No time to die
Executive Summary
Poster

Overview
Genres: Thriller, Action, Drama, Spy, Romance, Mystery, Adventure, Espionage
Setting: Contemporary, Various locations including a snowy forest, a lonely house, urban settings in London, and a remote island
Overview: In 'No Time to Die', James Bond is drawn out of retirement to confront a new threat linked to his past. The story begins with Bond's emotional struggles as he reconnects with Madeleine Swann, a woman from his past, while grappling with unresolved feelings for his former love, Vesper. As they attempt to build a future together, a dangerous figure named Lyutsifer Safin emerges, seeking revenge against Bond and targeting Madeleine and her daughter, Mathilde. The narrative unfolds through high-stakes action sequences and emotional confrontations, leading Bond to confront his own traumas and the legacy of his past. The climax sees Bond making a selfless sacrifice to protect his loved ones, culminating in a poignant exploration of love, loss, and redemption.
Themes: Trauma and its Intergenerational Impact, Love and Loss in the Face of Adversity, Redemption and Forgiveness, Legacy and the Weight of the Past, Identity and Deception, Espionage and Action
Conflict and Stakes: The primary conflict revolves around Bond's struggle to protect Madeleine and Mathilde from Safin, while also confronting his own past and the implications of a deadly weapon.
Overall Mood: Tense and suspenseful, with moments of emotional depth and action-packed sequences.
Mood/Tone at Key Scenes:
- Scene 1: The opening scene in the snowy forest sets a somber and tense mood, highlighting isolation and struggle.
Standout Features:
- Unique Hook: The emotional depth of Bond's character as he navigates personal relationships while facing a formidable antagonist.
- Major Twist: The revelation of Safin's connection to Madeleine's past and the implications for her family.
- Distinctive Setting: The contrast between the serene beauty of Norway and the chaotic action sequences on Poison Island.
- Innovative Ideas: The introduction of a new 00 agent, Nomi, who challenges Bond's traditional role and perspective.
Comparable Scripts:
- The Girl with the Dragon Tattoo
- Prisoners
- The Revenant
- The Babadook
- The Witch
- The Haunting of Hill House
- The Silence of the Lambs
- The Road
- The Night Manager
Writing Style:
The screenplay demonstrates a diverse writing style, blending elements of high-stakes action, suspenseful intrigue, complex character dynamics, and philosophical depth. While exhibiting variety, there's a recurring emphasis on intricate plots, morally ambiguous characters, and intense, emotionally charged scenes. The action sequences are often interwoven with dialogue-driven scenes that explore the psychological motivations of the characters.
Style Similarities:
- Christopher Nolan
- John le Carré
- David Fincher
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for 'No Time to Die' is a well-crafted, character-driven espionage thriller that explores themes of loyalty, redemption, and the consequences of past actions. The narrative weaves together multiple storylines, including Bond's personal journey, the threat of a dangerous new weapon, and the complex relationships between the characters. The screenplay's strengths lie in its strong character development, compelling emotional arcs, and well-executed action sequences. While it has a few areas that could be improved, such as pacing in certain sections and some minor plot holes, the overall narrative is engaging and leaves a lasting impact. The screenplay's unique selling proposition is its ability to balance high-stakes espionage with deeply personal character moments, making it a standout entry in the Bond franchise.
USP: This screenplay stands out in the spy genre by deeply exploring the emotional consequences of Bond's past relationships, particularly with Madeleine, while maintaining the high-stakes action and intrigue expected from a Bond film. The integration of personal stakes with global threats adds a unique layer to the storytelling.
Market Analysis
Budget Estimate:$200-250 million
Target Audience Demographics: Adults aged 18-54, particularly fans of action, thriller, and spy genres.
Marketability: The film features a well-known franchise with a strong fan base, high-stakes action, and emotional depth, appealing to a broad audience.
The blend of classic Bond elements with modern themes and characters makes it relevant and engaging for contemporary viewers.
The film's emotional stakes and character development provide a compelling narrative that can attract both traditional fans and new audiences.
Profit Potential: Very high, due to the established franchise, potential for international box office success, and opportunities for merchandise and spin-offs.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a compelling blend of high-stakes action, emotionally resonant character interactions, and a nuanced exploration of complex themes. While the screenplay employs many action-driven sequences, it never sacrifices emotional depth or character development. The voice shifts between terse, impactful dialogue during tense moments and intimate, revealing conversations that highlight character vulnerabilities and inner conflicts. A strong visual style is also evident, with vivid descriptions used to create a sense of atmosphere and place.
Best representation: Scene 4 - Twilight Reflections and Sudden Danger. Scene 4 best encapsulates the writer's unique voice because it masterfully balances high-stakes emotional intimacy with underlying tension and unresolved conflict. The intimate conversation between Bond and Madeleine showcases the emotional depth of their relationship, highlighting past trauma and the complexities of moving forward. The shift to passionate intimacy followed by a playful, lighter moment perfectly demonstrates the writer's ability to blend contrasting tones in a way that feels both realistic and engaging. This scene exemplifies the writer's skill in creating emotionally charged moments within a larger action-driven narrative, showcasing their ability to create memorable characters and impactful relationships while maintaining a gripping storyline.
Memorable Lines:
- Bond: I miss you. (Scene 5)
- Madeleine: Je t’aime (I love you). (Scene 4)
- Nomi: You probably thought they’d retire it. (Scene 15)
- Madeleine: This is not a game. (Scene 50)
- YOUNG MADELEINE: You want to eat again? You eat too much because you’re depressed. (Scene 1)
Characters
James Bond:A seasoned MI6 agent grappling with his past and personal relationships while facing a new threat.
Madeleine Swann:A psychologist with a troubled past, connected to the antagonist, who struggles with her feelings for Bond and her role as a mother.
Lyutsifer Safin:The main antagonist seeking revenge against Madeleine and her family, with a complex backstory tied to Bond's past.
Nomi:A new 00 agent who challenges Bond's traditional views and represents a modern approach to espionage.
Valdo Obruchev:A scientist involved in the creation of a dangerous weapon, caught between his own survival and the demands of Safin.
Mathilde:Madeleine's young daughter, whose safety becomes a central concern for Bond and Madeleine.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - A Fragile Connection | Tense, Melancholic, Mysterious | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
2 - Shadows of Doubt | Tense, Mysterious, Disturbing | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | |
3 - Frozen Terror | Tense, Suspenseful, Emotional, Haunting | 8.7 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
4 - Confronting the Past | Passionate, Intimate, Reflective, Mysterious | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
5 - Twilight Reflections and Sudden Danger | Intense, Emotional, Suspenseful | 9.2 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
6 - Chase on the Gravina di Puglia Bridge | Intense, Suspenseful, Dramatic | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
7 - A Tense Confrontation | Tense, Panicked, Intense, Emotional | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
8 - A Tense Farewell | Tense, Suspenseful, Dramatic | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 10 | 10 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
9 - Fridge of Doom | Tense, Suspenseful, Dark, Terrifying, Humorous | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 8 | |
10 - Betrayal and Escape | Suspenseful, Intense, Mysterious, Dramatic | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
11 - A Call to Action | Suspense, Intrigue, Tension, Mystery, Action | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
12 - A Night of Revelry and Urgency | Suspenseful, Humorous, Exciting | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
13 - A Toast to Trust | Tense, Suspenseful, Intense, Serious, Mysterious | 8.5 | 8 | 9 | 8 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
14 - A Night Ride to Connection | Suspense, Mystery, Adventure | 8.5 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
15 - A Clash of 007s | Tense, Confrontational, Mysterious | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
16 - Urgent Intelligence | Tense, Suspenseful, Mysterious, Serious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | |
17 - Mission Preparations in Santiago | Suspense, Adventure, Romance | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
18 - A Night of Intrigue in Santiago | Suspenseful, Tense, Mysterious, Flirtatious | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | |
19 - Chaos at El Nido | Suspenseful, Intense, Dramatic, Tense | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
20 - Escape from El Nido | Intense, Suspenseful, Action-packed, Dramatic | 9.2 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 10 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
21 - Escape from Santiago | Tense, Suspenseful, Exciting | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
22 - Confrontation on the Trawler | Tense, Suspenseful, Confrontational, Dramatic | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 10 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
23 - Betrayal and Chaos in the Engine Room | Intense, Suspenseful, Dramatic | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
24 - Descent into Darkness | Intense, Emotional, Tense | 9.2 | 9 | 9 | 9 | 10 | 9 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 10 | 9 | 9 | 9 | 8 | 8 | |
25 - Return to Action | Tense, Mysterious, Intriguing, Suspenseful | 8.5 | 8 | 9 | 7 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | |
26 - Confrontation in the Office | Tense, Confrontational, Regretful, Defiant | 9.2 | 9 | 9 | 9 | 10 | 9 | 8 | 9 | 10 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
27 - Dinner Disrupted | Tense, Suspenseful, Witty | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
28 - Uncovering the Truth | Tense, Serious, Mysterious | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
29 - Unveiling Shadows | Tense, Intense, Mysterious, Emotional | 9.2 | 9 | 9 | 9 | 10 | 9 | 8 | 9 | 10 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 8 | |
30 - Shadows of Security | Tense, Serious, Confrontational, Reflective | 8.5 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
31 - The Heracles Threat | Tense, Serious, Informative | 8.5 | 9 | 8 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
32 - Tension at Belmarsh | Tense, Emotional, Suspenseful | 8.5 | 8 | 9 | 7 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
33 - Confrontation in the Cage | Tense, Emotional, Suspenseful | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
34 - Mind Games in Interrogation | Tense, Emotional, Confrontational | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
35 - Confrontation at Belmarsh | Intense, Tense, Emotional | 9.2 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
36 - Shadows of Loss | Tense, Mysterious, Emotional | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
37 - Trust and Betrayal | Emotional, Intense, Tense, Reflective, Conflicted | 9.2 | 9 | 9 | 9 | 10 | 9 | 9 | 8 | 9 | 7 | 8 | 9 | 8 | 10 | 10 | 9 | 8 | 8 | 8 | |
38 - Tensions and Revelations | Tense, Intimate, Emotional | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 9 | 9 | 9 | 9 | |
39 - Secrets of the Past | Intense, Emotional, Revenge, Tense | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
40 - A Morning Interrupted | Tense, Intimate, Suspenseful | 8.7 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
41 - Fjord Escape | Tense, Suspenseful, Fearful | 8.5 | 9 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
42 - Fjord Pursuit | Intense, Suspenseful, Dramatic | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 10 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
43 - Chase Through the Fog | Intense, Suspenseful, Emotional | 9.2 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
44 - Mission Briefing in Norway | Tense, Serious, Suspenseful, Emotional | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
45 - Gadgets and Gliders | Tense, Suspenseful, Informative | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 6 | 8 | 9 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
46 - Threats on Poison Island | Tense, Emotional, Confrontational | 8.7 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
47 - The Poison Garden | Tense, Menacing, Intense | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
48 - Infiltration of the Submarine Pen | Tense, Mysterious, Suspenseful | 8.7 | 9 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
49 - Desperate Measures in the Lab | Intense, Suspenseful, Tense | 8.5 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
50 - A Desperate Escape | Tense, Threatening, Emotional | 8.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
51 - The Tense Standoff | Tense, Intense, Emotional, Confrontational | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 10 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
52 - Desperate Measures | Tense, Suspenseful, Dramatic | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
53 - A Family's Escape | Tense, Emotional, Suspenseful | 8.5 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
54 - Urgent Alliance | Tense, Urgent, Suspenseful | 8.7 | 9 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
55 - Race Against Time | Intense, Tense, Determined | 9.2 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
56 - Mission Under Siege | Intense, Suspenseful, Tense | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
57 - The Lethal Touch | Tense, Emotional, Intense, Dramatic | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
58 - Race Against Time | Tense, Urgent, Emotional | 9.2 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | |
59 - A Bittersweet Farewell | Tense, Emotional, Dramatic, Heartfelt | 9.2 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
60 - A Toast to Bond | Tense, Emotional, Solemn, Reflective | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 7 | 9 | 7 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 |
Scene 1 - A Fragile Connection
Wide on a peninsula between two large frozen lakes on a
monochromatic vista.
CUT TO FOLLOWING a MAN hobbling through the snow weakly. He
carries a gun.
He clears the trees, pauses, before descending a slope
leading him out of frame, revealing...
A LONELY HOUSE
Wreathed in snow. Lights in the windows. Straddling the icy
shore.
2 INT. HOUSE - DAY 2
CLOSE on a cigarette in a woman’s propped up hand, an ember
glows in its tip.
A CD plays French seventies electro-punk.
The WOMAN lies on a couch, half asleep, a drop of red wine in
a glass on the coffee table, pain killers an anti-psychotics
sprinkled around it.
She calls to her daughter: MADELEINE.
3 INT. UPSTAIRS - DAY 3
MADELEINE, twelve, plays with a handheld video game.
YOUNG MADELEINE
(all in French, serious)
You want to eat again? You eat too
much because you’re depressed.
MOTHER (O.S.)
Madeleine!
HEARS her mother, gets up.
YOUNG MADELEINE
(in French)
Yes?
FOLLOW BEHIND HER as she goes for the stairs.
MOTHER (O.S.)
Madeleine!
YOUNG MADELEINE
(in French)
Yes Mama?
MOTHER (O.S.)
(in French)
I’m thirsty my angel.
YOUNG MADELEINE (O.S.)
(in French)
I’m coming.
WE CONTINUE PUSHING towards a large triangular transom
looking out at the snow where THE MAN trudges towards us.
YOUNG MADELEINE (O.S.) (CONT'D)
(in French)
Do you want your medicine?
MOTHER (O.S.)
(in French)
Yes, my darling.
Now we TILT DOWN to the KITCHEN below. Madeleine fills a
glass from a box of wine.
Ratings
Scene 2 - Shadows of Doubt
Madeleine hands the wine to her mother, watching her flatly
as the mother takes a long gulp, the cigarette teeters on the
edge of the coffee table between the scattered pills.
The following dialogue is all in French.
MOTHER
Do you want to play a game?
YOUNG MADELEINE
I’m waiting for Papa to come home.
MOTHER
What do you think Papa does?
YOUNG MADELEINE
He’s a doctor.
Madeleine’s mother laughs.
YOUNG MADELEINE (CONT'D)
He heals people.
MOTHER
Your Papa, he kills people.
YOUNG MADELEINE
No.
MOTHER
Is that who you love? Murderers?
Madeleine looks at her mother. Her mother drops her wine
glass.
5 INT. KITCHEN 5
Madeleine opens the cupboard under the kitchen sink, gets out
a sponge and a jug of ammonia -- marked flammable.
Her eyes dwell briefly on a compact BERETTA 92 wedged behind
the pipes.
6 INT. LIVING ROOM 6
On her knees, Madeleine blots out the stain on the carpet
with rhythmic SQUASHES.
A shadow crosses her. She stops, senses something... carries
on cleaning.
Then a second SQUASH joins in like FOOTSTEPS on snow, off
tempo from her own actions.
More curious than frightened, she clambers over her mother
onto the couch, looking out the window. Nothing, not even an
animal.
Turns to her mother.
YOUNG MADELEINE
Mama. Mama. Mama.
MOTHER
Leave me be. Go play.
Turns back - a DARK FIGURE wearing a pale JAPANESE NOE mask
stands JUST ON THE OTHER SIDE OF THE WINDOW.
She screams, falling back.
YOUNG MADELEINE
Mama!
But her mother just wants to sleep.
MOTHER
Leave me alone?
Madeleine runs out.
7 INT. HALL, HOUSE 7
Madeleine enters a code on a keypad. She pushes and bangs
against the door but it won’t open.
YOUNG MADELEINE (O.S.)
Open!
8 EXT. HOUSE - SAME 8
We pan across a surveillance camera to reveal three CCTV
screens showing the MAN trudging past.
9 INT. HALL, HOUSE - SAME 9
Madeleine turns and calls out to her mother.
YOUNG MADELEINE
Mama!
She hears the CRUNCHING OF SNOW - moving towards the kitchen.
She follows it with her head, her eyes. Then something
SHATTERS behind her. The MAN in the mask stands at the end of
the hallway.
She knocks a pocket door as she jumps to escape. It slowly
closes in front of us.
We see the MAN through the reeded glass of the door, his
image splintered.
He opens it.
Ratings
Scene 3 - Frozen Terror
The man walks towards Madeleine’s mother on the couch. She
looks up.
MAN
Is Mr White home?
MOTHER (O.S.)
No. He’s gone.
MAN (O.S.)
My name is Lyutsifer Safin.
We see Madeleine hiding, listening.
MAN (O.S.) (CONT'D)
Your husband killed my family.
MOTHER (O.S.)
I told you, he’s gone.
MAN (O.S.)
I know. This will hurt him more.
We hear gunfire.
ON MADELEINE HIDING -- stifling her gasps.
The couch stuffing floats in the air. The man senses
something, turns and makes his way to the stairs.
11 INT. UPSTAIRS 11
He climbs the stairs.
12 INT. BEDROOM 12
He enters Madeleine’s bedroom. We see her hiding under the
bed. The man doesn’t see anything but as he’s turning to
leave - the videogame beeps.
From her hiding place under the bed, Madeleine sees his feet.
She holds her breath and waits.
The man turns back and raises his gun.
Madeleine rises, SHOOTS WILDLY, EYES CLOSED. Bullet after
bullet hits the man.
Until CLICK CLICK CLICK. The clip is empty.
She opens her eyes, the dark figure falls like a tree to the
floor below.
In shock, she walks to the edge of the balcony and looks down
on his body.
13 INT. LIVING ROOM - MOMENTS LATER 13
Madeleine, tears in her eyes, looks down at her mother.
Moments later...
ON THE MAN’S broken MASK, his face marked by pitted skin and
discoloured with green and purple marbling.
We track with it across the living room floor -- dragged by
Madeleine, wearing just her parka and slippers.
14 EXT. LAKE HOUSE 14
Madeleine struggles to get him out of her house. She lets him
drop, exhausted by the effort.
She drops to the ground, when suddenly the man sits up.
Her mouth is open but she can’t scream - she just runs.
The man rises and follows, a limp, bleeding, unhurried,
relentless.
15 EXT. FROZEN LAKE 15
Slipping and sliding, Madeleine struggles across the expanse.
She looks back as she runs when she suddenly feels the ice
shift.
SHE FALLS THROUGH THE ICE, disappears from view.
THE MAN walks on, until -
HIS POV, Madeleine hauntingly trapped beneath the clear ice.
HER POV, looking back up at this distorted cruel figure.
She’s running out of air, BANGS on the ice, GUN SHOTS ECHO.
BULLETS streak past her on either side. The ice fractures and
turns to slush.
HIS HAND reaches down into the freezing water. He pulls her
out.
16 EXT. GROTTO ON THE SEA, ITALY - DAY 16
SOUND OF OCEAN WAVES CRASHING.
Madeleine breaks the surface of the water as if Safin was
pulling her out -
She gasps but is frozen -- opens her eyes, he’s gone. It was
just a vision.
BOND stands like Adonis on a lido overlooking the sea. She
turns, feeling his eyes on her.
BOND
You okay?
Madeleine smiles, burying the past trauma. She’s been dealing
with this for years.
MADELEINE
Yes. Let’s go.
She swims towards him. He can sense she isn’t telling him
everything.
17 I/E. DB5 - MEDITERRANEAN ROAD - LATE AFTERNOON 17
Bond’s Aston Martin DB5 rounds a corner of a rugged
precipitous road. Madeleine looks at Bond adoringly.
BOND
How’s the view?
MADELEINE
(smiling)
It’s growing on me.
(beat)
Can you go faster?
BOND
We don’t need to go faster. We have
all the time in the world.
She rests her head on his shoulder as we lead them into a
tunnel --
Ratings
Scene 4 - Confronting the Past
-- Following the DB5 now as we exit the tunnel and see an
ANCIENT HILLTOP TOWN looming over a rugged valley.
19 EXT. PIAZZA SAN PIETRO CAVEOSO - LATE AFTERNOON 19
Bond drives through the piazza and parks the DB5. He gets
out.
PORTER (O.S.)
Buona sera signore.
BOND
Buona sera.
Bond opens the passenger door for Madeleine. She gets out and
they both stand, taking in the view.
20 EXT. VIA MURO, TOWN - DUSK 20
Bond and Madeleine are led up he stone walk by the PORTER.
Bond looks over his shoulder, almost involuntarily scanning.
She notices.
MADELEINE
You can’t help looking over your
shoulder.
He smiles.
BOND
What?
MADELEINE
(kindly as much for
herself)
No one’s coming.
BOND
I wasn’t looking over my shoulder.
MADELEINE
Yes you were.
BOND
Are we going to have a row about
this?
He looks up at the burning paper floating down from windows
above --
BOND (CONT'D)
What are they burning?
PORTER
Secrets, wishes, letting go of the
past. Getting rid of the old, in
comes the new.
21 INT. HOTEL ROOM, TOWN - DUSK 21
Bond and Madeleine kiss passionately as they move through the
heavenly room overlooking the town. She pulls his shirt off
round his shoulders to the floor.
MADELEINE
Je t’aime (I love you).
BOND
Je t’aime.
The passion turns into intimacy.
22 INT. HOTEL ROOM - SUMMER TWILIGHT 22
A record spins on a RECORD PLAYER. They lie in bed. He
strokes her hair. He is looking at her.
BOND
Where did you go to? Today. By the
water. Tell me.
MADELEINE
I’ll tell you if you tell me about
Vesper.
BOND
(knowingly)
Is that why we’re here?
MADELEINE
She’s buried at the acropolis -
BOND
(gentle)
I know where she’s buried.
MADELEINE
Can you forgive her? For us?
BOND
I left her behind a long time ago.
MADELEINE
As long as we’re looking over our
shoulder, the past is not dead.
Madeleine rolls away from Bond, gets up and walks to the
desk.
MADELEINE (CONT'D)
You have to let her go even if it’s
hard.
She sits down at the desk with a notepad on it.
BOND
You mean, if we’re to have a
future?
MADELEINE
Mmm-mmm.
BOND
So I do this and then..?
Madeleine jots something down on the notepad.
MADELEINE
I’ll tell you all my secrets.
BOND
Okay.
CLOSE ON the notepad: L’homme masqué (the masked man).
Madeleine tears the page from the notepad, folds it over. She
picks up a box of matches.
Bond watches her move to the balcony overlooking the town,
shaking the box of matches playfully.
Ratings
Scene 5 - Twilight Reflections and Sudden Danger
The hundreds of glowing fires spread across the town is
breathtaking.
Madeleine lights the piece of paper. She watches it fall.
On Bond, he watches her.
24 INT. HOTEL, TOWN - DAWN 24
The first rays of the sun stretch across the room.
Bond moves to the desk. He writes something on the notepad
and tears it off.
He moves to the bed, kisses Madeleine.
BOND
(whispers)
I’m going to go and do this and I’m
going to come back for breakfast.
MADELEINE
(she smiles, knows he’s
going to the grace)
Thank you.
BOND
And then you’re going to tell me
where we’re going next.
MADELEINE
Home.
25 EXT. GRAVINA DI PUGLIA BRIDGE - EARLY MORNING 25
As Bond crosses the ancient bridge spanning a deep ravine, a
small group of WIDOWED WOMEN veiled in black pass by.
Bond looks up to an acropolis silhouetted in the morning sun.
26 EXT. ACROPOLIS, KIOSK - MORNING 26
Bond approaches the kiosk.
BOND
Buongiorno. La tombe del Lynd (Good
morning. Lynd plot, please).
An OLD MAN, the caretaker, steps out to meet Bond. He barks
at a YOUNG BOY.
OLD MAN
(in dialect)
Take him to the Lynd grave.
The boy waves to Bond to follow him.
BOY
(in dialect)
Come.
27 EXT. ACROPOLIS - MORNING 27
The boy guides Bond to Vesper’s grave then hustles off
leaving Bond alone to face:
CU on a portrait of a beautiful WOMAN, dark hair, pale skin,
light eyes: VESPER LYND 1983-2006.
The image stings his eyes.
BOND
I miss you.
He takes a piece of paper out of his pocket and lights it on
fire with a lighter. We see what he has written: Forgive Me.
The embers fall to the ground.
Then...
Something catches his eye, something that shouldn’t be there.
He frowns, bends down to pick it up
A SPECTRE SEPTIPUS card lying at the base of the crypt.
He looks at it and frowns. Bond’s senses spike -- DEATH.
He dives to the side just as -
KABOOM
The paving stone at the front of the grave explodes violently
in a horizontal plume of black smoke and sparks.
As the dust settles Bond comes to and works his jaw, his
hearing is muffled and brain battered.
He pulls out a phone and speed dials -
Bond can’t hear, he is up and moving, looks at the phone,
thinks he sees the call timer start -
BOND (CONT'D)
Madeleine?
He looks at the phone. He hangs up. He turns and runs towards
town.
Ratings
Scene 6 - Chase on the Gravina di Puglia Bridge
Bond runs towards the kiosk. The young boy and the old man
are gone, a phone dangles from the receiver.
29 EXT. GRAVINA DI PUGLIA BRIDGE - DAY 29
Bond is running, half way across the bridge, chasing after
the young boy. The boy stops, turns and smiles at Bond.
Behind Bond, a black Maserati approaches. The boy sees it and
takes off.
Bond turns and sees the Maserati screaming directly at him.
Too far to run to the other side, he dives for cover behind a
stone buttress along the wall.
The Maserati rams into his section of the wall but the
buttress forces the car’s tyres up the wall and over him.
Bond gets up and starts to run when a motorcyclist wearing
shades, PRIMO, rides up from the other side of the bridge.
The PASSENGER in the Maserati fires shots at Bond.
Bond is stuck in the middle of the bridge with the Maserati
at one end and Primo at the other end.
Bond dives, grabbing hold of a cable as he soars over the
edge.
The cable breaks loose and snaps taught as he reaches the
limit of its length. He swings down to a lower tier.
Primo takes off his shades, revealing a bionic eye, and looks
over the edge angrily. He revs the motorcycle and takes off
in pursuit of Bond.
30 EXT. LOWER TIER BRIDGE - SAME 30
Bond breaks through a door leading to a tunnel.
31 INT. PASSAGEWAY - SAME 31
Bond runs up a stone passageway.
32 EXT. VIA CASALE - DAY 32
Bond enters a terraced street. Hears Primo looking for him on
the bike. Calculates.
Suddenly he dashes towards Primo into the alley below,
tackling Primo to the ground.
They fight rapidly and roughly amongst clothes on lines in an
enclosed patio. Bond gets the upper hand, wraps a clothes
line around Primo’s neck and pulls it tight.
PRIMO
Blofeld sends his regards.
Bond about to finish him when -
PRIMO (CONT'D)
You know...Madeleine...
Bond stops. What?
PRIMO (CONT'D)
(smiling)
She’s a daughter of Spectre. She’s
a daughter... of Spectre.
Bond knocks him out. Primo’s fake eye pops out, CLINKS down a
couple of steps.
Bond looks at it, then at the bike.
Bond takes off on the bike.
Ratings
Scene 7 - A Tense Confrontation
Bond rides the bike up the piazza steps.
Bond gets airborne. He lands and rides through a church
procession. He motors towards the hotel.
34 EXT. HOTEL COURTYARD - DAY 34
Bond enters. The porter from the night before looks at him
like he’s a ghost.
PORTER
Your baggage is already down Mr
Bond. As your wife requested.
Bond looks at him. She asked for this?
35 INT. HOTEL ROOM - DAY 35
Madeleine approaches the mirror to put on some lipstick.
She sees Bond in the reflection.
BOND
(very calmly)
You were right.
Madeleine turns to face him.
Bond is standing there covered in dust, blood dripping down
his face, clothes ripped from the chase and the fight.
BOND (CONT'D)
Letting go is hard.
MADELEINE
James! What happened?
She walks towards him.
MADELEINE (CONT'D)
What happened?
BOND
How did they know I was here?
MADELEINE
What are you talking about?
BOND
Madeleine, how did they know I was
here?
MADELEINE
I have no idea...
BOND
Spectre. How did they know?
MADELEINE
What are you talking... I didn’t do
anything.
She looks panicked. The phone rings. Bond grabs Madeleine’s
handbag.
BOND
We’re leaving.
He grabs Madeleine and they rush out of the room.
Ratings
Scene 8 - A Tense Farewell
They head down the path to the DB5. He pushes her in.
37 I/E. DB5 - PIAZZA SAN PIETRO CAVEOSO - DAY 37
Bond gets in the car and starts the engine.
MADELEINE
There is something I need to tell
you.
BOND
I bet there is!
He revs the car, cold with rage, speeds off just as TWO
PURSUIT cars nearly run into them.
The cars weave around the DB5 and handbrake turn to pursue as
Bond gets to high speed on the ring road.
Suddenly Madeleine’s phone starts ringing.
BOND (CONT'D)
Pick it up.
The phone continues to ring.
BOND (CONT'D)
Pick it up.
Shaking, Madeleine takes the phone out of her handbag. We see
the Spectre septipus appear on the phone’s screen. Bond grabs
the phone from her, answers the call, pushes the speaker so
they can both hear.
VOICE
(German accent)
It’s Blofeld my love. Your father
would be so proud of you. Your
sacrifice will be our glory.
Bond looks at Madeleine. His blood runs cold.
MADELEINE
I don’t understand...
Bond drives. The pursuit cars follow.
38 EXT. VIA D’ADDOZIO - DAY 38
A KID sits amongst a flock of SHEEP. His phone rings.
The following dialogue is all in Italian.
KID
Hello.
VOICE ON THE PHONE
Let the sheep out kid.
KID
Why?
VOICE ON THE PHONE
Because otherwise I’ll kill you.
39 EXT. VIA MADONNA DELLE VIRTU - DAY 39
Bond is driving fast down the ring road.
MADELEINE
James. Why? Why would I betray you?
BOND
We all have our secrets. We just
didn’t get to yours yet.
40 EXT. VIA D'ADDOZIO - DAY 40
A Kid ushers a flock of sheep into the street.
41 EXT. VIA MADONNA DELLE VIRTU - DAY 41
Bond drives. In his rearview mirror black cars accelerate to
follow.
Bond manoeuvres the DB5 as ANOTHER PURSUIT vehicle heading
towards them blocks their way.
Bond hits a switch, the DB5 drops MINI-BALL GRENADES as he
turns hard right onto a street filled with sheep.
The grenades unleash carnage on the pursuing vehicles. Bond
180s, THEN speeds through the cars he just took out.
42 EXT. VIA FIORENTINI - DAY 42
The DB5 grinds against stone walls as it slides back onto
another street.
MADELEINE
James. James, listen to me. I would
rather die than have you think...
WHAM --
The DB5 is t-boned hard by a black SUV.
43 I/E. DB5 - PIAZZA SAN GIOVANNA BATISTA - DAY 43
The DB5 is violently SPUN sideways by the impact.
BRIEF SILENCE.
We see the car come to a stop as we pull back, revealing the
bells of a church starting to TOLL. ALL AROUND THE BELLS
RING.
The pursuit vehicles pull up. Suddenly everyone OPENS FIRE on
the DB5. It’s protected but the SOUND INSIDE is deafening.
They stop.
Primo steps from his car and advances towards them.
Primo steps up to the car and fires shot after shot into the
windows with his assault rifle
Madeleine panics as she watches Primo firing.
MADELEINE
James! Do something. James!
Primo continues firing into the windows. Bond barely reacts.
MADELEINE (CONT'D)
Say something James!
Bond turns to her.
BOND
(softening)
Okay.
He flicks another switch on the centre console. Front
headlights drop down and gun muzzles reveal themselves.
Primo sees the muzzles and runs for cover.
Bond yanks hard down on the steering wheel. He stamps on the
accelerator and the car spins into a 360 degree doughnut
whilst the front guns open fire.
MEN dive for cover as bullets shred walls and buildings. Bond
flicks another switch.
Smoke commences to belch from the exhaust pipes as the car
spins creating a foggy wall.
The men rise and fire into the smoke as the DB5 disappears in
a dense white smoke screen.
Bond steps on the gas.
44 I/E. DB5 - MODERN STREET - DAY 44
Bond speeds on. He takes another wide turn. Pedestrians jump
out of the way.
45 I/E. DB5 - TRAIN STATION - CONTINUOUS 45
Bond whips the DB5 into a sliding stop in front of the train
station.
46 INT. TRAIN STATION - DAY 46
Bond is energised --
BOND
Come on.
-- dragging Madeleine’s arm, leading her across the tracks to
the opposite platform. A train waits.
He pulls her close, so close they can’t see each other’s
faces. But we see his profound grief.
MADELEINE
So, this is it?
BOND
This is it.
Bond pushes her towards the train. Madeleine boards. She
turns.
MADELEINE
How will I know that you are ok?
BOND
You won’t. You’ll never see me
again.
The doors close and train starts to leave.
Madeleine moves down the car to keep him in sight but he
disappears into the crowd.
CREDIT SEQUENCE
SUPERIMPOSE: FIVE YEARS LATER...
47 EXT. C MINUS TWO - LONDON - DUSK 47
We TRACK DOWN the face of a glass cladded skyscraper. The
reflection of the street below is mirrored in the panes.
The camera stops and tilts in towards a long darkened hall --
we are upside down.
48 INT. HALLWAY - C MINUS TWO - SAME 48
THE CAMERA ROTATES to normal view as A SQUAD OF ARMED MEN in
black stream from outside the broken window into the hall.
They are heavily armed and armoured wearing helmets that look
like welder’s visors - standard issue Russian SPETZNAZ and
night vision.
They unleash themselves from the rope that had guided them
down the face of the building and quickly start making their
way down the hall, weapons up and ready.
1ST VOICE (O.S.)
We are in.
2ND VOICE (O.C.)
Proceed.
Ratings
Scene 9 - Fridge of Doom
VALDO OBRUCHEV, Russian, forties, squeamish, opens up the
shared office fridge.
Pan to TWO SCIENTISTS, DOCTOR HARDY and DOCTOR SYMES. Symes
is searching for something.
DOCTOR HARDY
(to Doctor Symes)
You okay?
DOCTOR SYMES
You know the SL5, the weaponised
smallpox I was using this morning?
Have you seen it? I put it... in
the bloody...
Valdo takes a Tupperware container from the fridge. The two
doctors turn to him.
DOCTOR HARDY
Valdo, you haven’t seen a tub of
smallpox have you?
Valdo looks at the Tupperware container. We see: VALDO’S FOOD
NO TOUCH!!! in bold red print. Underneath is a printed
sticker labelled: SMALLPOX.
Valdo throws the container down.
VALDO
This was good soup. Now it is
waste. Even if it is joke. Idiotic.
Symes and Hardy contain their laughter.
VALDO (CONT'D)
There is more complexity in my
tomato soup than in both of your
brains combined.
DOCTOR SYMES
Valdo, that’s so unkind.
VALDO
One day I will put Ebola in your
tea and then I will watch as your
faces sweat blood and I will be
laughing.
DOCTOR HARDY
Nice. Keep your hair on.
DOCTOR SYMES
Wow! He’s got a terrifying
imagination hasn’t he?
Valdo’s desk phone rings. He picks it up, angry.
VALDO
Doctor Obruchev.
A calm and soft spoken voice is on the other end.
VOICE (O.S.)
They are coming.
VALDO
Who?
VOICE (O.S.)
Spectre.
Valdo’s expression immediately shifts from anger to fear. He
turns away from the watching office mates, listening as his
heart races.
His voice lowers to a whisper.
VALDO
Safin?
VOICE (O.S.)
Do not try to stop them. This is
what we have been waiting for.
Valdo inserts a USB dongle into his computer.
VOICE (O.S.) (CONT'D)
They will ask you to enter Bio-
Security Level 4 fridge and remove
the weapon.
The ARMED MEN make their way through the building.
VOICE (O.S.) (CONT'D)
No one must see what you are doing.
They will not kill you. They think
they need you.
The armed men shoot a SECURITY GUARD.
Valdo starts to transfer files from his computer to the USB
dongle.
VALDO
They will not kill me. Transferring
the files as we speak. Now...now
it’s done. What do I do with it?
VOICE (O.S.)
Swallow it. Goodbye.
VALDO
Swallow the..?
Valdo pretends to his colleagues that he’s talking with
someone on the phone.
VALDO (CONT'D)
Yes! I like animals! Bye-bye.
He hangs up, stuffs the USB dongle in his mouth and swallows.
The room goes dark as the power is CUT.
Reserve power automatically powers dim emergency lighting.
ANNOUNCEMENT
Danger. Illegal access detected.
Secure all bio-hazardous materials
immediately.
BOOM.
An explosion rips through the building.
THEN gunfire vibrates through the building.
The armed men storm in. Shooting everyone except the THREE
DOCTORS.
One of the armed men, PRIMO removes his visor.
The three doctors are rounded up by the armed men.
DOCTOR SYMES
Please, we’re scientists. We’re
unarmed. We’re unarmed. What do you
want?
Valdo looks around.
PRIMO (O.S.)
Valdo Obruchev.
Valdo raises his hand.
VALDO
Hello.
PRIMO
Open the Bio-Security Level 4
fridge.
VALDO
And...er?
PRIMO
Give me the weapon.
VALDO
What weapon? We have...er...
Primo approaches Valdo, grabs him by the shoulder.
PRIMO
Heracles.
VALDO
It requires double authentication.
PRIMO
Which one?
Valdo indicates Doctor Hardy.
VALDO
Him.
Two armed men grab Hardy.
DOCTOR SYMES
Hardy. Don’t let them. Please.
Valdo and Hardy are lead away as Doctor Symes and some
COLLEAGUES are shot by armed men.
Ratings
Scene 10 - Betrayal and Escape
Valdo and Hardy are in BL4 level containment suits.
Hardy opens the fridge and Valdo pulls out a cylinder filled
with vials of a charcoal like substance that moves like a
school of fish within the vial. He shows it to Primo who nods
his approval.
51 INT. LAB HALLWAY - C MINUS TWO - MOMENTS LATER 51
Hardy holds up the cylinder from which Valdo carefully
removes a vial. He hands it to Primo.
Valdo and Hardy place the vials into a briefcase.
Primo uses a special UV light instrument on the vial to
confirm this is what he’s looking for. Satisfied, he pulls
out his gun and shoots Hardy.
52 INT. C MINUS TWO - MOMENTS LATER 52
Explosives are placed around the lab as Valdo, Primo and the
armed men stream out, leaving the lab.
ANNOUNCEMENT
Warning. Facility lockdown in
progress. All exits are now sealed.
53 INT. HALLWAY ELEVATOR - C MINUS TWO - MOMENTS LATER 53
Primo’s men pry open the elevator shaft. He looks up and sees
the elevators are parked at the top of the building, leaving
the shafts open and clear.
We look down at what seems like an endless drop.
Primo’s men force Valdo into a special vest, the same kind
they are also wearing.
VALDO
What is this? A safety belt, this?
Another pair of men haul a heavy cylinder apparatus to the
elevator shaft.
VALDO (CONT'D)
Wow!
The men toss the cylinder into the void. As it falls, it
sprays out a myriad of small magnetic spheres which attach to
the metallic surfaces of the shaft. A red LED on each
flickers to life. When the empty cylinder crashes to the
bottom an explosive charge concealed within blasts a hole in
the concrete, revealing an underground passageway.
Primo and his men activate their vests and a light on each
turns from red to green. Simultaneously, the lights on the
magnetic spheres in the shaft also turn green.
Primo signals to his men and one by one they leap into the
void. Valdo is led to the precipice and he looks down the
empty shaft with fear.
VALDO (CONT'D)
I cannot! That is not elevator!
Suddenly he’s pushed from behind and he screams with terror
as he falls down the shaft.
As he falls past the magnets the LEDs change colour as they
flip polarity. Slowly, his speed is reduced until Valdo comes
to rest several feet above the exposed hole.
VALDO (CONT'D)
Magnets!
He hovers for a brief moment until the light on his vest
changes and he drops through the hole.
The remaining men drop. Primo checks his watch and presses a
button. He leaps into the shaft just as the corridor behind
him explodes in a giant BALL of FLAMES.
A floor high up in the building glows as the fireball
consumes the upper level of the building.
54 EXT. LONDON - EVENING 54
Establisher the London skyline.
55 INT. MI6 - EVENING 55
CLOSE on a memo marked: URGENT. Pan up to MONEYPENNY walking
through the main office.
56 INT. M’S OFFICE, MI6 - SECONDS LATER 56
Moneypenny bursts into M’s office. M is lying on the couch.
MONEYPENNY
Sir, I’ve just received the most
unusual...
M sits up quickly.
M
I’ve seen it.
He picks up a remote, turns on an array of monitors that
stream live footage of the damaged lab.
M (CONT'D)
Jesus Christ!
MONEYPENNY
Sir, what’s the Heracles project?
This lab isn’t on the books.
He swallows. It’s a nightmare, whatever it is.
M
No it’s not.
Not what she expected.
MONEYPENNY
There were casualties.
M
It was a gas leak.
MONEYPENNY
Shall I alert the PM--?
She turns to leave.
M
(stern)
It was a gas leak. I’ll handle it.
She is taken aback. M isn’t acting according to protocol.
M (CONT'D)
Moneypenny
(beat)
Where’s 007?
Ratings
Scene 11 - A Call to Action
Bond, larger than life, bathed in sunshine, kicking back on
his boat HAPPENSTANCE.
There’s a spear gun to his side, a couple of fish in the
hold, his hand on the tiller.
To starboard, the green lush Jamaican coast, to port a dark
brewing storm.
58 EXT. DECK - BOND’S HOUSE - DAY 58
Bond walks up the dock to his breathtaking water-side house,
the fish dangle in one hand, the speargun in the other.
He is visibly relaxed, walking at an island pace. A Bond
we’ve never seen before.
He reaches his porch. Stops. Suddenly alert.
He sees discarded CIGAR ASH on the floor. This is not normal.
He slowly places the fish on the deck.
59 EXT. DECK TO BUNGALOW - BOND’S HOUSE - DAY 59
Bond crosses the deck leading to a detached bungalow, a
pistol in his hand.
He goes inside. Scans. Nothing.
Then he sees the CIGAR BUTT on the ground. Kneels down, picks
it up. Looks at the label.
60 EXT. BOND’S SHOWER - DAY 60
Bond showers and cleans his teeth. He finishes and turns the
water off.
61 EXT. DECK - BOND’S HOUSE - DAY - LATER 61
In fresh clothes, Bond walks back to the house, gun in hand.
62 INT. MAIN HOUSE - BOND'S HOUSE - DAY 62
Bond puts the gun into a drawer at his desk. A WEATHERED
NEWSPAPER PAGE of Blofeld’s conviction is visible from inside
the drawer.
63 I/E. BOND’S LAND ROVER - FOLLY POINT - DAY 63
Bond heads out in an old Land Rover.
He passes a WOMAN on the side of the road talking to a
Rastafarian collecting stalks of Birds of Paradise.
She catches Bond’s eye.
64 I/E. BOND’S LAND ROVER - CRICKET FIELD - DAY 64
Bond drives past a local cricket match next to Port Antonio
Harbour.
As the camera dollies across the game we land on the bumper of a
RENTAL CAR (Ford Mondeo).
Its brake lights illuminate as the engine revs to follow Bond.
65 I./E. BOND'S LAND ROVER - WEST STREET SQUARE - DAY 65
Bond pulls into the square from West Street.
BUT, instead of parking, he ACCELERATES AROUND THE SQUARE --
SCREECHING out onto West street and nearly colliding with the
FORD MONDEO -- it swerves and dips to a STOP.
BOND
(warmly)
Well isn’t this a surprise Felix!
FELIX looks up. Caught.
FELIX
(warmly)
James.
BOND
Who’s the blonde?
ASH smiles eagerly.
ASH
Logan --
66 EXT. ALLEY WAY - DUSK 66
Bond walks them past SCHOOL KIDS playing video games on TVs
on a long table - like an outdoor home arcade.
ASH
-- Ash, State Department. Nice to
meet you. I’ve heard a lot about
you. I mean -- HUGE fan.
A couple of MEN bump into Ash calling “babylon” and “police
bwoy” as they pass.
FELIX
I need a favour, brother.
BOND
You didn’t get the memo. I’m
retired.
FELIX
I wouldn’t ask if you were still in
Her Majesty’s service.
BOND
And what does that mean?
FELIX
Our elected leaders aren’t playing
nice in the sandbox. James, is
there somewhere quiet where we can
talk in private?
BONDS
Quiet? Yeah.
Ratings
Scene 12 - A Night of Revelry and Urgency
Bond, Felix and Ash drink Heineken beers and shots in a
packed dance club playing a coin game called SPOOK.
FELIX
I was hoping you could pick up a
package.
Bond and Felix hold out their fists --
BOND
Five...
FELIX
FOUR.
Felix wins. They laugh.
BOND
Where’s the package?
FELIX
Short trip, Cuba. You love it
there.
BOND
Oh, I love it there!
Bond and Felix laugh. Ash doesn’t know why.
Ash places a CIA playing card on the table, on it a
photograph and bio of Obruchev.
ASH
Valdo Obruchev.
Bond knows the name.
FELIX
You’re going to say you’ve never
heard of him...
BOND
Never heard of him.
They throw fists again.
BOND (CONT'D)
Two.
FELIX
Three.
Felix wins.
FELIX (CONT'D)
Ah, it’s a good life!
ASH
You never heard of him? Didn’t he
defect during your tenure at MI6?
FELIX
Obruchev was kidnapped three days
ago from a secret MI6 lab in
London. Two days ago his mug pinged
on a facial recognition sweep in
Santiago de Cuba.
ASH
He’s leaving out the best part.
Spectre.
FELIX
I have a contact there, says
they’re gathering.
ASH
Coincidence?
FELIX
C’mon it’ll be like old times.
They throw a third time.
BOND
Three.
FELIX
Two.
Felix’s fist is empty.
ASH
You’re really the only guy for the
job. You’re the guy.
Bond looks at both of them.
BOND
My round.
He stands.
Ratings
Scene 13 - A Toast to Trust
Bond walks to the bar where a WOMAN is picking up her drink
order and turns to him. She looks him up, smiles.
NOMI
Hi.
He recognises her. The WOMAN (NOMI) from in front of his
house.
She slides past him, looking him up and down.
Bond approaches the BARTENDER.
BOND
Scotch.
BARTENDER
Yeah man.
Felix joins him. Bond gestures to Ash.
BOND
Where’d you find the “Book of
Mormon”?
FELIX
Political appointee, not my choice.
Seems intelligence isn’t central
anymore.
BOND
He smiles too much.
Bond and Felix look back at Ash, on his own. He smiles at
them.
FELIX
Help us get this into the right
hands.
BOND
What, and you’re the right hands?
FELIX
I’m not just a pretty face.
BOND
I stopped trusting pretty faces a
long time ago, Felix.
FELIX
Yeah I heard. Bad luck.
BOND
Bad judgment.
FELIX
Harder to tell the good from bad,
villains from heroes these days. I
need you James. You’re the only one
I trust with this. I’m not screwing
around. I wanna get back to my
family, tell them I saved the world
again. Don’t you?
Bond drinks.
BOND
Nice to see you again Felix.
Bond goes to leave.
FELIX
At least take my number.
BOND
I’ve got your number.
Bond exits.
WE PAN AWAY as Felix leaves the bar. Primo (who we met in
Matera) appears in frame.
Ratings
Scene 14 - A Night Ride to Connection
Bond finishes the last morsel of chicken. He’s at ease again.
He walks to his parked car and gets in. It doesn’t start. He
tries again. Frowns.
He gets out, opens the bonnet. Sees something which makes him
realise it’s never going to start. He hears the buzz of a
scooter behind him.
It gets louder as it approaches. Then stops next to him.
The WOMAN from the bar (NOMI) is smiling at him.
NOMI
In trouble?
BOND
Constantly.
NOMI
Need a ride?
He looks at her scooter. Considers.
BOND
Sure. Why not?
He gets on the scooter.
NOMI
Hol’ on.
They drive off.
70 EXT. SCOOTER - ALLAN AVENUE - NIGHT 70
They zip along the quiet road.
BOND
(shouting forward)
What’s your name?
NOMI
(shouting back)
Nomi. What’s yours?
BOND
James. Call me James. What do you
do, Nomi?
NOMI
I’m a diver.
BOND
What do you dive for?
NOMI
I have a thing for old wrecks.
She smiles. He smiles.
BOND
Well then you’ve come to the right
place.
71 I/E. MAIN HOUSE - BOND'S HOUSE - NIGHT 71
Bond and Nomi pull up on the scooter.
BOND
After you.
Bond picks up a bottle of rum.
NOMI
Nice house.
BOND
Thank you.
Bond pours two large rums with ice, turns to Nomi. She’s
already walking down the breezeway to his bedroom.
NOMI
Is that the bedroom?
He leans to see her disappearing. Follows.
BOND
Yes it is.
Ratings
Scene 15 - A Clash of 007s
It’s dark.
She turns, faces him flirtatiously, then, coming as a surprise,
takes off a wig.
BOND
Well, that’s not the first thing I
thought you’d take off, but -
She sits on the bed. Smiles. But frank now. Not flirty-
NOMI
(British accent)
Yeah, you seem like a man who’s
gagging for some action, Mister Bond.
BOND
Shall we cut to the chase?
NOMI
I’m here as a professional courtesy.
BOND
Well you’re not very courteous are
you? You’ve broken my car. It’s
Commander Bond, you know that.
(then)
Double-O?
NOMI
Two years.
BOND
Very young.
NOMI
High achiever.
BOND
Jesus Christ.
NOMI
The world’s moved on since you
retired, Commander Bond, perhaps you
didn’t notice.
BOND
No can’t say I had. And in my humble
opinion, the world doesn’t change very
much.
NOMI
You would say that. This all seems
like heaven, this little bubble or
whatever, but it’s so obvious
you’re a man who only has time to
kill... and nothing to live for.
(then)
So Valdo Obruchev is off limits.
You get in my way I will put a
bullet in your knee.
(evaluating)
The one that works.
BOND
You need to ask yourself a few more
questions. MI6... CIA. Chasing
after the same man and not
communicating with each other?
That’s not good. You know what,
tell M hello. But I don’t work for
him anymore.
NOMI
Tell him yourself.
She throws him her phone.
NOMI (CONT'D)
By the way I’m not just any old
double-O, I’m 007.
This stings.
NOMI (CONT'D)
You probably thought they’d retire
it.
She wants a reaction from him -
BOND
It’s just a number.
Got him -
NOMI
Huh. Yeah.
(betting)
See you in Cuba?
Ratings
Scene 16 - Urgent Intelligence
The DB003 is visible in the wind tunnel.
M and Tanner watch as Q analyses the hard drive from
Obruchev’s computer which is plugged into Q’s laptop.
M
How’s it going Q?
Q
Several large files seemed to have
been wiped from Obruchev’s hard
drive. He was working on some
pretty advanced -
M
Can you retrieve the files?
Q
Trying.
M
Get me everything you can, then
destroy the drive.
Q is taken aback.
Q
If I knew more about what this was
I could -
M
Thank you Q. That’s all.
Q looks a bit put out.
Tanner interrupts holding up his phone. M’s phone rings too.
TANNER
The PM is calling again.
M
007. Tell them something, anything.
M picks up the call, expecting Nomi’s voice.
M (CONT'D)
007.
BOND (O.S.)
- M, darling. Couple of things.
M is shocked. Covers his mouth as he steps away from Q and
Tanner.
M
Bond.
74 I/E. BOND’S HOUSE - MORNING 74
Bond on the phone, pacing.
BOND
I met your new 007. She’s a
disarming young woman. So, Obruchev
- you kept him on the payroll
didn’t you?
M
Stay out of it. This has nothing to
do with you.
BOND
It does. It’s Spectre.
(beat)
Mallory. What have you done?
75 INT. Q’S LAB - DAY 75
M doesn’t say anything. He hangs up. Stares at the phone.
Tanner looks up.
TANNER
Double-O trouble?
M
The CIA have the advantage. Get me
Blofeld.
TANNER
Sir? He only speaks to his
psychiatrist.
M
(stern, to Q)
I know. The live feed is what I
want.
Q nods. Loads up a live feed to Blofeld’s cell. It’s close
enough to make out his passive face, rambling unpunctuated
and apparently incoherent paragraphs to himself.
TANNER
He’s like this everyday. Mad as a
bag of bees.
M
Good.
M is satisfied. It can’t be Blofeld behind all of this.
Tanner looks to Q obviously it’s something.
Q
What is it?
M
It’s nothing.
M walks off. Tanner follows him.
Ratings
Scene 17 - Mission Preparations in Santiago
Bond stands looking out to sea. He takes out his phone and
makes a call.
BOND
Felix, I’m in.
FELIX (O.S.)
(laughs)
He’s in! There’s a young lady in
Santiago I want you to meet.
77 EXT. HAPPENSTANCE AT SEA - LATE AFTERNOON 77
MEDIUM ON BOND, sails towards Cuba. Determination in his
eyes, a bit of a thrill perhaps...beats fishing.
78 EXT. COAST OF SANTIAGO DE CUBA - LATE AFTERNOON 78
WIDE AERIAL ON Happenstance approaching the mouth of the bay.
The imposing Castillo del Morro looms over it.
Suddenly A SEAPLANE drops into frame.
79 EXT. HAPPENSTANCE AT SEA - LATE AFTERNOON 79
Bond looks back and sees the plane roar over head, he knows
it’s Nomi.
80 EXT. DOCK, SANTIAGO HARBOUR - DUSK 80
Happenstance is tied to the dock as MILITARY PORT AUTHORITY
PERSONNEL check the boat for contraband.
A MILITARY POLICE OFFICER hands Bond’s documents back to him
as Bond clocks the seaplane moored to the next wharf.
Nomi emerges from the seaplane. She gives Bond a little wave.
81 EXT. STREETS, SANTIAGO DE CUBA - DUSK 81
MUSIC echoes from store fronts. PEOPLE hustle.
Bond appears, spots something, an open air corner bar.
82 INT. CORNER BAR - SANTIAGO DE CUBA - TWILIGHT 82
Bond sees a woman in an elegant BLUE DRESS leaning against
the counter sipping a drink: PALOMA.
Bond approaches, ready for flirtatious banter. She looks up --
BOND
Paloma?
PALOMA
You’re late. Vamos.
She motions for Bond to follow.
BOND
Something about a hat -- Paris --
PALOMA
-- What hat? Oh. El codigo. Si Si.
I forget things when I get nervous.
This is the biggest job I’ve ever
had.
Bond looks at her, unsure of the tone of her humour.
83 INT. WINE CELLAR - SANTIAGO BUILDING - NIGHT 83
Paloma stops at a wine cellar. She takes out a key, nerves
still have her shaking as she unlocks the door.
BOND
This your room?
PALOMA
(clearly it’s not)
It’s a wine cellar. Okay, come
here.
She starts undoing his shirt.
BOND
Don’t you think we ought to get to
know each other just a little
before we...
PALOMA
Oh! No, no, no, no. I’m sorry.
She steps back, unrolls a suit bag she had stowed. It’s a
tuxedo. He smiles.
BOND
Alright.
PALOMA
You do it.
BOND
Do you mind...
(signals for her to turn
away)
She turns her back. Bond starts to undress.
BOND (CONT'D)
This is going to go brilliantly.
PALOMA
I know.
(smiling)
I’ve done three weeks training.
Ratings
Scene 18 - A Night of Intrigue in Santiago
Bond and Paloma cross the street.
85 INT. EL NIDO - SANTIAGO DE CUBA - NIGHT 85
Bond and Paloma enter, dressed to kill, cross to a bar. He
notices AN ENTRANCE flanked by DOORMEN under a grand
stairway.
PALOMA
Okay?
BOND
Let’s get a drink.
PALOMA
Good idea.
They walk to the bar.
BOND
(to barman)
Two vodka martinis, shaken, not
stirred.
Paloma takes a lipstick from her handbag, opens it and shakes
out some objects into her hand. She flirtatiously inserts an
earpiece in Bond’s ear.
PALOMA
So I can hear you.
She place an earpiece in her own ear. The drinks land.
Perfectly iced and breathing.
BOND
What shall we drink to?
PALOMA
Felix?
BOND
To Felix.
(they clink glasses)
Remind me to get him a cigar.
They drink.
PALOMA
Vamos?
BOND
Sure.
They leave the bar.
86 INT. SMALL ROOM, EL NIDO - NIGHT 86
Valdo sweats nervously as he works on the briefcase computer
we saw him bring from C-Minus-Two. PRIMO (wearing dark
shades) watches him.
A transparent specimen bag with Bond’s TOOTH BRUSH lies next
to a portable DNA sequencer attached to the computer with a
swab plate inserted.
PRIMO
Will this sample be enough for you?
VALDO
If he has used it, yes. It is now
progressing.
A graphic on screen reads SEQUENCING COMPLETE as a new GENE
CODE file named JB is created.
He then inserts a vial of Heracles in a slot in the
briefcase, it is sucked in and we see a prompt for: SINGLE
PROFILE or MULTIPLE PROFILES. Valdo drops a USB on the floor.
VALDO (CONT'D)
Oops! Sorry. Terrible, terrible
gloves, so slippery.
He bends down but doesn’t pick it up. Instead he puts his
foot over it and slips out from his sock the USB he swallowed
in the lab.
VALDO (CONT'D)
Forgive me.
PRIMO
How much longer?
Valdo SECRETLY TRANSFERS MULTIPLE RECORDS into the TARGET
GENE CODE prompt. He presses enter.
VALDO
Ah! To happy new future for Spectre.
The case beeps: GENE ENCODING COMPLETE. WEAPONIZED.
VALDO (CONT'D)
Now it is ready.
He hands Primo the vial of Heracles. Primo places the vial
inside a protective cover and leaves.
87 INT. PARTY - MOMENTS LATER 87
UPSTAIRS, Primo opens a cupboard, places the vial inside and
turns a lever.
DOWNSTAIRS, Paloma and Bond enter. A BRASS BAND, driven by an
energetic CONDUCTOR, pumps music into the room. This party is
huge.
BOND
You go that way, I’ll go this way.
Paloma and Bond part. (THEY’LL SPEAK ON COMMS UNTIL THEY
RECONNECT).
Bond surveys. He’s in the thick of dwarfs, pregnant women,
wild cats and revellers dancing with religious fervour.
BOND (ON COMMS) (CONT'D)
What is this? Spectre bonga-bonga?
You ever been to a party like this?
PALOMA (ON COMMS)
How do you think I got this job?
BOND (ON COMMS)
Don’t get distracted now. Remember
we’re looking for our Russian
scientist.
Then Bond hones in on the BIGWIGS of the party. OLDER MEN
with lots of YOUNGER WOMEN shoulder shimmying.
PALOMA (ON COMMS)
I’m seeing a lot of Spectre agents.
People turn an look at Bond, smiling with creepy and uncanny
consistency.
BOND
Yes and it looks like all of them.
Bond spots Primo on the stairs with a BODYBUARD.
PALOMA (ON COMMS)
Friend of yours?
BOND
Cyclops. We ran into each other in
Italy. That was an eye-opening
experience.
Bond notices something -
BOND (CONT'D)
They’re wearing earpieces.
PALOMA
Scanning.
Paloma adjusts her hidden earpiece, dialling through
frequencies.
Ratings
Scene 19 - Chaos at El Nido
GUARDS with the BLOFELD EYEBALL enter, heading towards the
centre stage.
Paloma finishes scanning.
PALOMA
Found it.
As we tune into a familiar VOICE:
BLOFELD (V.O.)
Celebrate me... my birthday.
Bond and Paloma walk the perimeter of the room.
PALOMA
Who’s the birthday boy?
BOND
Ernst Stavro Blofeld.
PALOMA
He’s here?
Bond looks around, how can Blofeld be “seeing”?
BOND
No. He’s in London. In prison.
Bond approaches the eyeball -- then --
PALOMA (ON COMMS)
How do you know for sure?
-- Bond looks at it. DOES HE SEE ME?
BOND
Because I put him there.
BLOFELD (V.O.)
...experience a delicious
surprise...
Paloma looks up, sees Valdo Obruchev watching the party from
its edges lustily.
PALOMA
I’ve spotted him. Our little
Russian scientist.
BOND
Have you got him?
She tracks back to the edge of the room to watch Valdo
Obruchev approach the dance hall from upstairs.
PALOMA
I got him.
BOND (ON COMMS)
Stay with him.
BLOFELD (V.O.)
...I see with my little eye...my
Little eye says hi..Here’s to the
end of our Pariah...
Primo looks at Bond, almost as if he knew he’d be there.
Smiles.
BLOFELD (V.O.)
My burden, my brother, JAMES BOND.
Suddenly the room goes DARK. THREE SPOTLIGHTS shine onto
Bond.
BLOFELD (V.O.)
Goodbye James.
As if on cue the BAND’S MUSIC becomes a DRUM ROLL.
Primo and EVERY SPECTRE AGENT in the room step away from
Bond, forming a circle around him.
PALOMA
Coño! You’re popular tonight.
BLOFELD (V.O.)
You can’t run. It’s too late.
A mist cascades down onto him. The crowd watches eagerly.
Bond looks at the mist falling around him, expecting it to
mean death. But nothing happens. At first there is some
confusion.
BLOFELD (V.O.)
It’s already crawling under your
skin.
(to Spectre agents)
Don’t be alarmed. It’s harmless to
us. Just to him. So delicious!
A WOMAN screams.
Bond turns. It’s hard to see in the swinging and panning
light of the spotlights, but we see horrific glimpses.
A SPECTRE AGENT collapses to the ground, writhing.
Then ANOTHER.
THEN GROUPS OF THEM.
Their skin turns BLOTCHY RED and their lips and eyelids
BLISTER as they fall to the floor, blood trickling from their
eyes, ears and noses.
THEN ALL SPECTRE AGENTS fall, experiencing the gruesome
effects.
PRIMO AND THE BODYGUARDS ARE NOT AFFECTED. They see their
masters dying and are at first frozen. Some try to
resuscitate them.
Valdo Obruchev, watching it all, is rapt with excitement --
VALDO
It is working. It is working! Only
Spectre are dying.
(he sees Paloma)
Hello. You are my...escort?
Valdo looks at Paloma. Realises she was not sent by Safin.
VALDO (CONT'D)
No? Oh.
He tries to run. Bond spots him and yells to Paloma.
BOND
Go!
Bond jumps over the dead bodies. Grabs a drink off a tray,
throwing the tray like a weapon, knocking Valdo in the back
of the head. Bond downs the drink, tosses away the glass and
goes after Valdo.
Valdo hits the ground, reaches for his USB dongle, tries to
swallow it. He goes to stand up.
Paloma kicks him back down. Valdo drops the dongle.
BOND (CONT'D)
Thank you. I’ll take this.
Bond grabs the USB dongle.
PALOMA
What was that?
BODYGUARDS open fire on Bond, Paloma and Valdo. Bond and
Paloma fire back.
ON PRIMO recovering in the DANCE HALL. He finds the Blofeld
eye, puts it back in.
By the exit, Bond and Paloma grab Valdo and shoot their way
out of the party.
BOND
Time to go. Let’s go!
Valdo, gripping his briefcase, alternates between elation at
the success of the experiment and terror as bullets ricochet
around him.
Ratings
Scene 20 - Escape from El Nido
Bond watches their rear while Paloma guides Valdo with a gun
to his back.
They move through the doors of the party to the El Nido bar,
B-lining it to the entrance.
A car skids in front of their exit. Opens fire. Paloma
returns fire and pushes Valdo down for cover. Bond takes down
the driver of the car.
PALOMA
Clear!
SUDDENLY NOMI comes crashing through the glass domed roof on
a cable.
Bond, Paloma and Valdo shelter from the glass.
Nomi lands in between them, grabs Valdo, clips a belt around
him. She looks at Bond.
NOMI
May I cut in?
Nomi and Valdo fly up through the ceiling as Bond dodges more
Spectre gunfire.
Bond shoots one down, rushing at him. His submachine gun
slides towards him.
Bond throws the submachine gun to Paloma. She smiles.
PALOMA
Go get him. I’ll hold them off.
Bond runs up the stairs, jumping from the landing to the
mezzanine, while Paloma engages the bodyguards below.
Bond sees Nomi and Valdo through the skylight as she fires
one bolt from her harpoon device into the masonry of the El
Nido building and then another into the theatre across the
street.
PALOMA (ON COMMS) (CONT'D)
Have you got them?
BOND (ON COMMS)
Nearly.
WE TRACK behind Nomi as she jumps and zips across the street
and end up on a CU of the first BOLT she fired into the
masonry.
Suddenly it starts to be hit by bullets, by BOND --
-- Below Bond fires at it, the anchor breaks loose and -
From the roof across the street we see Nomi drop onto a
balcony below, slamming with Valdo into a wall of bricks,
Bond skids onto the mezzanine balcony of El Nido. Sees Nomi
stand, brain battered.
90 INT. EL NIDO - CONTINUOUS 90
IN THE STAIRWELL, WE SEE PALOMA, out of ammo, hiding from
more SPECTRE entering the bar. Some head up the stairs
towards BOND.
ON THE THEATRE BALCONY, Nomi holds Valdo down as they duck
for cover. The balcony balustrade is annihilated by bullet
fire.
BOND (ON COMMS)
Paloma, I know you’re busy but the
curtain’s about to come down on
this one.
PALOMA (ON COMMS)
I can get a car. Where do you need
it?
BOND
I’ll be right there.
ON THE GROUND FLOOR of the El Nido, Paloma engages in hand to
hand combat with SPECTRE.
ON THE EL NIDO MEZZANINE Bond takes down two BODYGUARDS. They
smash through the shutters and crush the mezzanine handrail,
falling to the bar area below just as Paloma finishes off her
BODYGUARDS.
Nomi returns fire from Spectre Guards.
Paloma looks for Bond. He’s covered in broken bottles. Finds
an unbroken one, stands up with it, dazed.
She goes to the bar. They are both adrenalised; look a sexy
mess. Bond pours them drinks.
BOND (CONT'D)
Three weeks training, really?
PALOMA
More or less.
BOND
Still gonna need that car. Salut!
PALOMA
Salut!
They clink glasses and knock back their drinks. Paloma takes
a breath and splits. Bond heads back to the street.
91 EXT. STREETS - CONTINUOUS 91
Bond takes out BODYGUARDS shooting at Nomi as he runs across
the road towards her.
VALDO
Where are you taking me?
NOMI
I’m taking you back to Mother,
darling.
VALDO
Mother? Oh no, no, no, no.
While Nomi is taking fire Valdo sneaks onto the scaffolding.
Paloma, in a car now, sees her opportunity.
PALOMA
There you are!
She guns it, heading straight for the scaffolding, past Bond,
and crashes into it.
Valdo crashes down onto the car. Bond approaches.
BOND
Stay there!
(to Paloma)
You okay?
PALOMA
I’m great!
Paloma looks up. Success. She sees a cigar rolling on the
seat. She grabs it.
Nomi, stuck above, can’t do anything but watch as Bond drags
Valdo away with Paloma leading their way.
BOND
(to Nomi)
I’m gonna borrow your plane, sorry.
Ratings
Scene 21 - Escape from Santiago
Paloma unlocks the door and turns to Valdo and Bond.
PALOMA
It’s a short cut.
Bond drags Valdo inside.
93 EXT. STREETS - CONTINUOUS 93
THREE POLICE CARS appear. They see Nomi on the balcony and draw
their weapons.
Nomi shoots at an electric pole. It falls, dragging down a nest
of wires causing a chain reaction.
She disappears in a shower of sparks cascading around the
vehicles.
94 INT. BARBERSHOP - CONTINUOUS 94
Paloma opens a door leading to an alleyway.
PALOMA
This is my stop. Goodbye.
Bond shakes her hand.
BOND
You were excellent.
PALOMA
You too. Next time stay longer.
BOND
I will.
PALOMA
Hey! Cigar for Felix.
She hands him a cigar in a metal tube. Smiles.
BOND
Thank you.
(to Valdo)
Come on.
PALOMA
Ciao.
BOND
Ciao.
Bond and Valdo disappear into the alleyway.
95 EXT. DOCK, SANTIAGO HARBOUR - NIGHT 95
Bond and Valdo run towards the plane docked at the deserted
quay. The sea plane is straining at the ropes.
BOND
Come on, let’s go.
VALDO
No, no, no sir, I’m not getting on
that.
Bond throws Valdo’s briefcase onboard.
BOND
Well that’s a shame because we
don’t have a choice. Let’s go. Come
on.
Bond pushes Valdo onto the plane.
96 I/E. SEA PLANE - SAME 96
Valdo is white knuckled as Bond pilots the plane.
BOND
Okay, okay. What have we got here?
Bond starts the engines, throttling forward.
VALDO
Sir, I just saved your life. Please
remember that. So could you please
tell me what the hell is going on
Where are you taking me?
BOND
Somewhere safe.
Bond clears a cloud. A dark shape looms on the crest of a
swell, the silhouette of a FISH TRAWLER.
Bond circles as he looks for confirmation from deck.
97 I/E. SEA PLANE/TRAWLER - LATER 97
As the plane nears the rear of the trawler, BOND cuts the
engine, letting the current drift them into the bow.
Ratings
Scene 22 - Confrontation on the Trawler
Valdo boards, then Bond. Felix and Ash exit the cabin onto
the deck.
FELIX
(laughing)
At least make it look hard.
Bond pushes Valdo past Felix and Ash towards the cabin.
BOND
Thanks Felix. You walked me into a
trap.
Felix’s smile drops. This isn’t what he expected either.
99 INT. TRAWLER CABIN - MOMENTS LATER 99
Bond pushes Valdo in. Felix and Ash follow.
FELIX
What trap?
BOND
Spectre is dead.
(to Valdo)
Sit!
FELIX
Who’s dead?
BOND
All of them.
FELIX
Good.
Valdo sits, terrified. Bond throws the case onto the table.
He opens it.
BOND
What is this? Explain it to me.
VALDO
I don’t have the words to describe
to someone like you.
BOND
Try one.
Ash comes over.
VALDO
It’s... Perfect.
BOND
A perfect what?
VALDO
Assassin.
Ash and Felix look at each other.
ASH
Thank you Bond, your mission is
done. We can take it from here.
BOND
Why didn’t it kill me?
ASH
You don’t have to answer those
questions. Bond...
BOND
Why Spectre?
ASH
Bond, please stop asking...
BOND
QUIET!
FELIX
(to Valdo)
Speak up.
VALDO
Because you were never the intended
target.
FELIX
He was a target, why?
VALDO
I changed the DNA like we decided
and now the plan is complete and...
BOND
Whoa, whoa, whoa! Who is we?
ASH
(to Felix)
He is not allowed to do this.
BOND
Did M make you build this?
ASH
He is out of line here Felix.
FELIX
Ash...
BOND
Did M order you to kill Spectre.
ASH
Don’t answer that.
BOND
Is M behind this?
ASH
HE IS OUT OF LINE.
BOND
FELIX.
FELIX
ASH, SHUT YOUR MOUTH.
VALDO
M helped me build it, but please he
does not have the vision...
BOND
Well who does?
VALDO
...for how to use it.
BOND
Who does? Blofeld? How did he know
I was going to be there?
Valdo looks over Bond’s shoulder. Bond turns round.
Ash pulls his gun, Felix sees it and intercepts it. Ash fires
into Felix’s chest. Felix looks down at the wound. It’s bad.
He collapses down into the engine room below.
Valdo shuts the briefcase.
Bond turns to Ash. They break into a brutal fight.
-- A terrified Valdo in the middle of the mayhem. He sees
Ash’s gun on the floor, kicks it towards Ash.
-- Ash retrieve his gun and fires at Bond who has no choice
but to take cover by diving down into the engine room.
Ratings
Scene 23 - Betrayal and Chaos in the Engine Room
Bond hits the floor hard as Ash barricades the door above.
101 INT. TRAWLER CABIN - CONTINUOUS 101
Ash turns to Valdo.
ASH
I’m with Safin, you understand?
VALDO
Yes. I am Doctor Obruchev.
ASH
I know who you are.
102 INT. ENGINE ROOM - CONTINUOUS 102
Bond watches the door slam shut. Felix holds his wound.
FELIX
I don’t know about you but I get a
feeling in my gut Ash might not be on
our side.
BOND
We need to have a conversation about
the company you keep.
FELIX
I’m with you.
Bond takes off his jacket, uses it to stem Felix’s wound.
BOND
That’s a lot of blood.
103 EXT. THE HULL - CONTINUOUS 103
Ash sets charges against the hull of the trawler.
VALDO
So, where are we going?
ASH
Get in the plane Doctor.
104 INT. ENGINE ROOM - CONTINUOUS 104
Bond tries to stem the blood from Felix’s wound.
FELIX
This might be my last mission.
(looks up at Bond)
What do you think?
BOND
I think you’re just looking for an
excuse not to help me. Paloma, she
gave me a cigar for you and you are
going to smoke it.
FELIX
Nice but maybe you should hold on to
that for now.
BOND
You just stay put. Keep the pressure
on that. I’m gonna find us a way out.
Bond gets up and goes towards the stairs.
FELIX
I’ll be over here.
Bond turns back to Felix.
BOND
You know Felix, we’ve really need
to stop meeting...
And suddenly -- BOOM --
A shock blasts through the hold so strongly the steel walls
RIPPLE.
Felix is rocked by the explosion and submerged in the water.
Bond is sent crashing to the ground.
Ratings
Scene 24 - Descent into Darkness
The sea plan lifts into the air as a giant fireball
illuminates the night sky.
The trawler starts to roll over on its side as the stern has
been completely blown off.
106 INT. SEA PLANE - NIGHT 106
Ash pilots the plane with Valdo in the back.
ASH
I was such a big fan of his.
107 INT. ENGINE ROOM - CONTINUOUS 107
Bond is knocked out on the ground. Blood drips from his ears.
He sits up groggy, brain battered. Can’t see Felix.
BOND
Felix!
Bond dives into the deeper water in the engine room. Finds
Felix, pulls him out. Felix coughs, looks around.
FELIX
This doesn’t look good.
Bond is holding him up as the water floods in.
BOND
Come on Felix. We’ve been in worse
than this. Let’s go!
FELIX
It’s like back when I was a kid on
that shrimper...
BOND
You’re from Milwaukee.
Felix smiles. A life lived lying.
FELIX
Am I? I thought I made that up.
Bond starts pulling him towards the front of the trawler.
108 EXT. SEA - NIGHT 108
The trawler is on fire and sinking fast.
109 INT. ENGINE ROOM - CONTINUOUS 109
Bond is dragging Felix through the water as the trawler
sinks.
FELIX
Just let me go. Let me go.
Felix has a moment of delirium.
BOND
No!
The room pivots further, turning over almost upside down as
it starts to sink stern down.
Felix grabs him tight --
FELIX
You got this?
Bond nods.
BOND
Yeah.
FELIX
Make it worth it.
Felix smiles as he fades.
FELIX (CONT'D)
James. It’s a good life isn’t it?
Beat. Bond looks at his fellow agent. Dying in action.
BOND
The best. Felix.
Felix is gone.
BOND (CONT'D)
Felix. Felix.
Bond lets him sink into the room.
The trawler GROANS. It’s going to sink fast.
Bond has to dive towards a forward hold.
Underwater, he sees a hatch. He tries to open it, using his
legs for leverage. It’s stuck tight.
He rises up for the last bit of air left in the hold. Dives
back down. Grabs the circular handle, using all his force...
CUT TO:
Ratings
Scene 25 - Return to Action
The trawler is vertical now and slipping below the surface.
111 INT. FORWARD HOLD - CONTINUOUS 111
Bond swims to the surface.
112 EXT. SEA - CONTINUOUS 112
Bond emerges and gasps for breath.
Among the floating debris he sees something bobbing in the
water. He swims towards it.
It’s an emergency raft.
113 EXT. SEA - DAY 113
Hours later. Bond sits with Felix’s cigar, still intact in
its metal tube. A reminder of what needs to be done.
A large CMA CGM container ship spots Bond’s raft in the water
and approaches.
114 EXT. BOND’S LOCK-UP - DAY 114
Bond (in windbreaker) lifts a sliding garage door to his lock
up.
115 INT. BOND’S LOCK UP - CONTINUOUS 115
Bond enters and pulls off a dust sheet, revealing the V8
Vantage.
116 EXT. BOND’S LOCK UP - DAY 116
The Vantage squeals out of his lockup. He’s back.
117 EXT. LONDON - DAY 117
Establishing shot of the London skyline.
118 EXT. MI6 - DAY 118
Bond steps out of the Vantage dressed in a sharp suit. He
walks up to the front of the Ministry of Defence’s art deco
facade.
119 INT. MI6 - LOBBY - DAY 119
Bond goes to the security desk.
GUARD
Name.
BOND
Bond. James Bond.
Guard looks at him confused. Who?
120 INT. MI6 - MAIN FLOOR - DAY 120
BOND walks down the centre of the room wearing a visitor’s pass
with Moneypenny. Other agents and analysts notice him.
MONEYPENNY
How’s retirement?
BOND
(side eye)
(It was) Quiet.
Nomi happens to be in the main office. She is surprised to
see him. She pivots and joins them as they walk.
NOMI
Hi. Where’s Obruchev?
Bond just looks at her: who?
MONEYPENNY
I thought you two would get along.
They walk together.
A WOMAN approaches, hands Nomi a document.
WOMAN
Report, 007.
NOMI
Thank you.
A WOMAN walks past, sees the two of them.
WOMAN
(to Nomi)
007.
NOMI
(to Bond)
That must bother you.
They arrive outside M’s office.
NOMI (CONT'D)
Where is he?
BOND
He left me for somebody else.
NOMI
So, you lost him?
Moneypenny talks into the phone.
MONEYPENNY
You can go in.
BOND NOMI
Thank you. Thank you.
Bond and Nomi share a brief look as Bond enters. Nomi goes to
join him.
MONEYPENNY
(to Nomi)
Alone, I’m afraid.
BOND
Does that bother you?
Bond shuts the door in Nomi’s face. Nomi and Moneypenny look
at each other, alone in the reception.
NOMI
I get why you shot him.
MONEYPENNY
Yes, well. Everyone tries at least
once.
Ratings
Scene 26 - Confrontation in the Office
Bond sits in M’s office. M stands at his desk. They stare at
each other. Bond cocks his head curiously.
Pause.
BOND
(light)
Has your desk got bigger or have
you got smaller?
M looks at him.
M
I can’t pretend there weren’t some
sorry faces when you left us, Bond.
But you fell so far off the grid
that we thought you must be dead.
M pours himself a drink. Bond registers this. Unusual.
M (CONT'D)
Now learning that you were in fact
alive and well, working for the
CIA, well that really was a blow.
BOND
Well, they just asked so nicely.
M
It’s a shame that you haven’t lost
your touch. We wouldn’t be in this
mess.
BOND
This is your mess.
M looks at him sharply.
Beat.
BOND (CONT'D)
Blofeld tried to kill me in Cuba.
But someone hijacked his plan and
whoever stole your weapon used it
to wipe out Spectre instead. Now
your weapon is on the run and
nobody seems to know who has it. So
you can imagine why I’ve come back
to play.
M is steely.
M
We’re looking into it.
BOND
I can identify the man that took
Obruchev.
M
And what do you want in return,
Bond?
Beat.
BOND
Blofeld.
M frowns.
M
Impossible. He’s in Belmarsh.
BOND
Yes, he ran a Spectre meeting in
Cuba from Belmarsh.
M
How? How?
Pause.
M (CONT'D)
No-one has access. No-one.
BOND
Why didn’t you shut it down? Why
didn’t you shut Heracles down?
M
I answer to the interests of my
country. Not you.
BOND
And to Felix Leiter?
M
I certainly don’t answer to Felix
Leiter.
BOND
Perhaps because he’s dead?
Beat. M feels the impact. He drinks. He can see Bond is
moved.
M
(regretfully)
I’m sorry. I had a lot of respect
for Leiter.
Bond just looks at him.
M (CONT'D)
Look, if you have information, I’d
be happy to receive it.
BOND
Get me into Belmarsh.
M
No. Blofeld’s the only member of
Spectre still breathing, I can’t
risk that.
BOND
Oh but you will risk developing a
DNA targeting weapon with a corrupt
scientist for ten years.
M pours another drink
M
There was nothing to suggest that
Obruchev was working for anyone
else. I had him...
BOND
My God! You’re thirsty at the
moment -
M flips suddenly. Interrupting. It should be shocking. He’s
not in a good place! Bond stays calm.
M
YOU HAVE NO RIGHT TO SPEAK TO ME
THAT WAY.
(MORE)
M (CONT'D)
YOU HAVE NO RIGHT TO MAKE
INSINUATIONS ABOUT MY JUDGMENT. IF
YOU HAVE NOTHING LEFT TO GIVE, YOU
ARE IRRELEVANT. YOU’VE DONE YOUR
BIT AND WE THANK YOU FOR YOUR
SERVICE. AGAIN. GOODBYE.
He buzzes his intercom.
M (CONT'D)
Moneypenny, send 007 in please. You
can go Bond.
Bond stands. He looks at M. Then at the desk.
BOND
(throwaway)
It’s definitely the same desk.
Bond exits past Nomi, who is entering.
BOND (CONT'D)
Thank you.
The door closes behind him. As Bond passes Moneypenny, he
throws his visitor’s pass in the bin.
They are alone. She can sense M’s frustration.
M
Go to Belmarsh. I want everything
that Blofeld listens to, looks at
and touches scanned. Scan every
corner of that cell. Scan the whole
prison, in fact scan the whole damn
man.
NOMI
Sir. I’ll bring my gloves.
Ratings
Scene 27 - Dinner Disrupted
Bond storms down the corridor to the elevators.
MONEYPENNY (O.S.)
James.
He turns. Moneypenny has followed him. She looks serious.
Then...
MONEYPENNY (CONT'D)
What are you doing for dinner?
He frowns.
123 INT. Q’S FLAT - KITCHEN - EVENING 123
Q is happily, but nervously preparing dinner in his flat. He
has lit a couple of candles. The table looks romantic. His
door bell goes - he looks at the clock. Bit early. He dusts
himself off and goes to the door.
124 INT. Q’S FLAT - FRONT DOOR - EVENING 124
Q, excited, looks at the CCTV screen and immediately
deflates. Bond stands with Moneypenny at the door. Q presses
the entry button.
Q opens the door. Bond and Moneypenny stand there.
Q
So you’re not dead!
Bond walks in.
BOND
Hello Q. I’ve missed you.
Followed by Moneypenny.
MONEYPENNY
Mmmm. That smells great.
Bond sees the table, picks up a bottle of wine.
BOND
Were you expecting somebody?
125 INT. Q'S FLAT - KITCHEN - MOMENTS LATER 125
Bond, Moneypenny and Q enter the kitchen.
Q
Excuse me. This is the first time
I’ve - he’ll be here in twenty
minutes. I can’t take my focus off
the -
BOND
I need you to tell me what’s on
that.
He holds up the USB.
Q
No. I need to lay the table.
Q removes a hairless cat from the table.
BOND
You know they come with fur these
days?
Q
I want to be very clear that I am
not authorised to help you and I
have sworn a -
MONEYPENNY
It’s to do with Heracles.
Beat. Q pays attention. They have clearly talked about this.
Q
I presume M doesn’t know that this
is happening.
MONEYPENNY
No. But there’s something going on
Q. We need to find out what it is.
Q checks his watch, lets out a breath.
Q
It’s never nine to five is it.
He takes the dongle.
BOND
Thank you.
Q is about to insert the USB into his laptop when he stops
himself.
Q
Er...Bond...
BOND
Yes.
Q
Do you know where this has been?
BOND
Everywhere I should imagine.
Q
Into the sandbox.
Ratings
Scene 28 - Uncovering the Truth
Q is at a different (more secure) computer. The USB plugged
in.
Bond pours some wine for Moneypenny who is looking at Q’s
stuff.
MONEYPENNY
Thank you.
The decryption of several files begins.
Q
It’s a database.
(to Moneypenny)
Don’t touch that please.
BOND
What’s the data?
Q
It’s DNA. Multiple individuals.
What was M working on?
BOND
Something he should have shut down
years ago.
On the computer screen: HIDDEN FILES DETECTED.
Q
Oh hello!
BOND
What?
Q
There’s more. Hidden files. I was
asked to recover what I could from
Obruchev’s hard-drive just after
the explosion. And I have a pretty
good feeling that this...
He brings up the information he’d been working on. It links
with what is on the USB.
Q (CONT'D)
Is what was missing.
The DNA records on the USB begin to auto-match with DNA
records from MI6 databases.
Q (CONT'D)
Yeah. A complete disc.
Q clicks. A series of names from MI6 records come up. Each of
them marked ‘Deceased’.
Q (CONT'D)
So Obruchev is working for someone
who managed to kill all of Spectre.
Bond points at the screen.
BOND
Not all of them.
Reveal of the screen. There is a single record not marked
‘Deceased’ accompanied by a picture of BLOFELD.
MONEYPENNY
Blofeld.
Beat. They register what this means.
BOND
(to Q)
Can you show me the other files?
The decryption of Obruchev’s other files has completed. Q
clicks on the screen. Suddenly reams and reams of names
appear and keep appearing. The volume is frightening.
Q
Wait. This can’t just be Spectre.
Oh my God! There are thousands.
BOND
Who are they?
Q
They’re in categories - I’m going
to need more time to organi-
MONEYPENNY
There have been computer breaches
round the world of databases
holding DNA information. We’ve been
tracking them.
BOND
Ours?
MONEYPENNY
I can’t imagine they’re leaving us
out. Whoever they are.
BOND
Blofeld will know who they are. Q,
you need to get me into Belmarsh.
MONEYPENNY
Well, there’s only one person he’ll
speak to.
BOND
Who? M said no-one has access.
Q
Really?
MONEYPENNY
Did he?
BOND
What’s that?
They both look instantly awkward.
The oven timer rings.
Q
Can I just have one nice evening
please before the world explodes.
BOND
(stern)
Who has access?
Q looks at Moneypenny.
BOND (CONT'D)
Who?
Ratings
Scene 29 - Unveiling Shadows
Madeleine walking across the Mall in a bright and beautiful
London.
128 INT. MADELEINE'S OFFICE - RECEPTION - MOMENTS LATER 128
Madeleine enters the reception.
RECEPTIONIST
Morning.
MADELEINE
Morning.
RECEPTIONIST
New patient.
MADELEINE
Thank you.
RECEPTIONIST
(dry)
He’s weird.
MADELEINE
(smiles)
You can’t say that.
INT. MADELEINE'S OFFICE - DAY
Madeleine enters the simple understated space.
MADELEINE
I’m sorry I’m late. I wasn’t
expecting a new -
She looks at the new patient. Well dressed, with intelligent
eyes and damaged facial skin.
MADELEINE (CONT'D)
Patient.
SAFIN
Sorry if I surprised you.
She sits. She is confident and direct, but warm.
MADELEINE
No, I like surprises.
SAFIN
You’re very attractive for a
psychotherapist. Must be dangerous
for your clients.
MADELEINE
They are usually more of a danger
to themselves.
He looks at a bunch of foxgloves in a vase on her desk.
SAFIN
Foxgloves. Beautiful. Did you
choose them?
MADELEINE
Yes, I find them friendly.
SAFIN
You know if you eat them, they can
cause your heart to just - stop.
MADELEINE
Then I’ll make sure not to.
Beat.
MADELEINE (CONT'D)
Do you know a lot about flowers?
SAFIN
My father had a garden. He taught
me. He died when I was young, but
my interest... remained.
MADELEINE
It’s difficult to lose a parent.
Especially at a young age.
SAFIN
Yes. Death has a particular effect
on children, doesn’t it?
MADELEINE
What effect did it have on you?
SAFIN
Profound.
Uncomfortable pause as he looks at her. Especially her eyes.
SAFIN (CONT'D)
But I saved a life once. I think
that had more of an effect.
SAFIN (CONT'D)
Why is that?
SAFIN (CONT'D)
Saving someone’s life connects you
to them forever. The same as taking
it -- they belong to you.
Madeleine is sensing something is off.
SAFIN (CONT'D)
I’m not very good at talking about
myself so I... I brought a memory
box. I thought it might interest
you.
Safin pushes a box towards her. She opens it as she talks...
MADELEINE
Sometimes objects can me more
evocative than memories.
She looks inside. It’s the mask Safin was wearing from the
opening sequence. Her breathing changes. She looks up at him.
SAFIN
I never forgot your eyes under the
ice. They needed me. It is a shock
to see them so many years later.
They still need me. I am rather...
taken by them.
MADELEINE
What do you want.
SAFIN
Just a favour. You owe me.
MADELEINE
You murdered my mother.
SAFIN
And your father killed my entire
family.
(shrugs)
Parents.
He pulls out a bottle of perfume and places it on her desk.
SAFIN (CONT'D)
I need you to visit someone for me.
Wearing this. It’s harmless to you.
You are the only one who can do it.
MADELEINE
No. Why would I do anything for
you?
SAFIN
Because I am a man willing to kill
the person you love most.
MADELEINE
I have already lost everyone I have
ever loved. There is nothing you
can threaten me with.
SAFIN
That is very sad to hear
Madeleine... But it is not true, is
it?
Her eyes flicker with fear. What does he know?
Ratings
Scene 30 - Shadows of Security
ON BOND, walking into a park on a perfect English summer
morning. Far behind him the silhouette of Hammersmith Bridge and
the morning rowers on the Thames.
WE PAN to find Mallory reading a newspaper. Bond joins him.
BOND
Madeleine Swann? Really
M
Well yes, we took your information
seriously, but that was five years
ago. Nothing came up.
BOND
She’s very smart and very good at
hiding things.
M
She’s a useful asset. She’s the only
psychiatrist he agreed to speak to. I
had to exercise my judgment.
BOND
Your judgement is the problem.
M can’t deny it.
M
That weapon was designed to save lives
and to eradicate collateral damage for
our agents. A clean, accurate shot,
every time. But it had to be off the
books. There are enough holes in our
national security. If the world knows
what this can do -
BOND
They’d kill for it.
M
Look, if it’s an error, it’s on my
shoulders. Fair and square. I’ve
dedicated my life to defending this
country. I believe in defending the
principles of this...
(indicates his
surroundings)
Of this.
(MORE)
M (CONT'D)
But we used to be able to get into
a room with the enemy. We could
look him in the eye and now the
enemy is just floating in the
ether. We don’t even know what
they’re after.
BOND
Blofeld.
M looks at him.
BOND (CONT'D)
We managed to access a database of
their targets.
M
“We?”
Bond gives a little smile. M side-eyes him. He knows.
M (CONT'D)
Oh for fuck’s sake! I see. And
after Blofeld? What do they want?
BOND
Well it’s hard to say. I would
imagine world leaders, innocent
civilians, freedom. You know, that
sort of thing.
M
Oh good! Just the usual.
BOND
Just the usual.
M can’t help but laugh a little. Bond does too.
M
Blofeld was communicating with his
agents in Cuba through a bionic eye
which we have now retrieved.
BOND
You’re welcome.
M gives him a look.
M
Spectre’s destruction is going to
have huge consequences.
(MORE)
M (CONT'D)
Whoever did this is going to be
very dangerous and very powerful.
We need all the information that we
can gather.
BOND
Sir.
Tanner arrives and interrupts.
TANNER (O.S.)
Sir.
Bond turns.
TANNER (CONT'D)
(surprised)
Bond. So the rumours are true. You
look... well.
BOND
Tanner!
TANNER
(to M)
Sir, there’s been a development.
Ratings
Scene 31 - The Heracles Threat
WIDE ON MI6 building.
NOMI (O.S.)
They were just dropping one right
after the other...
131 INT. MI6 - MAIN FLOOR - DAY 131
Nomi and Q walk down the corridor.
NOMI
It was disturbing to say the least.
Q
Wait till you see what it looks
like up close.
They arrive at the door to M’s office. Moneypenny steps in
front of them.
MONEYPENNY
Ah...Bond’s In the office.
Q
What?
Moneypenny opens the door.
132 INT. M’S OFFICE, MI6 - DAY 132
Q, Nomi and Moneypenny walk in. Tanner, Bond and M are there.
Moneypenny and Q look at each other. Q tries to act like he’s
never seen him.
Q
Oh, Bond! My God! I haven’t seen
you in...in... How was your
retirement?
M
Shut up Q. I know he’s staying with
you.
(to Moneypenny)
And you’re not in the clear either.
NOMI
What happened?
TANNER
He’s been reinstated as a ‘00’.
NOMI
(deadpan)
Double 0, what?
M
(to Nomi)
What have you got?
NOMI
Q has studied the blood samples I
gathered from the victims of the
funeral. Just look at this.
Q loads a video he took of the DNA weapon under microscope.
M
And what are we looking at?
TANNER
This is the funeral of one of the
dead Spectre agents from Cuba.
NOMI
And here are the members of their
family who made physical contact
with the corpse. We found Heracles
in the blood samples of all of
them.
M
Good work Nomi.
NOMI
(deadpan)
Thank you sir. Double 0, what?
On the screen we see swarms of creepy nanobots up close.
MONEYPENNY
What are they?
Q
They’re nanobots.
TANNER
Right.
Q
Microscopic bio-robots that can
enter your system by the slightest
contact with your skin.
M
Programmed with DNA to target
specific individuals. Heracles was
designed to be the most efficient
weapon in our arsenal. Passing
through people harmlessly before
reaching its intended target.
Q
But Obruchev modified the nanobots
so that they can kill anyone
related to the target.
NOMI
Anyone?
Q
Well since it’s DNA based, with
further modifications, yes.
Families, certain genetic traits.
Single nucleotide variants and
polymorphisms that could target a
range from individuals to... whole
ethnicities.
(MORE)
Q (CONT'D)
(beat)
You infect enough people...
BOND
And the people become the weapon.
M
It was never intended to be a
weapon of mass destruction. It was
a... I need to call the Prime
Minister.
(to Tanner)
Tanner, quarantine the families
from the funeral.
TANNER
Yes sir.
Tanner leaves the room.
M
And Q, hack into Blofeld’s bionic
eye. See what you can find.
(to Nomi and Bond)
You’ve got your wish. Go to Blofeld
and see what you can get out of
him. And find that cockroach
Obruchev.
Nomi and Bond leave.
OUTSIDE M’S OFFICE, Nomi turns to Bond.
NOMI
We don’t have a trail.
BOND
Logan Ash. State Department. Ex-
State Department. Find him, you’ll
find Obruchev. Good luck!
He leaves.
NOMI
Thanks!
Ratings
Scene 32 - Tension at Belmarsh
Aerial shot approaching the prison.
134 INT. BELMARSH PRISON - LADIES RESTROOM - DAY 134
Madeleine stands alone at the sink. She is just applying
perfume to her wrist when Nomi exits a cubicle and walks to
the sink to wash her hands.
Madeleine looks at her.
Nomi sees her applying the perfume and thinks it’s ‘for’
Bond. She raises her eyebrows.
NOMI
I’ll be outside when you’re done
with your... important preparation.
Nomi walks to the door.
MADELEINE
I’ll be just a moment.
Nomi leaves.
Madeleine is shaking. She steels over.
135 INT. Q’S LAB - DAY 135
Q inspects Blofeld’s eyeball. On a screen in front of him,
surveillance footage searching for Logan Ash.
A sudden beep makes Q look up.
COMPUTER VOICE
Blofeld’s eyeball unlocked.
Accessing received media stream.
136 INT. BELMARSH PRISON - HALLWAY - DAY 136
Bond and Tanner walk down the corridor.
TANNER
I know you and she have a history
but we’ve kept a close eye on her
over the years. She’s been very
compliant.
137 INT. BELMARSH PRISON - HALLWAY - CONTINUOUS 137
Madeleine walking, escorted by Nomi.
NOMI
If Bond does anything weird in
there, you’ll be doing me a huge
favour so don’t make it too easy
for him, ok.
MADELEINE
Ok.
They are approaching a corner.
138 INT. BELMARSH PRISON - HALLWAY - CONTINUOUS 138
Bond and Tanner continue to walk. Bond is focused.
TANNER
He is the most valuable asset this
country has. I know you and he
have a history but don’t let him
get in your head. If you feel
yourself losing control -
BOND
Oh Tanner, relax. I’m not going to
lose -
Madeleine turns the corner.
BOND (CONT'D)
Control.
There she is. She sees him. He sees her.
He holds his emotions in check. Calm.
So does she. They continue towards each other.
They meet. Bond holds his hand out to shake hers.
BOND (CONT'D)
Dr Swann. Good afternoon.
She does not shake his hand.
MADELEINE
Mr Bond.
Everyone notices the apparent rejection. But she is just
avoiding touching him.
BOND
(to Nomi)
007.
Nomi turns down the corridor. The others follow her.
139 INT. BELMARSH PRISON - CORRIDOR TO SECURITY AREA 139
Bond and Madeleine are lead into a security area. Tanner and
Nomi stop in front of the door.
TANNER
This is where we leave you. Good
luck.
Bond nods.
NOMI
Just get us a name.
Bond and Madeleine walk through the secure door.
140 INT. BELMARSH PRISON - SECURITY AREA - CONTINUOUS 140
Bond and Madeleine stand next to each other. The door behind
them closes. A red light and a buzzer indicates it’s locked.
BOND
Must be nice to be able to catch up
with an old friend so regularly.
MADELEINE
(steely)
We’re closer than ever.
141 INT. OBSERVATION ROOM - MOMENTS LATER 141
Tanner and Nomi enter the room.
NOMI
That was awkward. Does he have that
effect on all women?
TANNER
Fifty-fifty. It’s unpredictable.
Ratings
Scene 33 - Confrontation in the Cage
Bond and Madeleine wait. He looks at her, notices her hands.
She is holding them together, nervously touching her wrists.
She is shaking. He frowns.
BOND
You’re shaking.
She clasps her hands. She turns to him. Caught off guard.
MADELEINE
It’s not an ideal situation.
Blofeld’s cage appears in the distance, heads towards them.
The security door opens.
Madeleine’s breathing is quickening. She sees Blofeld appear
in his man-sized cage, wheeling towards them. The sight of
him strikes her deeper than she anticipated.
MADELEINE (CONT'D)
Open the door. Open the door!
Bond steps towards her and grabs her wrist. She pulls away
quickly.
MADELEINE (CONT'D)
DON’T.
BOND
What is it?
MADELEINE
(she wants to tell him
everything but can’t)
James. You don’t know what this is.
Don’t make me do this. Please.
He sees she is genuinely distressed.
BOND
(calling out to security)
Open the door. Open the door!
The door opens. She leaves, turning back for one last look of
him.
BOND (CONT'D)
Where are you going?
MADELEINE
Home.
The message hits him. The door closes. She’s gone. Why the
message?
143 INT. OBSERVATION ROOM - MOMENTS LATER 143
Tanner and Nomi watch.
NOMI
I’ll get her.
TANNER
Wait.
NOMI
He won’t talk without her.
TANNER
Just wait. Special delivery.
They see Blofeld’s cage arrive in the interrogation room.
144 INT. BELMARSH PRISON - INTERROGATION ROOM - MOMENTS LATER 144
Blofeld, head lolled slightly forward, watches Bond with
satisfaction.
BLOFELD
James!
He smiles. He wasn’t in a good mood but given what he just
witnessed, he’s in a happier mood. He still won’t speak --
Bond knows he won’t talk in principle, but attempts to appeal
to him frankly.
BOND
Hello Blofeld. Perhaps you can help
me. Cuba was quite the party -
happy birthday by the way.
BLOFELD
Thank you.
BOND
I’m trying to piece together what
happened. There you were - or here
you were - with the world’s most
powerful people, your friends, all
in one room, a noose around my neck
and your hands on the most valuable
weapon in existence. It’s like a
testimony to your greatness. A
celebration of all that is Ernst
Stavro Blofeld.
BLOFELD
Yes James.
BOND
But then it all went wrong, didn’t
it?
BLOFELD
My sweet James. What do you want?
BOND
Your enemies are closing in
Blofeld. And the biggest twist here
is that if you tell me who they
are, I could save your life.
BLOFELD
My avenging angel. My chaser of
lost causes. And now you even chase
mine. But you’re asking the wrong
question. Yes, Cuba was a
disappointment but we all cry on
our birthday.
(beat)
You need to ask yourself... Why are
WE here.
Ratings
Scene 34 - Mind Games in Interrogation
Q is scrubbing through surveillance, looking for Ash. There
is footage from all over the world, entry points, offices,
car parks etc. Bond’s face appears on the screen.
Q
Looking smart Bond!
Q turns to grab a sweet from a drawer when there is a beep.
He looks up. Suddenly the screen in front of him stops
scrubbing. It focuses on one face. It zooms in and identifies
someone... LOGAN ASH. He looks down and sees it’s the screen
connected to Blofeld’s eyeball.
Q (CONT'D)
It’s him!
Q bolts upright in his chair. He grabs his phone to send a
text.
146 INT. OBSERVATION ROOM - SAME 146
Tanner and Nomi watch Bond and Blofeld.
BLOFELD (O.S.)
You keep coming back to me. I
thought I’d never see you again.
But fate draws us back together.
Nomi receives a text on her phone.
NOMI
Yes! M’s got eyes on Logan Ash.
TANNER
Go.
NOMI
Let me know what happens.
She goes.
BLOFELD (O.S.)
Now your enemy is my enemy.
147 INT. BELMARSH PRISON - INTERROGATION ROOM - SAME 147
Back with Bond and Blofeld.
BLOFELD
How did that happen?
BOND
Well, you live long enough...
BLOFELD
(laughs)
Yes. Look at us. Two old men in a
hole trying to work out who’s
playing tricks on us.
Blofeld grows weary of the subject. Decides to salt a wound
instead.
BLOFELD (CONT'D)
She still loves you. Did you know
that? And you broke her heart. And
she betrayed you.
BOND
She’s irrelevant.
BLOFELD
Oh I wouldn’t be so quick to
dismiss. You said it yourself...
she’s very good at hiding things.
(MORE)
BLOFELD (CONT'D)
And when her secret finds it way
out. And it will...
(smiling)
It will be the death of you.
BOND
A name. Just give me a name.
BLOFELD
Madeleine.
BOND
Please. Please, no games.
BLOFELD
(sing song)
Madeleine.
(energised with the idea)
But you know what? The two of you
should come see me. A little
couples therapy. I simply have to
see your face when she tells you
the truth.
BOND
Just tell me who they are Blofeld
and then I’ll leave. I’ll leave you
on your own.
BLOFELD
But I don’t want you to leave.
We’re just getting reacquainted.
Bond seems to give up.
BLOFELD (CONT'D)
Alright, come. You were unusually
patient. I need to give you
something so you didn’t have to
make all this way for nothing.
He motions for Bond to approach. As if no one should hear
what he is about to say...
Ratings
Scene 35 - Confrontation at Belmarsh
Tanner watches Bond approach Blofeld cautiously.
TANNER
Careful Bond.
149 INT. BELMARSH PRISON - INTERROGATION ROOM - SAME 149
Bond stands directly in front of Blofeld’s cage.
BLOFELD
It was me.
BOND
You destroyed Spectre?
BLOFELD
(laughs)
No. Vesper’s grave. Madeleine
didn’t do a thing. It was all me. I
knew you’d come visit it. I just
needed to wait for the bon moment.
She lead you straight there from
the goodness of her heart.
(beat)
And then you left her... for me.
BOND
It doesn’t matter.
BLOFELD
Oh, but it does. She still does.
Doesn’t she?
(knowing he’s getting in
there)
My poor little coo-coo, you were
always so very, very sensitive.
Bond turns to the observation window.
BOND
This isn’t working.
Bond does care. Won’t show it to him.
150 INT. OBSERVATION ROOM - SAME 150
Tanner leans in as if that would allow him to hear too, but
he can’t.
TANNER
Keep going.
151 INT. BELMARSH PRISON - INTERROGATION ROOM - SAME 151
Blofeld expands on his observations...
BLOFELD
All this wasted time, the life you
could have had.
(beat)
And the reason all of this is so
beautiful, so exquisitely
beautiful, is that you’re coming to
me looking for answers whereas the
one person who knows it all is she.
It’s Madeleine. She holds the
secrets you need.
(beat)
All of them.
(appraising him, Bond is
not ready to boil)
I didn’t need to kill you. I’d
already broken you.
(just a little more)
I wanted to give you an empty
world. Like the one you gave me
(done)
It’s enough to almost make me
regret it... almost.
Bond fills with fury. Blofeld looks up at him smiling.
Bond leans in calmly, whispers audibly.
BOND
(just a breath)
Die.
BLOFELD
Mmmh?
Bond raises his hand around Blofeld’s neck. Throttles him.
BOND
Die... Blofeld. Die.
152 INT. OBSERVATION ROOM - CONTINUOUS 152
Tanner watches closely. He sees Blofeld, predominantly masked
by Bond, start to shudder. He jumps to attention.
TANNER
Jesus! Open the door!
153 INT. BELMARSH PRISON - INTERROGATION ROOM - CONTINUOUS 153
Bond standing over Blofeld, his hands throttling him. It’s
intense and focused. We see the killer he is.
Bond sees himself in the reflection of the observation
window. Suddenly stops. This is exactly what Blofeld wanted
him to do.
Tanner appears at the window in the door.
TANNER
BOND! Bond! Open the door. Bond!
Bond releases Blofeld and steps backwards.
BLOFELD
Coo-coo!
Tanner storms into the room.
TANNER
(furious)
Who the hell do you think you are?
BOND
(dismissive)
Yes, yes, yes. I know how to
interrogate an asset.
TANNER
This interrogation is over.
BOND
Tanner, don’t lecture me.
TANNER
Bond, you have violated the most
important rule in the whole bloody
playbook.
Tanner’s face drops down to Blofeld. Bond turns now.
TANNER (CONT'D)
Don’t move.
They see Blofeld, passed out, veins bursting in his neck,
blisters breaking out on his face.
Ratings
Scene 36 - Shadows of Loss
A high-tech glider is visible in the windtunnel.
Bond looks at his hands. Q approaches.
Q
I’m going to need those I’m afraid.
Bond supplies Bond with his thumb print for a swab. He is
somewhere else in his mind. There’s a weight to this scene.
Q puts the swab under the microscope.
Tanner and Moneypenny enter. Bond looks up.
TANNER
He’s dead.
Bond nods.
Q
It’s a good thing you’re not actually
related or you’d be dead too.
Bond looks at his hands again. Nothing on them.
BOND
How do I get this off?
Q
You don’t. You can’t.
Bond looks at him, surprised.
Q (CONT'D)
(gentle attempt to lighten
the mood)
Nanobots aren’t just for Christmas.
It doesn’t land. No-one laughs. Moneypenny gives him a look.
Q (CONT'D)
Once Heracles is in your system, it’s
there forever.
Q and Tanner look up at the nanobots which are animating on
the screen.
Bond turns to Moneypenny.
BOND
Did they find the car?
MONEYPENNY
We traced it but she abandoned it.
They searched her flat. She hasn’t
been home. Is she one of them?
BOND
I don’t know.
Just as he leaves.
MONEYPENNY
(tentative)
James, do you have any idea where
she might have gone?
Bond gives her a look.
BOND
No. I don’t know her at all.
He walks out, tired, dejected, as if he’s given up.
155 EXT. COUNTRY ROAD - DAY 155
Bond driving the Vantage across the countryside. He crosses a
bridge and turns down a track. He drives beside a fjord. He
parks, gets out.
156 EXT. NORWAY - TREES - DAY 156
Pan over tops of trees, mirroring the very opening image.
Bond walks towards the house.
157 EXT. EDGE OF WOODS - DAY 157
Bond approaches through the woods. Gun drawn.
We see what would have been Safin’s POV of the house before
he killed Madeleine’s mother.
Ratings
Scene 37 - Trust and Betrayal
We see Bond inside the house, gun in his hand. He checks in
the kitchen.
MADELEINE (O.S.)
Is that for me?
Bond turns, looks up to the landing. Madeleine stares back at
him. She is emotional, but contained. Almost unreadable.
BOND
No.
He puts the gun away.
MADELEINE
Then why did you come?
BOND
Because you told me to.
Beat. Madeleine walks own the stairs.
MADELEINE
I didn’t think you would remember.
BOND
I remember everything.
Beat.
BOND (CONT'D)
You need to tell me who gave you
that poison, Madeleine.
MADELEINE
Is he dead?
BOND
Yes he’s dead.
MADELEINE
Good.
BOND
He told me you didn’t betray me.
MADELEINE
I understand you’re not built to
trust people.
BOND
Neither are you.
MADELEINE
Then we were fools for trying.
BOND
I wanted to.
Beat.
BOND (CONT'D)
I don’t know if you wanted me to
come here, why you tried to kill
Blofeld or who gave you the poison
to do it or how long you have been
working for them, but I do know
that for what felt like five
minutes of my life I wanted
everything with you. And it’s not
because I didn’t trust (you).
(MORE)
BOND (CONT'D)
It was just that feeling. I know
I’ve come here to find out who gave
you the poison but I’m not going to
leave here without you knowing that
I have loved you and I will love
you and that I do not regret a
single moment of my life that led
me to you except when I put you on
the train.
She shakes her head, she is conflicted.
MADELEINE
Do you know the worst thing about
you?
BOND
My timing?
MADELEINE
Don’t.
BOND
My sense of humour.
MADELEINE
Don’t.
BOND
What?
MADELEINE
You look... (incredible)
Beat. They look at each other. The chemistry is palpable.
BOND
...You look incredible.
He has already reached her, taken her in his arms and kissed
her.
Suddenly there is a noise from the top of the stairs!
They both pull apart and look up.
Sitting on the top step is a five year old girl, MATHILDE.
MADELINE
This is Mathilde.
He stares at her. She stares back.
Blue eyes looking at blue eyes.
He is lost for words.
BOND
Hello! I’m James.
Below her a slinky continues its way down the stairs.
Ratings
Scene 38 - Tensions and Revelations
M sits on the sofa, looking up at a portrait of his
predecessor. Tanner approaches holding his phone.
TANNER
Sir, we’ve located Logan Ash.
(hands the phone to M)
007 wants a word.
M takes the phone. INTERCUT WITH NOMI DRIVING in the Aston
Martin DBS.
M
Well done 007.
NOMI
Thank you Sir. Permission for a
capture or kill?
M
(to Tanner)
Have we cleared this with the
Americans?
(Tanner nods)
Granted. And thank you for asking.
NOMI
By the book, Sir.
M
Your predecessor was less
deferential.
NOMI
To be fair Sir, Commander Bond gave
me the lead.
M
Glad to see you two are getting
along.
NOMI
Sir.
M smiles and ends the call.
M
(to Tanner)
Have We located Dr Swann.
TANNER
(shakes his head)
Nothing I’m afraid, sir.
M
Thank you.
M leaves.
160 INT. NORWAY HOUSE - EVENING 160
Bond watches as Madeleine tucks Mathilde in.
MADELEINE
(in French)
If you hear anything what do you
do?
MATHILDE
(in French)
I hide.
MADELEINE
Very good.
Madeleine kisses her.
MADELEINE (CONT'D)
Dis bon nuit au monsieur (say good
night to the gentleman)
MATHILDE
Bon nuit.
Mathilde and Bond stare at each other.
BOND
Bon nuit.
Madeleine closes the blinds
MADELEINE
(to Mathilde)
Ferme les yeux (close your eyes).
Mathilde closes her eyes. Bond continues to look at her.
Madeleine approaches.
MADELEINE (CONT'D)
She’s not yours.
BOND
Ok. But the blue eyes...
MADELEINE
She’s not yours.
BOND
Ok.
Beat.
MADELEINE
I have something to show you.
Bond looks back at Mathilde.
BOND
Another child?
He follows her down the stairs.
Ratings
Scene 39 - Secrets of the Past
They enter the room.
BOND
What is it with your dad and secret
rooms? Talk to me.
MADELEINE
I wanted to bring you here
before... (we ended) To tell you
everything.
Bond sees the files she has opened.
MADELEINE (CONT'D)
Blofeld ordered my father to
assassinate this family.
(pointing at the family
photo)
The boy survived. His name is
Lyutsifer Safin.
(beat)
When I was a little girl he came
here to kill my father but found me
and my mother instead.
MADELEINE (CONT'D)
He spared my life.
(beat)
And now he’s back.
BOND
And what does he want?
MADELEINE
Revenge?
(horrified by the thought
of it)
Me?
The man’s obsession with her landing on both of them. He will
never go away.
Bond sees photos of Mr White, Safin’s father and more Spectre
agents.
BOND
Who were they?
MADELEINE
Spectre’s poisoners. My father held
a banquet for them, used their own
recipe in the dessert - dioxin.
They would have suffered, horribly.
It scarred him for life. The family
had an island. They called it the
Poison Garden.
BOND
So Blofeld took it from them and
kept running it.
He takes pictures of what he needs with his phone.
BOND (CONT'D)
And now this Safin has taken it
back.
(into his phone)
Q. Find one Lyutsifer Safin.
Whereabouts unknown and no recent
photographs. But I’m gonna send you
some images of him as a boy and a
picture of an island. So, you know,
do your best. And I’m going to need
a plane to get there. A big one.
(looks at Madeleine)
I’ll send you my location shortly.
Madeleine looks at him.
MADELEINE
You’re going to find him?
BOND
There are a thousand reasons why we
need to find this man. You just
gave me a reason to kill him.
Ratings
Scene 40 - A Morning Interrupted
Establisher of the sun rising over the house on the lake.
163 INT. BEDROOM - NORWAY HOUSE - MORNING 163
Bond is asleep in bed next to Madeleine. He wakes. Mathilde
is staring at him. She wants breakfast.
MATHILDE
(in French)
I’m hungry.
164 INT. NORWAY HOUSE - KITCHEN - LATER 164
Mathilde watches Bond prepare breakfast.
He watches her. Blue eyes looking at blue eyes.
BOND
How is it?
MATHILDE
(in French)
Not bad.
Madeleine and Bond smile.
Bond’s phone rings. He picks it up.
BOND
Excuse me.
He takes the call in another part of the room.
INTERCUT with M, Tanner and Moneypenny in M’s office and Q in
his lab.
BOND (CONT'D)
Yes.
M
Bond.
BOND
You’ve found the island?
Q
Yes. It’s part of a chain in
disputed waters between Japan and
Russia. There’s a chemical plant
dating back to the second world
war.
Tanner bursts into M’s office.
Q (CONT'D)
It seems to have had quite a
history.
TANNER
Sir, Japanese intelligence have
reported suspicious activity on the
island. Q, bring up the satellite
images I just sent through. These
were taken over the last few days.
If that is Safin there...
M
Then Heracles is there too.
Q
Where do you need this plane Bond?
BOND
Hang on Q. Did 007 manage to locate
Logan Ash?
MONEYPENNY
She’s closing in on him. I’ll send
you her location.
Bond receives the text from Moneypenny.
Registers its proximity to where they are. It’s 20 miles from
him. He looks up.
BOND
I thought she was following Logan
Ash, not me.
TANNER
What? She IS.
MONEYPENNY
James, where are you?
He looks over at Madeleine and Mathilde.
HARD CUT TO:
Ratings
Scene 41 - Fjord Escape
Madeleine and Bond leave the house with urgency.
Bond is carrying Mathilde.
MADELEINE
Put her in the back.
He takes her to Madeleine’s Land Cruiser and puts her in the
car seat directly behind the driver’s seat.
Bond and Madeleine get in the car. She looks at him in fear.
MATHILDE
(in French)
Where are we going?
MADELEINE
(in French)
We’re going on an adventure,
darling. Hang on.
Bond starts the car. They pull away from the house.
166 I/E. LAND CRUISER - HIGHWAY - MOMENTS LATER 166
They drive along a track besides a fjord.
They drive at speed. Bond is on the phone to Q.
BOND
Q, I am gonna need that plane
quickly. At the Ørland NATO base.
Do you think you can get it to me.
Q (O.S.)
Right. Yes, we’ll be there.
BOND
Thank you.
MATHILDE
Maman.
(in French)
A mosquito bit me.
MADELEINE
It’s okay.
MATHILDE
(in French to her toy Dou
Dou)
Dou Dou, do you like mosquitoes?
Madeleine and James look ahead of them and see something.
In the distance 2 Range Rover SVRs appear head of them. They
approach from the other direction at high speed.
They speed past the car, back towards the house. Bond and
Madeleine look at each other. Panic in her eyes.
Bond checks the rear view mirror. Nothing.
They keep driving. They check again. Still nothing.
Just an empty horizon behind them.
MATHILDE (CONT'D)
(in French)
Maman, do mosquitoes have friends?
MADELEINE
(in French)
I don’t know.
MATHILDE
(in French to Dou Dou)
I don’t think so.
Then... there they are. Two SVRs speeding back towards them.
Madeleine and Bond look at each other. It’s a chase.
MADELEINE
(to Mathilde)
Hang on.
The SVRs gain on them. Bond swerves right. Into an off road
track.
167 I/E. LAND CRUISER - FJORD ROAD - CONTINUOUS 167
The land cruiser races along a gravel road adjacent to a
fjord.
The SVRs are gaining ground behind them.
MADELEINE
James!
Madeleine undoes her seat belt and climbs into the back seat
to be with Mathilde. She clips herself into the middle seat
and comforts her.
Ratings
Scene 42 - Fjord Pursuit
A wide view of the Land Cruiser and pursuing SVRs.
The SVRs reach Bond’s vehicle.
169 I/E. LAND CRUISER - FJORD ROAD - CONTINUOUS 169
The SVRs jockey for position around Bond’s vehicle,
attempting to stop him with aggressive manoeuvres.
One SVR slams against Bond’s left-hand side, pushing him
towards a hill on his right.
Bond responds with a swerve that forces the SVR off the road.
It rolls down the bank towards the water, out of commission.
The second SVR accelerates on the right-and side as Bond
moves to his left.
Bond spots a curve of road ahead with a rocky outcropping. He
pushes the SVR right. The SVR rides up the rock face like a
ramp and flips into the air, sailing over the front of the
Land Cruiser.
The immediate threat is gone. Bond veers off-road into a
wooded area.
170 I/E. LAND CRUISER - RUGGED LANDSCAPE 170
The Land Cruiser exits the woods into an expansive landscape.
There’s a sweeping vista of rugged hills with a river in the
distance.
Bond hears something. Chopper blades. Can’t see where they’re
coming from and steps on it.
On a distant hillside ahead of them several PLUMES OF DUST
are forming. He drives down into the valley.
171 EXT. DAM - MOMENTS LATER 171
A wide view of the valley reveals the helicopter is still
tracking the Land Cruiser. They head towards the hillside
with the growing cloud of dust.
A treeline separates the Land Cruiser from the hillside so we
see the source of the dust before Bond does: 3 DEFENDERS AND
3 MOTORCYCLES barreling down the steep slope.
172 I/E. LAND CRUISER - DAM VALLEY - MOMENTS LATER 172
Bond passes through the valley with the river to his left and
a steep hill topped with trees to his right.
A sudden flurry of activity draws his attention to the
treeline.
173 EXT. TREELINE - DAM VALLEY - CONTINUOUS 173
The 3 Defenders and 3 Motorcycles BURST through the trees at
speed. Like charging cavalry they storm down the steep slope,
churning up the landscape as they race towards Bond’s flank.
Bond drives with the river on his left. The vehicles fan out
as they crest the brow of the hill above Bond.
174 I/E. LAND CRUISER - DAM VALLEY - CONTINUOUS 174
Mathilde has a direct view of the approaching onslaught
through her window.
Bond attempts to speed ahead but can’t make it. With a sharp
left-hand turn he diverts towards the river.
175 EXT. RIVER - DAM VALLEY - MOMENTS LATER 175
The water is only a few inches deep and no trouble for the
Land Cruiser. Bond drives along the riverbed as the pursuing
vehicles fall in line behind him.
176 I/E. LAND CRUISER - RIVER - DAM VALLEY - CONTINUOUS 176
Taking advantage of the new terrain Bond shifts gears and
kicks up a huge spray with his tyres. A sheet of water
appears behind Madeleine and Mathilde.
The Defenders and bikes have to fall back or swerve from side
to side to maintain visibility.
The river snakes back and forth but Bond drives in a straight
line. Madeleine and Mathilde have a hard bounce each time the
Land Cruiser transitions between land and water.
Ratings
Scene 43 - Chase Through the Fog
One Defender races ahead to try and cut Bond off further down
the river.
A motorcycle chases then pulls alongside the Land Cruiser.
Bond forces it to jump a high bank sending the rider flying.
One of the Defenders appears next to Bond and slams against
him aggressively. The Land Cruiser is outmatched in power but
Bond surprises the Defender with a manoeuvre that spins it
out of control towards a steep bank. The Defender rolls
upside down, causing an obstacle that slows down the pursuing
vehicles.
The impassive helicopter changes tactics and soars overhead.
It drops low over the riverbed. Ominously the helicopter
turns to face Bond as he approaches.
Bond eyes a nearby forest which appears to hold a misty fog
within. He re-directs the Land Cruiser and drives into the
woods in an attempt to hide from the helicopter and remaining
vehicles.
178 I/E. LAND CRUISER - FOGGY FOREST - MOMENTS LATER 178
Bond weaves through trees, narrowly avoiding head-on
collisions. As the fog grows thicker Bond is forced to slow.
With the reduced visibility Bond can’t tell where his
pursuers may be. He cuts the engine and coasts the Land
Cruiser silently through the forest.
The landscape is different here. A thriving population of
ferns dominate the forest floor, some so tall they form a
second canopy beneath the trees.
Bond directs the Land Cruiser into a sheltered depression and
stops. Bond, Madeleine and Mathilde listen intently. It’s
just the sound of their breathing and the warm engine ticking
over. Then a barely discernible noise of a vehicle in the
distance.
179 EXT. FOGGY FOREST - MOMENTS LATER 179
Bond, Madeleine and Mathilde sit in the car. Eerie silence at
first, and then the sound of an engine. Two. Getting louder.
They catch a glimpse of a motorcycle strobing through the
trees. Bond hands Madeleine his gun.
Bond carries Mathilde in his arms. Madeleine follows as they
walk deeper into the forest where the mist thickens. Then
Madeleine gets left behind.
Bond does his best to tread silently as he jogs with Mathilde
clinging to his neck. He turns to Madeleine - but she’s not
there. He spins. No sign of her.
Bond hears a rustling sound and moves to take a look. Instead
of Madeleine he sees a motorcyclist 20 yards away looking
straight at him. The engine bursts to life and the motorcycle
races straight towards him. With Mathilde in his arms Bond is
unsure how to keep her safe. As the motorcycle drives forward
Madeleine suddenly appears from behind a tree and SHOOTS the
driver with the gun Bond gave her, flipping him off the bike.
180 EXT. HUNTING HIDE - FOGGY FOREST - MOMENTS LATER 180
Bond leads Madeleine and Mathilde to an old hunting hide,
forming a natural hiding place.
BOND
(whispers)
Stay here. I’ll be back soon.
Anybody comes through that door,
you shoot them. Unless it’s me!
(to Mathilde)
You be quiet, okay. Stay really
quiet.
Bond runs off to lure the assailants away from his family.
181 EXT. FERN FIELD - FOGGY FOREST - MOMENTS LATER 181
Bond takes the dead motorcyclist’s weapons and moves through the
forest.
Bond has found a section of the forest where the ferns are
particularly tall and dense.
He fires several rounds into the air and waits as the Defender
tries to locate his position. Soon the fog near Bond is
illuminated by a beam of headlights as the Defender appears
through the trees.
Bond shoots directly at it with the grenade launcher. The
vehicle flips on its side and slides forward. Bond notices a
winch on the front, gets an idea, draws the cable around some
nearby trees.
Bond waits for the remaining vehicles to find him. The
motorcycle is the first to appear. Bond lures him to his
position with gunfire. The rider is suddenly yanked from his
vehicle when he hits the winch cable drawn between two trees.
The remaining Defender is close behind and diverts course to
avoid the cable. Bond runs to a new position, drawing the
vehicle on a specific course. Ash is in the passenger seat of
the approaching vehicle and he shoots at Bond. The driver
doesn’t know what Bond does - the bracken near him obscures a
massive felled tree. The Defender hits the tree at speed. Bond
steps aside as the Defender flips end over end, crashing on its
roof and sliding down an embankment.
Bond walks towards the upturned vehicle.
182 EXT. FERN FIELD - CONTINUOUS 182
Bond approaches the upturned Defender, weapon at the ready. He
rounds it. Ash is crawling towards a tree stump, bleeding, badly
injured. Ash sees Bond just as Bond dry fires. Nothing. Mag
empty.
Ash smiles like a fox eating shit from a wire brush.
ASH
Nice moves Bond.
Bond sees that the Defender is precariously balanced.
ASH (CONT'D)
You won’t be able to stop him. So
why don’t you help me out, brother?
BOND
I had a brother. His name was Felix
Leiter.
Bond turns and slams the Defender down, squashing Ash.
He hears gunfire in the distance and races back towards his
family.
EXT. HUNTING HIDE - FOGGY FOREST - MOMENTS LATER
A body hits the ground. Madeleine stands over it, gun drawn.
Mathilde hides, her hands covering her ears.
Madeleine and Mathilde hear a sound and look up to see SAFIN
standing there, smiling.
EXT. HUNTING HIDE - FOGGY FOREST - MOMENTS LATER
Bond arrives. They’re gone. Bond hears the sound of a
helicopter and runs towards it.
185 EXT. CLEARING NEAR FOGGY FOREST - MOMENTS LATER 185
Bond arrives in the clearing just in time to see the
helicopter rising into the sky and fly away.
Ratings
Scene 44 - Mission Briefing in Norway
Bond walks alone down the road. Nomi arrives and pulls to a
stop by Bond.
NOMI
Need a ride?
BOND
Where have you been?
NOMI
Chasing after your lead.
Bond walks to the passenger side of her car.
187 INT. DBS ON THE ROAD - NORWAY - DAY 187
Nomi and Bond speed towards a NATO base on the coast. She can
see he’s upset. He doesn’t speak. Tension heavy in the air.
NOMI
Ash?
BOND
Dead.
(then)
They took Dr Swann... and her
daughter.
Nomi looks at Bond.
NOMI
I didn’t know she had a daughter.
Nomi realises.
BOND
Did M get my plane?
NOMI
Our plane. I’m coming with you.
BOND
Thank you 007.
188 EXT. NATO AIRSTRIP - NORWAY - DUSK 188
Bond and Nomi drive onto an NATO airstrip. The car speeds
ahead towards a waiting C-17A Globemaster.
They park.
Bond gets out and walks towards the plane.
BOND
Hello Q.
189 I/E. C-17A RAMP - NATO AIRSTRIP - MOMENTS LATER 189
Q is waiting for them, looking bleary, a pyjama shirt under
his jacket.
Q
Bond.
NOMI
Sorry to get you out of bed.
Q follows Nomi inside the plane.
190 INT. C-17A GLOBEMASTER 190
Bond loads a gun.
M (O.S.)
The objectives of this mission are
threefold.
He joins Q and Nomi at a screen.
M (CONT'D)
Confirm the presence of Heracles.
Kill Obruchev and Safin. Get Dr
Swann and her daughter off the
island
(then)
And Bond?
Bond turns to the screen where M is conferencing from MI6.
M (CONT'D)
I hope they’re there.
BOND
Thank you sir.
NOMI
Sir, permission for Commander Bond
to be re-designated as 007.
(off Bond’s look)
It’s just a number.
M
Very well. Agreed. Good luck.
The screen goes dead.
Ratings
Scene 45 - Gadgets and Gliders
Q calls Bond over to a mobile lab set-up.
Q
Bond. Your watch.
Bond hands Q his Omega watch. Q affixes a gadget to its back.
Hands it back.
Q (CONT'D)
It contains a limited-radius
electromagnetic pulse. It’ll short
any circuit on a hard wired
network, if you get close enough.
BOND
And how strong is it?
Q
It’s fairly strong.
BOND
Fairly strong. What’s that mean?
Q
Haven’t had the time to test it
properly. Just be careful.
Q gives Nomi a cylindrical device.
Q (CONT'D)
Right this is QDAR. It’ll map the
space as you move through it.
Nomi taps the top of the device.
Q (CONT'D)
Don’t touch that!
He opens a drawer, brings out an injector tracking device.
Q (CONT'D)
And smart blood will track you and
your vitals. Bond you don’t mind a
shot or two whilst at work. Shall
we?
BOND
Well, I haven’t had a drink for
three or four...
Q injects Bond with the tracking device.
BOND (CONT'D)
...Ouch! ...hours.
NOMI
Wow. Doesn’t sound like you.
Q injects Nomi with the device.
NOMI (CONT'D)
Ow!
Bond laughs. He moves towards the glider.
Q
I assume you know how the stealthy
bird works.
BOND
No. No idea.
NOMI
Gravity.
Ratings
Scene 46 - Threats on Poison Island
Safin walks Madeleine and Mathilde through a long concrete
hallway followed by two henchmen. Primo hovers nearby.
The facility is abuzz with activity. Workers are restoring
the building and its garden to their former glory. We see a
pallet of shipping crates with Cyrillic lettering go by.
193 INT. GAMES ROOM - POISON ISLAND - DAY 193
A plain room, concrete walls, natural light flowing in from
an unknown source above the ceiling.
On each wall is a window which looks out upon a garden that
has become overgrown. Safin’s men, in hazmat suits, are
weeding and manicuring an overgrown corner of the zen garden.
Valdo approaches.
VALDO
Welcome back Mr Safin. Welcome to
your family.
SAFIN
How are you progressing?
VALDO
So, so good, Mr Safin. So, so good.
SAFIN
My request.
Valdo hands Safin a small red vial.
SAFIN (CONT'D)
Continue.
Valdo leaves.
MADELEINE
What is that?
SAFIN
Insurance. A simple hair falls from
your head... And now I have your
life in my hands
He looks at Mathilde.
SAFIN (CONT'D)
And yours!
MADELEINE
How damaged you must be to threaten
a little girl.
SAFIN
You’re any less damaged? You love a
killer. You bore his child despite
his rejection, you’ve hidden and
lied your whole life. You’ll do
anything-
MADELEINE
To survive.
SAFIN
You understand me the same way I
understand you.
Safin walks across the games room to a stairway opening on a
garden.
PRIMO
(to Madeleine)
Move.
Madeleine follows with Mathilde.
Ratings
Scene 47 - The Poison Garden
Safin walks down the steps.
SAFIN
My father’s garden. It was his
toxic treasure. Let me show her.
Give her to me.
Madeleine is reluctant to hand Mathilde over.
MADELEINE
No.
Primo steps forward, points his gun at Madeleine.
SAFIN
I can protect her.
MADELEINE
(to Mathilde in French)
Remember what I told you. Don’t
touch anything. Okay?
She hands Mathilde to Safin. He walks to the garden.
SAFIN
It’s a poison garden but it’s
perfectly safe. My father made
this. He loved his plants so much,
he would sing to them. I want to
show you some of my favourites.
He speaks close to Mathilde, too close and quiet for
Madeleine to hear. She watches like a hawk.
SAFIN (CONT'D)
Some of these plants are very
dangerous.
(to Mathilde)
But not all of them are for hurting
people. I have plants that can do
all sorts of things.
He shows her one close up. Mathilde reaches out for it.
MADELEINE
Mathilde! No!
SAFIN
(points to a purple
flower)
This one makes you do as you’re
told, so you never misbehave and
you’re always good. You mustn’t
misbehave, Mathilde.
Safin looks at Madeleine. Then back to Mathilde.
SAFIN (CONT'D)
And neither must your mother. Ever.
Madeleine and Mathilde exchange a look.
SAFIN (CONT'D)
(to Mathilde)
Do you like it here?
She shakes her head.
MATHILDE
No.
SAFIN
Well you will learn to. I grew up
here and you will too. Such a
beautiful child. Perhaps we should
have some tea.
(to Primo)
Make her see the light.
Primo grabs Madeleine.
MADELEINE
No. YOU CAN’T SEPARATE US.
MATHILDE.
MATHILDE
Maman...
MADELEINE
(in French)
Remember what I told you! I’ll come
looking for you! Okay?
She glares at Safin, full of rage, as Primo pulls her away.
SAFIN
(to Mathilde)
Don’t worry. You have me.
Safin walks back through the garden with Mathilde.
195 I/E. GLIDER - C-17A - LATE AFTERNOON 195
The glider is set for take-off.
Q (O.S.)
As soon as you have a line of sight
on the island, drop altitude, stay
below radar.
Q gives the signal for take off.
Bond and Nomi are inside, strapped in.
BOND
You ever flown one of these things
before?
NOMI
Nope.
BANG - glider SUDDENLY drops and shoots out of the C-17A
It opens in air and beautifully soars towards the island.
Q (O.S.)
Don’t forget to release the chute
and open the wings. Gravity isn’t
always your friend
They’re off. Silent and focused. Soldiers.
Q (O.S.) (CONT'D)
Look for a concrete structure on
the west side of the island. That’s
your best bet for getting in.
Ratings
Scene 48 - Infiltration of the Submarine Pen
They soar down in the glider. It lands in the ocean and
submerges. Glides underwater toward the island.
197 INT. SUBMARINE PEN - MOMENTS LATER 197
The glider surfaces in an old Japanese submarine pen and
docks next to a fallen gantry.
Bond climbs out. Nomi behind him.
NOMI
Coming up for air, Q.
It appears to be abandoned. There are old Soviet RIBs stacked
between the two sub bays - but other than that no activity.
INTERCUT WITH Q IN THE C-17A GLOBEMASTER
Q
Right, good. You should be entering
a world war two era subpen. Doesn’t
seem to get much action but look
out for cameras anyway. Use your
watch Bond.
Bond uses his watch to short circuit an electronically sealed
door.
Behind it, a wet corridor leading to a stairwell.
198 EXT. POISON ISLAND LOOK OUT - CONTINUOUS 198
The guards react as several CCTV images turn to static. A red
light on a panel reveals a power-outage in one sector of the
facility.
199 INT. SUBMARINE PEN - STAIRWELL - MOMENTS LATER 199
The corridor leads to a set of very tall stairs.
Nomi activates her QDAR device, which starts to PING. They
start ascending.
200 INT. C-17A GLOBEMASTER - SAME 200
Q’s still on the plane. And still wobbly. Hears a ping on his
computer and looks up.
Q
Okay. Ah, there you go.
The QDAR uses reflected sound waves to make 3-D map of the
island’s interior. A picture is slowly rendered of the
interior works of the island.
201 INT. MI6 - MORNING 201
M, Tanner and Moneypenny watching the same image. It can only
map as far as the rooms they’ve entered.
Q (O.S.)
Sir? They’re in.
M
Yes, we have it.
Q (O.S.)
You should be able to see the
chemical plant’s architecture.
MONEYPENNY
Which one’s Bond?
Q (O.S.)
He’s the erm... the Psi. The
trident thingy.
BOND (O.S.)
Give us the layout.
202 INT. C-17A GLOBEMASTER/INT. SUBMARINE PEN - STAIRWELL 202
Q looks at the images.
Q
Right. You’re at the edge of a
toxic merry-go-round. The main
activity should be towards the
central hub which is directly above
you.
Bond and Nomi are climbing the stairs.
203 INT. DEFENSIVE RING CORRIDOR - MOMENTS LATER 203
Bond and Nomi move in silence through the corridor. It’s
dark. We only see glimpses of them in the shadows.
A CAMERA shorts out. A GUARD’s face turns, hearing a noise -
then his body gets sucked into the darkness. Nomi and Bond
don’t make a sound as they take out their targets.
They ascend a stairway.
204 INT. C-17A GLOBEMASTER - SAME TIME 204
Q watches the icons. Sees the signal strength plummet.
Q
Bond. Bond, there’s something...
there’s something big up ahead. I
can’t tell...
205 INT. BACTERIA FARM/C17-A GLOBEMASTER/MI6 - MOMENTS LATER 205
Nomi and Bond enter the large underground cavern. It’s a
dark, swampy room with incredibly high ceilings that seems to
be some kind of underground farm.
Nomi’s comms device squawks. She takes it out.
NOMI
These walls must be thick.
The workers stand in rows, dressed in pink hazmat suits,
working in rhythm, stirring the water with long rods.
Electric pod vehicles transport workers across the space.
It’s all very strange and mysterious.
Q
Bond? Bond? 007, do you read me?
M, Tanner and Moneypenny watch the map. It ceases to render,
like a frozen signal. Bond and Nomi’s icons not moving.
M
We’ve lost them.
Q
They’ve entered a blind spot, sir.
I can’t work out what it is they’ve
walked into.
M
Just get them back.
Nomi and Bond sneak around the perimeter. Reach a ladder and
climb up to a gantry. Bond looks up and sees three large
circular metal doors.
BOND
Well, will you look at those
doors.
NOMI
This was a missile silo.
BOND
Right. Let’s go.
They head for the glowing windows of a lab in the distance.
Ratings
Scene 49 - Desperate Measures in the Lab
Valdo’s lab: a huge cabinet of vials, monitors stream DNA
data, refinery type systems, a bank of windows looks down at
the bacterial acid farm below.
Bond and Nomi enter the lab with guns raised. Bond fires a
round.
BOND
Everybody, over there. In the
corner, now!
Valdo looks up.
VALDO
What? How?
BOND
Move! Move! On the ground.
VALDO
ALARM!
He makes a break for it. Nomi leaps onto a table and runs him
down. Floors him with a roundhouse kick.
NOMI
Down boy.
Bond places charges throughout the lab.
VALDO
What are you doing? You cannot
explode laboratory, please. This is
suicide mission. Come on, you will
never leave this island alive.
Nomi looks at the lab windows at the enormous pond outside
after placing her last explosive.
NOMI
That was the farm.
Bond stands before several VATS brewing.
BOND
And this is the factory.
Bond gets to the cabinet now. Rows and rows of DNA vials. The
screen displays a map with a looping animation like a
simulation of spreading disease.
BOND (CONT'D)
They’re mass producing it. Nomi,
come and look at this.
VALDO
You cannot stop it mister. We have
BIG plans, you know... BIG numbers.
Nomi walks over to Bond at the screen.
NOMI
What is it?
BOND
It’s a simulation. They’re not just
attacking individuals.
NOMI
They’re going to kill millions.
VALDO
It will not fit in a suitcase this
time lady.
NOMI
He’s really getting on my nerves.
BOND
Well shut him up.
Nomi hits him with the butt of her gun.
Bond heads towards the windows overlooking the bacteria pond.
Nomi joins him --
BOND (CONT'D)
We have to destroy this whole
facility.
Then, SAFIN’S VOICE echoes around the room.
SAFIN (O.S.)
There’s no need for violence.
VALDO
(yelling)
Mr Safin! They use explosives...
Nomi silences him.
NOMI
Shut up!
SAFIN (O.S.)
Mr Bond, you have something of mine
and I have something of yours. Why
don’t you come up and we can talk
about it like adults.
Out the window, Nomi and Bond see GUARDS coming down the
gantry towards the lab. Bond points his gun at Valdo.
BOND
Safin. Where is he?
Valdo points up.
Bond hands Nomi a detonator.
BOND (CONT'D)
If I don’t come back, blow it all
to shit.
NOMI
(quietly, aside)
We don’t have enough explosives for
that.
BOND
(even quieter)
Yeah but they don’t know that.
Bond exits.
Ratings
Scene 50 - A Desperate Escape
A GUARD pours tea in a cup and leaves.
A dull purple flower (ATROPA BELLADONNA) slips into the tea -
the ones from the poison garden that make you compliant.
PRIMO
He said you must drink. For your
health.
MADELEINE
Do you trust him? He made me kill
your last master.
(then)
Why do you think he let you join
him?
PRIMO
I think he wants you to drink.
MADELEINE
I want him to give me my daughter
back.
PRIMO
He said if you behave you’ll see
her.
(then)
Drink.
MADELEINE
Do you know what this flower does?
She shows him the flower floating in the cup.
MADELEINE (CONT'D)
(lying)
It makes you blind.
She looks at his one eye.
MADELEINE (CONT'D)
Just a drop of this in your eyes.
And you’ll never see again.
She looks at him closer now.
MADELEINE (CONT'D)
Losing one eye is a tragedy. Losing
two...?
She looks at him. Threatening? He grabs her by her hair.
PRIMO
No games.
MADELEINE
This is not a game.
She flings the cup of tea in his face.
He turns away instinctively, falling to the floor.
She rushes him, grabs his lanyard key and rips it off. She
uses it to open the door and rushes out, locking Primo
inside.
Ratings
Scene 51 - The Tense Standoff
Bond enters the games room from an underground staircase. His
rifle at the ready, sees Safin holding Mathilde.
SAFIN
Welcome.
Safin’s GUARD stands behind him, TWO more GUARDS have their
weapons trained on Bond from behind the staircase.
SAFIN (CONT'D)
(refers to weapon)
On the floor.
Bond puts his rifle on the floor. As he comes up he shows his
empty hands.
SAFIN (CONT'D)
And your sidearm.
Bond hesitates. Safin references Mathilde --
SAFIN (CONT'D)
Careful. She’s as light as a
feather.
Safin tosses a cushion. It flies in the air and then explodes
in a barrage of SILENCED GUNFIRE from the GUARD behind SAFIN.
BOND
Alright!
Mathilde covers her ears. Point taken. Bond takes out his
sidearm and lays it on the floor.
SAFIN
Please, sit.
Bond sits opposite Safin.
BOND
(to Mathilde)
It’s going to be alright. I promise
you it’s going to be alright.
Safin leans back. Appreciating his cards.
SAFIN
James Bond. History of violence.
Licence to kill. Vendetta with
Ernst Blofeld. In love with
Madeleine Swann.
(beat)
I could be speaking to my own
reflection.
BOND
We’ve made slightly different
choices.
SAFIN
No, we’ve just developed different
methods for the same goal. Only
your skills die with your body,
mine will survive long after I’m
gone. And life is all about leaving
something behind, isn’t it?
He smiles at Mathilde.
SAFIN (CONT'D)
(smiling, simple)
This doesn’t have to get ugly. You
leave my baby alone, I’ll leave
yours. What you think?
Beat.
BOND
I think you’re right.
SAFIN
(surprised)
Thank you.
BOND
I think we are the same.
Beat. Safin says nothing.
BOND (CONT'D)
We both know what it feels like to
have everything taken from us,
before we’re even in the fight.
(beat)
It would have been nice to have a
chance, don’t you think? We all
should get a chance. But this thing
that you’re building, it puts
everyone -- the whole world on a
battle field. Nobody gets a chance.
Beat.
SAFIN
The thing that no one wants to
admit is that most people want
things to happen to them. We tell
each other lies about the fight for
free will and independence. But we
don’t really want that. We want to
be told how to live, and then die
when we are not looking. People
want oblivion, and a few of us are
born to build it for them. So here
I am: their invisible god, sneaking
under their skin.
BOND
You know that history isn’t kind to
those who play God.
SAFIN
And you don’t? We both eradicate
people to make the world a better
place. I just want to be a
little... tidier. Without
collateral. I want the world to
evolve. Yet you want it to stay the
same. Let’s face it, I’ve made you
redundant.
BOND
No. Not as long as there are people
like you in the world. And with all
due respect to the enormity of your
‘tidy’ achievements all you’re
really doing is standing in a very
long line of angry little men.
SAFIN
I’m not angry, just passionate.
(losing patience)
Disable your explosives, get off my
island and you can take this
precious little angel with you.
Pause.
BOND
And Madeleine?
SAFIN
She stays.
BOND
You know I can’t do that.
SAFIN
That’s a shame. She really hoped
you would.
(then)
She knows it’s her only path to
survival.
BOND
You have her tell me that.
SAFIN
What mother wouldn’t sacrifice
herself for her own child?
BOND
Is that what happened to yours?
SAFIN
My mother lay at my feet as I
watched her die.
Safin grips Mathilde, as if we were going to throw her like
the cushion --
BOND
Wait, wait, wait!
Safin hesitates --
BOND (CONT'D)
I’ll do whatever you want.
SAFIN
Yes you will.
Bond bows, thinking quickly --
BOND
I apologise. I’m sorry.
SAFIN
Simple choices Mr. Bond. Like do
you want to die in front of your
daughter...
(beat)
Or do you want your daughter to die
in front of you?
BOND
No, no, no. I’m sorry. I’m sorry.
Bond bows lower. All the way down to his face. Safin is
enjoying this.
SAFIN
Look at your father, Mathilde.
Safin’s hands drift off of Mathilde’s shoulders.
SAFIN (CONT'D)
This is power.
BOND
I’m sorry. Truly. Truly sorry.
Bond’s hidden PPK is out in a flash.
BANG BANG BANG BANG BANG BANG -- First the GUARD behind
SAFIN, then the TWO GUARDS behind him.
As they fall Bond spins his gun to Safin. But Safin’s
disappeared through a trapdoor in the floor, and Mathilde
with him.
Bond runs, his gun pointed down at the place they disappeared
just as the sliding doors close.
Madeleine runs into the room.
MADELEINE
James! Where is she?
Bond still has his gun pointed at the trapdoor. He looks up.
FUCK.
His face says it all.
Ratings
Scene 52 - Desperate Measures
Safin races down a corridor, carrying Mathilde. She looks
around for her toy.
MATHILDE
(in French)
My Dou Dou.
Mathilde bites down on Safin’s hand. Hard.
SAFIN
Aaah!
He lets go of her and puts her down.
SAFIN (CONT'D)
If you don’t want my protection,
then off you go.
Mathilde turns and runs down the corridor. Safin shrugs and
continues in the opposite direction. He calls to his Guards.
SAFIN (CONT'D)
Move! Our first buyers are
arriving.
210 EXT. SEA 210
Vessels on the horizon approaching the island.
211 INT. C-17A GLOBEMASTER/MI6 - SAME 211
Q is looking at his radar.
Q
(to MI6)
Sir, I’ve just detected some
suspicious activity.
(looking at the C-17 spy
cam)
Several high-speed transports are
headed for the island. Origin
unknown. Still no sign of 007.
M, Tanner and Moneypenny are watching the screen.
M
Come on Bond. Where the hell are
you.
212 INT. BACTERIA FARM - SAME 212
Nomi leads Valdo away from the lab. A group of guards chase
them down the gantry.
VALDO
This is a hopeless situation, lady.
Please.
NOMI
Bond. Bond, the party is larger
than the reservation.
VALDO
Please, please just let me go.
STATIC. Nomi’s surrounded. She has the detonator ready. But
she doesn’t know if Bond is clear...
VALDO (CONT'D)
Lady, look. Just give up. I have a
good vial for your people. Good for
West African diaspora. It can be a
good thing.
Nomi trades shots with the guards.
Nomi shoots a guard standing near the edge of the pool. He
falls into the liquid and we hear his agonised screams as the
acid dissolves his flesh.
VALDO (CONT'D)
I do not need laboratory to
exterminate your entire race from
the face of the earth.
NOMI
Do you know what time it is?
VALDO
What?
NOMI
Time to die.
Nomi lifts her knee and shoves Valdo off the gantry into the
acid below.
She trades more shots with the Guards.
Ratings
Scene 53 - A Family's Escape
Bond and Madeleine search for Mathilde.
BOND
They dropped down to a lower level.
There has be a stairwell down...
They hear something and turn back.
MATHILDE
(in French)
I lost my little Dou Dou.
Mathilde is just standing there, feeling none of the fear her
parents are. Madeleine grabs her, hugs her. Bond watches
them.
MADELEINE
(in French)
I looked for you all over. Where
were you?
MATHILDE
(in French)
I hid like you told me. I love you.
MADELEINE
(in French)
Me too. I love you.
BOND
We should go.
They go.
214 INT. C-17A GLOBEMASTER - MOMENTS LATER 214
Q is still trying to reestablish contact with the island.
Q
It’s Q. Do you read me? Come in
007. It’s Q.
He sees on the radar two fast-approaching unidentified
objects. Suddenly the C-17 vibrates with the roar of jet
engines as outside two MIGs buzz the C-17.
Q (CONT'D)
I think we just got buzzed.
215 INT. MI6 - M’S OFFICE - CONTINUOUS 215
Tanner is on the phone.
TANNER
I understand and I’m doing the best
that I can. Just please wait.
Tanner puts down the phone.
M is stressed. He stares at the screen.
Tanner comes over.
TANNER (CONT'D)
Sir, I’ve got the Navy, the
Japanese, the Russians all
breathing down my neck demanding to
know why we’ve got a C-17 circling
a disputed island.
Beat. M shakes his head, staring at the screen, hoping for
the little Bond dot to appear. Moneypenny looks on.
M
Don’t tell them anything just yet.
Ratings
Scene 54 - Urgent Alliance
Bond, Madeleine and Mathilde move down the corridor.
Suddenly Nomi appears besides them. Bond lowers his rifle.
NOMI
(to Bond)
Just in time.
BOND
Nomi... you know Madeleine,
Mathilde. They’re my...
(whispers to himself)
Family.
Bond gets on the radio to Q. Intercut with C-17A.
BOND (CONT'D)
Q, Q are you there?
Q
Yes Bond.
BOND
Do we have any Royal naval vessels
in the immediate vicinity?
Q (O.S.)
Yes, why?
BOND
We’re going to need an immediate
strike on this location. This whole
island is a manufacturing plant for
Heracles.
217 INT. C-17A / MI6 / DEFENSIVE RING CORRIDOR - CONTINUOUS 217
Q’s side. M and Tanner listening into what’s happening.
TANNER
(listening on Q’s side)
We don’t have clearance for missile
strikes... do we?
M shakes his head.
Q
Bond, there’s something else you
should know. Several unidentified
ships are headed your way.
NOMI
They’re coming after Heracles. How
far out?
Q
Twenty minutes.
M
Q. Patch me through. 007?
BOND
M?
M
Our operation is attracting a lot
of international attention. We’re
seeing what we can do.
Ratings
Scene 55 - Race Against Time
Madeleine passes Mathilde to Bond already on a RIB as Nomi
preps the motor.
Bond hands Mathilde his sweater.
BOND
It’s going to be very cold out
there so I want you to have this to
keep you warm.
Bond turns to Madeleine.
BOND (CONT'D)
I have to finish this. For us.
MADELEINE
I know.
He kisses her.
BOND
I’ll just be a minute.
Bond turns to Nomi.
NOMI
I’ve got them.
(throws the detonator)
This might come in handy.
BOND
Thank you.
Nomi starts the motor.
Bond watches them go.
Mathilde and Madeleine look back at Bond.
219 INT. DEFENSIVE RING CORRIDOR - MOMENTS LATER 219
Bond uses heavy fire-power to battle guards on his way back.
BOND
Q. Talk to me.
Q (O.S.)
Our uninvited guests are fifteen
minutes away.
Bond takes cover as guards fire at him. Gunfire throughout
rest of scene as he pushes forward. He takes out ONE.
M (O.S.)
Bond. M here. The situation is
diplomatically complex.
BOND
We don’t have a choice. Fire on my
mark.
M (O.S.)
If we launch, the Russians, the
Japanese and even the Americans
will want answers.
BOND
Well don’t give them any.
M (O.S.)
(struggles with the
decision)
Rational minds, Bond. I’m trying to
save this from escalating to all-
out war -
BOND
Mallory. If we don’t do this
there’ll be nothing left to save.
(beat)
Fire on my mark.
Bond kills TWO MORE GUARDS, relieved to hear.
Q (O.S.)
007. There’s another problem. That
room you were just in -
BOND
Yes, I know. I know. I’ve got to
open the blast doors.
Q (O.S.)
Otherwise our missiles will bounce
off it like they’ve hit a
trampoline.
BOND
Yes, I know. I know.
Q
Find the control room. It should be
in a tower just above the blast
doors. The missiles will take about
nine minutes from launch. Do you
think you can do it before the
ships arrive.
BOND
Plenty of time. Plenty of time.
Bond reaches the end of the corridor. Starts up the stairs.
Ratings
Scene 56 - Mission Under Siege
Bond eyes the blast doors as he passes alongside the bacteria
farm taking out guards along the way.
He sees a new wave of guards arriving near the lab. Bond
takes out his detonator and activates the switch. The lab
EXPLODES, forcing the guards to take cover. Bond goes through
a door.
221 INT. STAIR TO CONTROL ROOM /C-17A - MOMENTS LATER 221
Bond makes his way up the stairs, he FIGHTS GUARDS all the
way up, it’s a brutal slog, he gets winged, stabbed and
knocked by grenades along the way.
Near the top of the stairs Bond is confronted by Primo, the
last man in his way.
Bond lunges at Primo, gets his watch near Primo’s eye. Bond
activates his EMP watch. Primo’s head EXPLODES.
Q (O.S.)
Bond. Bond! Do you read me?
BOND
Yeah... Q. I read you.
Q (O.S.)
Sounds like you’re in a rugby
scrum.
BOND
I just showed someone your watch.
It really blew their mind.
Q
Right. Good
(then)
Now did you find the control room?
Bond reaches a door. It has the Russian words for ‘Control
Room’ written on it in Cyrillic script.
BOND
Well my Russian is a little rusty
but I think so, yeah.
Bond passes through and seals the door permanently shut. He’s
on a landing with stairs leading down to the Zen Garden and
stairs leading up to the control room. Bond heads up.
222 INT. OLD CONTROL ROOM - MOMENTS LATER 222
Bond enters an old control room. He’s beat up. Takes a second
to gather himself. Breathing heavily, he finds a console.
BOND
Okay Q.
Q (O.S.)
I’ve done some research...
BOND
Q, I’m gonna need some...
Q (O.S.)
Yes?
Bond starts pushing a bunch of buttons and levers.
Q (O.S.) (CONT'D)
Bond? Hello?
BOND
...Power.
INTERCUT WITH Q IN C-17A
Q
Power? Right. The infrastructure
must go back to the 1950s so it’s
going to be an overly complicated
and intricate switching system. Now
the order in which you engage it
will need to be extremely precise.
Bond presses buttons on the console.
Q (CONT'D)
You’re looking for a control panel.
There should be a counterweight
clutch. Listen very carefully 007.
Bond pulls a bar. A flywheel spins. The gears come to life.
Q (CONT'D)
The first thing you need to do is
to...
BOND
Gottit! I think.
223 EXT. ZEN GARDEN - CONTINUOUS 223
Bond’s POV: the blast doors underneath the pond in the Zen
Garden slowly open. Water and rocks fall into the bacteria
farm below.
When the doors open Q’s 3-D map updates to reveal the space.
224 INT. OLD CONTROL ROOM - CONTINUOUS 224
BOND
That’s it. Launch the missiles.
Q (O.S.)
Not until you’re clear.
BOND
Q. Tell M to launch the missiles
now.
225 INT. C-17A GLOBEMASTER /MI6 - CONTINUOUS 225
Q looks at his screen.
Q
Okay. Okay. Understood. M? Bond
says fire.
Tanner turns to M.
ADMIRAL (O.S.)
HMS Dragon here.
M
Admiral?
ADMIRAL (O.S.)
Sir.
M
M here.
ADMIRAL (O.S.)
What are my instructions?
M
You have permission to launch.
ADMIRAL (O.S.)
Roger. Launching the strike.
Ratings
Scene 57 - The Lethal Touch
A massive barrage of missiles fire from the deck, bursts of
light arcing into the sky and disappearing over the horizon.
Q (O.S.)
Missiles airborne. Nine minutes
out.
227 INT. BACTERIA FARM - SAME 227
The blast doors are fully open. Bond’s on his way out, moving
along the gantry, the destroyed lab behind him.
He spots Mathilde’s doll on the ground. He tucks it into his
belt and continues towards the exit.
Suddenly there is a screeching noise and Bond looks up. The
blast doors have started to shut again.
BOND
No... no, no, no, no, no!
228 EXT. ZEN GARDEN - MOMENTS LATER 228
Bond runs through the zen garden towards the stairway up to
the control room. The blast doors have closed again. Water
rushes back into the pond.
Suddenly there’s a burst of gunfire. Bond takes multiple
hits. He tumbles into the pond. Safin appears.
Safin wades into the pond with his gun raised, getting as
close as he can for the kill shot.
SAFIN
Quite a mess you’ve made. Like an
animal.
Bond grabs his arm. Twists it. As they struggle Safin strikes
something against Bond’s cheek but he hardly notices. We hear
a crack as Bond breaks Safin’s arm and his gun falls into the
water.
Bond lies exhausted in the water, Safin opposite. Both soaked
with each other’s blood.
On Bond’s cheek are small strange scratches oozing blood.
Bond stares at the water in a daze like a wounded bull. We
see their blood swirling in the water, mixing.
SAFIN (CONT'D)
Now we’re both poisoned with
heartbreak.
(smiles)
Two heroes in a tragedy of our own
making.
(Bond starting to put it
together)
Anyone we touch... we are their
curse... a stroke to their cheek, a
kiss would kill them instantly.
(off Bond’s reaction)
Yes. Madeleine.
(then)
Yes. Mathilde.
Safin opens his bleeding palm. There are shards of broken
glass in his skin. Pieces from the RED VIAL.
SAFIN (CONT'D)
You made me do this. This was your
choice.
Bond gets up. He retrieves Safin’s gun from the water and
shoots Safin. KILLS HIM.
Bond stands. Turns away from Safin’s body. He is emotional.
We hold on him. The emotions boiling.
Ratings
Scene 58 - Race Against Time
Bond makes his way up the stairs. There’s no one left to
fight. He’s alone.
BOND
Q? Q, are you there?
Q (O.S.)
Bond, there you are.
BOND
Are they safe Q?
Q (O.S.)
Yes they’re safe. Bond, have you
left the island?
BOND
There’s a slight problem with the
blast doors. Won’t take a second.
INTERCUT WITH Q IN C-17A
Q (O.S.)
No Bond, the missiles have already
launched. Just get out of there.
Bond gets to the top of the stairs.
230 INT. OLD CONTROL ROOM - CONTINUOUS 230
Bond pulls the lever, reopening the blast doors, and staggers
back from the control panel.
BOND
Q, how do I destroy this thing?
Q (O.S.)
If the silo doors are open the
missiles will deal with it.
BOND
No, no. If you get it on you how do
you get it off?
Q (O.S.)
You know as well as I do that you
can’t. It’s permanent. It’s eternal
which is why we have to destroy it.
For Christ’s sake James just get
off the island. It’s harmless
unless you’re near to the target.
BOND
Well, that’s not gonna work.
INTERCUT WITH Q IN C-17A
Q
(realising)
Oh God. Oh God. It’s for Madeleine.
BOND
It’s alright Q. It’s alright. Would
you put Madeleine on, please?
Q (O.S.)
Yes, of course. How stupid of me.
Bond releases a ladder and starts climbing up to the roof.
Ratings
Scene 59 - A Bittersweet Farewell
Madeleine and Mathilde are with Nomi.
Q (O.S.)
Nomi, come in.
Nomi tunes into her comms.
Q (O.S.) (CONT'D)
Put Madeleine on.
NOMI
(calls out)
Madeleine.
Nomi passes the radio to Madeleine. INTERCUT with Bond
climbing the ladder.
MADELEINE
James?
BOND
Madeleine.
MADELEINE
I’m here. Where are you? Is it
done? James?
BOND
Yes, yes. He’s dead. Are you both
there?
MADELEINE
Yes.
BOND
Good. You’re safe. That’s good.
MADELEINE
Have you left?
BOND
No.
(pause)
I’m not gonna make it.
MADELEINE
What?
BOND
No.
MADELEINE
But you promised.
BOND
Madeleine.
MADELEINE
Just get off that island. I know
you can do this. Everything is
good now. There’s no one left to
hurt us.
232 EXT. ROOF OF OLD CONTROL ROOM - CONTINUOUS 232
Bond arrives at the roof. He has a view to the water and
Madeleine’s island in the distance. INTERCUT with Madeleine.
BOND
Madeleine. You have made the most
beautiful thing I have ever seen.
She’s perfect because she came from
you.
MADELEINE
Oh God! The vial. You’ve been
poisoned?
BOND
Yes.
MADELEINE
(she knows it’s hopeless)
There must be a way. We just need
more time. If we only had more
time.
BOND
You have all the time in the world.
MADELEINE
I love you.
BOND
I love you too.
We see the missiles fly through the air.
Madeleine, Mathilde and Nomi watch them. They are strangely
beautiful.
MADELEINE
She does have your eyes.
BOND
I know.
Bond looks up and sees the missiles headed straight for him.
BOND (CONT'D)
I know.
Long contrails of smoke streak from the distance to dozens of
white points of light, moving faster and faster towards him.
The missiles break into clusters as they spread for maximum
effect. Bond knows he only has milliseconds. He seems to find
peace. Breathes in deeply, finding some quiet before --
A massive wave of explosions ripple towards Bond in a
strobing and flashing cloud of light.
From afar, the island is turned to dust.
Ratings
Scene 60 - A Toast to Bond
Q reacts.
234 INT. MI6 - SAME 234
M, Moneypenny and Tanner are quiet. They stare at Bond’s
flatlined vitals.
235 EXT. NEARBY ISLAND - SAME 235
Madeleine sees the island bathed in smoke.
FADE TO WHITE:
236 EXT. MI6 BUILDING - DAY 236
A few days later. Establisher of the MI6 building against the
London skyline.
M (O.S.)
It’s very hard to know what to say
but I thought we should gather --
237 INT. MI6 - M’S OFFICE - DAY 237
A lone glass of whiskey is placed on the table.
M (O.S.)
-- And remember
M, Moneypenny, Tanner, Nomi, Q are all gathered in M’s
office. They each hold a glass of whiskey.
M (CONT'D)
And I thought this was appropriate.
M reads from a book of poetry.
M (CONT'D)
The function of man is to live, not
to exist. I shall not waste my days
trying to prolong them. I shall use
my time.
The each take their glass. Solemn. Raise them.
ALL
[To] James.
They drink. Put their glasses down. Hiding their emotion.
M
Right. Back to work.
Tanner clinks his glass against the lone glass on the table.
238 EXT. MATERA - ONE MONTH LATER 238
It’s summertime. Madeleine drives the V8 Vantage down a
winding Italian road. Mathilde is sitting next to her.
MADELEINE
Mathilde, I need to tell you a
story.
MATHILDE
Quoi? (What?)
MADELEINE
I’m going to tell you a story.
Mathilde looks at her.
MADELEINE (CONT'D)
About a man.
Madeleine drives. Thinking. She smiles.
MADELEINE (CONT'D)
His name was Bond. James Bond.
Mathilde smiles.
We follow the Vantage from above as it winds up into the
mountains. The noise of the world fades away.
Louis Armstrong’s “We have All The Time in the World” starts
to play. Credits roll over the driving car.
The car enters a tunnel. The camera leads.
The tunnel forms an iris of darkness that slowly closes in,
bringing us into black.
END.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
madeleine | Madeleine's character arc begins with her as a young girl, exhibiting vulnerability and fear in the face of danger. As she transitions into adulthood, she becomes a brave and resourceful woman, haunted by her past but determined to survive. Her journey is marked by her struggle to reconcile her past traumas with her present responsibilities as a mother. Throughout the screenplay, she evolves from a conflicted and guarded individual to a strong and loving mother who prioritizes her daughter's safety above all else. By the end of the feature, Madeleine emerges as a resilient figure who confronts her fears and embraces her role as a protector, ultimately finding closure and strength in her relationships. | While Madeleine's character arc is rich and multifaceted, it can feel somewhat disjointed at times, as her emotional transitions may not always be clearly defined. The screenplay could benefit from a more gradual development of her character, allowing audiences to witness her internal struggles and growth in a more cohesive manner. Additionally, some of her emotional responses may come across as reactive rather than proactive, which could diminish her agency as a character. | To improve Madeleine's character arc, consider incorporating more scenes that showcase her internal conflicts and decision-making processes. This could involve flashbacks that reveal her past traumas and how they influence her present actions. Additionally, providing her with moments of agency where she actively confronts her fears and makes choices that drive the plot forward would enhance her character's strength. Finally, ensuring that her emotional transitions are more gradual and well-paced will help create a more satisfying and believable character journey. |
bond | Bond's character arc begins with him as a retired agent seeking peace but quickly thrust back into action due to external threats. Initially emotionally guarded, he grapples with feelings of guilt and loss, particularly regarding his past relationships and the consequences of his actions. As the narrative progresses, Bond confronts his inner demons, revealing a deeper emotional complexity and a desire for redemption. His journey culminates in a selfless act of sacrifice for the safety of his loved ones, showcasing his growth from a solitary figure to a heroic protector. By the end, Bond embraces his vulnerabilities, demonstrating that true strength lies in love and sacrifice. | While Bond's character arc effectively showcases his emotional depth and complexity, it occasionally feels disjointed due to the rapid shifts between his introspective moments and high-stakes action sequences. The screenplay sometimes prioritizes action over character development, which can detract from the emotional resonance of Bond's journey. Additionally, some of his relationships, particularly with Madeleine and Mathilde, could benefit from more nuanced exploration to enhance the stakes of his sacrifices. | To improve Bond's character arc, consider integrating more scenes that delve into his relationships with Madeleine and Mathilde, allowing for deeper emotional connections and stakes. This could involve flashbacks or moments of reflection that highlight his past traumas and regrets. Additionally, balancing action sequences with quieter, character-driven moments would enhance the emotional impact of his journey. Finally, introducing a mentor or confidant figure could provide Bond with a sounding board for his internal struggles, further enriching his character development. |
primo | Throughout the screenplay, Primo begins as a shadowy figure whose motives are shrouded in mystery. As the story progresses, his ruthless nature is revealed through his calculated actions and manipulations, showcasing his willingness to use any means necessary to achieve his objectives. However, as he faces increasing opposition from Bond and Paloma, cracks begin to appear in his facade of control. In the climax, Primo's arrogance leads him to underestimate his adversaries, resulting in a pivotal moment where he is forced to confront the consequences of his actions. Ultimately, his downfall is a result of his inability to adapt and his overreliance on intimidation, culminating in a dramatic confrontation that highlights the themes of power and vulnerability. | Primo's character arc, while compelling, risks becoming one-dimensional if he remains solely a ruthless antagonist without any deeper motivations or vulnerabilities. His portrayal as a menacing figure is effective, but the screenplay could benefit from exploring his backstory or personal stakes that drive his actions. This would add depth to his character and make his eventual downfall more impactful. Additionally, the arc could be enhanced by incorporating moments of doubt or conflict within Primo, allowing the audience to see glimpses of his humanity, even if they are fleeting. | To improve Primo's character arc, consider introducing a subplot that reveals his past or a personal connection to the main narrative, such as a lost relationship or a betrayal that shaped his ruthless nature. This could provide a more nuanced understanding of his motivations. Additionally, incorporating moments where Primo's confidence is shaken—perhaps through unexpected setbacks or challenges from Bond and Paloma—could create a more dynamic character journey. Finally, a moment of reflection or a choice that reveals his internal conflict could add layers to his character, making his eventual defeat resonate more with the audience. |
ash | Ash's character arc begins with him as an eager ally to Bond, showcasing his admiration and respect. As the story progresses, he becomes a pivotal figure, revealing critical information about the mission while hinting at deeper conspiracies. However, his true nature emerges as he becomes increasingly manipulative and aggressive, ultimately betraying the team. This betrayal serves as a climax for his character, showcasing his transformation from a seemingly supportive ally to a complex antagonist driven by hidden agendas. By the end of the screenplay, Ash's actions have put the other characters in jeopardy, solidifying his role as a formidable adversary and leaving the audience questioning his true motivations. | While Ash's character arc is intriguing and adds depth to the narrative, it may benefit from a clearer motivation behind his betrayal. The transition from ally to antagonist feels somewhat abrupt, and the audience may struggle to fully grasp the reasons behind his actions. Additionally, the character's initial enthusiasm and admiration for Bond could be further developed to create a more impactful contrast with his later manipulative behavior. This would enhance the emotional stakes of his betrayal and provide a more satisfying payoff for the audience. | To improve Ash's character arc, consider incorporating flashbacks or moments of vulnerability that reveal his backstory and motivations for his actions. This could help the audience understand why he feels compelled to betray Bond and the team. Additionally, adding layers to his relationship with Bond, such as moments of genuine camaraderie or shared experiences, could heighten the emotional impact of his eventual betrayal. Finally, providing a more gradual transition from ally to antagonist, with subtle hints of his true nature throughout the screenplay, would create a more cohesive and believable character arc. |
felix | Felix begins as a familiar acquaintance of Bond, seeking assistance while hinting at a shared history that suggests potential conflicts. As the story progresses, he evolves into a determined and resourceful agent, showcasing his expertise and camaraderie through humor and lightheartedness. However, his loyalty is tested when he faces betrayal, leading to a pivotal moment where he must choose between his duty and his personal connections. Ultimately, Felix's arc culminates in a selfless act of bravery, where he sacrifices himself for the greater good, solidifying his commitment to Bond and their mission. This transformation from a jovial ally to a courageous martyr highlights the emotional stakes of their world. | While Felix's character arc is compelling, it may benefit from deeper exploration of his motivations and backstory. The transition from a lighthearted agent to a self-sacrificing hero feels somewhat abrupt, and the emotional weight of his sacrifice could be enhanced by providing more context about his relationships and personal stakes. Additionally, the moments of betrayal could be more impactful if they were foreshadowed or tied to specific character flaws or past decisions, allowing the audience to better understand his journey. | To improve Felix's character arc, consider incorporating flashbacks or dialogue that reveals his past experiences and relationships, particularly with Bond, to create a stronger emotional foundation for his actions. Introduce subtle hints of his internal conflicts and vulnerabilities throughout the screenplay, allowing the audience to witness his growth and the stakes of his decisions. Additionally, explore the consequences of his choices on his family and colleagues, which could add depth to his motivations and enhance the emotional resonance of his ultimate sacrifice. |
nomi | Nomi's character arc begins with her introduction as a light-hearted and adventurous agent, showcasing her enthusiasm for exploration and her playful nature. As the narrative unfolds, she evolves into a more assertive and authoritative figure, challenging Bond's traditional methods and questioning his relevance in the changing landscape of espionage. Throughout the screenplay, Nomi faces various challenges that test her skills, loyalty, and leadership qualities. By the climax, she emerges as a competent and determined leader, demonstrating her ability to adapt and think quickly under pressure. Ultimately, Nomi's journey culminates in her embracing her role as a modern agent, successfully blending her innovative approach with the legacy of Bond, thus solidifying her place in the espionage world. | While Nomi's character is well-developed and showcases a strong presence throughout the screenplay, her arc could benefit from deeper emotional exploration. The transition from her playful, adventurous side to a more serious and assertive persona feels somewhat abrupt. Additionally, her motivations and backstory could be fleshed out further to provide a more nuanced understanding of her character. The screenplay could also explore her vulnerabilities and personal stakes in the mission, allowing the audience to connect with her on a more emotional level. | To improve Nomi's character arc, consider incorporating flashbacks or dialogue that reveals her past experiences and motivations for becoming a double-O agent. This could help the audience understand her drive and the stakes involved in her mission. Additionally, moments of vulnerability or self-doubt could be introduced, allowing her to grow and evolve throughout the story. By showcasing her internal struggles and how she overcomes them, Nomi's character would resonate more deeply with the audience, making her journey more impactful. Finally, establishing a stronger emotional connection between Nomi and Bond could enhance their dynamic and provide a richer narrative experience. |
m | Throughout the screenplay, M's character arc evolves from a strictly authoritative figure focused solely on national security to a more nuanced leader who recognizes the moral complexities of his decisions. Initially, he is depicted as composed and pragmatic, making tough calls without hesitation. However, as the narrative progresses, he faces mounting pressure and personal conflict, particularly regarding the Heracles weapon and its implications. This leads him to confront his past decisions and the potential fallout of his actions. By the climax, M learns to balance his commitment to national security with a deeper understanding of the human cost of his choices, ultimately leading to a more diplomatic approach in resolving conflicts. His journey culminates in a moment of vulnerability where he acknowledges the need for collaboration and trust, particularly with Bond, marking a significant shift in his character. | While M's character arc presents a compelling journey from authority to a more conflicted leader, it risks becoming predictable if not executed with sufficient depth. The internal conflict could benefit from more explicit moments of self-reflection or dialogue that reveal his vulnerabilities. Additionally, the stakes surrounding his decisions could be heightened to create a more palpable tension that drives his character development. As it stands, M's evolution may feel rushed or insufficiently explored, potentially leading to a lack of emotional resonance with the audience. | To enhance M's character arc, consider incorporating more scenes that delve into his backstory, revealing past decisions that haunt him and inform his current choices. This could include flashbacks or conversations with other characters that highlight his regrets and the weight of leadership. Additionally, introducing a subplot that challenges M's authority or forces him to confront the consequences of his decisions could add layers to his character. Allowing M to have moments of vulnerability, where he seeks counsel or expresses doubt, would make his eventual growth feel more earned and relatable. Finally, ensuring that his relationship with Bond evolves in a way that reflects mutual respect and understanding could provide a satisfying resolution to their dynamic. |
q | Q's character arc begins with him as a nervous and slightly eccentric quartermaster, focused on his work and reluctant to engage with Bond on a personal level. As the story progresses, he faces challenges that force him to step out of his comfort zone, showcasing his resourcefulness and technical expertise in high-pressure situations. His initial reluctance transforms into a sense of duty and loyalty, as he becomes more invested in the mission and the safety of his colleagues. By the climax, Q evolves into a confident and proactive team member, fully embracing his role in the field and forming a deeper bond with Bond and Nomi. The arc concludes with Q finding a balance between his personal life and professional obligations, ultimately realizing that his contributions are vital to the success of MI6. | While Q's character arc is engaging and showcases his growth, it could benefit from more emotional depth and personal stakes. The initial reluctance and nervousness could be tied to a specific backstory or personal conflict that adds layers to his character. Additionally, the humor, while a nice touch, sometimes feels forced and could be better integrated into his interactions to enhance relatability. The balance between his eccentricity and professionalism could be further explored to create a more nuanced character. | To improve Q's character arc, consider introducing a personal subplot that connects his professional challenges to his emotional journey. For example, exploring his relationships outside of MI6 or a past failure that haunts him could provide motivation for his growth. Additionally, allowing Q to have moments of vulnerability or doubt could make him more relatable to the audience. Integrating humor more organically into his character interactions, perhaps through witty banter with Bond or Nomi, could enhance his charm without detracting from the seriousness of the mission. Finally, showcasing a pivotal moment where Q's technical skills save the day could solidify his transformation from a reluctant quartermaster to a confident and indispensable member of the team. |
paloma | Paloma's character arc begins with her as a nervous newcomer in the world of espionage, driven by ambition and a desire to prove herself. As she faces various challenges alongside Bond, she gradually transforms into a confident and skilled operative, showcasing her combat prowess and quick thinking. By the climax of the story, Paloma fully embraces her capabilities, demonstrating bravery and resourcefulness that not only contribute to the mission's success but also solidify her place as an equal partner to Bond. Her journey culminates in a moment of self-acceptance and recognition of her worth, allowing her to step out of Bond's shadow and assert her identity as a formidable agent in her own right. | While Paloma's character arc is compelling, it could benefit from deeper emotional exploration. The transition from nervousness to confidence feels somewhat abrupt, and the screenplay could delve more into her backstory to provide context for her initial insecurities. Additionally, while her interactions with Bond are playful and engaging, they risk overshadowing her individual growth. Ensuring that her personal stakes and motivations are clearly defined will enhance her character development and make her journey more relatable and impactful. | To improve Paloma's character arc, consider incorporating flashbacks or dialogue that reveals her past experiences and the reasons behind her initial nervousness. This could create a stronger emotional connection with the audience. Additionally, allow her to face personal challenges that test her resolve and force her to confront her fears, rather than relying solely on external conflicts. This internal struggle can add depth to her character and make her eventual transformation more satisfying. Finally, ensure that her relationship with Bond evolves in a way that highlights her growth, allowing her to assert her independence and capabilities without being defined solely by her interactions with him. |
valdo | Valdo's character arc begins with him as a frightened and vulnerable individual, caught in a dangerous situation that elicits panic and desperation. As he navigates the challenges of escape, he gradually transforms into a more determined and resilient figure, showcasing growth. However, this transformation takes a darker turn as his desperation leads him to betrayal and manipulation, revealing a ruthless side driven by a desire for power. By the end of the screenplay, Valdo embodies the archetype of a villain, having fully embraced his manipulative and calculating nature, ultimately leading to his downfall as his actions catch up with him. | While Valdo's character arc presents a compelling journey from vulnerability to villainy, it risks becoming somewhat predictable and lacks nuance in the transition between his stages. The shift from a desperate character to a ruthless villain may feel abrupt without sufficient exploration of the motivations behind his transformation. Additionally, the portrayal of his manipulative side could benefit from more depth, allowing the audience to understand the internal conflicts that drive his actions rather than simply presenting him as a one-dimensional antagonist. | To improve Valdo's character arc, consider incorporating moments of introspection that reveal his internal struggles and motivations for his actions. This could include flashbacks or dialogues that provide insight into his past, showcasing how his experiences shaped his desperate need for power and control. Additionally, introducing a pivotal moment where Valdo must choose between self-preservation and loyalty could add complexity to his character, allowing for a more gradual and believable transition into villainy. Finally, exploring the consequences of his actions on his relationships with other characters could enhance the emotional stakes and provide a more satisfying resolution to his arc. |
moneypenny | Throughout the feature, Moneypenny evolves from a supportive ally to a more central figure in the narrative. Initially, she serves as a bridge between Bond and Nomi, providing context and information. As the story unfolds, her role deepens; she becomes more involved in the mission, showcasing her resourcefulness and quick-thinking abilities. Moneypenny's concern for her colleagues and the emotional stakes of the mission lead her to take more initiative, ultimately positioning her as a key player in resolving the conflict. By the end of the feature, Moneypenny emerges not only as a loyal ally but also as a character who has grown in confidence and agency, proving her worth beyond her traditional role. | While Moneypenny's character is well-developed and serves an important function in the narrative, her arc could benefit from more personal stakes. Currently, her motivations are primarily tied to her loyalty to MI6 and her support for Bond and Nomi. This could make her feel somewhat secondary to the main plot. Additionally, her emotional responses, particularly regarding the implications of the nanobots, could be explored further to create a more profound connection with the audience. As it stands, her character may risk being overshadowed by the more action-oriented leads. | To enhance Moneypenny's character arc, consider introducing a subplot that directly impacts her, such as a personal connection to the technology or a past experience that resonates with the current mission. This could provide her with a more defined motivation and emotional stakes, allowing the audience to invest more in her journey. Additionally, incorporating moments where Moneypenny takes decisive action or makes critical choices could further establish her as an equal player in the narrative, rather than just a supportive figure. This would not only enrich her character but also elevate the overall tension and stakes of the story. |
safin | Throughout the screenplay, Safin begins as a shadowy figure driven by a personal vendetta against Bond, using manipulation and psychological tactics to exert control over others. As the narrative progresses, his motivations are revealed to be rooted in a traumatic past, leading to moments of vulnerability that contrast with his menacing demeanor. Ultimately, Safin's quest for revenge culminates in a confrontation with Bond, where his emotional volatility and desire for power clash with the consequences of his actions. In the climax, he faces a choice between continuing his path of destruction or seeking redemption, but his inability to let go of his resentment leads to his downfall, solidifying his role as a tragic antagonist. | While Safin's character is compelling and multifaceted, his motivations could benefit from deeper exploration. The screenplay presents him as a menacing figure, but his emotional depth and backstory could be further developed to create a more relatable antagonist. Additionally, his interactions with other characters sometimes lack nuance, making him appear one-dimensional in certain scenes. The reliance on psychological manipulation as his primary tactic can also become repetitive, potentially diminishing the impact of his character. | To improve Safin's character arc, consider incorporating flashbacks or dialogue that reveals more about his past and the events that shaped his motivations. This could create empathy for his character and provide a clearer understanding of his vendetta against Bond. Additionally, introducing moments of vulnerability or doubt could add complexity to his interactions, allowing for a more dynamic portrayal. Finally, varying his methods of manipulation and control could prevent redundancy and keep the audience engaged with his character throughout the feature. |
mathilde | Throughout the screenplay, Mathilde evolves from a vulnerable and innocent child into a symbol of resilience and hope. Initially, she is portrayed as a curious and fearful child, relying heavily on her mother for protection and guidance. As the story progresses, Mathilde begins to understand the complexities of her parents' sacrifices and the dangers surrounding them. Her experiences force her to confront her fears, leading to moments of bravery that reflect her growth. By the climax, Mathilde emerges as a more self-assured character, embodying the love and strength of her family while also inspiring her parents to fight for their future. Ultimately, she becomes a beacon of hope, representing the enduring bond of family in the face of adversity. | While Mathilde's character arc is compelling, it could benefit from more distinct moments of agency and decision-making that showcase her growth. Currently, her character primarily reacts to the situations around her rather than actively influencing the narrative. This can make her feel more like a plot device than a fully realized character. Additionally, her emotional journey could be deepened by exploring her internal conflicts and fears more explicitly, allowing the audience to connect with her on a deeper level. | To improve Mathilde's character arc, consider incorporating scenes where she takes initiative or makes choices that impact the story. For example, she could devise a plan to help her parents or confront her fears in a pivotal moment, showcasing her growth and resilience. Additionally, adding moments of introspection where Mathilde reflects on her experiences and emotions could enhance her depth and relatability. This would allow the audience to witness her transformation from innocence to a more empowered character, making her journey more impactful within the feature. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
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High Emotional Impact Correlates with High Overall Grade and Dialogue | Scenes with a high emotional impact score (9 or 10) tend to receive high overall grades (9 or 10) and also have strong dialogue scores (8 or higher). This suggests that effectively evoking emotion in the reader is crucial for overall screenplay quality and is closely linked to the quality of dialogue. Consider focusing on crafting emotionally resonant dialogue in future scenes. |
Suspense and Tension Drive High Overall Scores | The presence of 'Suspenseful' and 'Tense' tones is strongly correlated with high overall scene scores. This indicates that the screenplay's strength lies in building and maintaining suspense and tension. Continue to leverage these elements but be mindful of overusing them to avoid predictability. |
Concept and Plot Consistency | The Concept and Plot scores remain consistently high (8 or above) throughout the screenplay, suggesting a strong foundational narrative structure. This is a significant strength. Maintain this focus on a solid concept and consistent plot progression. |
Character Development Fluctuations | While character scores are generally high, there are some dips (7-8) interspersed. This might suggest some scenes are less focused on character development than others. Analyze scenes with lower character scores to determine if character development can be strengthened without sacrificing other elements. |
High Stakes Scenes Drive Conflict and Emotional Impact | Scenes with high 'High Stakes' scores often correlate with high scores in 'Conflict' and 'Emotional Impact.' This highlights the effectiveness of high-stakes situations in driving both conflict and emotional engagement for the reader. Continue building tension by crafting compelling high-stakes scenarios. |
Character Changes are not always proportional to other scores | There's no clear correlation between 'Character Changes' scores and overall scene quality. This suggests the screenplay might benefit from more visible character arcs in scenes with high overall scores. Examine how the scenes are changing characters, ensuring that these changes are apparent and impact the overall narrative. |
Intense and Dramatic Tones Lead to High Conflict | Scenes with 'Intense' and 'Dramatic' tones frequently achieve higher conflict scores. This is expected, but it underscores the importance of using these tones judiciously to create impactful conflicts that propel the story forward. |
Humor's Impact is Limited | The use of humor (Scene 9) is well-integrated and scores high. However, its presence is limited. Exploring more instances of carefully placed humor could potentially broaden the screenplay's appeal and provide contrast to the predominant suspenseful and intense tones. |
Romance's Subtle Integration | The inclusion of 'Romance' (Scene 17) shows a conscious effort to incorporate another genre element. Its integration appears subtle and could be explored more thoroughly in future drafts if desired, considering whether more romance is wanted. |
Informative Scenes Need Enhancement | Scenes labeled 'Informative' (Scenes 31, 45) show lower scores in Dialogue and Emotional Impact. Consider revising these scenes to make the information more engaging and emotionally resonant for the reader. |
Writer's Craft Overall Analysis
The screenplay demonstrates a promising understanding of crafting suspenseful and engaging scenes within the spy thriller genre. The writer shows a knack for creating tension, action, and emotional depth, often effectively blending these elements. However, there's a consistent need for improvement in structural elements, particularly pacing and character development beyond surface-level interactions. The writer frequently relies on action and dialogue to convey emotion, but deeper exploration of subtext and internal character struggles would enhance the overall impact.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Save the Cat!' by Blake Snyder | This book is repeatedly recommended and addresses key weaknesses in structure, pacing, and character development. It provides a solid framework for creating compelling narratives and well-rounded characters. |
Book | 'The Screenwriter's Bible' by David Trottier | This complements 'Save the Cat!' by providing a deeper understanding of screenplay structure, formatting, and industry standards, which can aid in professionalism and clarity. |
Screenplay | Screenplays by Alfred Hitchcock and Aaron Sorkin | Hitchcock for masterful suspense and tension-building, and Sorkin for sharp, character-driven dialogue, addressing the need for stronger pacing and more impactful dialogue respectively. |
Screenplay | Screenplays of classic spy thrillers (e.g., 'Casino Royale', 'The Spy Who Came in from the Cold') and contemporary action thrillers (e.g., 'Die Hard', 'John Wick') | Studying successful spy thrillers helps understand the genre's conventions while also learning from contemporary examples of action and suspense. |
Video | YouTube tutorials on 'action scene choreography breakdown', 'creating suspense and tension', and 'screenwriting analysis' | Visual learning can complement textual study, offering insights into visual storytelling techniques, pacing, and the overall construction of effective scenes. |
Course | Screenwriting course focused on suspense and tension in storytelling | Structured learning can provide additional tools, techniques and feedback to address the identified weaknesses. |
Stories Similar to this one
Story | Explanation |
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The Girl with the Dragon Tattoo | Both stories feature a strong female protagonist who navigates a dark and complex family history while dealing with themes of trauma and revenge. The tension between familial relationships and the presence of a male antagonist seeking vengeance parallels the dynamics between Madeleine and Safin. |
Prisoners | This film explores themes of desperation and moral ambiguity as a father searches for his missing daughter. The emotional stakes and the lengths to which characters will go to protect their loved ones resonate with Bond's determination to save Madeleine and Mathilde. |
The Revenant | Both narratives involve a protagonist who endures extreme physical and emotional challenges in a harsh environment. The themes of survival, revenge, and the bond between a father and child are central to both stories, mirroring Bond's struggle against Safin and his desire to protect his family. |
The Babadook | This psychological horror film delves into themes of grief, trauma, and the haunting presence of the past. The relationship between the mother and child, along with the manifestation of a threatening figure, parallels the dynamics between Madeleine, Mathilde, and Safin. |
The Witch | Similar to the screenplay, this film features a family facing external threats and internal strife, with a strong focus on the mother-daughter relationship. The atmosphere of dread and the exploration of familial bonds under pressure resonate with the screenplay's themes. |
The Haunting of Hill House | This series explores the impact of trauma and the haunting nature of the past on family dynamics. The tension between characters and the presence of a malevolent force echo the screenplay's themes of familial relationships and the struggle against a dark legacy. |
The Silence of the Lambs | Both stories feature a strong female lead who confronts a dangerous male antagonist. The psychological tension and the exploration of complex relationships, particularly between the protagonist and the antagonist, are central to both narratives. |
The Road | This post-apocalyptic tale focuses on a father and son navigating a dangerous world, emphasizing themes of survival and the bond between parent and child. The emotional stakes and the struggle against external threats parallel Bond's mission to protect his family. |
The Night Manager | This miniseries involves espionage, betrayal, and complex relationships, with a protagonist who must navigate a dangerous world to protect those he cares about. The themes of trust and deception resonate with Bond's interactions with Madeleine and the overarching threat of Safin. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Chosen One | ||
Damsel in Distress | ||
Revenge Plot | ||
The Mentor | ||
Love Triangle | ||
The Final Showdown | ||
The Hidden Identity | ||
The Mentor's Death | ||
The MacGuffin |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Trauma and its Intergenerational Impact | Madeleine's traumatic past, stemming from her father's actions and Safin's revenge, deeply affects her present relationships and actions. This trauma is passed down to her daughter, Mathilde, creating a cycle of fear and uncertainty. Bond's own past trauma related to Vesper Lynd also plays a significant role. | The screenplay explores how unresolved trauma can shape individuals and families across generations, influencing choices and relationships. | ||||||||||||
Strengthening Trauma and its Intergenerational Impact:
| ||||||||||||||
Love and Loss in the Face of Adversity | The enduring love between Bond and Madeleine, tested by betrayal and shared trauma, is a significant driving force. Despite numerous obstacles, their love persists, providing hope and resilience against the dark forces they face. The love between Madeleine and Mathilde serves a similar function. | The story underscores the strength and resilience of love, showing how it can endure even the most challenging circumstances. | ||||||||||||
Redemption and Forgiveness | Bond's journey involves confronting his past with Vesper and seeking forgiveness for perceived failures. Madeleine must confront her own family's legacy and work towards healing. Safin's quest for revenge is a failed attempt at redemption. | The screenplay explores the complexities of redemption, showing that forgiveness is a difficult but essential process for personal growth and healing. | ||||||||||||
Legacy and the Weight of the Past | The actions of Madeleine's father and the repercussions that follow create a heavy legacy that affects both Madeleine and Mathilde. Bond's past experiences as 007 create a shadow that follows him. | The screenplay examines how the past weighs heavily on the present, and how the choices of past generations can influence future generations. | ||||||||||||
Identity and Deception | Multiple characters grapple with their identities: Madeleine's identity is challenged by her family's secret, Safin's identity is shaped by his quest for revenge, and Bond's identity is constantly tested. | The screenplay explores the complexities of identity, the masks people wear, and the impact of deception on relationships. | ||||||||||||
Espionage and Action | High-octane action sequences and spy thriller elements are prevalent throughout the screenplay. | These elements create suspense and excitement, driving the plot forward. |
Screenwriting Resources on Themes
Articles
Site | Description |
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Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's voice is characterized by a compelling blend of high-stakes action, emotionally resonant character interactions, and a nuanced exploration of complex themes. While the screenplay employs many action-driven sequences, it never sacrifices emotional depth or character development. The voice shifts between terse, impactful dialogue during tense moments and intimate, revealing conversations that highlight character vulnerabilities and inner conflicts. A strong visual style is also evident, with vivid descriptions used to create a sense of atmosphere and place. |
Voice Contribution | The writer's voice contributes to the script by creating a rich tapestry of suspense, intrigue, and emotional weight. The interplay of action and intimacy keeps the audience engaged on multiple levels, generating both thrills and empathy for the characters. The exploration of themes like love, loss, betrayal, and redemption adds depth and complexity, elevating the screenplay beyond a simple action story. The blend of witty banter and serious reflection enhances character development and prevents the tone from becoming overly serious or cynical. |
Best Representation Scene | 4 - Confronting the Past |
Best Scene Explanation | Scene 4 best encapsulates the writer's unique voice because it masterfully balances high-stakes emotional intimacy with underlying tension and unresolved conflict. The intimate conversation between Bond and Madeleine showcases the emotional depth of their relationship, highlighting past trauma and the complexities of moving forward. The shift to passionate intimacy followed by a playful, lighter moment perfectly demonstrates the writer's ability to blend contrasting tones in a way that feels both realistic and engaging. This scene exemplifies the writer's skill in creating emotionally charged moments within a larger action-driven narrative, showcasing their ability to create memorable characters and impactful relationships while maintaining a gripping storyline. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay demonstrates a high level of originality through its innovative character dynamics, unique settings, and fresh takes on familiar themes within the spy genre. The exploration of emotional depth, particularly in the relationships between Bond, Madeleine, and Mathilde, adds layers of complexity that are often overlooked in traditional action narratives. The incorporation of modern technology, ethical dilemmas, and personal stakes further enhances the originality, making it a compelling and engaging story.
- Most unique situations: The most unique situations in the screenplay are the portrayal of Bond's emotional vulnerability and his relationship with his daughter, Mathilde, which diverges from the typical portrayal of the spy as a lone wolf. Additionally, the use of a 'poison garden' and the ethical implications of a DNA-based weapon add fresh elements to the narrative, challenging conventional tropes in the genre.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay maintains a strong sense of unpredictability through its unexpected character revelations, plot twists, and the emotional stakes involved. The interplay between personal relationships and high-stakes espionage creates a narrative that keeps the audience guessing. The introduction of new threats, such as the ethical dilemmas surrounding the Heracles weapon and the complex motivations of characters like Safin, further contribute to the unpredictability, ensuring that the audience remains engaged and surprised throughout the story.
Goals and Philosophical Conflict | |
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internal Goals | Throughout the screenplay, the protagonist's internal goals revolve around establishing emotional connections, confronting trauma, and ultimately seeking redemption. Initially, Bond grapples with his past relationships and the implications of his work as a secret agent. As the story progresses, his focus shifts toward protecting his new family while wrestling with his feelings of guilt and loss. |
External Goals | The protagonist's external goals evolve from completing specific missions as a spy to protecting his loved ones from impending danger. Bond transitions from a solitary figure focused on his duties to one whose mission revolves around his family, illustrating the movement from individual to familial protection. |
Philosophical Conflict | The overarching philosophical conflict in the narrative revolves around Duty vs. Connection. The protagonist must navigate the tension between his obligations as a spy and the emotional connections he forms with Madeleine and Mathilde, highlighting the conflicting nature of personal and professional responsibilities. |
Character Development Contribution: The goals and conflicts deeply contribute to Bond's character development as he evolves from a solitary agent focused on duty to a complex individual who embraces his vulnerabilities, seeks forgiveness, and ultimately prioritizes family over his past endeavors.
Narrative Structure Contribution: The interplay of goals and conflicts drives the narrative structure by intertwining personal stakes with high-stakes espionage, creating a compelling journey that escalates tension and deepens character relationships, leading to a tragic but impactful climax.
Thematic Depth Contribution: The goals and conflicts contribute to thematic depth by exploring the complexities of love, duty, and the moral implications of one's actions, illuminating the duality of personal sacrifice against the backdrop of a larger, dangerous world.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
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How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay's world spans diverse locations: snowy forests of Northern Europe, ancient hilltop towns in Italy, bustling European cities, a high-security research facility, lush Jamaican coastlines, vibrant dance clubs, a Caribbean jerk chicken stall, Bond's house, Santiago de Cuba, a high-stakes dance hall in El Nido, a foggy forest, a NATO base in Norway, Poison Island (a remote, technologically advanced island with a toxic Zen garden and a bacteria farm), a Japanese submarine pen, and various indoor settings like MI6 headquarters, Q's lab, a psychotherapist's office, a trawler, and Belmarsh Prison. The environments range from serene and picturesque to gritty and dangerous, often reflecting the mood and stakes of the particular scene.
- Culture: The screenplay blends various cultures. French is spoken in several scenes, highlighting international settings and familial relationships. Italian culture is shown through settings and interactions. Japanese elements appear in architecture, weaponry, and character motivations. Jamaican culture is represented through a jerk chicken stall and local interactions. The burning of wishes and secrets in an Italian town showcases a cultural ritual. Espionage and international intrigue are overarching cultural themes. There are references to British culture, shown through MI6, Bond's mannerisms, and various settings in London. A sophisticated blending of ancient and modern aspects creates a unique cultural atmosphere within many locations.
- Society: The societal structure is complex, encompassing several key aspects: the world of international espionage (MI6, Spectre, other intelligence agencies), the scientific community (research facility, scientists involved in dangerous research), the criminal underworld, a hierarchical family system (Safin's family, Bond's family), and standard societal settings like an Italian town, a Jamaican community, a London neighborhood, and others. Power dynamics are critical, with organizations like Spectre, MI6, and even within families creating complex webs of loyalty, betrayal, and power struggles. The conflict between the established order and those seeking to disrupt it is also apparent.
- Technology: Technology plays a significant role, ranging from advanced gadgets (Q's inventions, EMP devices, tracking devices, surveillance systems, nanobots, and weapons) to relatively simple technologies (handheld video games, phones, cars, planes, and computers). The use of technology enhances the action and suspense, and often reflects a near-future setting. The use of facial recognition software and bio-hazardous materials showcases futuristic advanced technology. This technology is not evenly distributed, with some characters possessing advanced tools and other characters having more limited technological access. This uneven distribution often shapes interactions and conflict.
- Characters influence: The world's elements profoundly shape the characters. Bond's past traumas influence his actions, while the dangerous environment of espionage forces him to constantly adapt and overcome threats. Madeleine's experiences with Safin and her father shape her choices and create deep-seated fears. Other characters are defined by their roles within their respective societal structures. The physical environments influence characters' strategies and emotional responses—a snowy forest creates isolation, while a crowded dance club enables chaotic action and surveillance.
- Narrative contribution: The diverse settings and elements propel the narrative forward. Each location provides unique opportunities for action sequences, character development, and plot revelations. The shifts between serene locations and high-stakes environments enhance the tension and suspense. The interplay between advanced technology and traditional settings creates unexpected scenarios and challenges for the characters. The constant threat in the various settings keeps the plot moving, with each setting having a role in the overall conflict.
- Thematic depth contribution: The world-building enhances the thematic depth. Themes of family, betrayal, revenge, legacy, the nature of evil, and the cost of fighting for justice are explored through the interactions of characters within these environments. The contrast between the beauty of some locations and the brutality of others highlights the complexity of the human experience. The use of technology to enhance the conflict reflects the modern anxieties regarding technological advancement and its potential for misuse. The cultural aspects illustrate how various societal structures and traditions interact and influence events and character choices. The contrast between the sophistication of technology and the enduring power of human connection is paramount.
central conflict
The central conflict revolves around Bond's struggle against Safin, who poses a threat to his family and the world through a deadly weapon, while also navigating his complicated relationship with Madeleine and the legacy of Spectre.
primary motivations
- Bond's desire to protect Madeleine and Mathilde.
- Safin's quest for revenge against those he blames for his family's death.
- Madeleine's need to confront her past and protect her daughter.
catalysts
- The arrival of Safin and his threats against Madeleine and Mathilde.
- Bond's reinstatement as a 00 agent and the discovery of the Heracles weapon.
- The revelation of Madeleine's connection to Spectre and her father's past.
barriers
- Safin's control over the situation and his threats to Bond's family.
- Bond's own emotional baggage and trust issues with Madeleine.
- The presence of Spectre agents and the complexities of international politics.
themes
- The consequences of past actions and the quest for redemption.
- The complexities of love and trust in relationships.
- The moral ambiguity of power and violence.
stakes
The stakes include the safety of Bond's family, the potential misuse of the Heracles weapon, and the broader implications for global security.
uniqueness factor
The story uniquely intertwines personal stakes with global threats, exploring the emotional depth of Bond's character while maintaining the high-octane action typical of the franchise.
audience hook
The emotional connection between Bond, Madeleine, and Mathilde, combined with thrilling action sequences and the overarching threat of Safin, keeps viewers engaged.
paradoxical engine or bisociation
The paradoxical engine lies in Bond's dual role as a protector and a potential destroyer, as his love for his family conflicts with the violent world he inhabits.
paradoxical engine or bisociation 2
Another aspect of bisociation is the juxtaposition of Bond's past with his present, as he grapples with the legacy of his former relationships while trying to forge a new path with Madeleine and Mathilde.
Engine: Claude
Recommend
Executive Summary
The screenplay for 'No Time to Die' is a well-crafted, character-driven espionage thriller that explores themes of loyalty, redemption, and the consequences of past actions. The narrative weaves together multiple storylines, including Bond's personal journey, the threat of a dangerous new weapon, and the complex relationships between the characters. The screenplay's strengths lie in its strong character development, compelling emotional arcs, and well-executed action sequences. While it has a few areas that could be improved, such as pacing in certain sections and some minor plot holes, the overall narrative is engaging and leaves a lasting impact. The screenplay's unique selling proposition is its ability to balance high-stakes espionage with deeply personal character moments, making it a standout entry in the Bond franchise.
- Strong character development and emotional arcs, particularly in the relationship between Bond and Madeleine, and the introduction of Mathilde, which adds depth and complexity to the story. high ( Scene 8 (37) Scene 37 (160) )
- Well-executed and thrilling action sequences that heighten the stakes and propel the narrative forward. high ( Scene 18 (85) Scene 19 (87) Scene 20 (91) )
- Effective use of flashbacks and backstory to establish the history and motivations of the characters, particularly Safin and his connection to Madeleine. medium ( Scene 4 (10) Scene 10 (49) )
- Compelling exploration of the complex relationship between Bond and M, and the ethical dilemmas they face in their work. medium ( Scene 27 (121) Scene 28 (126) )
- Effective use of technology and gadgets to enhance the espionage elements of the story, while also grounding them in a realistic and plausible context. medium ( Scene 45 (191) Scene 46 (192) )
- The pacing in certain sections, particularly the transitions between action sequences and quieter character moments, could be tightened to maintain a more consistent flow. medium ( Scene 14 (64) Scene 16 (77) )
- Some minor plot holes or unanswered questions, such as the specifics of how Blofeld was able to communicate with his agents from prison, could be addressed to strengthen the overall narrative. medium ( Scene 22 (98) Scene 23 (102) )
- The chase sequence in the fjords could be further refined to ensure the audience can clearly follow the action and the stakes involved. low ( Scene 41 (177) Scene 42 (178) )
- While the relationship between Safin and Madeleine is explored, there could be more development of their backstory and the reasons behind his obsession with her. medium ( Scene 51 (208) Scene 52 (209) )
- The screenplay could benefit from a stronger sense of the broader political and geopolitical implications of the Heracles weapon, beyond the immediate threat to the characters. medium ( Scene 43 (179) Scene 44 (186) )
- The confrontation between Bond and Blofeld is a standout moment, as it provides a powerful exploration of their complicated relationship and the lasting impact of their past actions. high ( Scene 34 (147) Scene 35 (149) )
- The introduction of Mathilde and the revelation of her connection to Bond and Madeleine adds a compelling emotional layer to the story and raises the stakes for the characters. high ( Scene 37 (160) Scene 39 (161) )
- The exploration of the Heracles weapon and its devastating potential, as well as the moral and ethical dilemmas it poses, is a strong thematic element that adds depth to the narrative. high ( Scene 48 (196) Scene 49 (206) )
- Characterization While the screenplay has strong character development for the central characters, such as Bond, Madeleine, and Safin, there are moments where the motivations and actions of some supporting characters, like Ash and Primo, could be further explored or refined to make them more well-rounded and integral to the overall story. medium
- Pacing As noted in the 'Areas of Improvement' section, there are a few instances where the pacing could be tightened, particularly in the transitions between action sequences and quieter character moments. This could help maintain a more consistent flow and tension throughout the screenplay. medium
Engine: Gemini
Pass (common)
Executive Summary
No Time to Die offers a compelling, albeit somewhat convoluted, conclusion to the Bond saga. The screenplay successfully blends action, intrigue, and emotional depth, but suffers from pacing inconsistencies and some underdeveloped plot threads. While the character arcs of Bond and Madeleine are well-executed, other supporting characters could benefit from more nuanced development. The unique blend of action sequences and emotional introspection is a strength, but tighter editing and a more streamlined plot would enhance the overall impact.
- The screenplay successfully integrates emotional depth into the action sequences, particularly in the scenes depicting Bond and Madeleine's relationship. These intimate moments provide a counterpoint to the high-stakes action, enriching the overall narrative and providing emotional resonance. high ( Scene 21 Scene 158 )
- The action sequences are well-choreographed and exciting, utilizing creative camerawork and innovative set pieces to maintain viewer engagement. The car chases are particularly thrilling and inventive. high ( Scene 29 Scene 41 )
- The screenplay effectively uses flashbacks and reveals to enhance the plot and character development. The gradual unveiling of secrets and motivations maintains suspense and keeps the audience engaged. medium ( Scene 126 Scene 145 )
- The character arc of James Bond is well-defined and believable. The screenplay effectively shows his evolution from a hardened agent to a more vulnerable and emotionally complex individual grappling with his past and his future. high ( Scene 160 Scene 158 )
- The introduction of Safin as a complex and nuanced villain adds depth to the narrative. His motivations are well-established, and his relationship with Madeleine provides an intriguing and emotionally charged conflict. medium ( Scene 127 )
- The pacing is inconsistent. Some sections feel rushed, while others drag, particularly during the extended action sequences in Matera and the climax on the island. A more balanced pacing would enhance the overall viewing experience. high ( Scene 37 Scene 104 )
- Several supporting characters, such as Paloma and Nomi, are underdeveloped. While they add excitement and energy to the narrative, their motivations and backgrounds are not fully explored, limiting their emotional impact. medium ( Scene 50 Scene 68 )
- The reveal of M's involvement in the Heracles project feels somewhat rushed and lacks the dramatic build-up it deserves. More foreshadowing and suspense could enhance the impact of this plot twist. medium ( Scene 126 )
- The resolution of the Heracles plotline feels somewhat abrupt. The long-term consequences of the weapon are not fully explored, leaving the audience with a sense of incompleteness. medium ( Scene 154 )
- The death of Felix Leiter could have been given more emotional weight. While the scene is dramatic, the impact of his passing is diminished by the quick succession of events that follow. medium ( Scene 100 )
- More development of the relationship between Bond and Mathilde. While their final scene is touching, more interaction throughout the screenplay would enhance their connection and provide a stronger emotional payoff. medium
- A clearer explanation of Safin's motivations beyond revenge. While his backstory is touched upon, his overall goals and plans are not as fully developed as they could be, which limits his impact as a villain. medium
- The opening scene effectively sets the tone for the entire film, establishing the themes of betrayal, revenge, and the enduring impact of past trauma. high ( Scene 1 )
- The use of the nanobots as a weapon is a unique and visually striking element that adds a fresh dimension to the spy thriller genre. high ( Scene 87 Scene 131 )
- The final scene between Bond and Madeleine is emotionally resonant and effectively concludes their arc. The introduction of Mathilde adds a poignant touch and leaves the audience with a sense of hope and closure despite Bond's death. high ( Scene 158 )
- Underdeveloped Supporting Characters The screenplay focuses heavily on Bond and Madeleine's relationship, leaving several supporting characters, particularly Paloma and Nomi, underdeveloped. Their motivations, backstories, and overall impact on the plot could be significantly enhanced with more screen time and detailed character development. For example, Paloma's expertise and motivations are hinted at but not fully explored, while Nomi's sudden appearance and competence lack proper context. medium
- Pacing Issues The screenplay suffers from pacing inconsistencies. Several action sequences, particularly the Matera chase and the climax on the island, drag on for too long, disrupting the narrative flow and diminishing the impact of certain scenes. Conversely, some plot points, such as M's involvement in the Heracles project, feel rushed and underdeveloped. A more balanced approach to pacing would enhance the overall viewing experience. high
- Inconsistent Character Behavior There are instances where characters behave inconsistently. For example, M’s decision making process seems inconsistent, particularly around the Heracles project and Bond’s actions. Such inconsistencies can create plot holes and undermine the credibility of the characters and narrative. medium
Engine: DeepSeek
Recommend
Executive Summary
The screenplay for 'No Time to Die' is a compelling blend of action, emotion, and espionage, delivering a fitting conclusion to Daniel Craig's tenure as James Bond. It excels in character development, particularly Bond's emotional arc, and maintains a strong narrative drive. However, some plot elements feel rushed, and the villain's motivations could be more deeply explored. The screenplay's strengths lie in its emotional depth, action sequences, and thematic consistency, making it a standout in the Bond franchise.
- The opening and closing scenes bookend the film beautifully, establishing and resolving Bond's emotional journey with symmetry and depth. high ( Scene 1 (1) Scene 60 (238) )
- The revelation of Mathilde as Bond's daughter adds significant emotional weight and stakes to the narrative, deepening Bond's character arc. high ( Scene 38 (158) Scene 39 (161) )
- The confrontation between Bond and Safin is tense and emotionally charged, with Safin's twisted logic providing a compelling counterpoint to Bond's morality. high ( Scene 52 (208) Scene 53 (213) )
- The action sequences are meticulously crafted, blending practical effects with emotional stakes to create thrilling set pieces. medium ( Scene 25 (110) Scene 26 (113) )
- The introduction of Nomi as the new 007 adds fresh dynamics to the story, challenging Bond's legacy while respecting it. medium ( Scene 15 (72) Scene 16 (74) )
- The middle act feels slightly rushed, with some plot developments needing more time to breathe and resonate. medium ( Scene 10 (50) Scene 11 (57) )
- Safin's backstory and motivations could be more fleshed out to make him a more formidable and understandable antagonist. medium ( Scene 20 (88) Scene 21 (89) )
- Some dialogue exchanges feel overly expository, particularly in scenes where characters explain plot mechanics. low ( Scene 30 (148) Scene 31 (155) )
- The transition between Bond's retirement and return to action could be smoother to maintain narrative cohesion. low ( Scene 5 (23) Scene 6 (28) )
- The tech explanations (e.g., Q's gadgets) sometimes disrupt the flow of action, feeling more like infodumps than organic dialogue. low ( Scene 45 (191) Scene 46 (192) )
- A deeper exploration of Safin's past and his connection to Spectre would add layers to his character and motivations. medium ( Scene 20 (88) )
- More scenes showing Bond's relationship with Mathilde before the climax would strengthen the emotional payoff of his sacrifice. medium ( Scene 38 (158) )
- Additional development of Nomi's character beyond her role as the new 007 would make her more than just a foil to Bond. low ( Scene 15 (72) )
- A clearer explanation of Heracles' capabilities and limitations earlier in the script would prevent confusion during the climax. low ( Scene 10 (50) )
- A brief epilogue showing the aftermath of Bond's sacrifice for MI6 and his allies would provide closure. low ( Scene 60 (238) )
- The cold open with young Madeleine establishes the film's emotional core and ties directly into the climax. high ( Scene 1 (1) )
- Safin's use of Heracles as a personal weapon against Bond adds a unique, intimate layer to the conflict. high ( Scene 52 (208) )
- The final scene with Madeleine and Mathilde driving away, set to 'We Have All the Time in the World,' is a poignant tribute to Bond's legacy. high ( Scene 60 (238) )
- The underwater glider sequence is a standout action set piece, combining innovation with tension. medium ( Scene 25 (110) )
- The reveal of Mathilde as Bond's daughter is handled with subtlety and emotional impact, avoiding melodrama. medium ( Scene 38 (158) )
- Villain Motivation Safin's motivations, while intriguing, are not fully explored. His connection to Spectre and personal vendetta against Bond could be more deeply developed to make him a more compelling antagonist. medium
- Pacing in Middle Act The transition from Bond's retirement to his return to action feels abrupt, and some plot developments in the middle act could benefit from more screen time to resonate emotionally. medium
- Expository Dialogue Some dialogue, particularly from Q and other supporting characters, feels overly expository, explaining plot mechanics rather than feeling organic to the scene. low
- Tech Overload The frequent introduction of high-tech gadgets (e.g., EMP watch, QDAR) can feel like a crutch to advance the plot, rather than a natural extension of the story. low
Engine: GPT4
Recommend
Executive Summary
The screenplay for 'No Time to Die' effectively combines action, emotional depth, and character development, particularly in the arcs of Bond and Madeleine. The narrative is engaging, with a strong central conflict and a compelling antagonist in Safin. However, there are areas where pacing could be improved, and some character motivations could be more clearly defined. Overall, the screenplay successfully delivers a thrilling and emotional conclusion to Bond's journey.
- The emotional depth of the characters, particularly Bond and Madeleine, is well-developed, showcasing their vulnerabilities and motivations. high ( Scene 1 (2) Scene 2 (4) )
- The action sequences are well-crafted and maintain a high level of tension, keeping the audience engaged throughout. high ( Scene 3 (12) Scene 4 (22) )
- The screenplay effectively balances personal stakes with larger geopolitical conflicts, enhancing the narrative's complexity. high ( Scene 5 (13) Scene 6 (38) )
- The use of visual storytelling and symbolism, such as the recurring motifs of water and ice, adds depth to the narrative. medium ( Scene 7 (44) )
- The screenplay's ability to evoke strong emotional responses from the audience, particularly in the climax, is a significant strength. high ( Scene 8 (192) )
- Some character motivations, particularly Safin's, could be more clearly defined to enhance the audience's understanding of his actions. medium ( Scene 2 (5) )
- The pacing in certain sections, particularly during exposition-heavy scenes, could be tightened to maintain momentum. medium ( Scene 3 (10) )
- Some subplots, such as the role of Spectre, feel underdeveloped and could benefit from further exploration. medium ( Scene 4 (20) )
- The resolution of certain character arcs, particularly those of secondary characters, could be more satisfying. medium ( Scene 5 (14) )
- The transition between action and emotional beats could be smoother to enhance the overall flow of the screenplay. medium ( Scene 6 (46) )
- A more detailed backstory for Safin could enhance the audience's understanding of his motivations and make him a more compelling antagonist. high ( Scene 1 (1) )
- Additional scenes exploring the emotional aftermath of Bond's actions could deepen the narrative impact. medium ( Scene 2 (4) )
- A clearer connection between the personal stakes and the larger geopolitical conflict could strengthen the narrative cohesion. medium ( Scene 3 (12) )
- More exploration of the consequences of Bond's past relationships could add depth to his character arc. medium ( Scene 4 (22) )
- The motivations of secondary characters could be fleshed out to create a more rounded narrative. medium ( Scene 5 (14) )
- The opening sequence sets a strong tone for the film, establishing both the visual style and emotional stakes. high ( Scene 1 (1) )
- The use of music and sound design throughout the screenplay enhances the emotional impact of key scenes. medium ( Scene 2 (4) )
- The screenplay's ability to weave together multiple character arcs and plotlines is a notable achievement. high ( Scene 3 (10) )
- The thematic exploration of love, loss, and sacrifice resonates throughout the screenplay, adding depth to the action. high ( Scene 4 (20) )
- The screenplay's conclusion provides a satisfying resolution to Bond's character arc while leaving room for future stories. high ( Scene 5 (14) )
- Character Motivation The motivations of the antagonist, Safin, are not fully fleshed out, leaving some audience members unclear about his ultimate goals and desires. high
- Pacing Issues Certain scenes, particularly those heavy on exposition, feel rushed or drag on, disrupting the overall flow of the screenplay. medium