From russia with love icon

From russia with love



НазваниеFrom russia with love
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Дата конвертации17.07.2012
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[END OF REEL 3. START REEL 4.]


A YOUNG MAN


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


Kerim

Thank you.


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


Kerim

My friend, if you really want my advice...


DOLLY IN on Kerim.

Kerim

... you should spend a few pleasant days with us here in Istanbul, then... then go home.


DISSOLVE TO:


EXT. BAZAAR - DAY


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

MEDIUM SHOT - HASSAN


emerges from the Bazaar looking at both cars.


HASSAN'S POV - BOTH CARS


drive off.


INT. CITREON - SAME TIME


Grant is driving and, in f.g., is a pair of tied-up hands. Cut to:


THE DRIVER


lies bound and gagged in the back seat bleeding from a gash on his temple.


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


DISSOLVE TO:


INT. KRISTAL PALAS HOTEL - LOBBY - DAY


DOLLY IN on Bond as he enters carrying his briefcase; the chauffeur follows carrying Bond's suitcase. They stop at the front desk.


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


Bond

James Bond. You have a reservation for me.


Concierge

Ah, Mister Bond. Your room is ready.

(to the receptionist)

Number thirty-two.


The concierge rings a bell. A PORTER walks up and takes the suitcase from the chauffeur.


FEMALE ASSISTANT

(to the porter)

Thirty-two for Mister Bond.


Concierge

(to Bond)

Hope you enjoy your stay.


Bond

Thank you.

The chauffeur tips his hat to Bond, then Bond and the porter cross the lobby and enter a lift. The doors close.


WIPE BOTTOM TO TOP TO:


INT. SITTING ROOM - DAY


The porter opens the door for Bond. Bond enters, crosses the room and drops his briefcase on the bed. He hears the porter clear his throat and turns back.


Porter

Will there be anything else, sir?


Bond slips some cash into his pocket.


Bond

No, only this. Thank you.


Bond turns to the bathroom door. The porter peeks at the money.


Porter

Thank you, sir.


The porter exits.



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


BOND


backs away, continuing to look around. He sees a chandelier overhead, walks under it and turns it around, then steps forward and looks at:


INSERT - A PHONE


resting on the nightstand.


BOND


turns up his briefcase, moves the catches sideways and opens it. He takes out a test instrument and picks up the phone.


INSERT - PHONE


Bond places the instrument beneath it. The meter rises and crackles.

BOND


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


BOND

Mister Bond here.


Receptionist's VOICE

Yes?


Bond

I'm afraid the room won't do.


RECEPTIONIST'S VOICE

I'm sorry.


BOND

The bed's too small.


INTERCUT - FRONT DESK


RECEPTIONIST

(into phone)

One moment, sir.


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


Receptionist

(to the concierge)

Did you hear that?


Concierge

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


The concierge raises the receiver to his ear.


Receptionist

(into phone)

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


INTERCUT - SITTING ROOM


Bond

(into phone)

Well, let's have a look at it. I may like it.

INTERCUT - FRONT DESK


The receptionist cups her hand over the receiver and looks back at the concierge. He nods to her.


Receptionist

(into phone)

The porter will show it to you. He will be up immediately.


She rings the bell. The concierge walks up to her.


Concierge

Good.


INTERCUT - BOND


He cups his hand over the mouthpiece, hears a click, grins tightly and hangs up.


CUT TO:


EXT. RUSSIAN CONSULATE - DAY


A whistle sounds as the Citreon drives up and stops at the curb. Grant emerges. PAN ON HIM as he walks off removing his gloves, then HOLD on the doorman.


GRANT


gets into a green car which drives away.


THE DOORMAN


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


THE DEAD DRIVER'S HEAD


which was leaning against the door falls forward.


INT. GREEN CAR - DRIVING - SAME TIME


Grant sits in back with Kleb.


Kleb

Good work.

(puts on her glasses

and looks at a dossier)

Who can the Russians suspect but the British? The Cold War in Istanbul will not remain cold very much longer.


CUT TO:

EXT. A MOSQUE - ESTABLISHING SHOT


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


DISSOLVE TO:


INT. KERIM'S OFFICE - DAY


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


KERIM'S MISTRESS

Ali Kerim Bey?


She looks off then glances at her watch.


WIDER ANGLE


Kerim sits in a chair writing in a file. The mistress turns over and looks at him.


KERIM'S MISTRESS

Ali Kerim Bey!


Kerim

(glancing back)

Hmm?


THE MISTRESS


drops the string of pearls from her mouth.


Kerim's Mistress

Ali Kerim Bey.


ANGLE ON KERIM


He sits unmoved, continuing to write.


THE MISTRESS


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


Kerim's Mistress

You're not glad to see me this morning, sirree?


Kerim

(annoyed)

Overjoyed.

KERIM'S MISTRESS

I... I no longer please you?


Kerim

Be still.


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


Kerim

(rising)

Back to the salt mines.


KERIM


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


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


KERIM'S DESK


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


FADE IN:


KERIM'S STORE


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


Kerim

Careful with those papers!


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


BOND

Well, who won?


Kerim

I had visitors.


CLOSER ANGLE


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

Kerim

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


Bond

(grinning)

Found your technique too violent?


Kerim

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


Bond

It's most inconsiderate. I think my visit might have something to do with it.


Kerim

Let's try and find out.


Kerim walks off; Bond follows.


KERIM'S SHOWROOM - SAME TIME


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


Kerim

(to an assistant)

Close up after us.


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


INT. UNDERGROUND CISTERN


Bond and Kerim walk down a flight of stairs.


Bond

Quite a place you've got here.


Kerim

The Emperor Constantine built it as a reservoir sixteen hundred years ago.


Bond

Really?

KERIM

(tossing him the

flashlight)

Here.


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


CLOSE SHOT - THE OAR


Rats climb across it. Kerim tilts it to drop them back into the water.


LONG SHOT


Kerim continues rowing them through the cistern.


DISSOLVE TO:


THE BOAT


passes more pillars.


Kerim

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


CLOSE SHOT - THE OAR


continues guiding them.


Kerim (O.S.)

Tie her up, will you?


LONG SHOT


Bond gets out and ties the boat to a dock, then Kerim gets out.


PANNING SHOT


Kerim

Mind your head now.


They walk across a cobblestone path.


INT. ALCOVE - SAME TIME


They pass through an archway into another part of the cistern.


Kerim

Underneath the Russian Consulate.


He pulls a tarpaulin off a periscope.

Kerim

A present from your navy.


CLOSER TWO-SHOT


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


Kerim

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


Bond

I can see everything 'M' said about you is right.


Kerim

Or, why I stay in this mad business?


Bond

Well, it could be that you find selling rugs a bore.


Kerim

My friend, you should be a mind reader.


Kerim looks into the periscope.


KERIM'S POV - A CONFERENCE ROOM


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


Kerim

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


He pans the periscope to one side.


Kerim

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

BOND AND KERIM


Kerim steps back and Bond looks through the periscope.


Bond

He's giving him a hell of a blowing up for something.


BOND'S POV - THE CONFERENCE ROOM


Bond pans across the room.


KERIM (O.S.)

It's too bad we can't hear as well as see.


BOND AND KERIM


Bond

Tell me, does our girl Romanova ever come to this room?


Kerim

Sometimes with messages.


BOND'S POV - THE CONFERENCE ROOM


Koslovski leans back in his chair, revealing the other man.


Bond (O.S.)

I can see the face of the other man now.


BOND AND KERIM


Bond steps back and Kerim looks through the periscope again.


Kerim

(exclaiming)

Krilencu!


KERIM'S POV - THE CONFERENCE ROOM


KRILENCU, an evil-looking man with a mustache, is speaking vociferously.


Kerim

So he's back! Another Bulgarian they use as a killer.

BOND AND KERIM


Looking up at them from a LOWER ANGLE


Kerim

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


Bond looks through the periscope.


BOND'S POV - THE CONFERENCE ROOM


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


Bond (O.S.)

Nice face. —- Just a moment...


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


Bond (O.S.)

A girl's just come in.


BOND AND KERIM


Kerim

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


BOND'S POV - THE CONFERENCE ROOM


The periscope pivots, following Tania's legs.


Bond (O.S.)

Well, from this angle, things are shaping up nicely. I'd like to see her in the flesh. Yes.


BOND AND KERIM


Bond backs away from the periscope.


Bond

Could you get me a plan of that place?


Kerim

I wish I could.

Bond

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


Kerim

I'll get onto that.

(lowers the periscope)

Now, I need a little time to deal with this stinking Krilencu. It will be better if you didn't stay at the hotel tonight. Come.


PAN ON THEM as Kerim walks off, Bond following.


DISSOLVE TO:


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


A station wagon approaches.


[END OF REEL 4. START REEL 5.]


INT. STATION WAGON - SAME TIME


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


Bond

I see now why you keep the Rolls.


Kerim

One of my sons is driving it, with two dummies in the back... in the opposite direction. They'll follow it for hours. You'll like my Gypsy friends. I use them like the Russians use the Bulgars. I'm afraid it's created a blood feud between them.


THE STATION WAGON - DAY FOR NIGHT


It continues on.


EXT. GYPSY ENCAMPMENT - NIGHT


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


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

CLOSER ON THE STATION WAGON


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


1st Sentry

(in Romany)

Ah, Kerim Bey!


They walk toward the house.


BEHIND THE ARCHWAY


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


1st Bulgar

(into walkie-talkie)

Hello, Krilencu?


EXT. GYPSY CAMP - MEDIUM SHOT


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


EXT. GYPSY CAMP - HIGH ANGLE - SAME TIME


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


CLOSER ANGLE


The Gypsy man finishes talking and runs off.


CLOSER ANGLE - BOND AND KERIM


Kerim

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


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


Kerim

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

VAVRA (O.S.)

(shouting)

Kerim Bey!


GYPSY CAMP - HIGH ANGLE


Bond and Kerim follow the Gypsy girl across the encampment.


CLOSER ANGLE


PAN ON ANOTHER Gypsy girl carrying a liquor bottle and pulling out the cork with her teeth. She stops at the head table where Bond and Kerim are sitting with Vavra, the Gypsy chieftain.


Kerim

Ah, Rachi. Filthy stuff.


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


CUT TO:


A FEMALE GYPSY DANCER


rises into frame raising her arms seductively behind her head and starts to dance.


SERIES OF SHOTS


- Bond and Kerim look back at her.


- She moves past their table dancing erotically and passes the MUSICIANS who are playing.


- Bond, Kerim and Vavra watch her (Kerim grinning broadly).


- She continues to dance; TILT DOWN on her swaying hips.


- Kerim holding the Rachi bottle refills his glass.


- The dancer's hips continue to sway.


- Kerim sips from his glass.


- Now she moves her belly in and out seductively.


- Bond, Kerim and Vavra continue to watch.


WIDER ANGLE - THE DANCER


raises her arms above her head and swings her body erotically.

EXT. A GATE - SERIES OF SHOTS - SAME TIME


- A SENTRY stands on the gate watching the encampment.


- Krilencu's head rises over a wall looking at him.


- The sentry continues watching, then glances back.


- Krilencu throws a knife at him.


- The knife pierces the sentry's heart and he falls dead.


- Krilencu gestures to other Bulgars.


Krilencu

Quick!


WIDE ANGLE - THE ARCHWAY


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


SERIES OF SHOTS


- The Gypsy dancer continues to sway seductively, then drops to her knees swaying.


- Bond, Kerim and Vavra continue to watch.


- The dancer rises and wiggles her ass frantically, revolves around then moves forward.


- She approaches Bond who looks on appreciatively.


- She smiles at him as she dances.


- Bond watches intently as she wiggles her ass in front of him.


- Kerim, looking on, grins.


- The dancer leans backwards so that her breasts are almost in Bond's face. Her mouth comes close to his and they almost kiss, then she runs off and the music stops.


BOND AND KERIM


Bond

Tell our host his hospitality overwhelms me.


THREE-SHOT - BOND, KERIM AND VAVRA


Kerim turns to Vavra and speaks in Romany.

TWO-SHOT - BOND AND KERIM


Bond grins at Kerim as Kerim grins off at Vavra.


VAVRA (O.S.)

Thank you! Thank you!


Bond and Kerim laugh.


MEDIUM SHOT - ZORA'S CARAVAN


TWO GYPSY MEN approach. The first one opens the door. ZORA, wearing a scarf and green top, immediately comes out. PAN WITH HIM as he walks to VIDA's caravan, pulls back a tarp, beckons and tells her in Romany to come out. She emerges, wearing a red top, and walks down some steps.


Zora glares at her then lunges at her and they embrace in battle.


THREE-SHOT - BOND, KERIM AND VAVRA


Vavra calls out in Romany.


The first man separates the two girls.


Kerim turns to Bond.


Kerim

No matter what happens now, say and do nothing.


WIDE REVERSE ANGLE - THE HEAD TABLE


The two girls approach as Vavra talks to them in Romany.


THREE-SHOT - BOND, KERIM AND VAVRA


As Vavra continues speaking in Romany, DOLLY IN on Bond and Kerim.


Kerim

(to Bond)

He's asking them whether they'll cease their blood feud and give up this fight. The elders of the tribe will then decide who, in the end, will marry the chief's son.


Vida's voice sounds from O.S. in Romany, replying to Vavra.


TWO SHOT - THE GIRLS


Vida is speaking angrily.

BOND AND KERIM


Kerim

She's saying that...


Bond

Yes, I think I got it without the sub-titles.


Kerim laughs.


THE TWO GIRLS


start to fight.


SERIES OF SHOTS


- A Gypsy man separates them.


- The girls run forward.


- Kerim watches intently.


- Zora pulls off her scarf and ties it around her waist.


- Vida, watching her angrily, ties her own scarf around her waist.


- The two girls face each other.


- Bond, Kerim and Vavra look on.


- Vida holds her hands up like finger-nailed weapons.


- Zora lunges forward but passes her.


- Vida turns toward her, again holding up her nailed fingers.


WIDE ANGLE


Bond, Kerim and Vavra watch in b.g. as the two girls face off in f.g. The girls grab each other and pivot round and round.


Vavra watches intently.


CLOSER ANGLE - THE GIRLS


clutch each other. Vida holds back Zora's hand which tries to gouge her face. TILT DOWN to their feet as they circle each other.


WIDER ANGLE - THE GIRLS


Zora trips Vida. She falls to the ground and rolls across it.

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


BOND


watches intently.


THE GIRLS


roll around on the ground, clutching each other's throats, as the men keep watching in b.g.


CLOSER ANGLE - THE GIRLS - SERIES OF SHOTS


- Each tries to strangle the other, Zora atop Vida.


- Zora keeps strangling.


- Vida, looking up, strangles back.


- Vida kicks Zora backwards.


- Zora lands on her ass.


- Both on their knees now, the girls face off.


- Zora glares at Vida.


- The girls rise and clutch each other again.


WIDER ANGLE


The girls fall against a table, men scattering to make room for them. Vida picks up a bottle, ready to smash Zora's face with it. Suddenly a GUNSHOT sounds. The girls freeze and look up. ZIP TILT UP AND ZOOM IN on a sentry on a wall falling dead in a puff of smoke.


THE HEAD TABLE


DOLLY IN on Bond, Kerim and Vavra jumping up. Bond grabs a gun from inside his coat.


THE ARCHWAY


The Bulgar's truck drives in.


CLOSER ANGLE - THE TRUCK


Krilencu rides in the passenger seat.


Kerim fires a revolver at him.

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


WIDER ANGLE - THE ENCAMPMENT


A Gypsy falls dead as a dozen Bulgars run in through the archway firing guns.


BOND


A Gypsy runs past him then Bond rises, aims his revolver and fires.


KRILENCU


hears the gunshot and dashes off.


KERIM


still sitting at the head table tries to fire his revolver but it is jammed.


REVERSE ANGLE


Finally Kerim [actually a stand-in] shoots an oncoming Bulgar who drops to the ground. Another Bulgar runs toward Kerim.


FRONT ANGLE


The Bulgar jumps onto the table. Kerim upturns it, flinging the Bulgar to the ground.


REVERSE ANGLE


Kerim [actually a stand-in] fires his gun over the overturned table.


AT A CARAVAN


A Bulgar with a flaming torch sets the caravan ablaze.


WIDER ANGLE


Bond dashes past in f.g. A Gypsy shoots the Bulgar with the torch. From O.S., a dagger flies at Bond. It misses him, lodging in a tent-pole. A fighting Gypsy and Bulgar fall into the tent. Bond grabs the dagger and cuts down the tent on them.


KERIM


on his knees fires his revolver again.

KRILENCU


holding his own revolver takes a step back and fires it.


KERIM


is wounded in the arm; he grabs the bullet-hole as blood gushes out.


BOND


aims his revolver off at Krilencu.


KRILENCU


darts away between two caravans.


BOND


runs forward, chasing him.


A CARAVAN


blazes in flame.


KERIM


looks at his bloody arm. A GYPSY runs behind him firing a revolver. Kerim picks up his revolver with his other hand and fires it.


A BULGAR drops dead from the bullet.


ANOTHER ANGLE


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


REVERSE ANGLE


A caravan blazes behind them. Bond enters.


BOND


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


THE GYPSY AND BULGAR


roll across the ground clutching each other.


As a caravan blazes behind them, a GYPSY throws a BULGAR over a corral fence.

AT THE BLAZING CARAVAN


Bond slices a holding rope with the dagger.


THE CARAVAN


rolls forward, crashing into the fighting Gypsy and Bulgar against the corral fence.


ANGLE FROM BEHIND - BOND


Bond sees Krilencu. He takes a step back and aims the dagger.


KRILENCU


steps sideways and fires his revolver.


BOND


throws the dagger at him.


KRILENCU


runs behind a caravan, avoiding it.


BOND


runs forward then stops beside a caravan.


MEDIUM LONG SHOT


Bond trips a Bulgar running by. The Bulgar falls to the ground. Bond leans down, smashes the Bulgar's head with the butt of his pistol, then runs off.


A HIGH ARCHWAY


Grant, holding a revolver, steps through the archway onto a high ledge and crouches, watching the fracas.


REVERSE ANGLE - OVER GRANT'S SHOULDER


Men fight below as horses run past.


UPWARD ANGLE ON ANOTHER LEDGE


A BULGAR on the ledge fires a pistol. A GYPSY jumps him from behind. They struggle. A horse crosses in f.g.


BOND


runs forward, aims his revolver and shoots an ONCOMING BULGAR in the stomach. TILT DOWN as the Bulgar falls and Bond runs off.

ON THE LEDGE


The fighting men roll off the ledge to the ground as men past in f.g.


BOND


gripping his gun runs toward a small lake; beyond it is a high wall and ledge. We glimpse Vavra and a BULGAR running at each other at the base of the wall.


Bond sees a Bulgar behind him and shoots him. A white horse runs past.


On the ground, beneath the white horse, Gypsies and Bulgars are fighting.


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


Bond

Head down!


Vavra drops to the ground. Bond drops to one knee aiming at the Bulgar on the ledge.


Bond fires. The Bulgar falls. Vavra rises waiving to Bond.


Vavra

Thank you! Thank you!


Vavra runs off. Bond runs forward firing his revolver again. Then Bond pivots and upturns a table on which a Bulgar and Gypsy are fighting. The men land in the lake.


ANGLE OVER GRANT'S SHOULDER


He continues to watch as men fight below and horses run past. Below him, a BULGAR stands on a straw roof, also watching.


MEDIUM LONG SHOT - BOND


Bond stops and shoots a BULGAR running by; the Bulgar falls over an overturned table.


MEDIUM SHOT - THE STRAW ROOF


The Bulgar, gripping a knife, jumps off the roof. He lands just behind Bond.


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

GRANT


watching through the archway, fires his pistol.


BOND AND THE BULGAR


The Bulgar drops to the ground. Bond turns and notices him for the first time.


ANGLE OVER GRANT'S SHOULDER


Grant fires again at the Bulgar as Bond looks at the body. The body whirls around from the force of the shot.


BOND


looks around in confusion, then looks off and fires his gun.


MEDIUM SHOT - THE GATEWAY


Bulgars begin running out toward the truck. Krilencu follows then stops and shouts back in Bulgarian to retreat.


More Bulgars run toward the gateway, shooting behind them as they run.


Krilencu fires his gun at someone then keeps gesturing and shouting as still more Bulgars run past. Krilencu runs out after them.


HIGH WIDE SHOT - THE GYPSY CAMP


The battle ends as Gypsies surround the remaining Bulgars as others retreat in b.g.


EXT. THE ENCAMPMENT - NIGHT


PAN ON BOND returning his revolver to its holster as he walks. He reaches a tent where Kerim holds a bottle of Rachi.


Kerim

Did you get Krilencu?


Bond

No.


Bond takes the bottle and pours alcohol on Kerim's wound. A GYPSY GIRL walks by.


Bond

(to the girl)

Just a minute. Here.

(he takes her scarf)

Thank you.

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


Kerim

You fought well. I am nothing but a clumsy old man.


A SCREAM sounds from O.s.

1   2   3   4   5   6   7



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From russia with love iconМодернизация и демократия Журнал "Россия -xxi" на сайте www russia-21. ru С. Кургинян «Кризис и другие»
Журнал "Россия -xxi" на сайте www russia-21. ru С. Кургинян «Кризис и другие» Завтра No: 7
From russia with love iconMy country Russia

From russia with love iconRussia phys

From russia with love iconРоссийские реалии фондового рынка требуют максимально наукоемких программных решений Беседа со Старшим консультантом подразделения ит-консалтинга компании Siemens Business Services Russia, к т. н. Алексеем Недосекиным
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