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From russia with love



НазваниеFrom russia with love
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[END OF REEL 2. START REEL 3.]


MEDIUM SHOT - BOND


He is in his shirt now, buttoning it.


BOND

Well, I've just been reviewing an old case.


SYLVIA


approaches in a huff. PAN on her as she walks to Bond.


Sylvia

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


Bond

Shh! It's the office.

(into phone)

Err... tell him I'm on my way, will you?


Sylvia snatches the phone from him.


Sylvia

(into phone)

He is not on his way.


Bond

(taking the phone

back)

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

(he keeps buttoning

his shirt)


Sylvia

Do what? The last time you said that you went off to Jamaica.

(she undoes one of

his buttons)

I haven't seen you for six months.


He slaps her hand.

Bond

(into phone)

I'll be there in an hour.


INTERCUT - MISS MONEYPENNY


She now holds a lit cigarette.


Miss Moneypenny

Hey, your old case sounds interesting, James.


INTERCUT - BOND AND SYLVIA


Sylvia has completely unbuttoned Bond's shirt.


Bond

(into phone)

Er... make that an hour and a half.


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


Bond

Now, about that lunch...


Sylvia

(giggling)

Hmm-hmm.


FADE IN:


INT. A DOOR - MEDIUM CLOSE SHOT


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


INT. MISS MONEYPENNY'S OFFICE


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


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


Bond

For my next miracle, I...


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

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



Miss Moneypenny

(to Boothroyd)

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


INT. 'M's OFFICE


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


Bond

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


'M'

Ridiculous, isn't it?


Bond

It's absolutely crazy.


'M'

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


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


INTERCUT - BOND AND 'M'


Bond

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


'M'

Mmm.


Bond

No, it's some sort of trap.


'M'

(filling his pipe)

Well, obviously it's a trap, and the bait is a cipher machine. A brand new Lektor.


Bond

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

ANGLE ON 'M'


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


'M'

Yes. So have we. When she contacted Kerim Bey, head of Station T, Turkey, and told him she wanted to defect, she said she'd turn it over to us, on one condition: that you went out to Istanbul and brought her and the machine back to England.

(he takes a photo

from the file)

Here's a snapshot Kerim managed to get of her.


BOND


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


Bond

Well, I don't know too much about cryptography, sir, but, uh... a Lektor could decode their top secret signals. The whole thing's so fantastic, it just could be...

(he finally looks

at the photo and

catches himself)

...true.


INSERT - THE PHOTO


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


'M' (O.S.)

Hmm. That had occurred to me.


BOND


continues to look at the photograph


'M' (O.S.)

Besides, the Russians haven't been up to any tricks recently.


Bond

Well, really, I'm not too busy at the moment, sir.

INTERCUT - BOND AND 'M'


'M'

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


Bond

Suppose when she meets me in the flesh, I don't come up to expectations?


ANGLE ON 'M'


over Bond's shoulder.


'M'

Just see that you do.


He presses a switch on his intercom.


'M'

Miss Moneypenny, ask the Equipment Officer to come in, please.

(he releases the switch)

Q Branch has put together a smart looking piece of luggage for us.


ANGLE ON THE PADDED DOOR


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


'M' (O.S.)

We're issuing this to all double-o personnel.


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


Boothroyd

An ordinary black leather case...

(tilts it up and points

to two buttons on

its back edge)

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


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

MEDIUM SHOT - BOND AND BOOTHROYD


Boothroyd

(indicating the tube)

Now, if you take the top off, you'll find the ammunition inside.


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


Boothroyd

In the side here: flat throwing knife.


CLOSE SHOT - THE BRIEFCASE


Boothroyd's hand enters.


Boothroyd (O.S.)

Press that button there...

(he presses a release

and a knife pops

out)

... out she comes.


Bond's hand enters and takes the knife.


MEDIUM SHOT - BOND AND BOOTHROYD


Boothroyd opens the briefcase and sets it down flat.


Boothroyd

Inside the case...


CLOSE SHOT - THE BRIEFCASE


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


Boothroyd (O.S.)

...you'll find an AR Seven folding sniper's rifle.

(he pulls the heel

off the grip,

revealing a barrel

hidden inside)

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


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

Boothroyd

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


He slides the strap back into the lining.


TIGHT TWO-SHOT - BOND AND BOOTHROYD


Boothroyd

Now watch very carefully.

(he reaches down)


MEDIUM CLOSE SHOT - THEIR TORSOS


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


Boothroyd (O.S.)

An ordinary tin of talcum powder. Inside, a tear gas cartridge.


TWO-SHOT


Boothroyd

That goes in the case against the side...


MEDIUM CLOSE SHOT - THE BRIEFCASE


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


Boothroyd (O.S.)

... here, like that. It's magnetized so it won't fall.


His hands shut the case and close the catches.


Boothroyd

Shut the case.


TWO-SHOT


Boothroyd

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


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


Boothroyd's thumbs rest on the catches.

Boothroyd (O.S.)

... you move the catches to the side.

(his thumbs move

sideways without

touching the catches)

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


TWO-SHOT


Boothroyd

Now, to stop the cartridge exploding...


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


Boothroyd's fingers twist the catches sideways.


Boothroyd

... turn the catches horizontally, like that. Then open normally.


His thumbs open the catches and the briefcase pops open.


TWO-SHOT


Boothroyd

Now you try it.


MEDIUM CLOSE-UP - 'M'


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


MEDIUM TWO-SHOT - BOND AND BOOTHROYD


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

Bond

Hmm. Turn the catches...
(twisting them)

...like that...


Boothroyd

That's right.


Bond

And open ordinarily.


Bond snaps the briefcase open then grins in satisfaction.

Boothroyd

You've got it?


Bond

Yes, I think so.


Boothroyd

(to 'M', off)

Is that all, sir?


'M' (O.S.)

Yes, thanks very much.


Boothroyd

Right. Thank you.


Boothroyd exits as Bond closes the briefcase.


Bond

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


CLOSE-UP - 'M'


'm'

All the same, take it with you.


WIDE ANGLE OVER 'M's SHOULDER


'm'

Good luck, Double-o-seven.


Bond

Thank you, sir.


Bond heads for the door.


CLOSE-UP - 'M'


He returns the pipe to his mouth and looks down at the file.


INT. MISS MONEYPENNY'S OFFICE - SAME TIME


Bond enters from 'M's office flipping the padded door shut behind him. PAN WITH HIM as he walks to Miss Moneypenny's desk and sets the briefcase down.


Bond

'Once more into the breach, dear friends.'


Miss Moneypenny holds up an airline ticket.

Miss Moneypenny

And one plane ticket.


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


Miss Moneypenny

Lucky man. I've never been to Istanbul.


Bond

You've never been to Istanbul?


Miss Moneypenny

No.


Bond

(leaning toward her)

Where the moonlight on the Bospherous is irresistible.


Miss Moneypenny

(rising and touching

her forehead to his)

Maybe I should get you to take me there some day. I've tried everything else.


Bond

Darling Moneypenny, you know I never even look at another woman.


Miss Moneypenny

Oh, really, James?


Bond

Uh-huh. Let me tell you the secret of the world...

(he leans back to

her ear)


Just then her intercom buzzes.


CLOSE SHOT - INTERCOM


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


'M' (over intercom)

Miss Moneypenny, ask Double O Seven to leave the photograph. I'm sure he'll recognize the lady when he sees her.

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


CLOSE SHOT - THE PHOTOGRAPH


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


MEDIUM TWO-SHOT


Bond picks up the briefcase and steps off the desk.


MISS MONEYPENNY

(watching him go)

Good luck.


Bond

(passing in front

of her)

Ciao!


Miss Moneypenny

Ciao!


SLOW DISSOLVE TO:


EXT. ISTANBUL AIRPORT - DAY


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


INT. CONTROL TOWER - SAME TIME


A number of airport officials look out the windows.


1st Official

(into microphone)

Hello, London. Your flight P-A-One just landed Istanbul.


CUT TO:


INT. AIRPORT LOUNGE - REVERSE TRUCKING SHOT


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


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


CHAUFFEUR

(seeing him)

Mr. Bond!

(MORE)

CHAUFFEUR (cont'd)

(to the drink seller,

in Turkish)

Tesekkür ederim.


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


Chauffeur

Kerim Bey sent a car for you, sir.


Bond

Oh, fine.

(reaches into his

coat and takes out

a cigarette case)

Can I borrow a match?


Chauffeur

I use a lighter.


Bond

(opening the case

to reveal cigarettes)

It's better still.


Chauffeur

Until they go wrong.


Bond

(shutting the case)

Exactly.


Bond gestures to the chauffeur to move on.


Chauffeur

I'll get the car, sir.


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


EXT. TERMINAL BUILDING - LONG SHOT - SAME TIME


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


BOND'S ROLLS ROYCE


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

GRANT


sits in his car watching.


THE CITREON


PAN ON IT as it drives off. [Mistake: the passenger seat is vacant!]


WIDE ANGLE - ENTRANCE TO TERMINAL


The Citreon drives away.


INT. ROLLS ROYCE - DRIVING - DAY


The chauffeur is in f.g., Bond behind him in the back seat. Bond waves his hat across his face against the heat. Through the rear window we see the Citreon following.


Chauffeur

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


Bond

Fine.


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


EXT. ISTANBUL STREET - SAME TIME


PAN ON THE ROLLS as it drives on. Then hold on ancient ruins in b.g. as the Citreon passes following it.


DISSOLVE TO:


EXT. NARROW STREET - DAY


The Rolls continues past some buildings and continues down an open road. The Citreon keeps following.


INT. ROLLS - SAME TIME


the Citreon still visible through the rear window.


Bond

I suppose it's customary to have people trailing you in these parts.


Chauffeur

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

(MORE)

Chauffeur (cont'd)

They are Bulgarians working for the Russians. They follow us, we follow them. It's a sort of understanding we have.


Bond

That's very friendly.


EXT. STREET - SAME TIME


CRANE BACK ON THE ROLLS as it swings over toward the Grand Bazaar and stops.


THE CITREON


stops just short of the Rolls. Hassan jumps out and looks off.


MEDIUM LONG SHOT - A COBBLESTONE STREET


Bond and the chauffeur walk down the street. PAN ON them as they walk into the bazaar.


INT. GRAND BAZAAR - SAME TIME


PAN ON THEM as the chauffeur leads Bond through the Bazaar. It is filled with people and Bond glances back at some of them. They continue past us and walk off.


HASSAN


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


HASSAN'S POV - BOND AND THE CHAUFFEUR


They turn into a shop where Turkish rugs hang outside.


INT. SHOP (STUDIO SEQUENCE) - SAME TIME


The chauffeur leads Bond through the shop to a door covered by a hanging tapestry. Salesmen are showing rugs to customers.


CLOSER ANGLE


The chauffer pulls a cord which retracts the tapestry, revealing a door. He opens the door to reveal an office.


Bond starts to step inside but stops, seeing KERIM'S MISTRESS within. She is picking up a hat, dons it and walks toward the doorway straightening the shoulder of her blouse. DOLLY BACK as she exits past Bond pulling her skirt down and straightening her hat.

Bond steps into the office followed by the chauffeur.


KERIM (O.S.)

Ah, my friend, come in!


INT. KERIM'S OFFICE - SAME TIME


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


KERIM

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


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


Bond

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


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


Kerim

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


Kerim holds out the box to Bond.


ANGLE ON BOND


Bond

(taking a cigarette

from the box)

So I gathered from your chauffeur. He's a rather intelligent young man, by the way.


Bond lights the cigarette.


KERIM


steps back behind his desk.


Kerim

He should be. He's my son.

Kerim picks up a bell and rings it.


ANGLE ON BOND


He puffs on the cigarette.


KERIM (O.S.)

Coffee?


Bond

Medium sweet.


A YOUNG MAN enters through the doorway behind him.


CLOSE SHOT - KERIM


Kerim

Two, medium sweet.


ANGLE ON BOND, KERIM IN F.G.


The young man nods and shuts the door.


KERIM

He also is my son.


INTERCUT - BOND AND KERIM


Kerim sits at his desk, his cigarette burning in the yellow holder.


KERIM

All of my key employees are my sons. Blood is the best security in this business.


Bond

You must have quite an establishment here.


KERIM

Biggest family payroll in Turkey. Not bad for a man who started life breaking chains and bending bars with his teeth in a circus. But let's talk about this business of yours.


BOND

Well, 'M' thinks I'm wasting my time here.

Kerim

And so do I.

(points to his nose)

This is an old friend of mine. And it tells me something smells.


Bond

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


Kerim

She said she would make her own arrangements. You'll just have to wait.


A knock sounds at the door.


Kerim

(rising)

Ah!

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