From russia with love icon

From russia with love



НазваниеFrom russia with love
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Дата конвертации30.05.2012
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"FROM RUSSIA WITH LOVE"


Screenplay by

Richard Maibaum


Adapted by

Johanna Harwood


Based on the novel by

Ian Fleming


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


GUN BARREL LOGO


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


IRIS CUTS OUT.


FADE IN:


EXT. RENAISSANCE GARDENS - NIGHT - SERIES OF SHOTS


- WIDE MOVING SHOT: Bond, dressed in a tuxedo, walks across a bridge and down some steps as if stalking someone. He looks back.


- CLOSE SHOT: The feet of another man, wearing sweat-pants and soft shoes, walk forward.


- CLOSE SHOT: Bond turns forward again, looks around and continues walking.


- CLOSE SHOT: The other man's feet walk quietly up some steps.


- WIDE MOVING SHOT: Bond runs down a tree-lined path toward a statue, hears a bird coo and looks back.


- WIDE SHOT: The other man is crossing the bridge. He is DONALD GRANT. He stops and looks in front of him.


- MEDIUM SHOT: Bond, holding a revolver, moves toward some trees.


- MEDIUM SHOT: Grant stops on the bridge, looking forward, then cracks a branch of a tree.


- BOND stops suddenly at the sound. He looks back, pauses thinking, then continues walking.


- GRANT watches, then moves forward and


- GRANT'S FEET walk forward but stop, pivot back and walk in a different direction.


- MEDIUM MOVING SHOT: Bond looks back, walks forward, hears a bird cooing again, looks back, then walks forward again.


- WIDE ANGLE: Bond stops moving and peers behind some bushes. Grant crosses in f.g. holding one arm out.


- BOND fires a revolver.


- GRANT stops at the sound then turns and looks back.

- BOND, still holding the revolver, moves behind a statue then continues on.


- GRANT keeps looking back.


- BOND walks forward glancing around anxiously.


- WIDE MOVING SHOT: Grant walks toward a fountain in f.g., Bond following, then Grant passes it and moves on.


- BOND emerges from behind a tree, looking in Grant's direction.


- WIDE ANGLE: Bond peers behind another tree then continues forward. Pan over to reveal Grant waiting in f.g., concealed by more trees.


- CLOSE SHOT: Grant pulls a garrote from his watch.


- MEDIUM MOVING SHOT: Bond turns a corner, still looking around.


- FRONT ANGLE: Bond steps forward. Grant suddenly emerges from the trees behind him and whips the garrote around his neck.
Bond clutches at it helplessly as Grant strangles him and they drop to the ground.


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


GRANT


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


MORZENY


approaching followed by the other men.


GRANT


stands at attention as Morzeny reaches him holding a watch.


MORZENY

(to Grant)

Exactly one minute, fifty-two seconds. That's excellent.

BOND


lies motionless on the ground. Morzeny's hand reaches down and pulls a mask off his face, revealing an UNIDENTIFIED MAN who has been disguised as Bond. TILT UP to reveal Morzeny and Grant walking away toward the house.


CUT TO:


THE MAIN TITLES


A BELLY DANCER performs as the credits are projected across various parts of her body.


FADE OUT.


FADE IN:


EXT. VENICE - ESTABLISHING SHOT - DAY


Long shot of the shoreline as TWO GONDOLIERS oar past in f.g.


DISSOLVE TO:


INT. CHESS ROOM - VENICE HOTEL


A scoreboard reads:


VENICE INTERNATIONAL

GRANDMASTERS CHAMPIONSHIP


MATCH FINAL


Czechoslovakia WHITE BLACK Canada

KRONSTEEN 11 1/2 11 1/2 MACADAMS


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


KRONSTEEN


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


Kronsteen

Check.


Kronsteen clicks a timer.


OVER KRONSTEEN'S SHOULDER


Macadams looks thoughtfully at the board.

ANGLE ON THE SCOREBOARD


1st UMPIRE

Knight takes bishop.


The Attendant moves a corresponding white piece on the scoreboard.


ATTENDANT

Knight takes bishop.


EXTREME WIDE ANGLE


The spectators look on murmuring. A WAITER approaches the table with a tray containing two glasses.


CLOSER


The waiter sets a glass in front of Macadams then turns to Kronsteen and puts a glass of water and a mat in front of him.


STILL CLOSER


Kronsteen stares at the waiter, whose hand still grips the glass. The hand backs away and Kronsteen picks up the glass and the mat. He starts to drink then looks through the glass. We hear the clock still ticking.


KRONSTEEN'S POV - THE GLASS AND MAT


Seen through the bottom of the glass on the mat are the words:


'YOU ARE REQUIRED

AT ONCE.'


KRONSTEEN


sets the glass down and dabs the mat against his lips. Meanwhile Macadams looks at the chessboard. Kronsteen tears up the mat.


OVER KRONSTEEN'S SHOULDER


Macadams moves a black chess piece and clicks the timer.


ANGLE ON THE SCOREBOARD


1ST UMPIRE

King to rook two.


The Attendant moves a corresponding black piece.


ATTENDANT

King to rook two.

AT THE TABLE


Kronsteen picks up a white piece then glances at Macadams. Macadams looks back. Kronsteen sets the piece on the table, looks again at Macadams and clicks the timer.


OVER KRONSTEEN'S SHOULDER


Macadams studies the chessboard.


ANGLE ON THE SCOREBOARD


The Attendant moves a corresponding white piece.


1st Umpire

Queen to king four.


Attendant

(repeating)

Queen... to king four.


WIDE ANGLE


The spectators murmur in anticipation.


MACADAMS


studies the board.


Kronsteen


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


OVER KRONSTEEN'S SHOULDER


Macadams tips over his king onto the table.


KRONSTEEN


stares at him.


OVER KRONSTEEN'S SHOULDER


Macadams rises.


MACADAMS

My congratulations, sir. A brilliant coup.


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

HIGH ANGLE - CRANE SHOT


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


DISSOLVE TO:


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


The yacht rests in a bay.


EXT. BLOFELD'S CABIN - SAME TIME


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


INT. BLOFELD'S CABIN - SAME TIME


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


BLOFELD (O.S.)

Siamese fighting fish. Fascinating creatures. Brave, but on the whole, stupid.


KLEB'S POV - THE AQUARIUM


Three fish swim in it.


BLOFELD (O.S.)

Yes, they're stupid.


CLOSE SHOT - BLOFELD'S LAP


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


BLOFELD (O.S.)

Except for the occasional one such as we have here...


CLOSE SHOT - AQUARIUM


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


BLOFELD (O.S.)

...who lets the other two fight while he waits... waits until the survivor is so exhausted that he cannot defend himself.

KLEB


watches the aquarium.


CLOSE SHOT - AQUARIUM


The fish continue to fight.


BLOFELD (O.S.)

And then, like SPECTRE, he strikes.


CLOSE-UP - KLEB


KLEB

I find the parallel  - amusing.


CLOSE SHOT - BLOFELD'S CAT


Blofeld handles the cat.


BLOFELD (O.S.)

Our organization did not arrange for you to come over from the Russians...


ANGLE ON KLEB OVER BLOFELD


BLOFELD

(continuing)

...just for amusement, Number Three.


CLOSE SHOT - CONSOLE


Blofeld pushes one of four buttons on his desk.


[END OF REEL 1. START REEL 2.]


BLOFELD'S POV - KLEB


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


BLOFELD

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


CLOSE SHOT - BLOFELD'S CAT


He continues to stroke it.


BLOFELD

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

CLOSE-UP - KLEB


KLEB

I hope Kronsteen's efforts as Director of Planning will continue to be as successful as his chess.


CLOSE-UP - KRONSTEEN


KRONSTEEN

They will be. According to your instructions, I have planned for SPECTRE to steal from the Russians their new Lektor decoding machine. For this we need the services of a female member of the Russian cryptograph section in Turkey and —- uh —- the help of the British Secret Service.


CLOSE-UP - KLEB


Listening, she looks up at Kronsteen.


Kronsteen (O.S.)

(continuing)

Naturally, neither the Russians nor the British will be aware...


CLOSE-UP - BLOFELD'S CAT


He continues to pet it.


KRONSTEEN (O.S.)

(continuing)

...that they are now working for us.


BLOFELD (O.S.)

Number Three, is your section ready to carry out Kronsteen's directives?


CLOSE-UP - KLEB


KLEB

Yes, Number One. The operation will be organized according to Kronsteen's plan. I have selected a suitable girl from the Russian Consulate in Istanbul. She's capable, cooperative, and her loyalty to the State is beyond question.

WIDE ANGLE OVER BLOFELD AT KLEB AND KRONSTEEN


BLOFELD

And you're absolutely sure she believes you're still...


CLOSE-UP - BLOFELD'S CAT


He continues to stroke it.


BLOFELD

(continuing)

... head of operations for Soviet Intelligence?


CLOSE-UP - KLEB


KLEB

It is most unlikely she would know I'm now working for SPECTRE. Moscow has kept my defection secret from everyone but a few members of the Presidium.


CLOSE SHOT - BLOFELD'S CAT


As he stroke it:


BLOFELD

For your sake, I hope so.


BLOFELD'S POV - KLEB AND KRONSTEEN


Blofeld (O.S.)

Kronsteen, you're sure this plan is foolproof?


Kronsteen

(tapping a cigarette

against its case)

Yes, it is, because I have anticipated every possible variation of counter-move.


CLOSE SHOT - BLOFELD'S CAT


As he strokes it:


Blofeld

But what makes you think that 'M,' the head of British intelligence, will oblige you by falling in with your plan?

CLOSE-UP - KRONSTEEN


KRONSTEEN

For the simple reason that it is so obviously a trap.

(he starts to put the

cigarette into his

mouth then lowers it)

My reading of the British mentality is that they always treat a trap as a challenge. And in any case, they couldn't possibly pass up even the slightest chance of getting their hands on a Lektor decoder. They have wanted one for years.


CLOSE SHOT - BLOFELD'S CAT


As he strokes it:


Blofeld (O.S.)

Um-hmm. All that you say could be true. What else?


CLOSE-UP - KRONSTEEN


KRONSTEEN

As an added refinement, I think that SPECTRE would probably have the added chance of a personal revenge for the killing of our operative, Doctor No. Because the man the British will almost certainly use on a mission of this sort would be their agent, James Bond.


ANGLE OVER BLOFELD AT KLEB AND KRONSTEEN


BLOFELD

Let his death be a particularly unpleasant and humiliating one.


Kronsteen

Good. I shall put my plan into operation straightaway.


KLEB


looks at Kronsteen.

KRONSTEEN


KRONSTEEN

And there will be no failure.


CUT TO:


EXT. LAKE - MEDIUM CLOSE SHOT - GRANT


Naked but for shorts, he lies face-down on a towel on grass. He glances up.


A FEMALE MASSEUSE


in a skirt approaches.


GRANT


closes his eyes.


MEDIUM SHOT - GRANT AND MASSEUSE


She sets a bag down then turns away and unbuttons and removes her shirt, revealing large breasts in a bra. She pulls down her skirt, revealing shorts, and turns toward Grant.


She kneels, picks up a container of ointment then looks up.


A HELICOPTER


hovers overhead.


MEDIUM SHOT


The masseuse massages Grant's back.


THE HELICOPTER


lands in front of SPECTRE House.


CLOSER ANGLE


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


MORZENY

Hurry.


Kleb emerges from the chopper.


MORZENY

(to Kleb)

Welcome to SPECTRE Island. A great honour. I hope you had a pleasant flight.

CLOSER - MORZENY AND KLEB


KLEb

My time is limited. Is the man I requested ready?


Morzeny hands her a file.


Morzeny

His dossier.


Kleb

Good.


Kleb look at the file.


Kleb

Donald Grant, convicted murderer. Escaped Dartmoor Prison in nineteen sixty. Recruited in Tangier nineteen sixty-two. Excellent! Where is he now?


Rhoda turns to Morzeny.


RHODA

At the Lake.


Morzeny

Bring him to my office, will you?


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


Kleb

Take me to the Lake.


Morzeny

(pointing)

Through the training area.


MOVING SHOT


Kleb, Morzeny and Rhoda walk across the grounds.


Morzeny

This Grant's one of the best men we've ever had. Homicidal paranoiac, superb material. Though his methods were a little crude, his response to our training and indoctrination have been remarkable.

EXT. KILLING SCHOOL - MOVING SHOT


Kleb, Morzeny and Rhoda walk along a series of galleries where men fire at targets. Other men in judo garb break cinder blocks in f.g. In another gallery, a man fires a flame-thrower at a running man. Two men fight with knives. In yet another gallery, men practice judo.


Morzeny

I hope our work here meets with your approval?


Kleb

Training is useful, but there is no substitute for experience.


Morzeny

I agree. We use live targets as well.


WIDE ANGLE


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


DISSOLVE TO:


EXT. LAKE


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


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


Kleb takes a step forward.


KLEB

Call him.


Morzeny

Grant!


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


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


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

Kleb

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


Kleb immediately turns and walks off, Morzeny and Rhoda following.


DISSOLVE TO:


EXT. ISTANBUL - ESTABLISHING SHOT - DAY


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


EXT. RUSSIAN EMBASSY - DAY


A sign on an outer wall reads:


CCCP USSR

CONSULATE GENERAL


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


Irina

(in Russian)

Are you sure you don't want to come with us?


Tania

(in Russian)

I have some shopping to do.


Natasha

(in Russian)

We'll see you later as the hostel.


Irina

(in Russian)

Don't be late. Goodbye for now.


Tania

(in Russian)

Goodbye for now.


Natasha

(in Russian)

Goodbye for now.


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


DISSOLVE TO:

EXT. STREET - KLEB'S HOTEL - DAY


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


Tania

(in Turkish)

Can you show me this house?


The policeman points further up the path.


POLICEMAN

(in Turkish)

It's the first door on the left.


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


THROUGH AN ARCHWAY


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


ON THE STAIRS - MOVING SHOT


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


Tania stops at a door and knocks.


AT THE DOOR


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


INT. KLEB'S ROOM - WIDE ANGLE


Tania stands on the threshold.


Tania

Corporal of State Security Tatiana Romanova.


KLEB

(matter-of-factly)

Come in.


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


Kleb

You know who I am?

Tania

Colonel Kleb. Head of operations for  - for SMERSH. I saw you once in Moscow when I worked for the English decoding crew.


Kleb

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


Tania

No, the message said  -


Kleb

Yes, yes. I know. I sent it.


INTERCUT - TANIA AND KLEB


Tania stands watching her, uncertain.


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


Kleb

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


Tania

Thank you, Comrade Colonel.


Kleb

Take off your jacket.


Tania is surprised, then unbuttons and removes her jacket.


Kleb

Turn around.


Tania obediently pivots around.


Kleb

Umm. You are a fine-looking girl.


Tania glances down diffidently.


Kleb

(politely)

Sit down.


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


Kleb

I see you trained for the ballet.

Tania

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


Kleb

And then you have had three lovers?


[Tania looks off shocked.


Kleb

Did you enjoy their attention?]


Tania

(showing her anger)

What is the purpose of such an intimate question?


Kleb explodes, cracking a short whip against her desk.


Kleb

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


Tania

(softens then smiles)

I was in love.


Kleb

And if you were not in love?


Tania

(thinks deeply, then

smiles again)

I suppose that would depend... on the man.


Kleb

Sensible answer.


Kleb rises from her desk.


WIDER ANGLE


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


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


Kleb

This man, for instance.

Tania

(studying the photo)

I cannot tell. Perhaps if he was kind and kulturny.


Kleb

Corporal...


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


Kleb

...I have selected you for a most important assignment. Its purpose is to give false information to the enemy. If you complete it successfully you will be promoted. From now on you will do anything he says.


Tania

And if I refuse?


Kleb

Then you will not leave this room alive.


Tania looks at her aghast, then regains her composure.


Tania

I will obey your orders.


ANGLE ON KLEB


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


Kleb

Good. Now these are your instructions. You report to me here.


Tania

Yes.


Kleb

But the Consulate security man must not know that I am in Istanbul. This is classified far above his level.


Tania

I will say nothing to anyone.


DOLLY OUT as Kleb steps toward her.

Kleb

If you do, you will be shot!

(she cracks the

whip hard against

the chair, then

softens)

Come, come, my dear.

(she strokes Tania's

shoulder)

You are very fortunate to have been chosen for such a simple, delightful duty.

(her hand moves up

to stroke Tania's

hair)

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


DOLLY IN to Tania looking down at the photograph.


DISSOLVE TO:


EXT. RIVER - DAY


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


man

Great sport, this!


YOUNG WOMAN

What did you say?


Man

Great sport, this punting!


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


Bond

I couldn't agree with him more.


Sylvia

I might even give up golf for it.


Bond

Really?


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


Bond

Not quite.

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


Sylvia

Ooh! Souvenir from another jealous woman?


He turns back and slips an arm around her.


Bond

Yes, but I haven't turned my back on one since.


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


Bond

Excuse me.


Sylvia

What?


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


WIDER ANGLE


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


Bond

Give me my shirt, will you?


Sylvia

(tossing it to him)

What's going on?


Bond

I have to make a phone call.


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


Sylvia (O.S.)

(calling)

But we haven't eaten yet! I'm starving!


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


Bond

(into phone)

Come in, Univex. James Bond here. Over.

INT. MISS MONEYPENNY'S OFFICE - SAME TIME


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


MISS MONEYPENNY

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

  1   2   3   4   5   6   7




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