to do with Zufar and his band of merry men now?
AYESHA
I'm not sure. But any man who can spook Zufar is to be feared.
BOND
And you say this Kifu Ushuru was providing a bomb for them?
AYESHA
No, not exactly. He was providing the chemical components of TATP, enough of it to raise an entire district to the ground.
BOND
That's too much explosive for the consulate in Mombassa.
LEITER
It could be your High Commission in Nairobi.
BOND
(Shaking his head)
That's still too much.
AYESHA
He was to provide the explosive capabilities but Zufar was unable to source a suitable synthesised container, that's why the deal fell through. And that's why I told them you were an arms trader.
BOND
Well, can't we go through with that, then? What parts were they missing?
Ayesha looks over to Felix.
LEITER
No! She's out.
BOND
(Raising his voice)
Listen, Felix-
WYCLIFFE
(Holding a hand up)
-Alright, alright, that's enough for one night. Let's enjoy the rest of the evening, sleep on it, and reconvene again in the morning.
Everyone else leaves the table to enjoy the entertainment but Bond stays, his eyes fixed on a certain point across the courtyard.
He eventually gets up and heads to join Leiter who is watching another performance. Bond, on the opposite side of the drama, is focused on Felix. The two performers drag another one and mimic torturing him.
The drum beat accelerates and ramps up the tension as Bond continues to eye Leiter across the stage. The performance comes to a dramatic crescendo with one of the performers ending in the crucifix pose. There is applause for the performance and Leiter joins in. Bond, however, has crossed over to Felix's position.
BOND
(Grabbing Felix by the arm)
Listen, even if it's only an introduction, then you can get her out of there. I'll take my chances alone.
FELIX
Not a chance. She's this close to cr-
A SCREAM. Followed by several other screams coming from down below in the depths of the Fort.
Bond and the limping Leiter, rush down into the fort. In the other direction, other guests flee the scene in panic.
INT. OLD TORTURE CELLS – NIGHT 78
Bond arrives first. His face turns to ash. Ayesha is turned away unable to look at the scene, propped against the wall seemingly paralysed by distress. Leiter arrives and his face is also horrified.
FELIX
God!
We do not see what it is but we are left in no doubt that the scene is appalling. Wycliffe arrives and gasps.
WYCLIFFE
(A shocked whisper)
Caro!
Bond hasn't looked away from the scene, whatever it is, his face intensifying with every second. Leiter grabs him by the arm.
FELIX
James, get Ayesha away from here. Take her to your villa. I'll clean this up with Wycliffe.
Bond's eyes still haven't shifted.
FADE TO
EXT. BEACH VILLA – NIGHT 79
A car arrives and two figures get out and enter the beach property.
INT. BEACH VILLA – NIGHT 80
Bond pours a glass of scotch and sits in the living room contemplating Caro's brutal death. Ayesha sits on the end of Bond's bed, head in hands, visibly shaking.
Wycliffe arrives in a car outside and Bond goes out to the veranda to speak with him.
EXT. BEACH VILLA – VERANDA – NIGHT 81
Bond passes Wycliffe a glass of scotch and takes a slug from his own.
WYCLIFFE
We've sealed the perimeter. Leiter's people are checking for prints, DNA, fibres anything. Ayesha?
BOND
She was in hysterics. She won't sleep tonight. You think it's Zufar, sending a message?
Wycliffe shakes his head.
WYCLIFFE
Two years after the squad killings, and the British were losing face in Kenya. An old police commissioner was sent from Scotland Yard to bring some order to the chaos. Tough nut, a real colonial old bobby as the Brits used to say. Why is it you call your policemen: Bobbies?
BOND
Sir Robert Peel, founder of the metropolitan police force. Robert, Bob, Bobby.
WYCLIFFE
Well this colonial old bobby treated the Africans in his district with disdain. Then one day, on his way home, he was hauled over by one of his own African police captains. The captain drew his pistol, shot him twice in the leg, dragged him back to his residence and, so the legend goes, skinned him alive.
Bond gives Wycliffe a disturbed look.
WYCLIFFE (CONT.)
Word spread that it was the work of Kifu Ushuru. He had enlisted as a British police captain. One week later the British High Commission received a parcel with the commissioners rotting skin in it.
Bond takes a slug of scotch.
FADE TO
INT. BEACH VILLA – DAWN 82
Bond, having finished a bottle of scotch has managed to fall asleep in a chair in the living room. He is startled awake by:
THE SOUND OF A KNIFE REPEATEDLY HAMMERING INTO A CHOPPING BOARD.
He gets up and goes to the kitchen where Ayesha is frantically chopping away at a vegetable. She hasn't slept and she looks agonised. She just continues slicing, even when the vegetable is in tiny slithers, tears coming down her face. Bond watches for a while and then decides he has seen enough. As Bond approaches her she drops the knife and puts her head in her hands.
BOND
Come on.
He takes her by the arm and leads her outside.
EXT. SECLUDED BEACH – DAWN 83
We are outside on a beautiful beach, not another soul in sight. Bond and Ayesha walk side by side not saying anything. Her arms are folded and she looks cold and fragile.
EXT. VANTAGE POINT – SECLUDED BEACH – DAWN 84
Bond finds a beautiful vantage point above a rock formation and encourages her to sit. She sits, both of them in silence not saying anything. Then…
AYESHA
I just want to get out. I gave up two years of my life, put myself in more danger than I could ever have imagined. I want my life back. Getting stuck on the tube, dinner with friends, long holidays. Budapest, or wherever.
BOND
Why did you sign up?
AYESHA
I love my country, Kenya I mean. And I hate seeing what's being done to it in the name of my religion.
BOND
So why CIA?
AYESHA
(Looking away and ignoring his question)
I wanted to see it through. But…
(A pause while she stares into the distance)
If you gaze for long into an abyss, the abyss also gazes back at you.
(Turning to him)
Do you understand?
BOND
(He inhales and then)
He who fights with monsters might take care, lest he thereby become a monster.
She is surprised at his knowledge; she smiles for the first time since Fort Jesus.
BOND (CONT.)
An educated brute.
AYESHA
An educated monster perhaps?
Bond looks sheepish. She has hit a nerve and she realises it. She backtracks.
AYESHA (CONT.)
But no one is born an executioner. Do you ever think about doing something else?
BOND
(Bond smiles wryly)
No.
AYESHA
I don't believe you. There's more going on under the surface…
BOND
I did say I would surprise you.
AYESHA
(Ignoring his humour)
There's a tender side to you.
Ayesha looks through him for a moment but Bond recoils.
AYESHA (CONT.)
You hide it well though.
BOND
(Switching the focus)
Well, keeping secrets is our business. Maybe we have more in common than you think.
AYESHA
(Scoffing)
That must be the only thing we have in common.
BOND
Ouch.
AYESHA
Come on, we are nothing alike.
BOND
Go on, explain.
AYESHA
I mean. We…
(She pauses looking for words)
I guess the big difference is I know what I really want. And you…
She has struck another chord. A moment passes between them. But Bond quickly retreats into his shell again.
BOND
Right now what I really want is to stop a terrorist attack and find the person responsible for Caro's death.
She looks away unable to look him in the eye, reintroduced to the reality of their situation.
BOND (CONT.)
And I think your friends might be our best lead.
(Putting a hand on her shoulder and re-establishing eye contact)
Take me to them, and then you are out.
Ayesha looks him in the eyes, hesitant but then committing.
EXT. MOMBASSA ROOFTROPS AND CENTRAL MOSQUE – DAY 85
An establishing shot of Mombasa and the central Mosque.
EXT. CENTRAL MOSQUE ENTRANCE – DAY 86
Bond follows Ayesha, mingling through the crowds gathering outside the mosque. They are viewed with a little suspicion.
INT. CENRAL MOSQUE – COURTYARD – DAY 87
As the two of them enter the courtyard, we see Yousef, the albino, and two dozen members of the terror cell engaged in a heated discussion. As Bond rounds the corner they spot him and the conversation stops.
Yousef, moves forward and squares up to Bond and Ayesha. The other members circle them.
YOUSEF
(In Arabic)
The deserter returns.
Yousef puts his hand on her arm but she resists it.
AYESHA
(In Arabic)
Take me to Zufar.
YOUSEF
(Looking at Bond and in English)
Will you be bringing your boyfriend?
Yousef eyes Bond menacingly.
EXT. KENYAN PLAINS – DAY 88
We cut to a wide shot of a fleet of motorbikes on the beautiful but barren Kenyan plains. It's dry and arid populated only sparsely by trees and greenery.
Yousef, the lead biker, pulls to a stop and the rest of the bikers follow suit. Bond is manhandled off the back of his bike and shoved to the floor.
A foot soldier pulls out a scanner and proceeds to scan Bond's whole body. The only activity that comes up on is when the scanner hovers over Bond's watch. Yousef clumsily pulls the watch off Bond's wrist.
BOND
(Sarcastically)
Careful that's expensive.
Yousef takes the watch tosses it on the floor and jabs his gun down hard on it. Bond looks at him with disdain. Yousef then brutally brings his gun down on Bond's neck. Another soldier puts a hood over Bonds head and he his manhandled back to the bike.
EXT. KENYAN PLAINS – 20 MILES NORTH OF MOMBASSA – DAY 89
The parade of motorbikes cut across the barren landscape. Bond is masked with a black hood, on the back of a bike. They approach an encampment.
A child, his right hand missing, is playing with a ball made of rubber bands and plastic bags outside the encampment. There are squads of men performing military drill armed with rifles and automatic weapons.
SHOTS FIRED.
The motorbike parade is signalling its return by firing in the air. YOUSEF, the lead motorcyclist fires shots at the feet of the boy with the ball. He laughs as the boy runs away in tears.
The bikes pull up outside a small tent village. Bond is pulled from his bike, his hood taken off, the sun temporarily blinding him, and shoved into the central meeting tent.
INT – TERRORIST OUTPOST MEETING TENT – DAY 90
Zufar, the leader of this group of terrorist, steps forward and raises a hand. Yousef punches Bond hard in the stomach, Bond drops to one knee.
Ayesha walks in and speaks in Arabic with Zufar.
AYESHA
(Subtitled)
Take your time with him. He may have something you want.
Zufar takes Ayesha's words on board.
ZUFAR
(to Bond)
You have balls, coming here. American?
BOND
(Catching his breath)
British. Hazzard. Mark Hazza-
Zufar prowls around him.
ZUFAR
-On the train, you manhandled the woman. Why?
BOND
She offered me a deal, then she backed off. I don't like being led on.
ZUFAR
What deal?
BOND
(Standing up)
I hear you are looking for a container capable of synthesising a highly concentrated amount of TATP?
ZUFAR
And what do you think we plan to do with it?
BOND
Well, I should imagine you are planning to make a mess of some kind. But I have learned from experience that it's best not to ask those kinds of questions.
ZUFAR
Perhaps you prefer not to think of the consequences.
BOND
I'm a businessman. What my customers do with their product is their business.
ZUFAR
(To Ayesha)
What do we say about the British?
AYESHA
(Convincingly and with spite)
Standing above it all, pulling the dirtiest of strings, but never the ones getting blood on their hands.
BOND
(To Zufar)
I'm here simply to offer you a deal.
Zufar considers this, then beckons Yousef and whispers something in his ear. Yousef leaves the room.
ZUFAR
Come, I want to show you something.
EXT – TERRORIST OUTPOST MEETING TENT – DAY 91
Zufar leads a crowd through the tent village.
ZUFAR (CONT.)
One month ago, we had an arrangement with a fixer. The deal was almost done, but he turned on us. So you will forgive me if I am not too trusting.
BOND
Who was the fixer?
ZUFAR
A Ghost.
INT. MEDICAL TENT – DAY 92
Zufar leads Bond, Ayesha and a group of soldiers through a medical tent. Men and boys are laid out on make shift beds with ad-hoc equipment being used to treat life-threatening injuries.
ZUFAR (CONT.)
Trust is something we earn. The albino would be dead were it not for me. His body parts are highly desired in these parts. Now he lives to serve me.
(Reaching down to a dying soldier)
Likewise, these men will likely die, but each of them has earned my trust.
Zufar tends to a dying soldier tenderly. He then gets up and continues on through the tent.
ZUFAR (CONT.)
Others prove themselves to be no soldiers at all. They scatter, they flee, so we round them up and we kill them.
Zufar leads them through the medical tent and out the other side.
EXT. MEDICAL TENT – DAY 93
ZUFAR
But on occasion, we find other uses for them.
Yousef returns with the boy who was outside playing with the ball. He brings him in front of Bond and plants a handgun to Bond's head. Zufar walks towards Bond and offers him a handgun.
ZUFAR
(Face to face with Bond)
Time to get blood on your hands.
BOND
(Shaking his head and refusing the weapon)
This isn't my game. Like I said, I'm a business man.
ZUFAR
And I'm offering you a deal, signed in blood.
BOND
No deal.
ZUFAR
(Walking away, cocking the pistol, and to Ayesha)
You better persuade your friend, I'm not sure he realises it's deal or death.
Ayesha steps forward toward Bond, her face emotionless.
AYESHA
(Convincingly)
Your business is war. Doesn't war make monsters of us all?
BOND
Monsters maybe, but I'm no executioner.
Bond stands firm, facing down Ayesha. Yousef has had enough and brings the butt of his gun down hard on Bond's neck again. The boy scampers off, surviving for another day.
BOND
(To Yousef)
You on the other hand. That would be sport.
Yousef spits in Bond's face and begins the laughter in the room. The other foot soldiers all join in. But Zufar isn't laughing.
ZUFAR
Let's see.
Yousef looks stunned and the laughter in the room stops. Zufar walks over to Yousef and holds his gaze reassuring him. A smile passes between them.
ZUFAR (CONT.)
(In Arabic)
Let's go.
Zufar leads an exodus from the tent village to a cliff face. Bond is shoved along by SOLDIER #1 with the crowd.
EXT. VALLEY CLIFF FACE – DAY 94
Yousef hops on a bike and speeds away down a narrow strip, flanked by a sheer drop on either side and at the far end. Bond is shoved towards another bike.
SOLDIER #1
Mount!
Yousef is mounted with an AK-47 at the end of a makeshift dirt track overlooking the valley. Foot soldiers have crowded in to form a modern jousting field. Bond is at the other end, mounting his own bike. He familiarises himself with the controls and looks over to Ayesha in the crowd who shows little emotion.
Zufar walks over with an AK-47 for Bond.
ZUFAR
You British are sportsmen, yes? I'll make you a new deal. You win this duel; you can build me my bomb.
Bond receives the weapon and readies himself to use it. He looks down the track at Yousef who looks supremely confident. A fighter steps forward in the middle of the arena and raises his AK-47 into the air and fires.
Yousef sets off at a furious pace. Bond also sets off but not as confidently. Yousef fires a few shots in the air, hyping up the already expectant crowds. Bond readies himself as the two motorcycles close in on parallel lines. Bond aims his weapon and…
HIS GUN JAMS.
Yousef laughs as he passes him and the crowds join in. Bond has been given a dud weapon. He has been sent into a joust without a lance. Yousef turns, ready for another pass and Bond has no time to think.
As Yousef passes, he fires at the ground beneath Bond, toying with his target. There is more laughter from the crowd of foot soldiers. Yousef turns and Bond does likewise, considering his options. He accelerates quickly on the parallel line but as he approaches he makes a dramatic change of direction cutting across Yousef's line and dragging his foot bringing up a cloud of dust that blinds Yousef causing him to fire wildly and aimlessly.
The laughter from the spectators has subsided somewhat. Yousef is angered by this and pulls up at the top of his mark ready to make a kill shot on this pass. Bond, his useless AK-47 in his hand, readies himself for what will be the last pass, one way or the other.
Both men accelerate, Bond holding the gun in his right hand is about to pass on the right. However he changes line so he is much tighter to Yousef almost heading for a head on collision. Yousef shots are perilously close to Bond but as the gap closes his clip runs out. At the last moment, Bond pulls left, narrowly avoiding Yousef and passing him on the left. He jams the AK-47 into the spokes of Yousef's front wheel. Yousef flies over the top of his handle bars and lands awkwardly. The impact also jars Bond off his bike and he skids on the floor painfully.
The crowds encroach and Zufar has sprinted to see if Yousef is okay. Yousef has turned to see Bond but is too wounded to get up. A foot soldier has reached Bond and pointed his weapon at him.
ZUFAR
(In Arabic)
Stop.
Zufar smiles as Bond pulls himself up to a sitting position. Zufar approaches leaving Yousef behind. Ayesha is ahead of the encroaching crowd of soldiers.
AYESHA
Zufar.
Zufar simply holds up his arm to her.
ZUFAR
So you can get me the components I need. Can you assemble it?
BOND
(Breathing heavily)
For the right price.
EXT. CIA OPERATIONS ROOM MOMBASSA – NIGHT 95
An establishing shot of the rooftops of Mombassa and the CIA operations room.
INT. CIA OPERATIONS ROOM MOMBASSA – NIGHT 96
Bond is sat at a chair, nursing his wounds. Leiter and Wycliffe listen, hanging on his every word.
LEITER
So they plan to use Eid as cover.
BOND
Precisely.
WYCLIFFE
The city will be crowded; I still don't see a target here. Where's the meet?
BOND
I'm not sure. That's what we need to find out.
At this point Q walks in carrying a large metal container.
BOND (CONT.)
Just the man.
Bond stand up, continuing to tend to his wound, and heads towards Q.
BOND (CONT.)
You look pale Q. Try a Safari; get some colour in your cheeks.
Q
(Not in the mood)
Your package, 007.
Q wheels in a large box shaped container.
Q (CONT.)
And my travelling companion for the past 12 hours.
Bond smiles at Q's discomfort.
Q (Cont.)
(Testy)
Sent out on a moment's notice, without a classified briefing, to accompany a device with enough explosive capability to blow the rattling tin death trap we call an aeroplane into the stratosphere five times over. So yes, you will have to forgive me if I look just a little pale.
BOND
(Goading)
Was there turbulence?
Q glares at Bond, not amused.
BOND (CONT.)
M didn't brief you?
Bond grimaces as he applies an antiseptic wipe to his wound.
Q
That looks painful.
BOND
(Continuing the goading)
Perhaps he thought it was above your pay grade.
Q
Is it?
BOND
Well if M thinks-
Q
-No. Is it painful?
BOND
(Smiling)
A little.
Q
Good.
Q smiles at Bond, he is now on an equal footing with him.
Q (Cont.)
(Motioning to the container)
As requested, a container capable of housing a synthesised compound of TATP. Inferred trigger charge, effective 5 mile radius.
Q removes a long torch like shell casing from the container.
Q (Cont.)
Now this is just a little clever. Remove this here.
He jabs the shell casing into the table and activates a hidden switch. The shell opens up into a mini radar dish.
Q (Cont.)
Prime it like so. This acts as a pin point locator signal.
LEITER
That should do the trick. Once we get a lock on you, we can move in with ground and air support.
WYCLIFFE
Rats caught in a trap.
Q
Quite.
(To Bond)
Now this may be deemed above my pay grade, 007. But I feel it's my duty to warn you. This equipment is unmistakably British government property. Its design, its structure, its markings.
Bond looks thoughtfully at Q.
Q (Cont.)
(Stressing the point)
If this thing goes off-
WYCLIFFE
-Don't worry, it won't.
Q's face shows that he is not totally convinced.
Q
As a precaution.
Q removes the upper casing of the tracking device and produces a small metallic box which has an inferred signal.
Q
This detaches and acts as an inferred signal interceptor. When the trigger is set off, this will block the signal and prevent the blast.
Bond takes the SIGNAL BLOCKER from Q, places it on the table and smiles.
Q (CONT.)
And that, 007, will be all.
Q packs up his equipment and gets up to leave, not totally at ease. Bond continues to dress the wound.
BOND
They really should pay you more, Q.
Q
Yes. They should.
As Q exits, Bond turns to Wycliffe.
BOND
Are the Kenyans on board?
WYCLIFFE
Two combat squads at your disposal.
LEITER
And Ayesha? I thought we agreed that she would introduce you and then she was out?
BOND
Don't worry Felix. She trusts me.
Leiter limps his way out of the room shaking his head, leaving Wycliffe and Bond alone. Bond finishes applying the bandage to his wound.
WYCLIFFE
The Question is James: are we absolutely sure we can trust her?
Bond shoots him a quizzical look.
WYCLIFFE (CONT.)
Well, she has persuaded you to build them a bomb.
Bond looks thoughtfully for a moment.
WYCLIFFE (CONT.)
(Gently and with a knowing smile on his face)
James, there's that weakness again. Listen, I'm not saying she's a traitor.
Wycliffe puts a hand on Bond's good shoulder.
WYCLIFFE (CONT.)
But we have a saying in Kenya: Only trust a woman one day later.
FADE TO
EXT. KENYAN PLAINS – NIGHT 97
A tracking shot over the plains, with the fleet of motorcyclists cutting across it. Even though it is dark, they do not have their headlights on. We cut to a close up shot of Bond, head hooded again.
A HUMMING NOISE startles the fleet, all of whom immediately pull up and execute a well-rehearsed camouflage routine. They pull over stealth tarpaulin sheets that have a shiny tinge to them but also imitate rocks in the wilderness. Bond, head still covered, is ushered underneath as the humming approaches.
The humming drone passes overhead and the soldiers wait anxiously. When Yousef decides it is safe he rips the sheet from over his head and storms over to Bond and grabs him around his chest.
YOUSEF
You're dead.
EXT. TERRORIST HIDE OUT – KILIFI CREEK – NIGHT 98
The fleet arrive at a new terrorist hideout. No longer are they out in the open, this time they have set up camp concealed in the trees next to a body of water that leads to the Indian Ocean. They are regimented and organised; there is no football this time. They are prepared for a battle.
Yousef leaps from his bike as the other soldiers' park up. He heads straight for the main tent dragging Bond with him.
INT. MAIN MEETING TENT – NIGHT 99
Zufar is in conversation with Ayesha around a table. Yousef storms in with Bond in tow.
YOUSEF
(Breathless)
He is a spy. He is leading the drones to us.
ZUFAR
Slow down, tell-
YOUSEF
-We haven't seen a drone in months, and yet when he brings his weapon, we are shadowed. He led them to us.
Zufar is taken aback by Yousef's outrage. But Yousef doesn't stop there; he storms over to Ayesha, face to face.
YOUSEF (CONT.)
And his girlfriend is a traitor too.
Zufar walks over to Yousef and pins him to the wall, his greater size imposing over the albino.
YOUSEF
You've become blind.
Yousef slips away and storms out of the tent in protest. Zufar turns to face Bond, urgency in his voice.
ZUFAR
Show me the equipment.
BOND
Of course.
Two foot soldiers unload the equipment in the centre of the tent. Bond carefully removes several pieces of protective casing including the tracking device. He hands Zufar the detonator, indicating how it should be primed and initiated.
Bond then takes the torch like casing/tracking device in his hands and backs away.
ZUFAR
What's that?
BOND
(Casually)
It's nothing, just a protective casing.
ZUFAR
Here let me see?
Bond hands Zufar the casing and watches as Zufar fiddles with it. He has one of his men scan it, but nothing shows on the radar. Zufar eyes Bond with suspicion.
BOND
Careful with that, it's flammable. I wouldn't want it anywhere near a lighter.
Bond's eyes meet Ayesha's briefly. She understands the reference. Zufar looks back at Bond stiffly and then tosses the casing aside.
ZUFAR
Come.
Zufar leads Bond and a handful of soldiers out of the tent, but Ayesha stays put. She waits before heading to pick up the part that Zufar discarded. She picks it up and leaves the tent.
EXT. MAIN MEETING TENT – NIGHT 100
Ayesha checks to see if she is being followed and then heads away from the tent village.
But as she leaves the shot, we see Yousef stalking her.
EXT. TERRORIST HIDE OUT - SHALLOWS – NIGHT 101
Ayesha heads away from the mobilising army to a quiet spot, armed with the device in her hands. She heads beyond the docks down to the shallows of the Indian Ocean where she is alone.
She crouches down and fiddles with the device, pulling at its casing, trying and failing to activate it.
SUDDENLY… She feels a sharp object in the base of her back and Yousef reaches his free arm around her body and pulls her tight, breathing heavily cheek to cheek with Ayesha. She struggles to control her breathing and lets out a small whimper.
YOUSEF
What's this, gift from your boyfriend?
Ayesha is visibly distressed at Yousef's grasp. Yousef pulls her tighter, enjoying her discomfort. She closes her eyes and tries to regain control of her breathing?
AYESHA
(Composed)
Take your hands off me.
He withdraws his hands slowly and holds them out wide behind her, the knife visible in his left hand but he continues to breathe next to her cheek. She again closes her eyes and he kisses her on the neck. At this she snaps and brings an elbow back at his crotch.
He winces and doubles over but laughs though the pain. She moves away and turns to face her tormentor. She backs away further but her feet begin to splash in the shallows. He inches towards her, the knife glistening in the moonlight and the waves crashing gently against Ayesha's legs.
SUDDENLY, she makes a run for it, but Yousef is on her in a flash. He trips her and she falls into the shallows. He is on top of her in a flash.
YOUSEF
(Knife in hand and with glee)
I'm going to enjoy this.
SUDDENLY, Bond emerges from behind them and grapples around Yousef's neck, skilfully removing him from Ayesha into a sleeper hold. Yousef brandishes the knife recklessly trying to catch Bond who manages to evade.
BOND
I wouldn't be so sure.
Yousef fights for air, still frantically trying to catch Bond who is using his legs to restrict the movement of Yousef's knife arm. The wave's crash into the pair as Yousef begins to fade, Ayesha now watching on crouched in the shallows. But Yousef manages to free his arm just enough to catch Bond's forearm, drawing blood and freeing himself from the sleeper hold.
Bond retracts and Yousef lunges at him with the knife. Just managing to evade him, Bond grabs the arm wielding the knife attempting to break it from Yousef's grasp.
But Yousef takes the opportunity to head-butt Bond. A little shaken, Bond responds by Judo throwing Yousef over his shoulder which releases the knife into the water.
Bond pounces on Yousef and wrestles with him in the shallows. The two men scrap until Bond hits his head on something hard under the water. He picks up a rock and strikes Yousef with it. Yousef's body immediately goes limp.
Bond pulls himself to his feet and Ayesha runs towards him and embraces him.
BOND
Are you hurt?
AYESHA
(Concerned)
I'm ok, what about you?
BOND
I'm fine.
They share a smile.
SUDDENLY, the albino rises up and leaps at Bond. Ayesha pulls away as the two men again tumble into the shallows. The two men scrap for ascendency but Bond quickly regains the upper hand and ends up atop of Yousef forcing his head into the water with his knees. Yousef flails his arms frantically as he struggles to raise his head above the surface. But it's no use; Bond is not relinquishing this hold.
As Bond continues to keep Yousef's head under water, we see Ayesha in the background watching him. His eyes ablaze with rage, his whole body taut with extreme stress. Yousef's body beneath is giving less and less convincing signs of life. She is seeing Bond becoming more the monster with each second. Her face is distressed as the arms stop flailing and the body goes limp.
Bond holds it down for a few seconds to make sure. Her hand goes to her mouth as Bond casually turns the body face up and checks it for other concealed weapons and then begins to drag it ashore.
She follows him as he pulls the body behind a rock formation; all the while she is watching his ruthless efficiency. He begins to form a shallow grave for the body, a half-baked job.
BOND
Pass me the tracker.
She passes him the TRACKING DEVICE and he primes it as Q showed him.
INT. CIA OPERATIONS ROOM – NIGHT 102
Leiter and Wycliffe sit lazily in the operations room playing cards. A team of operatives man the computers. One of them pulls his headphones from his ears and turns to Leiter.
OPERATIVE #1
Felix, location lock.
Leiter and Wycliffe leap out of their seats to the screens and look at the monitor.
EXT. TERRORIST HIDE OUT - SHALLOWS - NIGHT 103
We are back with Bond who turns to Ayesha. He hands her the SIGNAL BLOCKER and returns to the body.
BOND
(Urgently)
Go back to the camp, clean yourself up.
But she remains just looking at him, shell shocked. Bond grabs her by her arms, attempting to snap her out of it.
BOND (CONT.)
(With intensity)
Look at me. Forget about your conscience, forget about everything else. This is the time to do your duty. And then you're out. OK?
She nods at him and he lets her go. She moves off slowly before picking up speed and running up the beach. Bond stuffs the tracking device inside Yousef's jacket and begins to bury the body.
EXT. TERRORIST HIDE OUT - CAMP – NIGHT 104
Zufar is barking orders and there is a lot of movement around the camp as the troops are being mobilised. Zufar clocks Bond walking past sheepishly, his clothes soaked through.
ZUFAR
What happened to you?
BOND
(Pause)
Midnight swim.
Bond smiles and then tries to cover up the fresh cut on his forearm but he is too late, Zufar has spotted it.
ZUFAR
(Half-joking)
Just swimming?
BOND
Just swimming.
Zufar just looks at him, trying to read him.
ZUFAR
There has been a change of plan. We are moving out.
Bond doesn't give anything away until Zufar has left. But then the tension returns to his face and he turns to go back to the tracker.
INT. CIA OPERATIONS ROOM – NIGHT 105
Both Leiter and Wycliffe are priming themselves in front of a screen with a large map.
LEITER
Kilifi Creek. You know it.
WYCLIFFE
(A little surprised)
Yes. Straight up the coast, 30 kilometres north from here.
LEITER
We better move fast.
We focus on the map as the two men go their separate ways.
EXT. TERRORIST HIDE OUT - CAMP – NIGHT 106
Back at the terrorist hide out there is movement. The troops are preparing to move out. Soldiers load up boats with equipment ready to set sail for an assault.
EXT. TERRORIST HIDE OUT - SHALLOWS - NIGHT 107
Bond sneaks back to the spot where Yousef is buried. He bends down to dig for the body. But…
SOLDIER #1
(In Swahili)
Up.
A foot soldier is behind Bond with an AK47 in his hands. Bond rises to his feet and walks towards the man with a casual smile. SOLDIER #1 ushers Bond back to the camp but then turns and looks at the spot where Bond was crouched. As Bond walks back he turns to see Soldier #1 approaching the site of the body.
EXT. TERRORIST HIDE OUT - DOCKS – NIGHT 108
The troops are moving out and loading up their motor boats. Zufar is helping a group of his soldiers to load Bond's bomb container. When it is safely secure, he pulls aside a foot soldier.
ZUFAR
Where's Yousef?
The soldier shakes his head. Zufar shrugs and boards the boat and beckons the approaching Ayesha to join him.
Bond heads down the ramp and climbs aboard the same boat. He sits next to Ayesha and directly opposite Zufar. The half assembled bomb sits in the middle of the boat between Bond and Zufar.
EXT. TERRORIST HIDE OUT - SHALLOWS – NIGHT 109
SOLDIER #1 begins to uncover something in the sand. Immediately he gets up and runs back to the base.
EXT. TERRORIST HIDE OUT - DOCKS – NIGHT 110
Bond anxiously looks around for any appearance of Soldier #1 over Zufar's shoulder. But there is no sign of him.
BOND
Where are we going?
ZUFAR
You'll see.
Over Zufar's shoulder we see a figure running in the direction of the boat's, it's Soldier #1 but he hasn't located Zufar or Bond yet and is running aimlessly.
Bond watches Soldier #1 as someone tries to start the engine. But it doesn't start cleanly. A second and third attempt, but the engine won't start. Bond eyes the motor and then back to Zufar.
Over his shoulder, Soldier #1 has broken into a sprint but he clatters into another soldier and ends up in the dust. There are loud shouts in Swahili, partially drowned out by the noise of the motor choking, as he picks himself up and begins heading directly for the boat.
Bond sees the commotion heading in his direction and his face is fixed on Zufar to see if he will notice.
SUDDENLY the motor bursts into life.
The boat gently moves off and out of the harbour. Bond's eyes are still fixed on Zufar who has yet to turn his head. Soldier #1 is now shouting at the top of his voice while he sprints for the boat.
With the boat 10 metres from the docks, Zufar turns his head to look at the commotion.
ZUFAR
Stop.
The engine immediately stops purring and Soldier #1 sprints to the edge of the platform and heads straight into the water, wading towards the boat. Bond squirms in his seat and Ayesha senses the tension too.
Soldier #1 reaches the boat, looks at Bond coldly and briefly, then leans in and whispers something in Zufar's ear. Zufar's face turns to thunder. Bond clocks this.
The two men stare at one another: a game of chicken. Zufar's face is laced with suspicion. He taps Soldier #1 on the back and motions for him to go back ashore. Soldier #1 glares at Bond but then obeys.
ZUFAR
(Staring directly at Bond)
Kifo Ushuru will deliver the package personally tonight.
Bond nods, knowing that wasn't the message he just received. Zufar continues to stare through Bond's skull. Bond stares poker-faced back at him. Ayesha looks unsettled and, using her clothing as cover, she grips Bond's hand tightly as the boat leaves the boat.
EXT. INDIAN OCEAN COASTLINE – NIGHT 111
The fleet of boats skirt around the coastline of the Indian Ocean before slowing down as they approach their destination:
EXT. FORT JESUS – DOCKING BAY – NIGHT 112
We are back at the Fort, light up but the atmosphere is eerily silent. The boats dock and Bond is ushered out, followed closely by Zufar, the bomb equipment and Ayesha.
EXT. FORT JESUS – COURTYARD - NIGHT 113
Zufar has brought an army with him, prepared for a battle. They form up in the courtyard, with Bond, Zufar and Ayesha in the centre.
Opposite them are three men, the LEADER is a solidly built Kenyan, with a worn face. He is flanked by two henchmen. The man steps forward and speaks to Zufar.
LEADER
Were you expecting an army?
ZUFAR
(Ignoring his question)
Are you him?
MUNGAI
(Smiling)
No. I'm Mungai. Do you have the hardware?
ZUFAR
(Nodding)
First, tell me what exactly Kifo Ushuru have planned for our hardware?
MUNGAI
(Smiling)
All will be revealed in good time.
Zufar decides to proceed. He has several of his men bring in the bomb equipment which Bond has provided.
Mungai's two henchman move forward with their component which they add to Bond's component, completing the bomb.
ZUFAR
(To Bond)
Prime it.
Right behind Bond, Zufar is breathing down his neck. Bond primes the device.
SUDDENLY… Zufar puts a gun in Bond's spine.
ZUFAR
(Whispered)
Keep quiet.
Bond stands up slowly and glances at Ayesha. She is oblivious to the gun in Bond's spine.
MUNGAI
Is it done?
Zufar nods. With a gun in Bond's back, he motions to one of his soldiers to bring a case of money forward.
ZUFAR
As agreed, 5 million US dollars for your employer.
Mungai goes to retrieve the money. But Zufar shakes his head.
ZUFAR (CONT.)
Payment for strategic planning. Information that you will give me now.
MUNGAI
Kifo Ushuru will provide it himself.
Mungai looks behind him and everyone's attention shifts to the steps leading down to the courtyard. A figure emerges in the shadows, flanked by the flaming torches; he makes his way down the steps and comes into view.
WYCLIFFE!
Bond's face looks shocked. Wycliffe continues down the steps and settles on the penultimate step. He looks directly at Bond who is trying to make some sense of this.
WYCLIFFE
Surprise!
AN EXPLOSION
Behind Wycliffe rubble flies up and there is another explosion. The sound of humming as drones fly overhead.
Bond uses the distraction to turn and grab Zufar's gun.
GUNSHOTS. Zufar fires the gun twice but it only goes to the floor. Bond head-butts Zufar, who drops his weapon.
MORE EXPLOSIONS as the drones fly overhead.
KENYAN FORCES emerge forcing the terrorist towards the water. There is panic amongst them as they scatter back to the boats.
BOND wrestles with Zufar and has the upper hand when… AN EXPLOSION blows both men aside. Bond is launched into a pile of rubble and temporarily disabled. Zufar, now weapon-less, uses the opportunity to flee from Bond.
THE TERRORISTS return sporadic fire and board their boats, but there are more explosions, with several of the boats going up in smoke.
BOND sets of in pursuit of Zufar up a staircase onto the fort walls.
EXT. FORT WALLS – FORT JESUS – NIGHT 114
BOND reaches the top of the staircase where Zufar is waiting for him, striking a blow to the side of Bond's head. Bond drops to a knee but launches himself at Zufar's legs taking him down. Zufar responds by kicking Bond hard in the chest.
Bond falls onto his back and Zufar is on him in a flash, arms around his neck. But Bond chops him hard in the solar plexus with both hands and follows this with a blow to the chest.
Zufar is flung backwards. He gets up and flees as Bond feels his throat and breathes heavily.
EXT. FORT JESUS – DOCKING BAY – NIGHT 115
As the terrorist set off to escape, DRONES continue to fly overhead, firing missiles towards the boats.
EXT. FORT WALLS – FORT JESUS – NIGHT 116
ZUFAR bustles past one of his own soldiers at the top of the stairs. SOLDIER #2 turns to see the onrushing Bond. He goes for a pistol in his belt.
BOND has no option but to launch himself at the SOLDIER #2's gun hand. The two men grapple at the top of the stairs for control of the pistol.
ZUFAR continues down the stairs.
BOND and SOLDIER #2 continue to wrestle for control of the weapon. Bond forces Soldier #2 backwards and the two men tumble down the stair case, continuing to grapple for control of the weapon. As they tumble Bond gains an upper hand.
EXT. FORT JESUS – COURTYARD – NIGHT 117
ZUFAR flees from the staircase as the two man fall in the background.
TWO SHOTS FIRED
Zufar collapses to the ground. Holding the back of his leg, he writhers in agony. We see Bond lying at the foot of the stairs on his side, gun in hand. The soldier is unconscious beneath him.
DRONES continue to fly overhead and KENYAN FORCES begin to round up wounded terrorists.
BOND stands up and makes his way to Zufar. He stands above him, gun pointed on his target. Zufar rolls over to face him, his hands grasps around the bullet wounds on his thigh.
ZUFAR
Ready to get blood on your hands?
BOND
(Smiling cruelly and lowering the gun)
I'm sure we can find another use for you.
Zufar's face smiles back at Bond, but it is a defeated smile. Two Kenyan troops round the corner and drag him away.
Bond walks through the courtyard which is being swept by the Kenya forces. There is the humming up above him and we pan up from Bond's POV to see the drone.
INT. CIA OPERATIONS ROOM – NIGHT 118
Leiter and his team of drone operators are looking up at a multitude of screens. The central one has an image of Bond looking up at the drone.
EXT. FORT JESUS – COURTYARD – NIGHT 119
Back in the courtyard Bond smiles at the drone.
BOND
Happy hunting Felix.
INT. CIA OPERATIONS ROOM – NIGHT 120
Leiter looks at Bond on the screen with a sly grin.
LEITER
Right, let's finish the job.
EXT. FORT JESUS – COURTYARD – NIGHT 121
The drone whizzes off to join the pursuit out to the ocean, leaving Bond wandering through the debris scattered around the courtyard. Several Kenyan troops head out towards the ocean but the fighting is over. Wycliffe strolls across the courtyard and over toward Bond.
WYCLIFFE
(Laughing)
Did I nearly have you?
BOND
(With a smile)
For a second or two. Quite the performance.
WYCLIFFE
I think Felix will be kept busy this evening. Well done James.
The two men share a handshake.
WYCLIFFE (CONT.)
Where's the girl?
Bond looks around, no sign of her. Bond's face turns to one of suspicion and betrayal.
BOND
(Angrily)
Where's the Bomb?
Has she been playing both sides all along? He breaks from a walk, to a scamper, to a sprint. He is checking for any sign of her or the bomb. He heads up a flight of stairs to a vantage point for a view into the distance.
EXT. FORT JESUS - VANTAGE POINT – NIGHT 122
But there is no sign of her. Wycliffe catches his breath behind him. Bond's face screwed with anger, his fists clenched.
WYCLIFFE
No sign of her?
Bond says nothing. Wycliffe's expression changes from concern to malice in an instant.
SUDDENLY he brings the back of his gun down on Bond's neck knocking him unconscious.
WYCLIFFE
(Cont.)
No, I don't suppose there would be.
FADE TO BLACK
INT. TORTURE CHAMBER – FORT JESUS – NIGHT 123
Bond is dragged by two henchmen into the centre of the room. His hands are bound behind him and his shirt has been unbuttoned leaving his chest exposed. We are suddenly aware of two razor sharp hooks coming into focus. WYCLIFFE/KIFO USHURU wanders between them, a shadow of one of the hooks across his face.
KIFO USHURU
I did warn you. Even the most beautiful fig may contain a worm.
The two men, having bound Bond, leave the room. Bond is alone, his face bitter with betrayal, only the mocking hooks for company.
Ayesha enters the doorway. Bond tries to decipher her face. She is frightened and her hands are bound behind her. She is prodded forward from behind; Mungai shoves her into the corner where she falls to the ground
KIFO USHURU (CONT.)
And I had you all, eating out of the palm of my hand. You, Leiter, the girl.
BOND
And what about Caro? Was she eating out of the palm of your hand too?
KIFO USHURU
Something of an appetiser. Poor thing, she stumbled a little too close to the truth.
BOND
(With bitter admiration)
While we were less than 50 feet away?
AYESHA
(Whispered)
You cold…
KIFO USHURU
(To Ayesha)
Don't feel left out, my beauty. You're desert.
EXT. FORT JESUS – NIGHT 124
We see a wide shot of Fort Jesus from the sea; the fire fight has left its toll. It is now a deserted battlefield. There is a light illuminating one of the rooms. We hear the agonised scream of a man.
INT. TORTURE CHAMBER – NIGHT 125
Bond is now hanging from the hooks, the tips of his toes touching the floor occasionally. Kifo Ushuru prowls around the torture control. It looks like an old pirate ship wheel.
KIFO USHURU
And you my dear James, when your skin is nice and taut, you will be the perfect main course.
Kifo Ushuru twists the wheel and the hooks in Bond's chest are lifted, stretching his skin further.
BOND
(Through gritted teeth)
Hurry up and finish it then, it's not considered good manners to play with your food.
KIFO USHURU
There it is, that famous British etiquette that went so badly missing during the Mau Mau uprising.
Again the wheel turns, and Bond lets out a cry of pain. Ayesha grimaces in the corner.
KIFO USHURU (CONT.)
Through a twist of fate, my father was delivered into the hands of the British, branded a traitor. They toyed with him, spat on him, treated him like a dog.
Another turn of the wheel.
KIFO USHURU (CONT.)
But his resolve never buckled. Strengthed by the legend of Kifo Ushuru, he endured. And sixty years on, fate has delivered you to me.
BOND
(Sarcastically)
I'm disappointed, even after I delivered you your Bomb.
KIFO USHURU
(Chuckling)
Your Bomb, and yes I'm most grateful.
BOND
Of course, my bomb.
EXT. FORT JESUS – NIGHT 126
The bomb is placed on the back seat of a 4X4 by the two henchmen. Mungai is in the driver's seat. The car sets off away from the Fort.
KIFO USHURU (V.O.)
At midnight tonight the Central Mosque in Mombasa will receive a special Eid gift from the dilapidated ruins of the British Empire.
EXT. MOMBASSA STREETS – NIGHT 127
They are driving through the packed streets with people blowing trumpets and celebrating Eid in the streets.
KIFO USHURU (V.O. CONT.)
And tomorrow the world will wake to the horror of the renegade British spy and his beautiful accomplice, brutally murdered in an act of revenge.
INT. TORTURE CHAMBER – FORT JESUS – NIGHT 128
KIFO USHURU (CONT.)
Infamy James. Imfamy. Killing thousands, tens of thousands. A moment in time, changing the face of this continent forever. The British, already isolated in Europe, will become the international pariahs of the global stage.
BOND
And for what? To settle a score from sixty years ago?
KIFO USHURU
For the future! We have not inherited the land from our ancestors but borrowed it from our children. We are going to flip the structures on their head, and when we are through the British will be the ones begging for scraps underneath the global table.
BOND
We? You don't mean Kenya do you?
KIFO USHURU
No not my pitiful little country no. A rising power, far greater than any nation state. You didn't think I was working alone did you? You were carefully selected after the Karachi job, to represent all the myriad sins of the Empire.
BOND
(Sarcastic)
To be some sort of atonement sacrifice for British misdemeanours of days long gone by?
KIFO USHURU
(Tightening the hooks further)
You will be sacrificed on the altar of your own arrogance. The colonial old bobby, come to put the Africans back in their place.
One of the hooks comes loose. Leaving Bond dangling from just the one hook. Bond writhes in agony.
BOND
(Goading)
And you? The diligent police captain who bided his time, waiting for the perfect moment to exact revenge? Or the psychotic who sold the soul of his country to terrorists.
The insult hits home and Kifo Ushuru aggressively tightens the hooks further. Bond writhes in agony but manages to ride the pain and fire off another insult.
BOND (CONT.)
Leaving your country to rot, and your countrymen to suffer.
Another turn of the screw.
BOND (CONT.)
(In pain but still goading)
Some colonial reparations.
The hook is tightened further, but it snaps loose and Bond is free.
In an instant, Bond launches himself at Kifo Ushuru but his attack is parried and Bond ends up on the floor.
KIFO USHURU goes to grab the hook and attack Bond with it. BOND, his hands still bound behind his back, evades the attack with the hooks and launches his body into Kifo Ushuru a second time, tackling him to the ground.
THE HOOKS, swing around the room as the two men grapple on the floor. BOND head-butts KIFO USHURU which forces him back. But with his arms tied behind his back, Bond is disadvantage and Kifo Ushuru gains the upper hand.
BOND is pinned down. Kifo Ushuru uses his forearm against Bond's neck and reaches for a knife from his ankle pouch. He smiles at Bond gleefully. The HOOKS swing around the room.
KIFO USHURU
So James, time to say goodnight. We have a saying in Kenya…
BOND looks behind Kifo Ushuru as the HOOKS continue to swing around the room.
BOND
(Sarcastically)
Really?
SUDDENLY Bond pushes up hard and a HOOK pierces through Kifo Ushuru's mouth. His face wide eyed, mouth open and motionless. Dead in an instant.
Bond stands up over the swinging corpse, dangling from the hook.
BOND (CONT.)
We have a saying in England: what goes around comes around.
Ayesha stands and uses the other swinging hook to untie her bonds. She then unties Bond's hands from behind his back and the two of them are free.
BOND (CONT.)
The signal blocker, do you still have it?
AYESHA
(Tending to Bond's wounds on his chest)
James, we need to stop the bleeding.
BOND
We haven't time. Do you still have it?
Ayesha produces the SIGNAL BLOCKER and they both run for a mode of transport.
EXT. FORT JESUS – NIGHT 129
Bond and Ayesha make for a 4X4. The wheels spin frantically as they set off in pursuit.
INT. 4X4 – NIGHT 130
Bond is driving; Ayesha is in the passenger seat. They hit traffic on the streets. Bond hammers the horn.
BOND
How long have we got?
AYESHA
Three minutes.
Bond presses hard on the accelerator and heads off down a side road.
EXT. CENTRAL MOSQUE – MOMBASSA – NIGHT 131
The sounds of horns on the road and celebrations on the street. We pan back to see a 4X4 screaming into view. Another 4X4 goes in the opposite direction.
INT. 4X4 – NIGHT 132
AYESHA
It's Mungai.
BOND
Leave him.
EXT. CENTRAL MOSQUE – MOMBASSA – NIGHT 133
The 4X4 screams through the crowd and slams to a stop outside the main entrance.
INT. 4X4 – NIGHT 134
BOND
What's the Swahili word for bomb?
EXT. CENTRAL MOSQUE – MOMBASSA – NIGHT 135
Bond and Ayesha get out of the car and head towards the entrance of the mosque.
BOND
Bomu! Bomu!
Upon hearing this, the crowd descends into a panic and start to flock out and away from the Mosque. Bond and Ayesha wrestle their way past the stampeding crowds.
Some of the men try to stop Bond from entering the mosque. Ayesha finds it easier to get through the crowds and enters the mosque first. Bond follows shortly afterward.
INT. CENTRAL MOSQUE – MOMBASSA – NIGHT 136
Ayesha looks around the mosque, looking for the 'gift'. She sees it, covered in a delicate cloth. She rushes over to it and pulls the cloth which reveals the bomb casing. Bond has fought his way past the onrushing crowd and now joins her.
INT. MUNGAI'S 4X4 – Night 137
MUNGAI speeds around a corner, looking for a good place to stop.
INT. CENTRAL MOSQUE – MOMBASSA – NIGHT 138
Ayesha has the SIGNAL BLOCKER, but the casing of the bomb is fused shut.
Bond picks up a metal stand and uses it to strike at the casing. But two men try and stop him. He shakes them off and continues to violently hit the casing several more times, finally breaking it open.
INT. MUNGAI'S 4X4 – Night 139
MUNGAI has pulled over, and he is priming the detonator.
INT. CENTRAL MOSQUE – MOMBASSA – NIGHT 140
As it opens, Bond's body begins to weaken. He stumbles backwards, blood streaming from his chest. The two men catch him and pull him to the floor.
Ayesha steps forward to the bomb. She looks at the mechanism and locates the signal. She fixes the SIGNAL BLOCKER to the inferred beam.
INT. MUNGAI'S 4X4 – Night 141
MUNGAI hammers at the detonator… Nothing. He hammers it two more times and then slams down hard with his fist on the dashboard of the car.
INT. CENTRAL MOSQUE – MOMBASSA – NIGHT 142
Ayesha, propped up against the bomb, breathe a massive sigh of relief. Bond falls backwards, beginning to pass out. She rushes towards him.
BOND'S POV facing upwards. He is being pulled out of the mosque by a group of men.
FADE TO WHITE
(Long Pause)
BOND (V.O)
You smell nice.
INT. BONDS BEACH VILLA BEDROOM – LATE MORNING 143
POV BOND'S EYES opening. We see Ayesha standing over him, smiling delighted to see him opening his eyes. She is wearing a colourful hijab, and her clothing is more liberal. Her face is now free of tension.
He is in bed, bandages applied to his chest.
AYESHA
(Holding his hand)
It's nice to see you too.
EXT. BEACH – AFTERNOON 144
Bond and Ayesha walk side by side along the same beautiful beach as they had done earlier. This time there are other people on the beach, mingling in the background.
AYESHA
I'm not sure Kenya will ever feel like home again after this.
BOND
I wouldn't say that. I think this whole experience will stand you in good stead.
AYESHA
How do you mean?
BOND
Well now you can go back to petty shoplifting with your boyfriends and little white lies to your parents.
AYESHA
You!
Bond stops and faces her and holds her arms tenderly.
BOND
No I mean it, you were the hero here, you saw it through. And now you get what you really want; your life back.
(A pause)
AYESHA
And there's that tender side again.
BOND
Not bad for a monster.
He smiles charmingly at her. But she struggles to hold his gaze, looking almost guilty.
AYESHA
James, there's something…
LEITER (O.S.)
-Welcome to the walking wounded club, friend.
She pauses, wanting to say something but not able to say it. Leiter looks down from the balcony.
BOND
(To Ayesha)
Tell me later.
She smiles at him and wonders off down the beach, thoughtfully.
Bond walks up the steps and joins Leiter on the balcony, overlooking the beach and the Indian Ocean.
EXT. VILLA BALCONY OVERLOOKING BEACH – AFTERNOON - LATER 145
Bond and Leiter are propped up against the balcony.
LEITER
We picked up his man, Mungai. We've been sweating him but so far nothing. So Wycliffe was the death collector all along. Certainly explains a few things.
BOND
How do you mean?
LEITER
Well, we had your signal 30 kilometres down the coast.
BOND
Kilifi Creek?
LEITER
Exactly. But Wycliffe got an anonymous tip that the meeting would be at the Fort. Did he do Caro too?
BOND
Yes.
(Anger in his voice)
I've made a bloody fool of myself.
LEITER
You're not the only one. I suppose this explains the mole behind the Karachi job.
BOND
No. He wasn't working alone. Said I'd been carefully selected after Karachi.
LEITER
Christ!
BOND (CONT.)
I've been running around playing the stupid policemen while the real villains have been plotting right under my nose.
LEITER
Sounds like we could have a leak at Langley after all.
BOND
It could also be London.
(Beat)
It doesn't matter. I've decided to resign.
Leiter's face comes over as stunned.
LEITER
(Perplexed)
Resign?!
BOND
Hanging from those hooks, I realised that I quite like my life. This game's all mixed up Felix. No one knows who the actual targets are anymore.
LEITER
Well, I suppose we all have the revolver of resignation in our pockets. Never mind that it blows a huge whole in your country's defences. But sure! And what do you plan to do in your retirement James?
Bond says nothing but looks out over the beach where Ayesha is striding towards them. Leiter gives Bond a knowing look.
LEITER (CONT.)
(Cynically)
Good luck with that friend.
BOND
You always were a cynical old dog Felix.
Leiter leaves Bond who decides it's time to head down the steps to the beach.
EXT. BEACH – AFTERNOON 146
Bond and Ayesha are the only figures in view on the beach as they approach one another. Ayesha embraces him but Bond has to withdraw because of the wounds on his chest. A small pool of blood has seeped through his white shirt over his left pectoral.
AYESHA
I'm sorry. It's just so good to see you up and about.
BOND
(Tending the wound)
It's ok. It's good to see the new you too.
Over Ayesha's left shoulder a solitary figure is approaching.
AYESHA
(Beaming)
I'm out, I'm free!
BOND
That makes two of us then.
AYESHA
(Shocked)
Really?! But… What will you-
BOND
-Well, for starters I quite liked the sound of a long holiday. I hear Budapest is nice this time of year. What about you?
Ayesha looks confused and awkward. She pauses, looking at her feet unable to make eye contact with Bond. Finally…
AYESHA
(Looking at the man over her shoulder)
I'm going to marry that man.
The man who has been approaching in the background has stopped 20 yards away, not wanting to intrude. He is an African-American man dressed in American naval uniform.
BOND
(Stung but hiding behind humour)
And I didn't get an invite?
AYESHA
(Laughs awkwardly)
Don't be silly James; you wouldn't want to be there.
She looks down embarrassed. Not wanting to make eye contact with him.
BOND
Never mind.
Their eyes meet again, for one final time.
AYESHA
Take care of yourself, James.
Bond acknowledges her with a slight nod and with that he turns and walks away from her. In the background, over Bond's shoulder we see the two lovers embrace warmly. A smile from Bond, but not a cruel devil may care smile. It's a wry weary smile tinged with melancholy. The blood stain on his white shirt is now more visible.
EXT. VILLA BALCONY OVERLOOKING BEACH – AFTERNOON 147
He continues back up the steps to Leiter, who has re-emerged from the bar holding two commiseration beers in anticipation of Bond's return. Bond accepts his bitterly.
LEITER
And that's how we recruited her.
BOND
(Half angry, half with humour)
You bastard Felix.
LEITER
(Smiling wryly)
I thought I better let you reintroduce yourself to reality. I hadn't realised that this Kifo Ushuru had scrambled your brain as much as he had.
Bond glances at Felix knowing he is right. He then stares into the far distance of the Indian Ocean. We slowly zoom in on Bond.
LEITER (CONT. O.S.)
Death has followed you around Kenya, no doubt about it. But it didn't find you.
We slowly zoom on Bond's face.
LEITER (CONT. O.S.)
Maybe because you have more in common with this Kifo Ushuru than you might like to admit. You're a death collector too, James.
We have zoomed into an extreme close up of Bond's eyes, slowly firing with determination.
LEITER (CONT. O.S.)
Are you telling me that if M puts another one of these bastards in your sights, you would hesitate, even for a second?
In Bond's eyes we can see the reflection of the Indian Ocean.
CUT TO.
EXT. THE MARLBOROUGH CLUB – LONDON – DAY 148
We see a similar shot of Galtie walking down the same central London Street, only shortened.
INT. THE MARLBOROUGH CLUB – LONDON – DAY 149
Again, we see a shortened shot of Galtie giving his coat to the porter and going through security.
LEITER (CONT. V.O.)
Good. Because you sure as hell can bet that somewhere in the dark corners of the world…
INT. DINNING ROOM – THE MARLBOROUGH CLUB – LONDON – DAY 150
LEITER (CONT. V.O.)
…there is someone plotting against you, your country and all that you care about.
Galtie enters the room which is again filled with distinguished gentlemen going about their private affairs. He takes a seat at the table; again we are not yet able to see who the person opposite is.
GALTIE
Our candidate has proven himself to be an admirable adversary. Perhaps he needs your… personal touch.
We see the picture of Bond on the table. Then we see fingernails decorated with blood red nail polish play with the picture.
The camera wheels around to a close shot of: MARIA. She looks sensually exited by the prospect.
MARIA
It would be a pleasure.
FADE TO BLACK. CREDITS ROLL.
-THE END-
BUT JAMES BOND WILL RETURN IN
-A WHISPER OF HATE-