Licence to Kill_1989
<script>
  <scene>
    <scene_description>LICENSE TO KILL WRITTEN BY MICHAEL G. WILSON RICHARD MAIBAUM FADE IN ;:,</scene_description>
    <character>-'; -,</character>
    <dialogue>Z' ·-: ,\_</dialogue>
    <scene_description>l</scene_description>
    <character>J</character>
    <dialogue>ef:</dialogue>
    <character>'(</character>
    <character>EXT. AWACS PLANE - SOMEWHERE ABOVE</character>
    <dialogue>HE CARIBBEAN - DAY</dialogue>
    <scene_description>A Coast Guard plane, on patrol. A 1 rfe radar pod is mounted on top of the fuselafe. ./ I~ ':,</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AWACS PLANE RADAR OPERATOR, R TING, COMMUNICATIONS</stage_direction>
    <scene_description>OFFICER, DUTY OFFICER stands behind the seated Radar Ope a windowless cabin, bathed in dim red lifht, both inte radar screen before them, In the back1round are PLOTT and a wall of sophisticated ELECTRONICS EQUIPMEN.</scene_description>
    <character>RADAR OPERATO</character>
    <dialogue>We have a mid-course de Tar,et headinf 036, 126 bearing 149 - Havana VO.</dialogue>
    <scene_description>Duty Officer turns to the plottin Rating is already projecting the new headinr on am of the Caribbean which is etched in glass and lit from belo. The line intersects a small island in the Northern Bahamas. D ty Officer looks up from the table to the Communications Office , sittin1·before the bank of computers.</scene_description>
    <character>DUTY OFFICER</character>
    <parenthetical>(jubilant)</parenthetical>
    <dialogue>Advise Key West Drur Enf rcement he's headed for Cray Cay -.~</dialogue>
    <scene_description>:-- ;.;':</scene_description>
    <character>.. ~- "'..-..</character>
    <dialogue>An airstrip and a cluster of buil ings, Si1ns of small resort town near beach. The plane deploy its landing gear.</dialogue>
    <character>DUTY OFFICER � 0.</character>
    <parenthetical>(continuing)</parenthetical>
    <dialogue>If they hurry they mig just 1rab the bastard,</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SEVEN MILE BRIDGE - AERIAL OT - BENTLEY - DAY #J),-;~</stage_direction>
    <scene_description>The CAMERA followa as it speeds Key West, Florida, J ;.:~:</scene_description>
    <character>~. Q· I</character>
    <dialogue>INT. BENTLEY - DAY CHAUFFEUR, ARKY , BOND AND;,.EI TER 1b 1 5</dialogue>
    <scene_description>ft//),) sit in the rear aeat of the Bent ey, resplendent in top hats, swallowtail coata and striped tr users, white roses in their buttonholes. Leiter'• black fi erman friend, Sharky, similarly dressed, sits next to Chauffeur It's Leiter's wedding day, He looks like he's about to be sho Sharky turs at hi• tie, and adjusts the air conditioning. 5 CONTINUED: ii</scene_description>
    <character>!</character>
    <character>LEITER</character>
    <dialogue>(5th time)</dialogue>
    <character>I</character>
    <dialogue>I</dialogue>
    <scene_description>You're ■ ure you'veiaot --</scene_description>
    <character>-' I</character>
    <dialogue>Bond is ahead of him, He op ns his hand. The RING sits in its demure jeweler's box in his alm,</dialogue>
    <character>BOND</character>
    <dialogue>Rirht here. Rela Felix, it'll all be over aoon.</dialogue>
    <scene_description>THE SOUND of a helicopter a proaching. They look out the window. THEIR POV A Coast Guard HELICOPTER •~ims across the water running parallel with the Bentley. Leiter•~ DEA partner HAWKINS holds up a sign reading "FOLLOW ME". The /elicopter flies on toward vacant lot. INT. BENTLEY</scene_description>
    <character>BOND /</character>
    <dialogue>l r 2.. -z, 6</dialogue>
    <scene_description>Friend of yours?/</scene_description>
    <character>LEITER,</character>
    <dialogue>Hawkins, My partner at the DEA,</dialogue>
    <scene_description>i He looks ahead throurh th~ windshield,</scene_description>
    <character>:</character>
    <dialogue>I</dialogue>
    <scene_description>INT. SEVEN MILE BRIDGE - ,ELI COPTER HAWXINS i/i,, 3 standing near it by the •~de of road, The Bentley pulls up beside him, LEITER, SHAR~Y and BOND get out, . l</scene_description>
    <character>LEITER</character>
    <dialogue>What the hell'•:roinr on?</dialogue>
    <character>HAWKI S</character>
    <dialogue>(excited) (</dialogue>
    <scene_description>Sanchez 1• in tle Bahamas. l :</scene_description>
    <character>LEITEJ</character>
    <dialogue>(jubilant) I</dialogue>
    <scene_description>Have you cleareO it with Nassau?</scene_description>
    <character>,</character>
    <dialogue>(</dialogue>
    <scene_description>HAWKifS We rot the rreep lirht.</scene_description>
    <character>!</character>
    <character>7</character>
    <dialogue>CONTINUED:</dialogue>
    <scene_description>0 Let'• 10,</scene_description>
    <character>LEITER</character>
    <dialogue>He steps toward the•~elicoptet.</dialogue>
    <character>SHARKY ,</character>
    <dialogue>Haven't you forgottm somethinr?</dialogue>
    <character>LEITER</character>
    <parenthetical>(•toppin1; to Bond)</parenthetical>
    <dialogue>Oh, ye•, explain to Della</dialogue>
    <character>I</character>
    <dialogue>BOND \</dialogue>
    <scene_description>No way. Sharky can d~ it. I'm coming. I'd rather fa-ce thi• Sanchez than Della. Sherky nods, he'll do it.</scene_description>
    <character>LEITER</character>
    <dialogue>Okay, but strictly as n observer.</dialogue>
    <scene_description>They run to helicopter.</scene_description>
    <character>8</character>
    <dialogue>EXT. HELICOPTER</dialogue>
    <scene_description>rises into the •ky.</scene_description>
    <character>9</character>
    <dialogue>EXT. AIRSTRIP, CRAY CAY - TWO PIL TS</dialogue>
    <scene_description>parked. The pilots wait in the •hade under it ■ win1. 10 EXT. MAIN HOUSE, CRAY CAY GUARD )"'/ti 10 sits snoozin1 on the step1 leadinr to the upper level of a traditional one-story clapboard h se. PEREZ steps ailently up to him. The 1uard. startle• awake Perez alipa a rarotte around his neck throurh the openinr int e steps. He applies it pitile•sly. The FEET OF SANCHEZ ~ND HIS MEN pass the Guard in hi a deat·h throe a. ;· c1 ? Iv</scene_description>
    <character>11 .</character>
    <dialogue>INT. MAIN HOUSE REAR BEDROOM AL</dialogue>
    <scene_description>the voluptuous, beautiful former Galaxy liea asleep in the bed next to her new paramour, Alv rez. The door burata open. SANCHEZ entera with run drawn. H •• forty, tall, •tronr, exudinr all the confidence and au hority of a man who he&amp; never had any reason to doubt that thoa who oppoae him can be bought or killed. DARIO, hia henchman, ollowa. Alvarez reaches for the gun on the night table and Sachez fire, several rounds, hitting night table and wall. Al arez whips hi• hand beck, Lupe startles awake. PEREZ and BRAUN rush in and dra1 Alvarez from the bed, They pull him into the Sanchez faces him. ~evised: July 16, 1gee C) ll CONTINUED:</scene_description>
    <character>SANCHEZ</character>
    <dialogue>What did he promise you, hi heart?</dialogue>
    <parenthetical>(he turns to Dario)</parenthetical>
    <dialogue>Give it to her!</dialogue>
    <scene_description>Dario hesitates.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Macer Lo! (Do it!)</dialogue>
    <scene_description>Dario draws a large Bowie knife from nder his jacket. He pushes the struggling Alvarez through the door. Sanchez closes the door, leaving himself alone with Lupe, the oman who, until a few says ago, had been his constant companion. He comes to her. She sits bolt upright in the bed, clutching the she t to her breasts in fear. He puts his hand on her head, and speaks in an understanding tone.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>It's all right baby. We all ake mistakes.</dialogue>
    <scene_description>He pushes her head down on to the bed, exposing her naked back. He t.akes a sting ray whip from his belt, ests it against her flesh. She is weeping.</scene_description>
    <character>LUPE</character>
    <dialogue>Franz, I didn't</dialogue>
    <scene_description>He cuts her off.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Sssshhh. Not a word, baby.</dialogue>
    <scene_description>He brings the whip down on her back. he begins to sob, CLOSING in on her face as Sanchez whips her. er SOBS are drowned by Alvarez' 'BLOOD CURDLING SCREAMS. llA EXT.BUSHES NEAR MAIN HOUSE ALVAREZ' mutilated body pitches to the ground.</scene_description>
    <character>12</character>
    <dialogue>EXT. CHURCH, KEY WEST - WHITE BENTLEY</dialogue>
    <scene_description>runs to it as it stops at curb. Inside the CHAUFFEUR-driven car is Le.iter's bride, DELLA CHURCHILL, and he ELDERLY UNCLE. Della looks concerned. He uncle sits back, folding his arms.</scene_description>
    <character>SHARKY</character>
    <dialogue>Still not here, Go around the lock again.</dialogue>
    <character>12</character>
    <dialogue>DELLA</dialogue>
    <character>CONTINUED:</character>
    <dialogue>What about all th guests?</dialogue>
    <character>, ELDERLY UNCLE</character>
    <dialogue>I told you this w a a miatake</dialogue>
    <character>13</character>
    <dialogue>EXT. CRAY CAY - COASTGUARD</dialogue>
    <scene_description>sweeps ove.r the beach, heading for the main house. q,) { i1</scene_description>
    <character>14</character>
    <dialogue>INT. HELICOPTER</dialogue>
    <scene_description>The a1ent1 don flack jacketa check their M-16&amp;. Mullens is an athletic middle-aged black a</scene_description>
    <character>LEITER</character>
    <parenthetical>(turning to H kins)</parenthetical>
    <dialogue>The paper1?</dialogue>
    <scene_description>Hawkins hand him a aheaf of 1 ral papers.</scene_description>
    <character>HAWKINS</character>
    <dialogue>Indictment, Arrest arrant, Extradition Request</dialogue>
    <character>BOND</character>
    <dialogue>You're not 1oin1 to et him off on a technicality.</dialogue>
    <character>LEITER</character>
    <dialogue>Damn ri1ht I'm not. I've been after Sanchez for fie years.</dialogue>
    <scene_description>He aee•Bond eyeinr the runa, ulla an automatic from under his jacket and hand, it to him,</scene_description>
    <character>LEITER</character>
    <dialogue>Juat in case, James.</dialogue>
    <scene_description>Bond eyea hlm ironically ea he tuffa the 'itr in hi• waistband.</scene_description>
    <character>15</character>
    <dialogue>emer1e and look up at the SOUND of the helicopter.</dialogue>
    <character>EXT.</character>
    <dialogue>16</dialogue>
    <character>EXT. MAIN HOUSE</character>
    <dialogue>throurh the tree ■, HELICOPTER pa1ain1 overhead.</dialogue>
    <scene_description>17 EXT. MAIN HOUSE MAN IN JEEP SAN HEZ AND DARIO &lt;;/zo 17</scene_description>
    <character>SANCHEZ</character>
    <dialogue>( Let' a ro!</dialogue>
    <scene_description>They run for the Jeep aa PEREZ nd BRAUN hustle the hastily dressed LUPE out of the houae. ,The GROUP jump, into the Jeep and heads for the air ■ trip,</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HELICOPTER PILOT, BONO AND LEITER</stage_direction>
    <scene_description>~'/t7 18 see LEAR JET on airstrip.</scene_description>
    <character>LEITER</character>
    <parenthetical>(to pilot)</parenthetical>
    <dialogue>The airstrip.</dialogue>
    <character>PILOT</character>
    <dialogue>What about our ba kup?</dialogue>
    <character>LEITER</character>
    <dialogue>Can't wait.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD NEAR AIRSTRIP JEE SANCHEZ</stage_direction>
    <scene_description>sees that the helicopter wil beat them to the plane. He motions the driver to slow d n then jumps from the moving Jeep and rolls under some bushes the Jeep continue~, on. d, q; 20 EXT. AIRSTRIP - SANCHEZ' LE. JET TWO PILOTS - &lt;gi&amp;Y/YcoP~~{</scene_description>
    <character>~</character>
    <dialogue>LEITER HAWKINS MULLENS</dialogue>
    <dialogue>junip out of it.</dialogue>
    <character>LEITER</character>
    <dialogue>I want Sanchez ali</dialogue>
    <scene_description>The two pilots throw up thei hands in surrender. Mullens checks out the inside of the ar Jet, signals 'No Sanchez'. AGENTS turn their HEADS AT s nd of JEEP. ANOTHER ANGLE - JEEP with Sanchez' GROUP turns on o airstrip. Group opens fire on Agent~ who return it. BOND moves to door of helicopter. Bullets RICOCHET off helicopter door. One of them passes thr ugh Bond's TOP HAT. He ducks bacl inside. HELICOPTER begins to lift off out of the un battle. The firefight on the ground intensifies. BOND leaps the ten feet from helico ter to ground, comes up on one knee in the classic firing pos· ion and shoots out the tire of the JEEP. It crashes. Sanchez MEN jump out. Bond and Agents close in. Revised, August 5, 1988</scene_description>
    <character>20</character>
    <dialogue>L</dialogue>
    <character>CONTINUED,</character>
    <dialogue>0 Hey, observ</dialogue>
    <scene_description>yourself ,k1 trying, to get</scene_description>
    <character>B</character>
    <dialogue>If I don't you back for the wedding, I' a dead aan for sure.</dialogue>
    <scene_description>BRAUN, PEREZ and DARIO n into the bushes. The two pilots aa~e a break for it. Mullens ns them down and tackles them. Leiter Hawkins chase after Sane ez' aen. Bond 11 cautioua.</scene_description>
    <character>D</character>
    <dialogue>Waitl</dialogue>
    <scene_description>But they have already di appeared into the undergrowth. Bond notices Lupe sitting by he wrecked Jeep. He pull• her to her feet, sees that she has een crying.</scene_description>
    <character>D</character>
    <dialogue>You ?</dialogue>
    <scene_description>She looks furtively int e direction Sanchez' ■en took ana •hakes her head vigorously, lo. z I ' No. Keep bands off ■ e. Co V away. She pushes hi• away. Th ENGINE starting up on tb they have been tricked 21 EXT. PRIVATE PLAHI PARkI 1ingle engine piloted b ANO'l'f,fER AIGLI - CLOSI o• PILOT It i■ SARCHIZ. B• 9iv• ■ the ■ a cheerful waive. ALVDIZ' PLAII turning on the runway, p st Bond and Leiter.</scene_description>
    <character>LI !ER</character>
    <dialogue>Sanchez I</dialogue>
    <scene_description>Bond waive ■ tor the Coa• guard Helicopter to eoae in. They leap forward reaching the bel copter juat •• it touch•• down. Mullens brings the Pilots to the door. Bond gets in.</scene_description>
    <character>MUL EMS</character>
    <dialogue>What about th se?</dialogue>
    <character>(CONTINUED}</character>
    <dialogue>Reviseda Auqust S, 1988</dialogue>
    <scene_description>21 CONTINUED,</scene_description>
    <character>LEITE\_</character>
    <dialogue>Small fry. rorq t them.</dialogue>
    <scene_description>He and Hawkins climb 'aboard. Mullens lets the ■en qo and gets ir after them, Helicopter take off. 22 INT. HELICOPTER MULLENS H KINS BOND AND LEITER qf7 watching the fleeing plane rough the pilot's window.</scene_description>
    <character>LEITE</character>
    <parenthetical>(desperate)</parenthetical>
    <dialogue>He'll be in Cub airspace in twenty ■ inutes.</dialogue>
    <scene_description>Bond hands Leiter a parachut, puts a second on himself.</scene_description>
    <character>IOBD</character>
    <dialogue>He hasn't got av yet.</dialogue>
    <character>LEITER</character>
    <dialogue>What are you doi ?</dialogue>
    <scene_description>Bond grabs hook at end of win h cable, pulls it 'toward hi ■.</scene_description>
    <character>BOND</character>
    <dialogue>Let's 90 fishing.</dialogue>
    <scene_description>The others jump in as helicop er takes off.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HELICOPTER</stage_direction>
    <scene_description>The helicopter loo ■■ like a giant bird of prey over Alvarez'</scene_description>
    <character>~' 2</character>
    <dialogue>plane. The pilot po1ition1 the helicopter over the plane's tail</dialogue>
    <scene_description>24 IN'f. HILICOP'flR, OPEi DOOR 8 D 2 LEITER directs pilot as Bond lowered on the helicopter's wine cable. The wind tear ■ at hi ■ hair, th tail ■· of hi ■ ■ vallovtail jacket flap ■ adly •• he swin;s on the end of 0 the cabl~.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HILICOPTIR, OPIM DOOR LE .</stage_direction>
    <character>'</character>
    <dialogue>in HEADSET guides the belicopt</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ALVAREZ' PLAHE BOID</stage_direction>
    <character>.</character>
    <dialogue>•</dialogue>
    <scene_description>grabs the tail of the plane with one hand, clin91 on as the pla1 bounces around. He wraps the lifting cable around the tail. 28 INT. ALVAREZ' PLANE SANCHEZ i/t'!&gt; --:\:· ,~ feel ■ the</scene_description>
    <character>,,. .... ,.</character>
    <dialogue>added weight at th back of the plane. He opens the</dialogue>
    <character>.......</character>
    <dialogue>\</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ALVAREZ' PLANE BONO</stage_direction>
    <scene_description>is almost torn from the cable by the sudden increase in speed. INT. HELICOPTER, OPEN DooR LEITER dr 7 frantically signals the pilot to c ose the gap.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ALVAREZ' PLANE BOND</stage_direction>
    <character>,~~</character>
    <dialogue>painfully maneuvers the cable hook into the plane's He gives Leiter the "thumbs up."</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HELICOPTER, OPEN DOOR</stage_direction>
    <scene_description>gives the pilot the signal to incr</scene_description>
    <character>LEITER</character>
    <dialogue>&lt;¢rJ</dialogue>
    <scene_description>se power. The pilot pulls back on the controls. 33 INT. ALVAREZ' PLANE - SANCHEZ efg ,·: ,. &lt;of ,1 stares at the dials. He's losing sp ed. He gives his plane more throttle. The plane stalls. He gi es it full throttle. The plane's nose drops dizzingly. Sane ez YELLS. SANCHEZ' POV The horizon looms up from below. EXT, ALVAREZ' PLANE BOND hangs on grimly as the plane's nos plunges down. He swings his legs over the tail, hauls hims f into a sitting position! 35 EXT. HELICOPTER AND PLANE ~fO .: -r~-' &lt;l/11 - ~.., Alvarez' plane hangs from the end f the helicopter cable like a spent fish. Bond sits triumphan ly on the tail.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHURCH, KEY WEST DELLA</stage_direction>
    <scene_description>~/l~ &lt;4-~ 36 The taffeta of her ivory wedding d ess rustles furiously as she gets out of t.,he white limousine, t rows her bouquet into the back seat. Her ELDERLY UNCLE trie to calm her. SHARKY looks like he'd like to r:un and hide.</scene_description>
    <character>DELLA</character>
    <dialogue>That's it! I've had i t l The wedding's off! Everybod go home!</dialogue>
    <scene_description>There's the SOUND of the helicopte • Della, her uncle and Sharky look up. The HELICOPTER car ying Alvarez' plane passes overhead. WEDDING GUESTS pour out f the church, gazing upward. 37 EXT, HELICOPTER - ALVAREZ' PLANE ,...J 11..,.,1 BOND AND LEITER 'tj 37 also in a parachute. They jump out into space. Two PARACHUTES blossom in the blue sky,</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHURCH DELLA WEDDING GUEST</stage_direction>
    <scene_description>parachutes billowing, land either ide of Della. The Wedding guests file back inside. The triu phant strains of WAGNER'S 'BRIDAL CHORUS' fill the church. ella stands at the church door, the taffeta train of her wed ing dress stretches behind her. She's flanked on either side by Leiter and Bond whose parachutes trail behind them. The shed the chutes as they move up the steps of ~he church. THE MAIN TITLES COME UP Montage of the wedding. 'l/i}&gt; j 3/ ·</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COASTGUARD H.Q. - DAY - COAST ARD HELICOPTER ALVAREZ'</stage_direction>
    <character>PLANE</character>
    <dialogue>in parking lot, helicopter next to it. A few OFFICERS and CUSTOMS MEN search it.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. INTERROGATION ROOM - COASTGP</stage_direction>
    <character>HAWKINS AND KILLIFER</character>
    <dialogue>D/ef.l 1DAY tt~EZ 40</dialogue>
    <scene_description>a tough, experienced, salt-of-t e-earth DEA agent, paces the room, chewing on his habitual c gar. The air is heavy with its smoke. Sanchez sits, calm, alm st bored,\_ at a table. Hawkins sits opposite him.</scene_description>
    <character>XILLIFER</character>
    <dialogue>You're facing 139 fe ony counts, 936 years, Sanchez. Even one of your godda~ famous illion dollar bribes can't get yo out of this one.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Two.</dialogue>
    <scene_description>JCll,LIFER What's that?</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Two million U.S. standing offer for anyone who spr ngs me.</dialogue>
    <scene_description>Hawkins stares in awe. Kill fer explodes.</scene_description>
    <character>XILLIFER</character>
    <dialogue>Goddammit, do you hink you're in some banana rep blic? All that scumbag money aint going to do you a bit of good ere!</dialogue>
    <scene_description>Sanchez applauds languidly.</scene_description>
    <character>40</character>
    <dialogue>n</dialogue>
    <character>CONTINUED:</character>
    <dialogue>SANCHEZ</dialogue>
    <scene_description>Muy comico. Very .irhteous. I think 1'11 be hoe 100n. But Killifer lunge• towards him. Hawkins 1teps between them, holdinr Kil lifer et bay.</scene_description>
    <character>ICILLIFER</character>
    <dialogue>No way! We'Ye 10t private cell waitin1 for you at uantico. Your boy ■ will hav to fi1ht their way throurh battalion of marine, to ret you ut. And I'll 1oin1 to per ■ onally ■ ee you ret there. ....J,~</dialogue>
    <scene_description>41 EXT. PATIO, LEITER'S HOUSE - BOND DiLLF·wEDDING 41</scene_description>
    <character>GUESTS</character>
    <dialogue>The reception 11 et ita noi ■ y, crowded peak. The CAMERA finds Bond, cornered by THREE GIGGL G FEMALE GUESTS. Della, still in her weddinr dresa end hold r a silver cake knife, sails into the 1roup. Extract• Bon,</dialogue>
    <character>DELLA</character>
    <dialogue>Jame ■ , I need you.</dialogue>
    <character>BOND</character>
    <dialogue>Excu ■ e me, ledie1.</dialogue>
    <scene_description>They move in ■ ide. 42 INT, LEITER'S HOUSE DELLA Bq D 42</scene_description>
    <character>\</character>
    <dialogue>Della leena in and ki••·· Bond. She'• radiantly happy, very beautiful and ■ lirhtly tip ■ y. There i ■ the ea1e between them of old friend ■•</dialogue>
    <character>DELLA</character>
    <dialogue>.Cuatom. The bride ta to kia1 the beat aan.</dialogue>
    <character>BOND</character>
    <dialogue>I thou1ht it wai the other way round.</dialogue>
    <scene_description>Bond ki11e1 her back. She enly realize ■ ■ he i ■ holdinr the cake knife,</scene_description>
    <character>DELLA</character>
    <dialogue>Jame ■,would you? 1</dialogue>
    <scene_description>1 ■ till in the study and it'a •• to cut the cake, He take ■ the knife from her.</scene_description>
    <character>44</character>
    <dialogue>BOND</dialogue>
    <character>CONTINUED:</character>
    <dialogue>1'11 do anything for a womart with a knife.</dialogue>
    <character>43</character>
    <dialogue>INT, LEITER'S STUDY</dialogue>
    <scene_description>open&amp; the door and enters. Leiter ait ■ at his de ■ k in front of his personal computer. There are files, maps, books and diskette&amp; over every 1urface in the room. Pam, a atriking brunette of about thirty, stands abruptly.</scene_description>
    <character>BOND</character>
    <dialogue>Sorry.</dialogue>
    <character>LEITER</character>
    <dialogue>No, no, come in, We're finiahed.</dialogue>
    <scene_description>He hands Pam a ■ ealed envelope, ahe alip1 it into her purse,</scene_description>
    <character>LEITER</character>
    <dialogue>Pam, meet James.</dialogue>
    <scene_description>She nods toward Bond,</scene_description>
    <character>PAM</character>
    <dialogue>Good-bye Felix,</dialogue>
    <scene_description>0 Leiter waves an abstracted hand, Bond moves to open the door for Pam but she brushes paat him, doin1 it ~erself, Bond turn1 to Leiter, rai1e1 an enquirinf eyebrow.</scene_description>
    <character>LEITER</character>
    <dialogue>Strictly bu1ine ■ 1, ■y friend,</dialogue>
    <character>BOND</character>
    <dialogue>You know you've rot a house full of rueata waitin1,</dialogue>
    <scene_description>Leiter punche ■ a couple of keys on the computer, aita back.</scene_description>
    <character>LEITER</character>
    <dialogue>Juat let ■ e save tbia. Take• seat. The department want ■ a full report. Yeaterday.</dialogue>
    <scene_description>Bond ■ it ■, li1hta a ci1arett~.</scene_description>
    <character>LEITER</character>
    <dialogue>We really hit it lucky today. Sanchez haan't been out of hia home base for year ■,</dialogue>
    <scene_description>\ BOND Couldn't you extradite him from Central America?</scene_description>
    <character>43</character>
    <dialogue>CONTINUED:</dialogue>
    <scene_description>n LEITER Not a chance. He•• killed intimidated or bribed half the 1overnment official ■ from here to Chile, There'• only one law down there, Sanchez' Law --Plomo o Plata.</scene_description>
    <character>BOND</character>
    <parenthetical>(tran1latin1)</parenthetical>
    <dialogue>Lead or ■ ilver.</dialogue>
    <scene_description>The computer "beeps." ICILLIFER barre• into the room without knockin1.</scene_description>
    <character>KILLJFER</character>
    <dialogue>Double con1ratulations, old buddy, Take your time on the honeymoon. Everythin1'1 okay.</dialogue>
    <parenthetical>(alapa Bond on the back)</parenthetical>
    <dialogue>You must be Bond. The 1uy who went alonr for the ride.</dialogue>
    <character>LEITER</character>
    <parenthetical>(to Bond)</parenthetical>
    <dialogue>id JCillifer.</dialogue>
    <parenthetical>(to Kil lifer)</parenthetical>
    <dialogue>Come out end 1et a drink.</dialogue>
    <character>KILLIFER</character>
    <dialogue>Can't ••• On Duty •• Juat came to ki•• the bride .• Got to 1et back. We're takin1 Sanchez to Quantico thi• afternoon.</dialogue>
    <scene_description>He exita. Bond hand• Leiter the cake knife,</scene_description>
    <character>BOND</character>
    <dialogue>.Ti ■• to cut the ca'ke.</dialogue>
    <scene_description>Leiter leap• to hi• feet, extract, the back-up diac and •lip&amp; it behind a framed photo of Della on the bookcase as he ■ peak,.</scene_description>
    <character>LEITER</character>
    <dialogue>Del la ■u ■ t be ready to kill ■e. $IS</dialogue>
    <character>44</character>
    <dialogue>BOND SHARXY Champerne cork• and camera fla1he1 the cake. Sharky hand• Leiter a bo</dialogue>
    <character>EXT, PATIO, LEITER HOUSE</character>
    <dialogue>OP ea Della and Leiter cut of hand-tied fiahin1</dialogue>
    <scene_description>lure ■•</scene_description>
    <character>SHARKY</character>
    <dialogue>Tied 'em ■yaelf.</dialogue>
    <scene_description>l • 44 CONTINUED:</scene_description>
    <character>BOND</character>
    <dialogue>£/. s</dialogue>
    <scene_description>That ahould keep you but for the next few daya, Leiter holds the lure• up.</scene_description>
    <character>DELLA</character>
    <dialogue>( ■ eein1 the lure ■) ·1</dialogue>
    <scene_description>They're not comin1 on ■ i1':, ~: :, ::--\_.~: .... ~, .....:</scene_description>
    <character>.</character>
    <dialogue>honeymoon. (/3 -~</dialogue>
    <scene_description>EXT. COAST GUARD H.Q. MARSHALS .P. Is SANCHEZ e1corted to a waitin1 ARMORED VAN by M,P.a. A chain runs from hi• wri ■ ta to hla anklea. JCILLI R pulls up in a CAR, He 1et1 out to watch a,Sanchez 1• ained into the back of the van by TWO MARSHALS, He 1hut1 t e door on all three, There's the SOUND of the van'• rear door beinr locked from intide. He 1et1 into the seat riexi to the D IVER, pick ■ up a shotgun and cradles it in hi• lap. The van ovea out in convoy with TWO MARSHAL CARS, one in front, one ehind. A POLICE HELICOPTER flies overhead. r/1, EXT, PATIO, LEITER HOUSE BOND DELLA LEITER GUESTS dancing. The party is in full wing. Della and Leiter approach Bond, Leiter pull• a mall box out of hi• pocket and hands it to Bond. Bond open• 1 • INSERT - GOLD BUTANE LIGHTER The inscription reads, "JAMES. LOVE ALWAYS, DELLA AND FELIX" DELLA leans in, kia1e1 Bond on the ch ek. He smile• at them.</scene_description>
    <character>BOND</character>
    <dialogue>Thanka.</dialogue>
    <scene_description>He flicks th• J1rhter. They j mp back•• the flame ■ hoot, up.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HIGHWAY, FLORIDA KEYS VOY</stage_direction>
    <scene_description>qJ,,; p/i, 47 proceeds at hifh ■ peed.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VAN CAB DRIVER KILLIFE</stage_direction>
    <scene_description>watchinr alertly the road ahe d. INT, REAR OF VAN GUARDS SA CHEZ lookinr bored, yawn,.</scene_description>
    <character>49</character>
    <dialogue>slows to take the bridge. Halfway across is a sign which reads:</dialogue>
    <character>EXT, BRIDGE, FLORIDA KEYS</character>
    <dialogue>CAUTION. BRIDGE UNDER REPAIR. A twenty foot section of railing has been replaced by a temporary wooden one.</dialogue>
    <character>50</character>
    <dialogue>As they come abreast of the woode railing Xillifer suddenly</dialogue>
    <character>INT.</character>
    <dialogue>smashes the butt of his shot gun nto the driver's temple. The driver slumps. Xillifer grabs t steering wheel and yanks it hard to the right.</dialogue>
    <scene_description>51 EXT. BRIDGE, FLORIDA ICEYS - VAN 1,/it ' r '' crashes through the temporary ra ling and plunges into the sea. The MARSHAL'S CARS screech to a top. The MARSHALS jump out and run to the shattered railing in ime to see the van disappear. The HELICOPTER hovers some fifty feet above, the NOISE of its rotors all but drowning the pani ked CRIES of the lawmen. 52 INT. VAN - UNDERWATER SANCHEZ RSHALS 7 f,c,;,r- 52 scramble madly trying to open the doors of the van. The water rises around them.</scene_description>
    <character>53</character>
    <dialogue>EXT. UNDERWATER - VAN</dialogue>
    <scene_description>sinks lazily in the murky waters.</scene_description>
    <character>54</character>
    <dialogue>succeed in forcing one of the back doors. They swim out with</dialogue>
    <character>INT. VAN - UNDERWATER</character>
    <dialogue>the last of the air, leaving Sanchez behind.</dialogue>
    <scene_description>55 EXT. WATER'S SURFACE MARSHALS r/s &gt;'' 55 burst to the surface.</scene_description>
    <character>-- -</character>
    <dialogue>56 EXT. UNDERWATER THREE FROGMEN Cl/S , '- .. J. -</dialogue>
    <scene_description>appear from out of the deep, on an underwater sled. Two of the1 leave it and swim to the van which has settled into the silt. 57 INT. VAN - UNDERWATER SANCHEZ 11 FROGMAN 9/t'if'{ 57 swims through the open door of the van. He puts an extra mouthpiece from his regulator into Sanchez's mouth. Then, usin boltcutters, severs the chain holding Sanchez to the van.</scene_description>
    <character>58</character>
    <dialogue>INT. VAN CAB - UNDERWATER</dialogue>
    <scene_description>pulls Killifer from the cab of the van. Like Sanchez, Killifer is given the frogman's extra mouthpiece. \ )</scene_description>
    <character>EXT. UNDERWATER</character>
    <dialogue>help Sanchez end Killifer onto the underwater &amp;led. sled disappear into the deeper blue.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Frogmen and</dialogue>
    <scene_description>39A EXT. WATERtS SURFAC'E POLICE HELICOPTER 59 hovers above, pull in&amp; MARSHALLS from the water with alinf. 60 EXT. LEITER HOUSE - NIGHT LEITER ELLA BOND d,5 60 Bond la the laat to leave Della an¥/ ~ei ter accompany him to hi• car. They're from the champagne. Bond rive• Delle a lon1 hur, Her lease ■ her, turn• to Leiter, holds out hi• hand, Leiter takea i• hand and hur• Bond affectionately. Della aweepa up e akirt ■ of her weddin1 dress. She' ■ •bed her shoe ■•</scene_description>
    <character>DELLA</character>
    <dialogue>There'• aomethinf I waned you to have, James .•.</dialogue>
    <scene_description>Both men look et one another in ld surmi1e. Della extends one pretty lei to reveal her weddin1 carter. She alip1 it off,</scene_description>
    <character>DELLA</character>
    <dialogue>You know the tradition The man that catehe ■ thi ■ 11 t e next one· to ..•</dialogue>
    <character>BOND</character>
    <dialogue>Thank you, Della. Ti</dialogue>
    <scene_description>He take• the 1arter, 1tudie• hi two friend,, leurhinr toaether, for a moment. Then drive• away Della and Leiter watch him ro.</scene_description>
    <character>DELLA</character>
    <dialogue>Did I ■ ay 1omethin1 w on1?</dialogue>
    <scene_description>They berin to w.alk .back to the ou1e,</scene_description>
    <character>LEITER</character>
    <dialogue>He wa1 married once, ut it wa1 a lonr time a10.</dialogue>
    <scene_description>They come to th• door. Leiter topa Della.</scene_description>
    <character>LEITER</character>
    <dialogue>Wait. Let•• do thil irht.</dialogue>
    <scene_description>He bends down and picka her up. She 1i1rle1 happily•• he· carries her acro1a the threahol I</scene_description>
    <character>61</character>
    <dialogue>D.UUO The night breeze wafts the curtain</dialogue>
    <character>INT. BEDROOM, LEITER HOUSE</character>
    <dialogue>into the room.</dialogue>
    <scene_description>to the patio stands open.</scene_description>
    <character>DELLA O.S.</character>
    <parenthetical>(laughing)</parenthetical>
    <dialogue>Felix, put me down, you' e no good to me with a wrecked ba k.</dialogue>
    <scene_description>Leiter swings Della into the room The laugh catches in her throat as she sees PEREZ and BRAU standing by the bed. Leiter sees the cold faces and the drawn guns. He sets Della on her feet, pushes her behind him.</scene_description>
    <character>LEITER</character>
    <dialogue>Let her go. I'm the one you want.</dialogue>
    <scene_description>Dario, sawed-off shotgun in hand, comes throu~h the door behind him, brings the butt of the shotg n down on his head, Della screams and covers her face with er hands. Leiter slumps to his knees. 62 EXT. OCEAN EXOTICA WAREHOUSE - NI HT el i ),,. 62 The Warehouse is a two-story cla oard building on a pier which \,~~) juts out ~roman isolated part o the harbor. 63 INT. OFFICE, OCEAN EXOTICA WAREH SANCHEZ f,. 7 63 sits behind the desk in Milford rest's office. MILFORD KREST enters. He is a burly bully wit the florid complexion of the hard drinker. He distributes dr gs to the East Coast and the Caribbean from his warehouse •</scene_description>
    <character>. J&lt;REST</character>
    <dialogue>Ready to go? We got t e batteries recharged in the sub. It'll take you to the 12 mile lim t then a fast boat to Cuba. Yo '11 be there for breakfast.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>We'll wait for Dario.</dialogue>
    <character>KREST</character>
    <parenthetical>(objecting)</parenthetical>
    <dialogue>You crazy? You got body looking for you --</dialogue>
    <parenthetical>(gestures toward t e door)</parenthetical>
    <dialogue>And what about Killifer Having a cop here is nuts. Le me deep six him, \</dialogue>
  </scene>
  <scene>
    <stage_direction />
    <scene_description>I t CONTINUED:</scene_description>
    <character>SANCHEZ</character>
    <dialogue>No. I always rew rd loyalty.</dialogue>
    <character>KR.EST</character>
    <dialogue>He can finger me I spent a fortune on this over.</dialogue>
    <scene_description>Sanchez</scene_description>
    <character>SANC</character>
    <dialogue>I told you, I something to do.</dialogue>
    <scene_description>(he smile Hey amigo, why fighting? Don't I treat you go Krest nods wordlessly. SANqiEZ (gestures toward the door) f Get the cop. 1</scene_description>
    <character>I</character>
    <dialogue>Krest opens the door, c~lls in Killifer. He joins them.</dialogue>
    <character>I</character>
    <dialogue>SANdHEZ</dialogue>
    <scene_description>Two million. iAll in twenties. Very heavy, b~t difficult to trace. ~</scene_description>
    <character>I</character>
    <dialogue>Killifer tests the weigqt. Finds it difficult to lift with one hand. 1</dialogue>
    <scene_description>j KILlfIFER Smart. i SANqHEZ Be ready tomo;row. I'll have someone pick ou up. (turns t Krest) Where's Lupe? ~-</scene_description>
    <character>)</character>
    <dialogue>KRE\*</dialogue>
    <scene_description>She's on the boat. :;</scene_description>
    <character>(</character>
    <dialogue>Dario enters. Sanchez nods and goes to the door.</dialogue>
    <character>SANC~EZ '</character>
    <parenthetical>(on the mc:ive)</parenthetical>
    <dialogue>Send her to th~ casino.</dialogue>
    <parenthetical>(he stops at door:smiles)</parenthetical>
    <dialogue>Hey! No fooling around.</dialogue>
    <character>63</character>
    <dialogue>KREST</dialogue>
    <character>CONTINUED:</character>
    <dialogue>/ &lt;•nickerinr</dialogue>
    <scene_description>After what you d d to that ruy on the island?</scene_description>
    <character>SANCHE</character>
    <parenthetical>(lau1hinr)</parenthetical>
    <dialogue>You liked 11y ·11 Valentine?</dialogue>
    <scene_description>He exi ta. J -'/ qf~l- f0r 64 INT. WABEHOUSE LEITER BRAUN Y{3 () f '6'3 / y/ ~o .~ . The warehouae contain• • of 1ea- ■ hell1, rowa of ·/ transparent l h l l l tank• h ldinf myriad varieties of rare f ishfi, ;,.t and a tank of red fiah. network of tranaparent tubing from a giant magrot incubator t the tank• 1erve1 a1 an automated I feedinr aystem. The UNDER ATER SLED, Sanchez used in his escape, rest&amp; on wooden bl ck1 near a aide wall. I Leiter 1tand1 amon1 the fi h tanks, blindfolded, flanked by Perez and Braun. There 1• a trapdoor in the floor. The SOUND of a big fish swimminr in he tank below can be heard through the floorboard,. Overhead, a rope with a hook at one end passea through a pulley i the ceilinf. The light from the 1urroundin1 tank• 11 rree and 1ho1tly. SANCHEZ, KREST, KlLLIFER d DARIO come down the atair1 from the office •• Dario pull• e blindfold from Leiter•• eyes. He blinks 1rogrily. Hi• eye foeu1 on Sanchez; who breaka into a amile. Where'•</scene_description>
    <character>SANCHZ</character>
    <dialogue>Your little bri</dialogue>
    <scene_description>(to hi1 me Hey boya, you I her a nice honeymoon? Leiter lun1e1 at Sanchez. • other• reatrain him. He ·1tru11tea in fruatrated f SANC I went you to w. Thi• 1• nothinf per1onal. Perez 1rab1 Leiter'• bound hand• and tie ■ one end of the pulley rope around them. • pull ■ on the rope. Leiter'&amp; arms are hauled above hia head.</scene_description>
    <character>SANCHB</character>
    <dialogue>It' ■ purely buai\e•••</dialogue>
    <scene_description>64 aJNTl1VED: Perez and Braun picJr. up a aide isjv..,·r- ef&gt;I of beef from the floor end jab</scene_description>
    <character>;,.,</character>
    <dialogue>c\]'' , - 'c I -</dialogue>
    <scene_description>the owrhead hook into ita ha tring. Dario opena the trapmor. Leiter looks down. There i1 movement in the water bel.-. He looka. up see• Kil 11 er et ed1e of 1roup.</scene_description>
    <character>LEITER</character>
    <dialogue>killiferl</dialogue>
    <character>KILLIFIR</character>
    <dialogue>Sorry, old buddy. B two mill 11 a hell of a chunk of dou1h.</dialogue>
    <scene_description>Peres and Braun throw the beef in. It acta aa a co,mterwei1ht, pullin1 Leiter pinto the air over the open trapdoor. In the water below e can••• aharka attackin1 the beef. The rope jerka each tim the aide of beef ia hit. Leiter ainka toward the water ith every bite out of the meat.</scene_description>
    <character>LEITER</character>
    <dialogue>Killin1 me won't ato anythin1, Sanchez.</dialogue>
    <scene_description>Leit•r bas aunk ■o far that h feet are touchinr the water.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Si. But there are hin1• worae than dyinc, no?</dialogue>
    <scene_description>Leiter feel• the tenaion oft aleckeninr.</scene_description>
    <character>LEITER</character>
    <parenthetical>(1aspin1)</parenthetical>
    <dialogue>See you in hell I</dialogue>
    <character>SANCHEZ</character>
    <dialogue>No. Today i1 the f at day of th• rest of your 11 l</dialogue>
    <scene_description>Leiter fall• into the churnin water. Whet i• left of the aide of .beef co■•• up throuch he trapdoor, hure bite• ripped out of it. Leiter'• body jer with the impact of the aherk&amp;, He SCREAMS. Sanchez 1lance1 i to the water. Killifer, sickened at the aiaht ruahea f 011 the room.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KEY WEST AIRPORT - DAY</stage_direction>
    <scene_description>,tares around him•• he 1•t•· the taxi. Several POLICE CARS are parked in the white There i ■ a CLUSTER of COPS et the· entrance.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KEY WEST AIRPORT</stage_direction>
    <scene_description>filled with PASSENGERS and t ~Ii,\_ lur1are, backed up in huge line• in front of the boardi r 1ate1. Every male passenrer is beinc thorourhly 1crutinized board!nf. PLAINCLOTHES MEN end UNIFORMED COPS are ever It'• evident that a ma1aive manhunt ia under way l</scene_description>
    <character>66</character>
    <dialogue>BONO</dialogue>
    <character>CONTINUED:</character>
    <dialogue>goes to the ATTRACTIVE FEMA E TICKET AGENT at the First Class Check-In, hands over his ti~ket.</dialogue>
    <character>AGENT \</character>
    <dialogue>Your passport, plJase.</dialogue>
    <scene_description>Bond hands it over. A POLickMAN steps up next to her, looking over her shoulder at the pa port.</scene_description>
    <character>BOND</character>
    <dialogue>Is there a problem</dialogue>
    <character>AGENT</character>
    <dialogue>Some big drug deal r just escaped.</dialogue>
    <scene_description>The Agent hands Bond his pas port, looks down at the seating chart.</scene_description>
    <character>AGENT</character>
    <dialogue>Smoking or Non-Smo Mr. Bond?</dialogue>
    <scene_description>She looks up. Bond has vani 67 EXT. LEITER HOUSE - DAY BON ~,s 67 rings Felix's front doorbell A taxi is pulling away from the curb. SOUND OF RINGING PHON from inside the house. Bond tries the front door. It opens. T phone STOPS RINGING. 68 INT. BEDROOM, LEITER HOUSE '7 /,1 J1t '.~~,~- 68 The curtains still blow into t Bond pushes open the door cautiously. He stares at DELLA lies across it, still in her wedding dress. S has been stabbed. Bond is stunned. He simply can't belie e it. He touches her neck, feeling for a pulse. Della? His face sets in grief.</scene_description>
    <character>69</character>
    <dialogue>INT. STUDY, LEITER'S HOUSE</dialogue>
    <scene_description>The door crashes open. Bond ent rs. He takes in the wrecked desk, the ransacked drawers and o.okshelves, the bloodstained carpet. He follows the blood to the leather couch. Felix lies on it, wrapped in a rubber sheet. A note is pinned to the sheet. Bond snatches it up. j l 69 CONTINUED:</scene_description>
    <character>BOND</character>
    <parenthetical>(readin1)</parenthetical>
    <dialogue>He di•a1reed with aomethi</dialogue>
    <scene_description>r that ate him."· He flings it away, bend• down, pulls away the rubber sheet, The sight sickens him. He turn• hia bee a1ide, look• up at his friend'• face, cradle• hi ■ head. Fel x'a hair ia wet. There is a faint exhalation from the lipa. B nda feel1 Felix'• neck for a pul1e. The lip ■ move. t</scene_description>
    <character>LEITER</character>
    <dialogue>I (a breathy ai1h)</dialogue>
    <scene_description>Della? Bond 1trurgle1 for control, The PHO E STARTS TO RING AGAIN, Bond atanda abruptly, pull• the phon from the wreckare, answers it.</scene_description>
    <character>HAWKINS</character>
    <parenthetical>(V.O.Phone)</parenthetical>
    <dialogue>Leiter, where've you been?</dialogue>
    <character>BOND</character>
    <dialogue>It'• Bond, ret an ambulanc here immediately.</dialogue>
    <scene_description>pullinr away, it• emerrency lirht1 1/2,(</scene_description>
    <character>71</character>
    <dialogue>TWO FORENSIC MEN</dialogue>
    <character>INT, STUDY, LEITER'S HOUSE - BOND</character>
    <dialogue>The Ambulance ■ iren WAILS a ■ the amb lance leave, the house. The CORONER han11 up the telephone, ick1 up hi• bar, RASMUSSEN, a heavy-1et, hard-boiled city cop interviews Bond, In B,G, FORENSIC MEN ro over the blood taina and pack the rubber sheet in a plaatic bef, Sharky app ar1 at the doorway. He'1 Just 10tten up, hi• face i• un1have • The police hold him beck as he atrain1 to look into the 1ham lea\_ of Felix'• study,</dialogue>
    <character>BOND</character>
    <dialogue>It'• alrirht, he'a Sharky a friend of Leiter•••</dialogue>
    <scene_description>The police let him throufh, He joi Bond and Raamu11en, who is just puttinr away hla notepad.</scene_description>
    <character>RASMUSSEN</character>
    <dialogue>Keep in touch, 1 may a few more queat1ona.</dialogue>
    <character>7!, �</character>
    <dialogue>COKTlNUtD:</dialogue>
    <scene_description>so~m Iie'f-. going stra.i ht into surgery. !..e~t l~g•e; 90:1e e1ow the knee. He's lost a lot f . ,lood. They maybe able to sa e the arm.</scene_description>
    <character>J:\ASM'OS EN'</character>
    <parenthetical>(knows it a l)</parenthetical>
    <dialogue>You can het it 1 s a chainsaw. Colombians love o use em on informers. Hell they •ell more ~e~e than in who e of o:egon.</dialogue>
    <character>73</character>
    <dialogue>e~arnines LeJter. Bond and iarky stand beside their friene's</dialogue>
    <character>!NT. !NTENSIVE CARE ONIT - DAY</character>
    <dialogue>bed. ~ubes r~n from Leite 1 s arm and nose. Mach!nes monito:- his p:-ogress. He's uncons ious. Sharky looks he~ef~lly at Bond, who shakes his bead. Doctor turns ~o leav,</dialogue>
    <scene_description>\"--~)</scene_description>
    <character>· DOCTOR</character>
    <dialogue>I wish! could b more hc;;peful . We'll just have o wait and see.</dialogue>
    <scene_description>He exits.</scene_description>
    <character>SHARK\'</character>
    <dialogue>Chainsaw, my ass. I laiow a shark bite when .t see ·</dialogue>
    <scene_description>~AWKINS appears in the doo\_ ay.\_ Be's bee:l -:.:.pall n!;ht, red-eyE a..--id tired • .- JU• face is se in a hard, angry line. He catc~es Bond'.• ,eye and moves to the w,indow, away from Sha:rky a.:lc. Lelte: -1-.. ,,: ~-:</scene_description>
    <character>;"P</character>
    <dialogue>•</dialogue>
    <character>.- . ·�·</character>
    <dialogue>.&gt; ~WKINS</dialogue>
    <scene_description>Sanchez has vanis ed, got all of Leiter's tiles. od only knows what's in t1e1t.</scene_description>
    <character>BOND</character>
    <dialogue>Can't be thet har to find him!</dialogue>
    <dialogue>!e 1 s out of cu~ j·r!sd!etion lt now. ?lentv of c ~ntries will protect him: We' l never extr!dite ?:-.!m.</dialogue>
    <scene_description>I \</scene_description>
    <character>BON7'</character>
    <dialogue>~h~re ar~ oth~. ways</dialogue>
    <scene_description>EAWt: NS Let !t go, Com ander. We've been c::a!lec. otf. •</scene_description>
    <character>£\ONO</character>
    <dialogue>And you•~e jus going to forget all about j t 7</dialogue>
    <character>HAWI: NS</character>
    <parenthetical>(looking im in the eye)</parenthetical>
    <dialogue>No, :•~ not gong to forget.</dialogue>
    <scene_description>Bond turns and heads for the door, taking a last glance towa~d Leiter.</scene_description>
    <character>SON!&gt;</character>
    <parenthetical>(bitter)</parenthetical>
    <dialogue>~ooks like Sache:' law operates No~th of the b rder too.</dialogue>
    <scene_description>:rawkins :coks at :So~d, ·s face hardens. · Sharky joins Bone, then t:iey exit.</scene_description>
    <character>CLOSE ON BOND</character>
    <dialogue>To Sharky out of 1</dialogue>
    <scene_description>hearing, Let's go</scene_description>
    <character>!Y.T.· OC~AN EXO:ICA WAR</character>
    <dialogue>hunting.</dialogue>
    <character>DAY</character>
    <dialogue>it~~</dialogue>
    <character>SRARJCY'S CAR</character>
    <dialogue>pulls up across t~o~ e</dialogue>
    <character>74</character>
    <dialogue>75 !NT. SHARKY Is Cj..~~ BON SHARKY 75</dialogue>
    <scene_description>This is the ast place in the Keys. We'll have t try Miami next.</scene_description>
    <character>B</character>
    <dialogue>{getti</dialogue>
    <scene_description>Stay here. !N'l'i~- KREST I S OFF!CE, WAREH USE - DAY t:!L!.!FER KREST</scene_description>
    <character>TWO---~U J.P.~ S</character>
    <dialogue>1:! ! l i ~e:- c:.~c ~w~ cunrdF a .i :n the o~~ice plaring c~:-d~. The:-e' ~ t!!E- SClUN:; o: i:?1oci: · nc f:-orr. th~ frnr~ ~f the wa:-P.hou~e. O:le ci t~!e ~.:ards takes h:. :-! f le, goes through the door. ~rest ~!Oe$ tc ~c::ow, -~~ns tc :!l!!~e~ at the cioo::-.</dialogue>
    <scene_description>Keep out o sight. DELETE 1e 7S s~aneing at the door o! t.e warehouse as GUARD opens h~ncs him his business ca c and breezes past.</scene_description>
    <character>.....</character>
    <dialogue>.:- Send</dialogue>
    <character>50ND</character>
    <dialogue>Unive::-sal !:-:pc::- .. s:, M&amp;rine Br&amp;ncr.. We've been.ret ·ned by the Aquarium Department of e Regent:s Park Zoo to a~:a:Je shi ent of a Cha::-cha=adon c rcharias.</dialogue>
    <character>GOAR</character>
    <dialogue>Say what?</dialogue>
    <character>...</character>
    <dialogue>·••• -·</dialogue>
    <character>BOND</character>
    <dialogue>Great White Sha k.</dialogue>
    <character>GUARD</character>
    <dialogue>We're closed. here ain't nobody here r11ht now.</dialogue>
    <scene_description>Bond look• di•traurht.</scene_description>
    <character>BOND</character>
    <dialogue>But I've come all the way from London.</dialogue>
    <scene_description>KREST come up behind Bond, jerk• hi• head at ruard, who moves away. Bond turn ■• Kreat mile• coldly.</scene_description>
    <character>KREST</character>
    <dialogue>We ■ old our ■ her• year ■ aro.</dialogue>
    <scene_description>He points to AUTOMATIC FEE ING SYSTEM. Bond 1lance1 around the room, spots the UNDERWATER SLED up on block ■ in the back.</scene_description>
    <character>XREST</character>
    <dialogue>You can ■ ee, we o purely reaearch now. Project to feed the Third World. We feed argot to our special breed of 1enetically engineered fiah.</dialogue>
    <character>BOND</character>
    <dialogue>Intere1tin1.</dialogue>
    <scene_description>krest moves to the tanks of red fish.</scene_description>
    <character>KREST</character>
    <dialogue>We uae hormone ■ t make them all malea. Gain wei1 t feater.</dialogue>
    <scene_description>He turn ■ from the tank• of d fiah. But bond hat rone. Kre1t swinrs around. Bond 1• ■ tan inf in front of the Underwater Sled.</scene_description>
    <character>BOND</character>
    <dialogue>From your ahark ca ch~nr daya?</dialogue>
    <character>KREST</character>
    <dialogue>(contained fu y) ·</dialogue>
    <scene_description>No.</scene_description>
    <character>(CONTINUED</character>
    <dialogue>I</dialogue>
    <character>I</character>
    <scene_description>78 CONTINUED: The Guard come ■ back into t e room with a rifle. Krest indicates the door. Bond m ve ■ ■ lowly toward it.</scene_description>
    <character>� ICREST</character>
    <dialogue>You'd beat be 101 alonr.</dialogue>
    <scene_description>Bond'• eye is drawn to a fla h of white in a pile of sweepings on the floor. In amonr the uat i ■ the white roae Leiter wore to hi ■ weddinr, its petals uised, the ailver foil ■ till wrapped around ita ■ tem. B d pause ■ at the door.</scene_description>
    <character>BOND</character>
    <dialogue>Perhap ■we'll meet arain, Good-bye, Mr ••• ?</dialogue>
    <character>KREST</character>
    <dialogue>Good-bye, Mi ■ ter.</dialogue>
    <scene_description>Krest ■ lama the door on Bond Kreat turn ■ to the Guard, jerking his thumb toward the Underwa er Sled.</scene_description>
    <character>ICREST</character>
    <dialogue>Get that thin1 rea</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WAREHOUSE - FROM THE WA ER - NIGHT</stage_direction>
    <scene_description>The CAMERA rocka with the mo boat under a pier as it close ■ on the warehou1e dock. BOND and SHARKY are in a RUBBER DINGY driftin• under the pier Suddenly, two of the old tires that form a line of bumpers a onr the dock awinr part. The UNDERWATER SLED ■ lidea silent y out from underneath the dock, They duck down as it 1lide1 p at them. The ■ ilhouettea of three divera can be aeen inaide. B nd apota the name "Wavekre1t" just before it 1ubmer1e1. Sharky tin11 the dinry to the dock. Bond part&amp; the tires with a 1aff r vealinr a tunnel under the dock,</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WAREHOUSE - NIGHT KILLIFER</stage_direction>
    <character>~~'7</character>
    <dialogue>has hi ■ feet up on the deak. He and another ruard ■ moke cirars, the air 11 heavy, SECOND GU comea into the room,</dialogue>
    <character>SECOND G RD</character>
    <dialogue>Mr, Kreat aaid to ready. He'll ■ end the Sub-back i three hours to pick you up.</dialogue>
    <character>KILLIFER</character>
    <dialogue>1'11 be waitinr, dump 1ivea</dialogue>
    <scene_description>me the creep ■• EXT. BENEATH WAREHOUSE DOCK - THE WATER ~UxY'S DINGY 1lides throurh the tunnel and b mp ■ arainat a landinr platform under the dock. BOND jumps ont the landinf. He atick ■ the raff throu1h hi1 belt. Sharky ie ■ the dinry to a pilin1. DELETE . , ....</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BENEATH WAREHOUSE DOCK CONCR E APRON</stage_direction>
    <scene_description>is aeparated from the access stai way by a hinre.d, atainle&amp;a steel mesh 4bout three feet long y twenty feet, just above the water level. He rinrerly steps o to the mesh and walks carefully toward the stairway. J st a1 he reaches the 1tairway, the mesh screen ia hit a mighty b ow from underneath. Bond pitches forward and manages to 1r b the atairca1e railin1 with one hand. He look• down. BOND•S POV The three tier• of razor sharp t th in the rapinr jaw• of a rreat white ahark. The blunt, u ly head of the ahark ainka back below the 1urface.</scene_description>
    <character>ANOTHER ANGLE</character>
    <dialogue>Sharky react• to the sudden eppe ranee of the shark. Bond climbs the atraight ladder to the floor of the warehouse, and uses the 1aff to force the trap door ther.</dialogue>
    <scene_description>84-85 DELETE t\_:.: ·~ ~,.r,,) INT. WAREHOUSE BOND t:tl , rt v moves amonr the fiah tank. One ank looka empty. The base of the table supportinf it 1eem&amp; au picioualy thick. Bond reaches into the tank to 1hift the aand, Hia arm i ■ not lonr enough. He use ■ the crowbar. A MORAY EE lun1e1 out from behind the rocka. It ■ jaws crunch down on he raff almost jerking Bond into the tank. He leta 10 of i and stare ■ with ama~ed respect as the Moray snapa it in half. MAGGOT INCUBATOB Four feet wide, ei1ht feet lon1 Bond examine• it, A high denaity light heata the interio, Bond operate ■ the control ■• The tray roll• out revealinr a eavinr bed of white ma110t1. On the aide of the incubator a the moatat reai ■ tera the sudden drop in temperature. ./ INT. OFFICE, WAREHOUSE - XILLIF R TWOeb~Ax,s CONTROL !OARD</scene_description>
    <character>�</character>
    <dialogue>red li1ht fla1he1 on it. The c 1ar-amokinr ruard notices it, 1ets up, roea out.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. WAREHOUSE BOND</stage_direction>
    <scene_description>plun1e• hi• hand int the 1eethin1 masa of maggots, 1ri ■ ece1, feels around in the ■ and at th bottom of the incubator. His hand encounter• something. He brushea the ma11ot1 aaide revealinr a plastic ba1 full white powder - unmistakably cocaine. Bond freezes aa a In ia jammed into the amall of his back.</scene_description>
    <character>GUARD #1</character>
    <dialogue>Hold 1t r11ht theret</dialogue>
    <scene_description>He lean• in, take ■ Bond'• ru from him.</scene_description>
    <character>BOND</character>
    <dialogue>Mind if I 1et my h nd out of here?</dialogue>
    <character>GUARD �1</character>
    <dialogue>Do it alow.</dialogue>
    <scene_description>Bond pull• hi• hand out and hrowa e handful of ma11ot1 into the 1uard'1 face. The 1uard fli chea. Bond ehopa hi• run away, punches him in the 1ut and flips him over hia ■ boulder into the ma11ot bed, Bond'• gun 1pi away and clatters under the tanks. Maggots fly like popcorn. . nd hits the CLOSE button. The ruard disappear• into the iiubator. Bond move• toward hi1 1un. WAREHOUSE FLOOR A rifle bullet splinter• th~ floor at BOND'S FEET before he can retrieve hi1 run. Re dive, for cover under a tank.</scene_description>
    <character>\</character>
    <dialogue>\</dialogue>
    <character>I</character>
    <dialogue>I</dialogue>
    <character>\</character>
    <dialogue>CONTINUED:</dialogue>
    <dialogue>WAREHOUSE The second guard has</dialogue>
    <character>88</character>
    <dialogue>GUARD f2 ton the gallery. He fires again,</dialogue>
    <scene_description>shattering the tank. BONO is drenched. He rolls under another tank. The guard fires aga • A game of cat and mouse ensues as the guard stalks Bond a ong the tanks.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WAREHOUSE PIER - S,U"M~-. SHARK~ ,,~</stage_direction>
    <scene_description>Hear the SOUND of gunfire. ties his dory up at the loading platform, takes his GAFF and ingerly steps on to the stainless steel mesh. 90 INT. WAREHOUSE GUARD r(,,f ,ti/ ,l~f ~1-..~/,1,9.: has momentarily lost sight ond. He climbs up on to the overhead walkway above the s to get a better look. BOND lets the guard get almost on op of him, then stands and sweeps his feet out from under him. The Guard plunges into the Electric Eel tank. His body ·umps and jerks as the eels shock him. Bond clambers to his f et. ICILLIFERl O. S. Freeze.</scene_description>
    <character>BOND</character>
    <dialogue>turns. ICILLIFER stands som1 feet away. In one hand is a .357 Magnum make-my-day gun, the 1 other holds his suitcase. Killifer gestures with the gun. f</dialogue>
    <character>KILLIF~</character>
    <dialogue>Over by the trap~oor, old buddy.</dialogue>
    <scene_description>Bond moves toward the trap~oor. The trapdoor is between them. The hook on the end of the/rope hangs on a bar from one of the posts supporting the roof. :</scene_description>
    <character>ICILLI~R</character>
    <dialogue>Open it.</dialogue>
    <character>.'</character>
    <dialogue>i</dialogue>
    <scene_description>Bond opens the trapdoor. JCillifer sets his suitcase down. He walks up to Bond. The open trapdoor looms between them. Bond looks down. The shafks thresh below him in the water. j</scene_description>
    <character>BONO;</character>
    <dialogue>Is this where you put your "old buddy," Leiter?</dialogue>
    <scene_description>90 CONTINUED:</scene_description>
    <character>KILLIFER</character>
    <dialogue>Crlancinf down</dialogue>
    <character>I</character>
    <dialogue>Not me. Chalk that:one up to Sanchez and Xreat -,</dialogue>
    <scene_description>The trapdoor behind Killifer ppen1. He 1win1s around. Sharky peer• throu1h the open trapdo!Or• Bond ,araba the heavy hook off the po ■ t end awin11 it at Ki~lifer. It hit ■ him aolidly in the heed, knockin1 him to hia kn•e•. Hi• 1un clatter• to the floor, Kil lifer dives after it. Bo~d kicks him backward into the open trapdoor. Kil lifer manare• ~o 1rab the ed1e' and hold on for dear life. Bond aove1 toward him.</scene_description>
    <character>;</character>
    <dialogue>klLLIFEll(</dialogue>
    <scene_description>(noddin1 towatd 1uitca1e) ! The money -- I'll •plit it with you. I</scene_description>
    <character>I</character>
    <dialogue>Bond looka at the 1uitca1~. !He lifta it up, haula it to the trapdoor. !</dialogue>
    <scene_description>BOND l No, I think you ahould have it a 11, I UHing both hand• Bond 1lin11i the 1uitca1e at Kil lifer. He puts up hi• hand ■ to catch the auatca,e. The weiJht of the case force ■ him to fall throu1h the trapdoor into the water below, It churna with the ma11ive movement of the aherk, Killifer SCREAMS. The 1uitca1e. exp'l~•• into the ·bloody water, scatterinf money everywhere.; Sharky come• over to the open trap. Bond retrieve• hi• ,un. Sharky peer• down into the shark pen. Xillifer haa di~appeared beneath the aurface.</scene_description>
    <character>SHARKY ~</character>
    <dialogue>God, what a terri le waate ••. of money.</dialogue>
    <scene_description>91-94 DELETE \f,J .\_!tt,&lt;-·., ~t) 91-94</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KEY WEST CHARTER BOAT DOCK - DAY BOND</stage_direction>
    <scene_description>walkin1 paat a aeri•• of decorativ fetewaya with the names of individual boat1 on archea at t~p. EXT, BOAT DOCK - POV SHOT rl(~ Someone watchea Bond enter Sharky' rate and walk down the renpey to the boat.</scene_description>
    <character>96</character>
    <dialogue>ANOTHER ANGLE SHARKY</dialogue>
    <character>CONTINUED:</character>
    <dialogue>greets Bond. I</dialogue>
    <scene_description>SHARKY i The Wavekreat ia a bi• marine research veaael, owneid by Milton Kreat. They're coll~ctinr 1pecimen1 off Coy So~ Bank. Take ua, maybe, aix houra/to 1et there.</scene_description>
    <character>BOND</character>
    <dialogue>I have a few thinr• to pick up. Can we leave in an our?</dialogue>
    <character>SHARKY</character>
    <dialogue>I'll be ready.</dialogue>
    <scene_description>97 EXT. MALLORY SQUARE TOURlST BOND 97 in crowd. ANOTHER ANGLE - POV SHOT Bond start ■ to croa1 atreet. The CAMERA movea after him. ~ ''-.~-.~·· ANOTHEi ANGLE - BOND atopa auddenly, turna. HA NS ■ tep• up to him.</scene_description>
    <character>HAWKINS</character>
    <dialogue>Hey Commander, rot a minute?</dialogue>
    <scene_description>He falla· in beside Bond. e CAMERA moves with them,</scene_description>
    <character>HAWKINS</character>
    <dialogue>The local copa 10 • tip about a warehouae laat ni ht. Turned up 500 key ■ of Columbi~n pure, a couple of 1tl~ta, •nd • pie e of what uaed to be Kil lifer.</dialogue>
    <character>BOND</character>
    <dialogue>Sounds like aomeo e la on the caae.</dialogue>
    <character>HAWKINS</character>
    <dialogue>You maybe a pal o Leiter'•• but I can only cover u ao much. The D.A. ia acreamin to know what happened. You k • we rot law ■ in</dialogue>
    <scene_description>. thia country.</scene_description>
    <character>BOND</character>
    <dialogue>You rot a Jaw er inst what they did to Leiter?</dialogue>
    <scene_description>97A EXT. HEl11NGWAY HOUSE BOND AND HA INS 97A stop in front of the walled rarde of the house, Hawkins turns. suddenly harsh and un1ympathetic. l</scene_description>
    <character>, HAWKINS I</character>
    <dialogue>Look, you're in over yo~r head, Thi• i ■ where it enda, ~ommander.</dialogue>
    <character>I</character>
    <dialogue>I</dialogue>
    <scene_description>TWO .FIT HANDSOHE MEN in blue auit• come up behind Bond in such a way that fli1ht la impo1aible. Fr'om a church aomewhere in the distance, a LONE BELL TOLLS. . ·</scene_description>
    <character>·'</character>
    <dialogue>MAN •1</dialogue>
    <parenthetical>(Enrliah accent)</parenthetical>
    <dialogue>Never mind the aim. Gr' ■ trai1ht in,</dialogue>
    <scene_description>Bond looka at the airn on ,the rat ► which read• .. HISTORICAL MONUMENT HEMINGWAY HOUSE CLOSED!'. Above the rate ia a ■ tone buat of Ernest Heminpay. Bond eptera. The two men follow him. 98 EXT. GARDEN, HEMINGWAY'S HOUSE T~O MEN BOND &lt;(tcf 98</scene_description>
    <character>I</character>
    <dialogue>walk around the aide of the houae; throu1h the beautiful garden, A THIJU) MAN stand ■ in ailhouette fn the balcony above. Bond lead&amp; the way up the outside ateirs. A black cat jumps with a startled SCREECH. Several other jceta acamper into the shadows.</dialogue>
    <scene_description>98A EXT, BALCONY HEMINGWAY HOUSE TW~ MEN AND BOND q/2,.y' walk out on to it. Bond notices 1a SNIPER on a li1hthouee like TOWER across the atreet, hi• weapon trained on Bond. The !HIRD MAN ■ tend• at the balcony railinj hi• back to Bond, Sir?</scene_description>
    <character>BOND</character>
    <dialogue>I</dialogue>
    <character>I</character>
    <dialogue>The MAN turns it is M, Bond'• Bo•• et Ml6,</dialogue>
    <character>I</character>
    <dialogue>I</dialogue>
    <character>M</character>
    <parenthetical>(ho.ldin1 hia anre in check)</parenthetical>
    <dialogue>You were auppo1ed to b in Iatanbul laat ni1ht. I'm efrei thia unfortunate Leiter bua neaa ha• clouded your jud1ement You have a job to do. I expect y u to be on a plane thi1 afternoon.</dialogue>
    <character>.�</character>
    <dialogue>) .\</dialogue>
    <character>\</character>
    <scene_description>~-</scene_description>
    <character>98A</character>
    <dialogue>Bond 1ooks at him ateadi ly ,J</dialogue>
    <character>CONTINUED:</character>
    <dialogue>BOND /</dialogue>
    <scene_description>I havefi'~ finiah~d here, air.</scene_description>
    <character>M</character>
    <dialogue>Leave it to the Americana. It' ■</dialogue>
    <character>I</character>
    <dialogue>I</dialogue>
    <scene_description>their mesa. Le~ them•clear it up.</scene_description>
    <character>BOND</character>
    <dialogue>They won't do an thinf. Leiter put hi• life on the ine for•• many time•--</dialogue>
    <character>M</character>
    <dialogue>Oh •pare me this aentimental rubbiah. He knew the rl•k•.</dialogue>
    <character>BOND</character>
    <dialogue>And hi• wife?</dialogue>
    <character>M</character>
    <dialogue>Th111 private ven etta of your, could easily com romi1e Her Majesty'• 1overn nt. Now you have an a11i1nment. I expect you to do it objectively an profe•aionally.</dialogue>
    <character>BOND</character>
    <dialogue>Then you have my e1irnation, sir,</dialogue>
    <scene_description>M eye1 him coldly, 1 Thi• ian•t"• counlry club, double 0 seven. Bondi ■ 11lent.</scene_description>
    <character>'</character>
    <dialogue>"</dialogue>
    <scene_description>Effective immedla,ly, your \ license to kill l revoked. I need hardly remind you hat you are still bound by the 1 0fficial1 Secret ■ Act. And' require you surrender your wea on ·now. He hold• out hi• hand. Bond doe1n't react. He ■ en••• the two arenta clo1in1 in behind hi ■.\ There 1• tenaion in the air. Then Bond ahru11, reach•• for\hla run, /</scene_description>
    <character>.</character>
    <dialogue>98A Com:.tEED: '</dialogue>
    <scene_description>,,,.--...\_ BOND \ ( \, i I cueaa it'a farew.11 to arms.</scene_description>
    <character>\</character>
    <dialogue>/</dialogue>
    <scene_description>As tht aen behind relax thei~ (\lard, Bond whirl, on them. He catch• one under the chin wi~h hi• elbow and kicks the other in the aut- They 10 down. Bondl'1prin1• off the balcony ju1t as the saiper fires, mi1ain1 him but splinterin1 the railinr where he st.d. One of the A1ent1 tru11le1 to hi• feet and draws his weapca juat as Bond reta tote 1ate. Outside a tourlat bus pas••· M ■ taya hi• hand.</scene_description>
    <character>M</character>
    <dialogue>Too many people.</dialogue>
    <scene_description>M •t•e• after Bond.</scene_description>
    <character>"</character>
    <parenthetical>(to himself)</parenthetical>
    <dialogue>God help you, Comman</dialogue>
    <character>99</character>
    <dialogue>EXT. ·ISLAND - DAY</dialogue>
    <scene_description>a stwl-hulled 150 foot, ocean-10 r workinr ship, anchored in a deserted cove of Coy Sol Bank. I looks to be a serious research vessel. DIVE BOATS, TWO ATAM.ARANS and DIVING FLAGS are Mt around her. SHARKY•s FIS NG BOAT trolls by. EXT. IHARKY'S BOAT SHAIUCY BOND 100 watc•• the activity on the Wavekr at through field 1la11es.</scene_description>
    <character>101</character>
    <dialogue>~&lt;t</dialogue>
    <character>EXT. 90ND'S POV.</character>
    <dialogue>on the eft deck of the Wavekreat. A RACK of SPEAR GUNS in the BACKGIOUND. LUPE aita nearby pain in1 her toenails. She looks up toward Bond'• boat.</dialogue>
    <character>BOND O.S.</character>
    <dialogue>Well, well. The firl Sa left behind and the man from ware.houae.</dialogue>
    <character>102</character>
    <dialogue>EXT. SHARKY'S BOAT</dialogue>
    <scene_description>handa the field 1laaaea to Sharky.</scene_description>
    <character>SHARJCY</character>
    <dialogue>That'• Kre ■ t. You think enchez l■ on board?</dialogue>
    <character>BOND \</character>
    <dialogue>I hope ,o. If not, they will tell me where he 11. \</dialogue>
    <scene_description>EXT. mRIDGE, WAVEKREST - KRES1 103 on the brid1e with CREWMEN aeis ·Lupe lookin1 out at the fishing boat. , lCREST (annoyed) Get the bimbo below before she start ■ wavin1. ,And keep thoae fishermen away.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SHARICY'S BOAT BOND</stage_direction>
    <character>WAVEKREST OUDSPEAKER</character>
    <dialogue>Ahoy fishin1 vessel. Stand off. Diver ■ 1·n the water.</dialogue>
    <character>BOND</character>
    <dialogue>Get around that hea land out of sight. And be caref 1. We're bein1 watched.</dialogue>
    <scene_description>He jerks his head toward the• ern. Sharky looks back. About 20 yards behind the boat i1 t anake-like head of a ,mall periscope, As he watche1, it iaappeara beneat; ;;; waves,</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WAVEKREST AT ANCHOR - NI</stage_direction>
    <scene_description>f)j 105 O Reflections from the anchor 11 hta and the fully lit 1taterooms dance on the water.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WAVEKREST AT ANCHOR - D</stage_direction>
    <scene_description>peerinr throurh window of Owne '• Cabin, a lar1e, beautifully furnished bedroom/1tateroom wi ha door openin1 onto the rear deck. LUPE i1 curled up in fro t of the VCR watchinr an old movie. INT. BRIDGE, WAVEKJlEST TWO CREWMEN notice a blip onar.</scene_description>
    <character>CREWMAN #1</character>
    <dialogue>Somethinr in 1ector c. heck it out.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WAVEKREST HULL, UNDERWATER</stage_direction>
    <scene_description>The water ■ are dark, murky, Suddenly they explode into brilliant white licht. SENTINEL, an exploratory probe for underwater surveillance, patrol• the ocean floor. The eye of ita mercileas aearchli1ht illuminate ■ everythinr, Jt i ■ four feet lonr and three feet wide, it• l'Uidanee ayatem, aearchlirht and t.v. camera are powered by an umbiUcal lifeline ■ pooling back to the yacht. Atop it i• a water ti1ht ■ torare compartment and the periscope Bond had ■ een earlier that day, 109 lNT, OWNER'S CABIN, WAVEKREST KREST in hi&amp; usual state of semi-drunke ne11, enter,. Lupe ignores him. He 1its beside her.</scene_description>
    <character>,KREST</character>
    <dialogue>You know, you caused ua all a lot of trouble, 1irl.</dialogue>
    <character>I</character>
    <dialogue>LUPE</dialogue>
    <scene_description>(diaruated) f You're borracho. Go tq bed. i</scene_description>
    <character>KREST '.</character>
    <dialogue>When Sanchez heard youiran off, he went nut ■• '</dialogue>
    <character>LUPE</character>
    <dialogue>i</dialogue>
    <character>I</character>
    <dialogue>It'• none of your bu ■ ine ■ a.</dialogue>
    <character>KREST</character>
    <dialogue>It's my business when four stupid</dialogue>
    <character>I</character>
    <dialogue>little tricks 1et Sanc~ez arrested and I rotta put my operation at risk to ret him out. ahe DEA just raided Key West. It coat me a lot of dourh. '</dialogue>
    <character>LUPE</character>
    <dialogue>He'll •ive you the money.</dialogue>
    <character>KREST</character>
    <dialogue>He doesn't work like that. You better watch your ■ elf~ rirlie. I've known him a lonr: time. I've aeen a lot of Girl• l~ke you come and 10 --</dialogue>
    <character>LUPE</character>
    <dialogue>You're drunk. How ret out and atop peekin1 throurh my windo.wa.</dialogue>
    <scene_description>She ■ talk ■ to the door openin1;1t. He come cloae to her.</scene_description>
    <character>KREST .</character>
    <dialogue>Hey what are you ■ o 1tuck up for? He fixed that phoney.beauty conteat you won. , I •</dialogue>
    <scene_description>A CREWMAN poke• hi ■ head round the open door. Kre ■ t immediately take• a atep back from her. ' CREWMAN fl Mr JCreat. ,,,,---.....,, (,)</scene_description>
    <character>THIS PAGE 37 INTENTIONALLY LEFT BLANK</character>
    <dialogue>CONTINUED:</dialogue>
    <character>KREST</character>
    <dialogue>Yeah, what?</dialogue>
    <scene_description>CREWMAN fl Sentinel's picking up omething large on its t.v. cam a, sir. Perhaps you should lo at it. Xrest heaves himself up from the couch.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. UNDERWATER</stage_direction>
    <scene_description>The probe passes a coral outcrop. 111 EXT. BRIDGE, WAVEKREST - JCREST CREWMAN lll Krest scowls at INSERT SCREEN A winged black mass swims slowly long the bottom. ANOTHER ANGLE</scene_description>
    <character>KREST</character>
    <dialogue>It's just a Manta Ray. Get the probe back in. We hav to start loading.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. UNDERWATER MANTA RAY</stage_direction>
    <scene_description>rises out of sand. It is BOND in scuba gear. The wings of the "ray".are fashioned from a dark grey tarp and two of Sharky's fishing poles, bent in a loop. Bond drops his camouflage and swims after the Sentinel. llJ EXT. UNDERWATER BOND SENTINEL PROBE 113 heads back toward the Wavekrest. Bond grabs onto it and hitchef a ride to ·the ·yacht. The HATCH DOORS in the hull of the Wavekrest open to receive it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WELL AREA, WAVEJCREST BOND</stage_direction>
    <scene_description>winches the probe out of the water He closes the hull door and leans over to make sure it's s ug. Bond thrusts his fist out of the water knocking him col Bond climbs out of the water, lifts the Probe Operator b the shoulders and looks around for somewhere to stow him. Sees decompression chamber. 114 CONTINUED:</scene_description>
    <character>BOND</character>
    <dialogue>opens the hatch of the decompre sion chamber. It i• partially filled with stacks of cubes in lue plastic wrapping. He shoves the Probe Operator inside and 1 rips off hi• scuba rear.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. WAVEKREST COMPANIONWAY</stage_direction>
    <scene_description>The CAMERA 1hf Bond throurh the Crew' ■ Quarter• and up follow ■ another deck to the Staterooms. He pause• et a door. Ornate "'"f' 115 letterinr identifies l t as the NER'S SUITE. He tries it. It'• locked. He pull• out hi• ife and alipa it between the door and the jamb. INT. WELL AREA, WAVEKREST THREE cR1l~EN The Probe Operator lie• on the f or. TWO CREWMEN load the blue cubes from the decompression cha into the Sentinel, Another Crewman speaks into the wall pho</scene_description>
    <character>CREWMAN</character>
    <dialogue>We've rot a vi ■ itor a</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OWNER'S CABIN, WAVEKREST</stage_direction>
    <scene_description>succeeds in 1ettin1 the door ope , alipa i~t~f 1~ !idea noiselessly across the darkened oom. Someone lies asleep face down in the double bed. Bond 1r bathe lon1 hair, pulls the aleeper over. He hold• his knif to the exposed throat, his hand cover• the mouth.</scene_description>
    <character>BOND</character>
    <parenthetical>(whi1perin1)</parenthetical>
    <dialogue>· Hake a sound and I'll kill you.</dialogue>
    <scene_description>LUPE ■ tare ■ up at him with terr fied wide eye ■ ,She reeornize ■ him, He' ■ momentarily thrown. She nod ■, He move• hi ■ hand.</scene_description>
    <character>LUPE</character>
    <dialogue>(a terrified hi You? BOND Where' ■ Kre ■ t? LUPE</dialogue>
    <scene_description>Next door. He rave e hia cabin.</scene_description>
    <character>BOND</character>
    <dialogue>And Sanchez?</dialogue>
    <character>LUPE</character>
    <dialogue>He' ■not on board. I don't know where he 11.</dialogue>
    <character>\'</character>
    <dialogue>\</dialogue>
    <character>177</character>
    <dialogue>CONTINUED:</dialogue>
    <scene_description>() You're hi ■</scene_description>
    <character>BOND</character>
    <dialogue>1irlfriend.</dialogue>
    <scene_description>··-·--···/</scene_description>
    <character>, LUPE</character>
    <dialogue>He doe ■ n't tell me any hinr.</dialogue>
    <scene_description>There' ■a KNOCK on the door. Bo d pull her to her feet. She 1raba the robe from the foot of er bed and hold it a1ain1t her body :a• he pushes her to the do r. He atands behind her 1rippin1 her wriat. The knife 1 inta in the darkneaa.</scene_description>
    <character>BOND</character>
    <parenthetical>(whiaperinr tenae y)</parenthetical>
    <dialogue>Answer it.</dialogue>
    <character>LUPE</character>
    <parenthetical>(eallinr out)</parenthetical>
    <dialogue>What do you want?</dialogue>
    <character>KREST O.S.</character>
    <dialogue>Open up, I ne~d total to you.</dialogue>
    <scene_description>She rlances back toward Bond. He nods as he 1trengthens his grip on her. She unlocks the door an~ speaks to Kreat through the crack. Outside KREST stands wit~ two HEAVILY ARMED MEN.</scene_description>
    <character>KREST</character>
    <dialogue>Someone slipped aboard Seen anythinf?</dialogue>
    <character>LUPE</character>
    <dialogue>No. Go away. I wa ■ leepinr •</dialogue>
    <scene_description>Kre&amp;t leer&amp; et her.</scene_description>
    <character>.</character>
    <dialogue>There i ■</dialogue>
    <scene_description>t e SOUND of a motorboat approachinr. Bond look ■ down L e' ■ naked beck, he aees the mark ■ from Sanchez' whip.</scene_description>
    <character>CREWMAN O.S</character>
    <dialogue>Mr. Kre ■ t, they're baQk.</dialogue>
    <character>DEST !</character>
    <parenthetical>(to Lupe)</parenthetical>
    <dialogue>Keep your door bolted</dialogue>
    <scene_description>j She 1hut1 the door. Bond alide the bolt home.</scene_description>
    <character>BOND</character>
    <dialogue>Who whipped you?</dialogue>
    <parenthetical>(She i ■ ■ ilent)</parenthetical>
    <dialogue>Sanchez?</dialogue>
    <character>LUPE</character>
    <dialogue>It was my fault, I did aome hinr wronf, I made him anrry.</dialogue>
    <scene_description>He propel• her to the porthole aa the SOUND OF THE BOAT comes closer. She atrur1lea into her robe. They look out. EXT. DECK, WAVEKREST - DAWN - SHARKY' BOAT DIVER"q CLIVE</scene_description>
    <character>KREST - BOND AND LUPE'S POV</character>
    <dialogue>Sharky'a boat ia brourht alonrside. everal of Kreat' ■ SCUBA DIVERS are on it. The "catch" hanr ■ ver the 1tern from the net boom. Two larre ■ hark• are auspended by their tail ■• In between them SHARKY han11 by hi• feet, dead.</dialogue>
    <scene_description>118A INT, OWNER'S CABIN BOND AND LUPI 118A ■ tare in aickened horror. She moan ■, e puta hi ■ arm around her ahouldera, turn• her head away, EXT, DECK, WAVEKREST - DAWN DIVERS T CLit.~ waves to Krest.</scene_description>
    <character>KREST</character>
    <dialogue>Nice work, Clive.</dialogue>
    <character>CLIVE</character>
    <dialogue>Thank you, Hr. Kre ■ t. Gues1</dialogue>
    <parenthetical>(points to catch)</parenthetical>
    <dialogue>Hi• name was Sharky,</dialogue>
    <scene_description>Everyone on deck.bur ■ ta into loud lau1ht r. There'• the SOUND of a plane in the morninr aky, Kre ■ t loo a toward it. 1:20 EXT, XREST'S POV 120 The aeaplane approache1 them,</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DECK, WAVEKREST DEST</stage_direction>
    <character>KRIST</character>
    <dialogue>Come on everybody. We rot to do,</dialogue>
  </scene>
  <scene>
    <stage_direction>12:2 INT. OWNER'S CABIN LUPE AND BOND 122</stage_direction>
    <scene_description>1rab1 her. Hi• face ia • cold ■aak.</scene_description>
    <character>BOND</character>
    <dialogue>I want Sanchez,</dialogue>
    <character>LUPE</character>
    <dialogue>Don't you men know any other w y?</dialogue>
    <character>122</character>
    <dialogue>BOND</dialogue>
    <character>CONTINUED:</character>
    <dialogue>It'• Sanchez' way. You• em to like it.</dialogue>
    <character>LUPE</character>
    <dialogue>You know nothinf, Pleas , 10, If they find you here we'll both be killed.</dialogue>
    <scene_description>He croaaea to the door leadin1 to he rear deck and opens it,</scene_description>
    <character>BOND</character>
    <dialogue>Stay here.</dialogue>
    <character>123</character>
    <dialogue>atepa out and peer• around the corer alone the rail toward the</dialogue>
    <character>EXT.</character>
    <dialogue>bow, HIS POV KREST AND CREWMEN climb up 1tair1 o the Bridre. A DIVER stacks SPEAR GUNS in a rack, the~ roea be ow. Bond alipa round from the rear deck headinr towards the ridre. After he takes a fe~ step ■ .he 1ee1 the top of CLIVE'• ead at 1ide of ■ hip as he climbs aboard. Bond anetches ape run from rack set into bulkhead. Clive, ■ till in acuba er, 1ee1 him aa he i1 about</dialogue>
    <scene_description>• to 1tep on deck. He rai1e1 hia a a in surrender aa Bond levels the spear run at him.</scene_description>
    <character>BOND</character>
    <dialogue>Compliments of Sharky.</dialogue>
    <scene_description>He fir••• Hia apeer embeds itself in the center of Clive'• cheat. There 1• the SICKENING SOU D of a muffled explosion. Clive topple• overboard.</scene_description>
    <character>124</character>
    <dialogue>EXT. BRIDGE DECK, WAVEKREST</dialogue>
    <scene_description>look• ove.r .rail down toward BOND. Recornition fills his face. Crewmen apot Bond, pull runa end fire at him. lond dives overboard to ••cape atill clutchin1 the HARPOON GUN.</scene_description>
    <character>12.5</character>
    <dialogue>awima toward the bottom pullinr on the line of the HARPOON GUN,</dialogue>
    <character>EXT.</character>
    <dialogue>He reels in the ainkinr, lifeleaa CLIVE. Grabbin1 Clive'• mouthpiece he jams it into hi1 mouth. Then be undoe1 Clive'• waiat 1trep.</dialogue>
    <scene_description>{ \ guns at the reedy, wait for Bond to surfe e. /---..\_,\_.</scene_description>
  </scene>
  <scene>
    <stage_direction>\ ) 127 EXT. USDERWATER BOND 127</stage_direction>
    <scene_description>~ow in Clive's scuba gear, makes l~st adjustment to shoulder strap and swims away. CLIVE'&amp; body sinks toward the bottom.</scene_description>
    <character>126</character>
    <dialogue>EXT.</dialogue>
    <scene_description>she comes up behind Krest:</scene_description>
    <character>LUPE</character>
    <dialogue>What's wrong'?</dialogue>
    <character>KREST</character>
    <dialogue>Go to your cabin and stay th re.</dialogue>
    <scene_description>One of the crewmen escorts Lupe away. Another Crewmen looks up Jrom his scrutiny of the water. CREWMAN tl2 Mr. Krest. That guy must've drowned.</scene_description>
    <character>KREST</character>
    <dialogue>Don't bet on it. Find him?</dialogue>
    <character>CREWMAN '12</character>
    <dialogue>Yessir.</dialogue>
    <scene_description>Krest stomps off to the bridge.</scene_description>
    <character>KREST</character>
    <parenthetical>(yelling)</parenthetical>
    <dialogue>.Launch Sentinel?</dialogue>
    <scene_description>Below him, the TWO CATAMARAKS start up 'n search of Bond.</scene_description>
    <character>129</character>
    <dialogue>EXT. ~NDERWATER</dialogue>
    <scene_description>sees SENTINEL leave from the well area. As it passes him, he reaches out and crabs the umbilical. He pulls himself hand over hand alonr it as the Sentinel carries him away from the yacht. 130 EXT. covE - DAY Two CATAMARANS</scene_description>
    <character>,I}</character>
    <dialogue>'J1n</dialogue>
    <scene_description>nl 130 pass backwards and~forwards across the c e look •~.forl)J lo'Lno.- ,\ In each catamaran ere TWO ARMED MEN and SCUBA DIVER, holding a CO2 powered spear 1un. Each Catamaran ows another DIVER behind it, their feces down in the water, Jearching for Bond. 131 EXT. NEAR SHORE - SEAPLANE TWO ROUGH-LOO.;NG PILOTS q;II 131 stand on the floats of the plane, waiting</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. UNDERWATER BOND 13:2</stage_direction>
    <scene_description>looks up as he hears the SOUND of one of the Catamaran's engines on the surface above him. Bond lets go of the line and swims under a coral overhang. The shape of the Catamaran's hull passes overhead, followed by the diver. He seems to look in Bond's direction. Bond presses himself back as far as he can under the coral.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SEA PLANE TWO PILOTS - SE TINEL</stage_direction>
    <scene_description>partially surfaced beside the ane. One of the pilots gets down into the water and opens t e storage compartment. He starts handing the blue plastic wrapped cubes to the other pilot, who loads them in the pl ne.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CATAMARAN DIVER</stage_direction>
    <scene_description>in the water indicates that they should go back over a certain area. He's sure he's seen Bond. The Catamaran turns. EXT. SEA PLANE - SENTINEL PI TS (/j f, unload CLEAR PLASTIC BAGS OF OCAINE from irlside the plane and pack them into Sentinel's sto age compartment.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BRIDGE, WAVEKREST !CREST</stage_direction>
    <scene_description>watches the plane through bin</scene_description>
    <character>RADIO OPE TOR</character>
    <dialogue>Loading completed, r. Krest</dialogue>
    <character>KREST</character>
    <dialogue>Bring Sentinel back in.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. UNDERWATER BONO</stage_direction>
    <scene_description>hears Sentinel's en9ine approaching, swims out from the coral and grabs the umbilical. He pulls himself along the cable to the probe. He opens the storage compartment. It is filled with bags of cocaine. The probe's periscope turns pointing its lens at him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BRIDGE, WAVEKREST RADIO O RATOR</stage_direction>
    <scene_description>looking at the television Sees Bond underwater with the cocaine. Mr XrestJ Krest spins round, looks in horr rat the image on the screen. Bond is slashing the bags with h s knife.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PROBE, UNDERWATER BONO</stage_direction>
    <scene_description>rips at the· plastic bags. The water around him is cloudy with white powder.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BRIDGE, WAVEJCREST !CREST</stage_direction>
    <scene_description>rushes to the railing, points t the white trail of powder on the surface of the cove, yells t the Catamaran crew,</scene_description>
    <character>!CREST</character>
    <dialogue>Get him! He's therel</dialogue>
    <parenthetical>(to radio operat r)</parenthetical>
    <dialogue>Bring Sentinel to the surface!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. COVE BONO - SENTINEL ~,,</stage_direction>
    <scene_description>is brought to the surface. Bon heaves the remainder of the cocaine into the water. THE DIERS on the catamarans approach, Seeing them, Bond dives under e wate;:..,-;----· &gt;:. .-.-- 142 EXT. UNDERWATER - BONO FOUR DIVERS /,.,.1~ '$ f, /4 ; ,, . 1 l •fi overtake Bond. One of them cuts his~i'r-hose. Bond rips the diver's face mask away. The diver struggles frantically to the surface. A second diver latches onto Bond's tanks, holding him. Bond releases the waist strap, slips free of the tanks. The third diver, armed with a speargun, looms up behind him. He gets Bond in a choke-hold with the gun. The fourth diver moves in for the kill. Out of the corner of his eye, Bond sees what appears to be a CATAMARAN passing overhead on the surface. With the last of his strength he gets his finger around the trigger and fires the harpoon of the CO2 gun into one of the twin hulls. INSERT - THE HARPOON embeds itself in the HULL, the line stretches. BONO holding on to the gun, is wrenched out of the diver's grip toward the surface.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COVE - BOND'S POV</stage_direction>
    <scene_description>The surface rushes toward him. The water gives way to air. Bond sees the line stretching ahead of him toward the harpoon. It's embedded in the float of the SEAPLANE which is taking off,</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COVE - SEAPLANE BONO</stage_direction>
    <character>,,.,;-·</character>
    <dialogue>(/c;/10 /' . - , . ~:?&gt; 144 is pulled behind it as it accelerates.( He manages -co get to his feet so that he is waterskiing bare.toot behind it.</dialogue>
    <character>BOND</character>
    <dialogue>flinches as bullets fly past his head. He looks round.</dialogue>
    <character>EXT. SIA</character>
    <dialogue>145</dialogue>
    <character>CATA~ARA~S</character>
    <dialogue>Both catamarans are in pursuit,</dialogue>
    <character>, .......</character>
    <dialogue>e Armed m~n-1ire at Bond.</dialogue>
    <scene_description>He rolls on the water, sending up spray as a screen between himself end the catamarans. The lane gathers speed, Bond winds the iine around the butt of the spear gun. As he comes abreast the plane, he e~ecutes a lassie waterskiing maneuver by &amp;winging wide, then swooping i close. He flings himself at the float pylon, bnd clings to it es the plane rises into the air. INT, SEAPLANE PILOTS 146 see Bond as he grasps the leading edge of the wing to stabilize himself. Co-pilot pulls gun. Bond ducks,. ....... --under wing. 147 EXT. SEAPLANE CO-PILOT ,- f/ rJ' ,</scene_description>
    <character>II</character>
    <dialogue>1</dialogue>
    <scene_description>opens the door of the plane and leanf~ to shoot Bond, He looks under the plane. Bond is not the .·. 148 INT. SEAPLANE CO-PILOT l smiles, figuring Bond has fallen off. He turns to tell PILOT. BO~D, who has come through the rear emergency hatch b~hind the pilot's door, knocks the co-pilot out the door. EXT. SEAPLA~E COPILOT ,. \ 0 outside the plane clinging desperately to the door.</scene_description>
    <character>I~T. SEAPLANE</character>
    <dialogue>pulls emergency door release. EXT. SEAPLAKE</dialogue>
    <character>BOND</character>
    <dialogue>CO-PILOT</dialogue>
    <scene_description>plunges kicking and screaming to his death holding the door. INT. SEAPLA~E BOXD PILOT banks the plane sharply, throwing Bond through co-pilot's door. He saves himself by rrebbinr the door jamb and managing to get a toe-hold on the door frame. The pilot seeinf him about to re-enter plane, does a barrel roll.</scene_description>
    <character>149</character>
    <dialogue>in barrel roll.</dialogue>
    <character>EXT. SEAPLANE</character>
    <dialogue>BO~D braced in doorway.</dialogue>
    <character>150</character>
    <dialogue>hanging on for dear life in the door of the plane. rights itself, Bond throws himself at the pilot.</dialogue>
    <character>INT. SEAPLANE</character>
    <dialogue>As the plane</dialogue>
    <character>EXT. SEAPLANE</character>
    <dialogue>out of control, goes into a steep dive.</dialogue>
    <character>151</character>
    <dialogue>INT. SEAPLANE BOND AND PILOT</dialogue>
    <scene_description>his hands round Bond's throat. Bond claws one of the blue plastic-wrapped cubes free of the cargo webbing and hammers the pilot over the head with it. He slumps. The cube bursts on impact. The cockpit is suddenly filled with twenty-dollar bills swirling in the wind. Bond lunges through them to the controls on the co-pilot's side.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WAVEKREST CREWMEN</stage_direction>
    <scene_description>watching as SEA.PLANE approach low. i;,o ti The plane buzzes the</scene_description>
    <character>- 153</character>
    <dialogue>yacht. Reflexively, Krest an his men hit the deck. They look up. EXT. SEAPIANE</dialogue>
    <scene_description>t!Q,1 154 The door opens. The PILOT is ushed out. f/i ~</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WAVE~EST PILOT</stage_direction>
    <scene_description>splashes into the water a fe yards from t~: yach1! KREST and his MEN stare incredulously she resurfaces, slightly more dead than alive. q/ 1 15.5 156 EXT. CASINO, ISTHMUS CITY - ANNA RACK f/1, f ,,. , ,~ A• ).\_) standing at the entrance fac s the CNN television camera~· In the BACXGROUNO Limousines un oad GUESTS in evening clothes. SANCHEZ and LUPE alight from one, begin walking to the casino.</scene_description>
    <character>ANNA RA</character>
    <dialogue>Isthmus City is a itter tonight as Franz Sanchez rrives at a Party that some s is to celebrate his rec nt escape from custody in the u.</dialogue>
    <scene_description>She turns as Sanchez, Lupe n his arm, approaches. Immediately behind him is HELLER, an Am rican, a former Green Beret colonel at the head of PHALANX OF B OYGUARDS. Anna Rack steps up to them, microphone extended. The CAMERA CREW follow.</scene_description>
    <character>ANNA RA IC</character>
    <dialogue>Senor Sanchez, Se or Sanchez. You were reeentl described in a leading America newspaper as a drug lord... ·</dialogue>
    <scene_description>Sanchez turns toward the te evision camera. 156 CONTINUED:</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(interrupt in vehemently)</parenthetical>
    <dialogue>I know nothing ab ut drurs. The United State ■ aho ld not blame me for its drur pro ems. I am a buaineaaman runni I a 1amblin1 Casino. J love e American people. They ar all welcome here. We have better o 1 than the U.S., only one zero on he roulette wheel.</dialogue>
    <scene_description>In the BACKGROUND with atate fla1• flyin1 and a MOTORCYCLE ESCORT front of the Casino. Sanchez turns. Excuse rreet my 1ue1t1. The Camera Crew are pushed aside by MILITARY POLICE. Sanchez goes to the curb, embraces PRESIDENT HECTOR LOPEZ a&amp; he steps from the limousine. Anna eek recovers her composure. INT. HOTEL ROOM - NIGHT - LEVISION ANNA RACK 7\[1,I ,r. &lt;127/f</scene_description>
    <character>ANNA</character>
    <parenthetical>(from the t And aa Franz San ruest, Pre ■ ident l1thmu1, into th CK levi1ion)</parenthetical>
    <dialogue>hez escort ■ hi• Hector Lopez. of</dialogue>
    <scene_description>Gala Eveninf, )11 ,,/1f\_-4 thi1 i• Anna Rae for CNN New ■ , live from Iathmu City. The CAMERA pull• back. Bo 1tanda atarinr at the TV 1creen. He turns it off. On the be ia a larre suitcase. Strewn about it are empty blue plaatic 11. He open ■ hi• attache ca ■ e on the desk.· The LIGHTER and ARTER from Leiter' ■ weddinr fall out. Bond li1hta a ci1aret e. The flame ■ hoots up. He adjusts it and alip1 it into bi• po ket. Hi• face 11 atony. He detaches the in ■ ide lid of he ca••· Behind it ia hi• Walther PPK. He check ■ it and 1lip t·t into hi• shoulder holater. 157A EXT, LEITER HOUSE - NIGHT ~,// 7 157A sit in their PATROL CAR in of the houae. They're drinking coffee, li1tenin1 to the faint azy SOUND of a ni1ht baseball rame on the RADIO. Yellow poli e tape cordon• off the lawn, is taped over the front door. BOND slips under the police cordon, a rosa the 1ra11 and into the shadow of the house, unnoticed b either cop. 157B INT. STUDY, LEITER HOUSE - NIGHT OND D/111i/, J 1. pushes open the door. Street lig comes through the slats of the venetian blind• across the wi dow. Bond switches on a tiny flashlirht, croaaes to the bookca His flashlight finds the portrait of Della in it1 frame. nd picks it up, slides the disk out from behind the photorra He goes\_to the desk and turns on Felix'• computer. A eeri 1reen light invades the room &amp;oftly as the 1creen li1hts up. B nd inserts the disk, punches keya. INSERT - COMPUTER SCREEN A liat of files come ■ up on the ac een. The curaor ahifts through titles: SANCHEZ U.S. ASSES, SANCHEZ SWIS~ BANK ACCOUNTS, SANCHEZ ISTHMUS ACCOUNT to SANCHEZ INFORMANTS. BOND lit by the rreen rlow. He hit• a INSERT - COMPUTER SCREEN INFORMANTS. Eight names. bas the word: DECEASED next to it. All but the last: BOUVIER: ACTIVE. The cursor flashes on it. Bond punches it up. "LEXI TON CONTACT-- P. BOUVIER, CIA PILOT - FAMILIARITY SANCHEZ OPERA ON, ISTHMUS CITY. PROVIDE MAXIMUM SUPPORT AND PROTECTION. xt meeting: 9:oo pm-Thursday, BARRELHEAD--siHYii--w7i7\_\_\_\_\_\_\_ ----------i-------~----- C?I ,1c</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KEY WEST MARINA - DAY - CIG ETTE BOAT BOND SPORTSMAN</stage_direction>
    <scene_description>tinkerin1 on hia immaculate ci1 tte boat.</scene_description>
    <character>BOND O.S.</character>
    <dialogue>Can I rent your .boat?</dialogue>
    <character>SPORTSMAN</character>
    <parenthetical>(without lookin up)</parenthetical>
    <dialogue>Not a chance.</dialogue>
    <character>BOND</character>
    <dialogue>1tandin1 on the dock lookin1 own at the boat.</dialogue>
    <character>BOND</character>
    <dialogue>How ■uch to buy it</dialogue>
    <character>SPORTS</character>
    <dialogue>More than you 1ot wi1e ••••</dialogue>
    <character>BOND</character>
    <dialogue>Name your price.</dialogue>
    <character>158</character>
    <dialogue>SPORTSriAN</dialogue>
    <character>CONTINUED:</character>
    <dialogue>(thinka Bond is Okay. A hundred rran. BOND Does that include a fu tank of petrol? He pull• the cash out of hi• and hand• 1~/to the</dialogue>
    <scene_description>astounded Sportsman.</scene_description>
    <character>159</character>
    <dialogue>BOAT BOND drivea up to the dock of Barrelh ad.</dialogue>
    <character>BAR.RELHEAD CAFE, WATERFRONT,</character>
    <dialogue>He tie• up alon11ide other</dialogue>
    <scene_description>small craft.</scene_description>
    <character>160</character>
    <dialogue>INT. BARRELHEAD</dialogue>
    <scene_description>stands in the doorway. He takes in the seedy decor, the LOW- LIFE CLIENTELE, A BORED STRIPPER performing for no-one in particular. He turns to \he BO CER.</scene_description>
    <character>BOND</character>
    <dialogue>Bouvier?</dialogue>
    <scene_description>The Bouncer jerks hia head towa d the end of the bar where a shadowy fi1ure ait1 alone at~ able. Bond walks over,</scene_description>
    <character>BOND</character>
    <parenthetical>(surprised)</parenthetical>
    <dialogue>Thia 1• an unexpecte pleasure.</dialogue>
    <scene_description>PAM, the cool brunette from Le ter'a weddin1, looks up at him. Her hair is cau1ht up in a bee -band and she wear• pants and a padded ve ■ t,</scene_description>
    <character>PAM</character>
    <dialogue>Where'• Leiter?</dialogue>
    <character>BOND</character>
    <dialogue>Intensive care. Wh re you'll be if we don't ret out of here feat.</dialogue>
    <scene_description>(Takinr a aeat Sanchez he ■ ell of •lter'• filea. Your name 11 all ov r them. PAM Hell! I knew aomet inr waa wronr. She 1lancea toward the door. / I l lt</scene_description>
    <character>CONTINUED:</character>
    <dialogue>PAM</dialogue>
    <scene_description>keep you·r hands n the table. (to Bond) . How did you 1et ere?</scene_description>
    <character>BOND</character>
    <dialogue>By boat.</dialogue>
    <character>PAM</character>
    <dialogue>Where ia it?</dialogue>
    <character>BOND</character>
    <parenthetical>(pointinf o the wall)</parenthetical>
    <dialogue>On the other ale of that.</dialogue>
    <scene_description>The Hoods try to pu•b the r way throurh CROWD to Dario, Some of the CUSTOMERS take except'on. A classic barroom brawl erupts. ,Dario grabs e bottle fro the next table and rai••• lt to hit Pam. Bond hits him with he butt of the Walther. He crashes to the floor.</scene_description>
    <character>PAM</character>
    <dialogue>Thanks.</dialogue>
    <scene_description>..............; Two more Sanchez Hoods re ch them. Bond dispatches both of \./ them. He and Pam are aep rated in the brawlinf mass of people. BOND sees Pam over by the wall She'• beckonin1 to· him.</scene_description>
    <character>PAM</character>
    <dialogue>Let' ■ 10!</dialogue>
    <scene_description>He fi1hta his way over to her, They're hemmed in, with no way out. Pam turna, face ■ th wall and fire ■ her 1hot1un at it, Everyone freeze ■•· There• a 1apinr 4 foot hole in the wall.</scene_description>
    <character>PAM</character>
    <parenthetical>(to Bond)</parenthetical>
    <dialogue>Get it atarted.</dialogue>
    <scene_description>Bond jumps throurh, She h ld1 Dario andlhi ■ ■en at bay. 161 EXT. DOCK, BARRELHEAD CAFE - CIGARETTE lblT NIGHT BOND 161 beckon• for Pam to come. jump ■ into the boat.</scene_description>
    <character>161A</character>
    <dialogue>\</dialogue>
    <character>INT.</character>
    <dialogue>draw&amp; run from shoulder holster of unconscious HOOD Bond hit at the table. Run1 to hole in the wall.</dialogue>
    <scene_description>160 CONTINUED:</scene_description>
    <character>THEIR POV</character>
    <dialogue>TWO VICIOUS COLUMBIANS ait at he bar with their backs to the stripper, watchin1 the crowd.</dialogue>
    <character>PAM</character>
    <dialogue>They've been here fo an hour. Probably waitinr to ee who turned up to meet me.</dialogue>
    <scene_description>A YOUNG WELL-ENDOWED WAITRESS n halter top and akin tight cut- offs, bounces up to the table,</scene_description>
    <character>PAM</character>
    <dialogue>Bud .with a lime</dialogue>
    <character>BOND</character>
    <dialogue>Same.</dialogue>
    <character>WAITRESS</character>
    <dialogue>Sure thini, Hon.</dialogue>
    <scene_description>The Waitress pops her rum in 1wer and leaves.</scene_description>
    <character>PAM</character>
    <parenthetical>(her eyes wide )</parenthetical>
    <dialogue>Shit! lt'1 Dario! e'• bad news. Used to be with the ontra1 before they kicked him out. Juat the kind of 1uy Sanchez woul aend,</dialogue>
    <scene_description>Bond turn,. DARIO atanda int e doorway with a Sanchez HOOD. The BARTENDER catches hia eye, nod1 toward Bond and Pam. Bond looks toward the rear entrance. THREE NORE SANCHEZ HOODS stand there.</scene_description>
    <character>PAM</character>
    <dialogue>You carryin1?</dialogue>
    <scene_description>Bond ease• the edre of his win breaker ali1htly to reveal the butt of the Walther PPK. She lick ■ her ton,ue derisively, pats her lap. Bond 1eea the 12 rau e 1hot1un, ■ awed off to 12 inche ■, lyinf aero•• her thi1h.</scene_description>
    <character>PAM</character>
    <dialogue>If they ■ tart ■ hootin ju ■ t hit the deck and atay the</dialogue>
    <scene_description>Dario arrives at their table wi SANCHEZ HOOD. They ■ it. Dario feirn• affability.</scene_description>
    <character>.</character>
    <dialogue>\</dialogue>
    <character>I</character>
    <dialogue>I</dialogue>
    <scene_description>R!VIS!D: OCTOBER 13, 1988 EXT~ DOCK, BAftft!tHtAD CA! - C!GA~!TT! BOAT BOND ANO YAM 162 in boat •• DARIO Mppear• above them. He tir•• hitting her in the back. The impact kn ck• her into the boat. Bond draws his r~K. D&amp;rio ducks inaide •• aond rwturn• hi• fire, One ot the HOODS t1rw~ at Jon~ with an Uzi causing a line of bullet hit in eido of hull. Bond shoo a him. He t0pplw ■ into the ~•ter as Bond raoe• for th• open ea.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CIGARETTE BOAT</stage_direction>
    <character>' .</character>
    <dialogue>roar• out to ••a. Th• Mlestern •kY glow• faintly with the !i;ht from Miami. I · INT. C%GARETTI BOAT BOit) AN~ PAM &lt;ti Ir·. .Jllf:L'J~/2.101,,.</dialogue>
    <scene_description>3 i.- m •tir• ehowin; ai;n• of.!' fe. Bond r••=h•• b~~ hef grabbing her arm.</scene_description>
    <character>BON</character>
    <dialogue>Don't 11ove.</dialogue>
    <character>PAM</character>
    <parenthetical>(aittin; p ~••Pin;)</parenthetical>
    <dialogue>I'm okay.</dialogue>
    <scene_description>Bond look• at her in am ement, Sh• \lnZ!pa her vest. Underneath i• a fleeh-c ored w1l~ camisole, She pull• her vest opon showing the lining.</scene_description>
    <character>PAM</character>
    <parenthetical>(proudly)</parenthetical>
    <dialogue>Bullet proof, evlar lining. I· never leave ho• with out it,</dialogue>
    <scene_description>1n;,it on the back ••at,</scene_description>
    <character>IOMD</character>
    <dialogue>Yo·ur 4aan luc to be alive. A tow inch•• higher, you'd be dead.</dialogue>
    <character>PAM</character>
    <dialogue>I.'a lucky? :fit wa11n't for•• you'd be nail• to a wall ~ack ther•.</dialogue>
    <character>IOND</character>
    <dialogue>So ycu think yo ••v•d ■Y life. Thia ia a tough bu•in•••• Mi•• Bouvier, I acSvi e you to leave ·it. to profeaaj0nal •</dialogue>
    <scene_description>REV!SED: OCTOS!R !3, 1988 164 CONTINUED~</scene_description>
    <character>PAM</character>
    <dialogue>I uaed to b• an• my pilot flying into the rou;he•t hell-holes in South America, I'm not ;oing to have acme weekend warrior lecturin; m• about pr.of•••i naliam. ·</dialogue>
    <scene_description>The boat'• en;in• •putter•, they are thrown forward, , / 164A !XT • HA DAIIII CIOAl!ETTll II AT . ef2, ,0/,.:1. J.,),..(.</scene_description>
    <character>'?7</character>
    <dialogue>a;ain■ t a blood r•d-pre-eun iee •ky, SOUND or ING%NZ SPUTT~RINQ. The boat ehutt re to. •top.</dialogue>
    <scene_description>1&amp;4B INT. CIOAklTTI COCKPIT. PAM q(t/ at the control•, working t looks I at dial ■ •</scene_description>
    <character>INSERT GAS QAOES</character>
    <dialogue>.ind.\ca1:et e1npty. BONO U• look• toward the ahore, etill irate.</dialogue>
    <character>DONO</character>
    <dialogue>They mu•t ~•v• ht •·fuel line.</dialogue>
    <scene_description>PAM atep• up .next to him.</scene_description>
    <character>PAM</character>
    <dialogue>Out of gae? · I h hear~ that on• in a long ti</dialogue>
    <character>ION?)</character>
    <parenthetical>(cal ■ ing don)</parenthetical>
    <dialogue>fak• ·u• a couple ct hour• to-drift in. Look, %'•; in; to need your help. % want a o•pl•~• rundoWft on Sanchez• operati n •• ,an4 • privet• ch•rter to I•thm a City. No one mu•t know %'ve l ft.</dialogue>
    <scene_description>She look• at· bira etead:lly.</scene_description>
    <character>PAM</character>
    <dialogue>What do you want to ;o there tor?</dialogue>
    <character>IOND</character>
    <dialogue>I'll pay you ver well,</dialogue>
    <scene_description>\</scene_description>
    <character>PAM</character>
    <dialogue>You•r• going aft Sanchez, aren't you?</dialogue>
    <scene_description>tCONT!NUtD)</scene_description>
    <character>/</character>
    <dialogue>~ ~4Y</dialogue>
    <scene_description>REV!S~D OCTOetR 13, 1989 i 1&amp;42 CONT!NU!D:</scene_description>
    <character>I</character>
    <dialogue>i</dialogue>
    <character>1'BOND</character>
    <dialogue>Will you ~elp me?</dialogue>
    <scene_description>j • I /PAM now many on yo\l got?</scene_description>
    <character>BON?,</character>
    <dialogue>Just you nd •••</dialogue>
    <character>PAM</character>
    <dialogue>&lt;• 1•believ!n; la\lgh)</dialogue>
    <scene_description>You craz ? Sanchez ha• a whole army pro ectin; him down thare.</scene_description>
    <character>BOND</character>
    <dialogue>Then ju• drop•• there and lomve, Pifty th usand.</dialogue>
    <scene_description>She step• between th• dawhboarc of the boat. The wind blows her h~1r, S up •t him, a ~winkle in her eye,</scene_description>
    <character>PAM</character>
    <parenthetical>(ti kin; off en her fi ;•r•)</parenthetical>
    <dialogue>It'• not that •••Y• A tale• l1;ht</dialogue>
    <scene_description>- plan, t• l have to pay-otf pei:~l• at Iathzn G City Airport •• ,A jc,'u l1ke tha 1• ;o1ng to ~o•t et lGa•t a Hundre .</scene_description>
    <character>IOND</character>
    <dialogue>Sixty. PAM</dialogue>
    <scene_description>Ninety. Seventy, Bi;hty, p M You·pay the uel? W• u:,c your lCONTINtJED) REVISE~: OCTOB!R 13, 1988 1645 C0NTINU!O:</scene_description>
    <character>PAM</character>
    <dialogue>DeaJ.</dialogue>
    <scene_description>She reaches up and kisee~ him fully on t.he lips to 1u::!al thv burgain. They part. i SONtj . Why·don't you Jw•it ·t11 you're aslted? J</scene_description>
    <character>PAM</character>
    <dialogue>Why dcn't you a9k me.</dialogue>
    <scene_description>She ki•••• him again, • p~••••• her pas ■ ionately back •iainst the wheel. • 165-167 OMITTED 1!9 INT, MISS.MONEYP!NNY'S 4/i) rrICE - DAY MONEYPENNY M come• o~t ot his office, a aheaf of paper• in his hand.</scene_description>
    <character>M</character>
    <dialogue>Five typing ror• on the tirat page alone. hat's ;ot into ycu?</dialogue>
    <character>MO</character>
    <dialogue>Sorry, •ir,</dialogue>
    <character>YPENNY</character>
    <dialogue>166 CONTINUED:</dialogue>
    <scene_description>He tilt&amp; hi&amp; head to aee a t4ex on her desk, then picks it up. M f (he reed&amp;) l, "U.S. Immi1retion h~• no reports of double-oh-aeven leeyin1 the United State• aa of fifteef hundred hour ■ today." Who author zed thia?</scene_description>
    <character>MONEYPENN!</character>
    <dialogue>I did, air, I thoutht you would be worried about, Jame;. rone ff•'• miaain1, f</dialogue>
    <scene_description>f</scene_description>
    <character>11 \</character>
    <dialogue>You know better the# that. He'll be on hi&amp; way to Sench~z. I'm afraid he's 10ne off the d,ep end -- ha• to be ■ topped, I•v, already alerted our man in t•thmua,</dialogue>
    <parenthetical>(handin1 her t,e memo)</parenthetical>
    <dialogue>Now, I want thia outt thia afternoon. j</dialogue>
    <scene_description>j ;</scene_description>
    <character>MONEYPENNY.</character>
    <dialogue>Yes, air.</dialogue>
    <character>'</character>
    <dialogue>M strides back into hi ■ office. After a moment, Moneypenny picks up her phone.</dialogue>
    <character>MONEYPENNY</character>
    <dialogue>Q Branch, please.</dialogue>
    <scene_description>~/,7 .. ,si}~.l. 'y</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ISTHMUS CITY - DAY BEEC RAFT BAR01J</stage_direction>
    <scene_description>CAMERA PANS with it on ita la in1 approach into Iathmua City; It pa11e1 over the harbor and ome• to re,t on a hu1e billboard on the aide of a hotel that h • aeen better days. The billboard ahowa a picture of a amilinr resident Hector Lopez with the le1end: PRESIDENT£ HECTOR LOP Z - PROFITS FOR THE PEOPLE (in Spaniah).</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ISTHMUS CITY AIRPORT - DAY - BEECHCRAFT</stage_direction>
    <scene_description>The Beechcraft Baron taxi ■. to a-halt in front of the private Executive Section of the terminal. BOND and PAM step out. Pam la casually dreaaed, ahe wears dark ale••••·</scene_description>
    <character>A BAGGAGE MAN</character>
    <dialogue>berina to unload a aet of expenaive lu11a1, from Bond'• plane. Bond'• attention i ■ drawn to a GULF STREAM II with the 1010 "ISTHMUS CASINO" painted on ita aide.</dialogue>
    <scene_description>170 CONTINUED:</scene_description>
    <character>BOND'S POV</character>
    <dialogue>A GROUP OF SIX ORIENTAL MEN disembark the jet. They are met by ~ELLER and a youni American Man, WILLIAM TRUMAN-LODGE, a yuppie whose taate in clothes mirrora Wall Street, down to a pair of bright red suspenders. A CUSTOMS OFFICIAL and TWO GOOD-LOOKING HOSTESSES escort the 1roup to a aide entrance and into waiting LIMOUSINES. PAM AND BOND</dialogue>
    <character>PAM</character>
    <dialogue>The blonde ia Truman-Lod1e, Sanchez' financial whizz kid. He'• wanted at home for Jnaider Tradin1 on Wall Street.</dialogue>
    <character>BOND</character>
    <dialogue>Did you recornize any of the others?</dialogue>
    <character>PAM</character>
    <dialogue>The tall one'• Heller. Ex-Green Beret Colonel, Handles Sanchez' security. The Fed• would love to 1et their hands on him too.</dialogue>
    <character>ANOTHER ANGLE</character>
    <dialogue>From the doorway of the terminal FALLON, a lean middle-aged Englishman, watches Bond'• arrivaL with inte~f.e interest,</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HOTEL EL PRESIDENTE</stage_direction>
    <character>DOORMAN</character>
    <dialogue>SECU ITY GUARDS ~,&amp;ro AND PAM 171</dialogue>
    <scene_description>1reetinr them 1raciou1ly at doo of luxury hotel. The face of SenQr Hector Lopez, el Preaiden e, abound1 on POLITICAL POSTERS plastered everywhere. Security uarda in leather jacket, and baseball caps, carryina pump 1ho run• atand at either end of buildinf,</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LUXURY SUITE, HOTEL EL PUS D HTE BOND PAM 7/1,"1</stage_direction>
    <scene_description>enter their hotel auite followed b a frock-coated, striped trousered ASSISTANT MANAGER. A·BE LBOY brin11 up the rear, starrerinr under weifht of the lu1 are. Bond 1esturea for him to put them by the wall. The Aaai tant Nana1er present• the suite with one 1raceful movement o hia hand!</scene_description>
    <character>ASSISTANT NANA ER</character>
    <dialogue>Ia thi• 1ati1factory, Se or?</dialogue>
    <scene_description>172 CONTINUED:</scene_description>
    <character>BOND</character>
    <dialogue>It'• adequate. I'd ant fresh flower ■ in all the ooms and a ca ■ e of Bollinier R.D. • nt up right away.</dialogue>
    <character>ASSISTAN</character>
    <dialogue>Certainly, air.</dialogue>
    <character>MANAGER</character>
    <dialogue>The Bellboy place ■ the case ■ on a ■ tand and hover ■ expectantly for a tip. Bond fiahe1 thro ih hi ■ pocket ■• Findin1 nothing he opens one of the ba1s, the 1 d masks it ■ content ■ from the others in the room. He fiahe out a lar1e bill, tip ■ bell boy.</dialogue>
    <character>ASSISTAN</character>
    <dialogue>(almo1t fawni And if I could ask ou to ■ irn the registration cards ••• BOND My executive ■ ecret ry, Miss Kennedy, will take are of that.</dialogue>
    <scene_description>Pam ilares at him with an exp ession that ■ peaks volumes. She turns to the Assist~nt Manage 1milin1 sweetly and sirns. Bond tip&amp; tho Bellboy, Assistant anager and Bellboy leave.</scene_description>
    <character>PAM</character>
    <dialogue>H! Ken\_nedy, Why can t you be my executive aecretary.</dialogue>
    <character>BOND</character>
    <dialogue>We're South of the rder, it'• a man' ■ world,</dialogue>
    <scene_description>He open ■ the ■ uitee ■ e. Pile• f money fill it to the brim. Pam i■ mesmeriied. Bond hand• her a ■ tack of bill ■•</scene_description>
    <character>BOND</character>
    <dialogue>Thank ■ for everythin. You're job' ■ finished,</dialogue>
    <scene_description>She take ■ the money.</scene_description>
    <character>PAM</character>
    <dialogue>You can u ■ e aome bell, I'd like to ■ tay.</dialogue>
    <character>BOND</character>
    <dialogue>Too dangeroua. Enou 'h people have been killed already.</dialogue>
    <scene_description>172 CONTINUED:</scene_description>
    <character>PAM</character>
    <dialogue>Soon a&amp; they figure t I'm still alive, I won't be &amp;af anywhere, My only chance ia to hel you ret Sanchez firat. Besi a, I like the pay.</dialogue>
    <scene_description>He takes another packet of caa from the.caae hands it to her.</scene_description>
    <character>BOND</character>
    <dialogue>Okay. For expenses. If you're 10in1 to play my exe tive secretary - look the art. Get your hair done and b y aome atyliah clothes.</dialogue>
    <scene_description>Pam yanks the caah from his ha head ■ for the door in a huff,</scene_description>
    <character>BOND</character>
    <dialogue>I want to deposit th•• Which bank does Sanchez use?</dialogue>
    <character>PAM</character>
    <parenthetical>(on the move)</parenthetical>
    <dialogue>The biggest one in own, Banco de Isthmus. He own ■ i •</dialogue>
    <scene_description>The suite door SLAMS as she ea out. EXT, BANCO DE ISTHMUS DOOR GUARDS like those at the hotel, in aaeball capa and pump 1hot1un1. A CHAUFFEUR-driven ROLLS pull ■ up at the entrance. BOND atepa out. The Chauffeur opens th trunk. The doorman snaps hi• fingers, A PORTER with a ha dcart appear, and take&amp; the suitcases from the trunk, H follow• Bond inside. INT. BANCO DE ISTHMUS PORTER q/1&gt;&gt; followinr ~im with ■ uitcasea ow~rd the Manarer'• office~ They pa11 through a marnificent A Deco Lobby into a 1paciou1 office, He hear• aome one• ut to him.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Hay, amiroal</dialogue>
    <scene_description>Bond look&amp; up to 1ee Sanchez cominr down the stair• towards him. For a moment it look• a1 tho ch Sanchez is callin1 to him, but he soon realize ■ it i ■ ■ omeo e behind Bond. He turn• to aee TRUMAN-LODGE AND ORIENTAL GR UP Bond aaw at the airport cominr into the bank. Sanchez walk peat and rreet ■ them flamboyantly, Bond studies him for a momen , hi• face hardens. The he roe ■ into the manager's office. S nchez eacorta hi ■ 1ue1t1 upstairs. l74A INT. MANAGER'S OFFICE, BANCO DE ISTHMUS MANAGER, BOND 1. j enterinf, The manaaer,Sr. Monto onro, rises. Bond points to the suit cases.</scene_description>
    <character>� BOND</character>
    <dialogue>I've come to make a• all deposit.</dialogue>
    <character>174B</character>
    <dialogue>TRUMAN-LODGE SANCHEZ</dialogue>
    <character>INT. TRADING ROOM, BANCO DE ISTHMUS, TRADERS ORIENTAL GROUP</character>
    <dialogue>I</dialogue>
    <scene_description>leadinr them into~ rrand room where the tredera buy and sell at break-neck speed.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Our biffeat problem a what to do with all the money.</dialogue>
    <character>TRUMAN-LO</character>
    <dialogue>We have a cash aurp million a day. Whi throufh our bank to Federal Reserv~. inf credits we can leaitimate inveatme</dialogue>
    <character>E V,O.</character>
    <dialogue>ua of 10 h we 1hip the U.S. us, eatabli1h- 1e for ta.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Someone hes to help the Grin101 with their trade de icit.</dialogue>
    <scene_description>Several traders ■ it et comput r consoles makin1 buy and sell transaction• on the leadin1 •1chan1e1.</scene_description>
    <character>TRUMAN-LO GE ,</character>
    <dialogue>Thi• i1 our tradin1jroom wired to all of the world'• eadinf financial exchanre• We operate the world' ■ larreat:p~ivate investment fund. N ♦ t only for our own account but for:cu ■ tomera in similar circumatanc ~ who require the anonymity•• ca provide,</dialogue>
    <character>SANCHEZ</character>
    <dialogue>In other word ■, •we un the world'• bi11e ■ t laundry. I .</dialogue>
    <scene_description>Sanchez laufha et hi1 own jok~. 1ilence, I The oriental• look on in stoney / I</scene_description>
    <character>175</character>
    <dialogue>SENOR MONTOLONGO</dialogue>
    <character>INT, MANAGER'S OFFICE, BANCO</character>
    <dialogue>rives Bond an inrratiatinf smi e and pats the packets of bills in the auitcase that ait ■ open on his enormous desk, His pretty assistant, Consuela•, atands net to him. Bond is seated opposite.</dialogue>
    <character>SENOR MON LONGO</character>
    <parenthetical>(to Conauela)</parenthetical>
    <dialogue>Make out a depo1it eceipt for 5 million dollars for Senor Bond.</dialogue>
    <scene_description>She nods and exit ■•</scene_description>
    <character>BOND</character>
    <dialogue>There will be addit onal monthly depoaita in the aam amount.</dialogue>
    <character>SENOR MON OLONGO</character>
    <dialogue>Of course. Be assu ed we at the Banco de Isthmus ar experienced in handlin1 account• o thia nature.</dialogue>
    <scene_description>There's a discreet KNOCK at t e door. It opens and Consuela escorts PAM into the room. P m'a appearance has chanred I . dramatically. Her hair is ve y short. She wear• an elegant executive aecretary's suit. he Bank Manager rises, rives a little bow, smiles at Pam. B nd takes a moment to recognize her, He riaes. Pam extends er hand to Senor Montolonro, He kisaea it.</scene_description>
    <character>PAM</character>
    <dialogue>Senor Montolonro, 'm Ma Kennedy. Mr Bond'• executive secretary.</dialogue>
    <scene_description>Bond recovers faat. -</scene_description>
    <character>BOND</character>
    <dialogue>I would alao appre ate it if you could arranre a ~r it for me at the Casino. Shall e aay ••• two million dollars.</dialogue>
    <scene_description>The Senor Montolon10 come• r nd hi ■ deak.</scene_description>
    <character>SENOR MON OLONGO</character>
    <dialogue>No problem, Senor B Ed· You have excellent collatera and our choirman al•o own• he Ca•ino.</dialogue>
    <character>PAM</character>
    <dialogue>A convenient arran1 ment.</dialogue>
    <scene_description>175 CONTINUED:</scene_description>
    <character>SENOR MON OLONGO</character>
    <parenthetical>(amil inr)</parenthetical>
    <dialogue>We have always tho ht so, Senorita.•</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CASINO - NIGHT BOND AN PAM</stage_direction>
    <scene_description>pull up in a CHAUFFEUR-drive Rolla Royce. The Chauffeur holds the door for them a1 they st pout. Bond i1 in a tuxedo, Pam looks 1tunnin1 in a low-cut venin11own. INT, CASINO - BOND PAM CAS NO MANAGER ?(i&lt;.o come• forward to 1reet Bond nd Pam. The Casino has e Belle Epoque interior, beautiful! appointed, withe HANDSOME, MONlED CLIENTELE.</scene_description>
    <character>CASINO</character>
    <dialogue>Welcome, Senor 130</dialogue>
    <character>NAGER</character>
    <dialogue>Senorita</dialogue>
    <scene_description>Kennedy. Thia wa. The Salon Prive i1 upstairs He escorts them up a marble atairca&amp;e, DELETED</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALON PRIVE, CASINO - OND PAM</stage_direction>
    <scene_description>enter a hu1e marble-floored room with several tables for Baccarat, Chemin de Fer and Blackjack. There 11 a large bar at one end. Amonr the CLIENTE E, Bond noticea the GROUP OF ORIENTALS he had aeen at th airport.</scene_description>
    <character>BOND</character>
    <parenthetical>(to the Caai Hanarer)</parenthetical>
    <dialogue>I would like a pr ate table. Blackjack.</dialogue>
    <character>CASINO</character>
    <dialogue>Certainly, Sen~r</dialogue>
    <character>ANAGER</character>
    <dialogue>ond.</dialogue>
    <scene_description>He ahowa Bond end Pam to a lackjeck table, bowa and leaves. A DEALER rreeta them. The PI BOSS, en expatriate American, sits to· one aide. He'a e heavy- et, Lea Ve1a• Casino type. Bond Iaya a $5,000 plaque at eac place at the table.</scene_description>
    <character>BOND</character>
    <dialogue>Could we raise th limit to five thousand a box?</dialogue>
    <character>DEALER</character>
    <dialogue>That will be p4rf tly fine, Sr. Bond.</dialogue>
    <scene_description>160 CONTINUED: 1/).0 1/} 1 1 /;j '7 DARIO</scene_description>
  </scene>
  <scene>
    <stage_direction> .,( Que pasa, Senorit Bouvier. Don't</stage_direction>
    <scene_description>I know you from• mewhere?</scene_description>
    <character>PAM</character>
    <dialogue>N.o.</dialogue>
    <character>DARIO</character>
    <dialogue>Sure, I do. You ly apecial charter• for ■ ome of my friends. I rot a job for you</dialogue>
    <parenthetical>(He take• he arm)</parenthetical>
    <dialogue>We 10 out ■ ide, t lk about it in private, eh?</dialogue>
    <character>BOND</character>
    <dialogue>The lady'• with m.</dialogue>
    <character>DARIO</character>
    <parenthetical>(turninr url )</parenthetical>
    <dialogue>Nobody's asking y u, gringo!</dialogue>
    <scene_description>He gasps and looks down. Te nozzle of Pam's 1hotgun is jammed into his crotch.</scene_description>
    <character>PAM</character>
    <dialogue>He'• with me.</dialogue>
    <scene_description>G Waitres ■ return• with beers She puts them on the table.</scene_description>
    <character>WAITRES</character>
    <dialogue>That'• three-fift , Your friend ■ want aomethin'?</dialogue>
    <character>HOOD</character>
    <parenthetical>(reachinf hi ■ jacket)</parenthetical>
    <dialogue>Let me 1et it.</dialogue>
    <scene_description>Bond hits him aharply with a 1 judo chop aero ■• the base of his neck then embraces him, hold~n1 him upri1ht ln hi• chair.</scene_description>
    <character>BOND</character>
    <dialogue>He'• had enouah al~eady.</dialogue>
    <character>I</character>
    <parenthetical>(1ivea her a ten dQll~r bill)</parenthetical>
    <dialogue>We' 11 run a tab. 1</dialogue>
    <scene_description>WAITRESS i Okay, Hon. . 1 She leaves. The Hoods by the\door ■train to ■ee what'• 1oin1 \I on. Sen ■ inr aomethinr 1• wronr, the cloae in, Pam takes Dario' ■ 1un out of hi ■ ahould•r holater, atuff ■ it into her belt. i Revised: July 14, 1988 INT. SANCHEZ' OFFICE LUPE TR AN-LODGE SANCHEZ ,o;c.r</scene_description>
    <character>~/O/UJ~ 180</character>
    <dialogue>Stroking the diamond-collare pet IGUANA which he holds fn</dialogue>
    <scene_description>his lap as he watches televisions. Tru n-Lodge, a Harvard Business School graduate, looks the part of. e business brain behind Sanchez' wealth. A telephone lies of the hook next to him. He makes some quick calculations on• note ad while he half listens to the TELETHON T.V. PROGRAMME in B.G,, Lup •tands at the window looking out. Sanchez puts the Iguana down on a chair next to her. He stands behind her, placing hi• hand on the nape of her neck.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>You okay, auchacha?</dialogue>
    <scene_description>Lupe represses an involuntar •hudder •• she glances down at the Iguana in the chair, then fo ees a smile aa he leans around her and looks at her closely.</scene_description>
    <character>LOPE</character>
    <parenthetical>(too quick)</parenthetical>
    <dialogue>I'm fine.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Krest called me fr the boat today with a story about somebo y ripping him off. Did you see anything h ppen?</dialogue>
    <character>LUPE</character>
    <dialogue>No Franz, I stayed in my cabin most of ,he tine.</dialogue>
    <scene_description>Sanchez stands in front of er blocking her view of the outside. She looks distressed.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Hey, what's the mater?</dialogue>
    <character>LOPE</character>
    <dialogue>. (glancing to he Iguana)</dialogue>
    <scene_description>You know I .can't • and that thing.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>It'• only a pet,ba y I'll have Dario take you shopping tomor Give me a kiss.</dialogue>
    <scene_description>She does so and leaves. San hez takes the Iguana to his desk. INSERT - TELEVISION PROFES OR JOE BUTCHER a flashy entertainment type, hosting a fund rai•er for his Olimpatec Meditation Institute. Hew rs a white robe embroidered in ;old wit a Central American Indian mo if. (CONTlNUEt&gt; \ \ Revised: July 14,1988 180 CONTINUED: He stands on the highest ier of a magnificent amphitheater amidst a row ot cone shaped chambe s. Banks ot TELEPHONE OPERATORS dressed Jr plain white robes take ca ls in B.G.</scene_description>
    <character>JO! (O</character>
    <dialogue>Let's put all th volunteers behind me to wor.</dialogue>
    <scene_description>The number 1-800-969-LOVE WIDER ANGLE including Truman-Lodge. looks to Sanchez.</scene_description>
    <character>TRUMAN- ODGE</character>
    <dialogue>We can raise the rice to $22,000 per kilo this •onth.</dialogue>
    <scene_description>Sanch•z nods, it's okay. uman-Lodge picks up open phone.</scene_description>
    <character>JOE (V,O T. V.)</character>
    <dialogue>Every dollar we ra se goes to the restoration of thi magnificent Ceremonial Site and supports ur investigation of the lost secrets of th ancient Olimpatec Indians.</dialogue>
    <character>TRUMAN-LOG!</character>
    <parenthetical>(.into the phon )</parenthetical>
    <dialogue>Twenty-two thousand, that's two,J two.</dialogue>
    <parenthetical>(0{ ,.z.,,D 181 INT. TELEVISION STUDIO, BIBLE INSTITUTE, SAN JOSE JOE 181 On the television stage, Joe faces the television CAMERA. 30! (with sincerit )</parenthetical>
    <dialogue>Our goal today is t raise ...</dialogue>
    <scene_description>He ;lances at the cue card.</scene_description>
    <character>30!</character>
    <dialogue>Twenty-two thousan dollars from each of</dialogue>
    <scene_description>· our Meditation Cha . That's twenty-two thousand, each. 182 INT. SALON PRIVE, CASINO I ,.x ~/ q u, J l, 182 The plaques in front of him h ve decreased substantially. He raises his eyes to the Dealer.</scene_description>
    <character>BONO</character>
    <dialogue>I'd like to doublet e limit.</dialogue>
    <scene_description>The Dealer looks over to the it Boss. Revised: July lC, 1988 q(v7f INT. SANCHEZ' OFFICE SANCHEZ TRUMAN-LODGE AND HELLER ;C,/t() ,I still watching the Telethon. ,✓uf INSERT - TELEVISION - JO!</scene_description>
    <character>JOE</character>
    <dialogue>.•• And our wonderful Manhattan Chapel have just made a special 500 ~ollar pledge! Thank you, Manhattan, t~ank youl 500 dollar special pledge.</dialogue>
    <character>TRUMAN-LODGE</character>
    <dialogue>writing down the amount, he turn to Sanchez in triumph.</dialogue>
    <character>TRUMAN-LODGE</character>
    <dialogue>500 kilos. I knew they' go for it. It's simple supply and deman .</dialogue>
    <scene_description>The PHONE RINGS. Sanchez picks t up.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Yeah?</dialogue>
    <character>PIT BOSS</character>
    <parenthetical>(from the telephon)</parenthetical>
    <dialogue>Got• live one for ya, oss. British sucker who dropped five hundred grand w~nts to play no limit.</dialogue>
    <scene_description>Sanchez glances up above the tel vision at the row of closed circuit television-monitors showing the ction at various tables.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Which one?</dialogue>
    <character>PIT BOSS</character>
    <dialogue>.(fro.m the telepho )</dialogue>
    <scene_description>The English, table one. Plays like a real je:rk-off.</scene_description>
    <character>INSERT - TELEVISION MONITOR</character>
    <dialogue>Shows BOND with PAM at his side, waiting to hear if his request has been approved. TRUMAN-LODGE SANCHEZ HELLER stares at the screen for a mome</dialogue>
    <character>1/1,1,(</character>
    <dialogue>CONTINUED: (2) ID('Ci':</dialogue>
    <scene_description>HELLER ,o/LfJf. That's the guy who flew in on the private plane toda and opened an account at the ank. Five million in cash •</scene_description>
    <character>. SANCHEZ</character>
    <parenthetical>(into the ph ne)</parenthetical>
    <dialogue>Okay.</dialogue>
    <scene_description>He hangs up the phone, r/41,ij- 'f/47 (o</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALON PRIVE BONO PAM PIT BOSS DEALER ~</stage_direction>
    <scene_description>gets the nod from the Pit B sand resumes playin~&lt;c, Bond slaps a large $10,000 plaque down n the table at each W'the empty places. Cards are dealt. looks at his first nand. It's a five and a six. Bond sla another $10,000. plaque down.</scene_description>
    <character>BOND</character>
    <dialogue>Double down.</dialogue>
    <scene_description>Dealer gives him a ten. The next hand is two eights. Bond splits them increasing his b t. PIT BOSS Looking down, troubled. It i rapidly becoming apparent that Bond is not the pigeon the Pi Boss thoupht he was. 185 INT. SANCHEZ' OFFICE HELLER SANCHEZ10(t.."</scene_description>
    <character>TRUMAN-LODGE</character>
    <dialogue>making notes on a memo pad, p nches figures into a calculator,</dialogue>
    <character>185</character>
    <dialogue>as OEEDIE continues to announ e donations.</dialogue>
    <character>TRUMAN-LO</character>
    <dialogue>(beaming)</dialogue>
    <character>E</character>
    <dialogue>They all accepted t new price.</dialogue>
    <scene_description>SOUND of phone ringing. Sane z answers it.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Si.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SALON PRIVE PIT BOSS</stage_direction>
    <scene_description>on the phone to Sanchez. In CKGROUND ~1:. te1!d':::.nd dol::: plaques are piled up in front ot BONO. • Several people have drifted ever to the table to atch. Obviously his luck has changed.</scene_description>
    <character>(CONTINUED}</character>
    <dialogue>i</dialogue>
    <character>186</character>
    <dialogue>PIT BOS</dialogue>
    <character>CONT:NUED:</character>
    <parenthetical>(into the ph ne)</parenthetical>
    <dialogue>The British guy i a quarter a million ahead. s ould I close the table?</dialogue>
    <character>/.'/,.)</character>
    <dialogue>187 INT. liiitNCHEZ'S OFFICE HE TRUMAN-LODGE 187</dialogue>
    <scene_description>e} No. He bangs up the phone, turn to Truman-Lodge.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Tell Lupe to come in here.</dialogue>
    <character>188</character>
    <dialogue>His bands gather in laid on the table. off its wrappings.</dialogue>
    <character>INT. SALON PRIVE, BLACKJACX TABLE</character>
    <dialogue>the cars and move away. A virgin deck is Brillia tly manicured, beringed hands strip A littl emerald bracelet with the name</dialogue>
    <scene_description>"Lupe" tinkles from one wr·st. New deck. She shuffles professional BOND glances up. LUPE stands efore him. She offers the deck for him to cut. He cuts, ga ing into her face. She keeps her eyes lowered, starts to deal he cards.</scene_description>
    <character>BONO</character>
    <parenthetical>(to Pam)</parenthetical>
    <dialogue>Miss Rennedy, ould you get me a medium dry dka martini, shaken not stirred.</dialogue>
    <scene_description>Pam opens her mouth to eak, he stares her down. She gives him a hard look, gets u, moves to the bar at end of room. Lupe finishes the deal.</scene_description>
    <character>BON</character>
    <dialogue>Most professi</dialogue>
    <character>LUP</character>
    <dialogue>I used to wor</dialogue>
    <character>BON</character>
    <dialogue>Am I going to in or lose?</dialogue>
    <character>!</character>
    <dialogue>l (: 188 cormmn:</dialogue>
    <character>BON</character>
    <dialogue>ls that why h sent you?</dialogue>
    <character>. LUP</character>
    <dialogue>And to find o t more about you.</dialogue>
    <scene_description>KWANG. an impressively uge Hon1 Kon1 Chinese, who ia part of the Orlatal 1roup Bond aaw arrive at the airport, pause&amp; at the table te watch the play. On his arm i• his beautiful Japanese companim, LOTI. Bond playa the five hand• aimultaneously, atandilW on two and bu1~in1 on three. Lupe ha ■ thirteen, deals herself an ei1ht for 21.l She win• all five handa.</scene_description>
    <character>LUP~</character>
    <dialogue>Look• like yo~ .tuck ha• chan1ed.</dialogue>
    <dialogue>Perhapa I BOND~</dialogue>
    <scene_description>■ hou d quit for the ni1ht, Bond ••lk&amp; ew~y from the table to the end of the bar. Kwang and Loti drift away, leavin1 them alone.</scene_description>
    <character>LUPEI</character>
    <dialogue>You 1hould wal. atrairht out of here, 10 ~o th' airport, and never come back.</dialogue>
    <character>BOND</character>
    <dialogue>Where' ■ Sanche</dialogue>
    <character>LUPE</character>
    <dialogue>Up1taira 1n hi office. He' ■ been there all day, Janninr a bif party for some Orien als tomorrow ni1ht.</dialogue>
    <scene_description>He watches waiter• coin1 nto 1ervice lift area.</scene_description>
    <character>BOND</character>
    <dialogue>What did you te 1 him about the Wavekre ■ t?</dialogue>
    <character>LUPE</character>
    <dialogue>Hothinf. I tol him nothinJ. Now 10.</dialogue>
    <character>BOND</character>
    <parenthetical>(think• fo a moment)</parenthetical>
    <dialogue>Take•• to him.</dialogue>
    <scene_description>\</scene_description>
    <character>'</character>
    <dialogue>LOPE</dialogue>
    <scene_description>You loco? You'll get s both killed.</scene_description>
    <character>BOND</character>
    <dialogue>I want to see him now</dialogue>
    <character>PAM</character>
    <dialogue>at the opposite end of the bar takes martini from BARMAN. She looks up. PAM'S POV Lupe leading Bond toward ~he rivate elevator. PAM Puzzlement gradually turns t annoyance. She finishes the martini in one gulp.</dialogue>
    <character>189 DELETE</character>
    <dialogue>189</dialogue>
    <character>190</character>
    <dialogue>\~~)</dialogue>
    <character>INT. SANCHEZ' OFFICE HALLWAY</character>
    <dialogue>form a welcoming committee at the door of Sanchez' suite as BOND and LUPE step out of the private elevator, A TELEVISION CAMERA looks down on them. Braun puts an ugly looking .45 upto Bond's chest. Bond smiles. HELLER steps out from Sanchez' Office, watches as Perez frisks Bond, takes the Walther PPK from his shoulder holster and his passport from his pocket. Heller gestures towards Sanchez's door.</dialogue>
    <character>191</character>
    <dialogue>leads BOND in. LUPE follows. Thy pass door to adjacent conference</dialogue>
    <character>INT. SANCHEZ 1 S OFFICE SANCHEZ TUMAN-LODGE LUPE HELLER</character>
    <dialogue>room. Sanchez and Truman-Lodge a e engrossed in the Professor Joe's T.V. program. Sanchez waves them forward, smiles at Bond.</dialogue>
    <scene_description>·sANCHEZ Mom~nto '· por favor. It' almost ever. Bond crosses to the window. Lupe joins him. The IGUANA sits on a pillow nearby. Bond looks casual y out the ;ar;e picture window. l91A T.V. SCREEN /0/ U) 1911 COVER OP BOOK - beautiful bikini lad woman sit in lotus position inside large cone. Title reads I HE SECRETS OF CONE POWER REVEALED"</scene_description>
    <character>JOE</character>
    <dialogue>Everyone pledging $100 r more shall receive an autographed opy of my book, THE SECRETS OF CONE POWER R VEALED, A forty- nine, ninety-five value absolutely free.</dialogue>
    <scene_description>:L Revised: July 14, 1988</scene_description>
    <character>/~</character>
    <dialogue>( ) 192 EXT. WINDOW - BOND'S POV 192</dialogue>
    <scene_description>The window displays a tiny logo n the corner: •Armourlite-III". The CAMERA examines the roofs and bu ldings across the street.</scene_description>
    <character>193</character>
    <dialogue>THE WINDOW</dialogue>
    <character>EXT. REVERSE ANGLE - BOND THROOG</character>
    <dialogue>"/ (</dialogue>
    <scene_description>The picture window 1• surmounted by intertwined aarble figures of nude nymphs. Bond looks up at t e floodlit national flag fluttering from the flagpole mounted on the roof, directly above Sanchez's office. ,,j,, ,r</scene_description>
    <character>INT. SANCHEZ' OFFICE</character>
    <dialogue>194</dialogue>
    <character>BOND AND LUPE</character>
    <dialogue>t~tl. ,k 194</dialogue>
    <character>BOND</character>
    <dialogue>Lovely view. Don't you think eo, Senorita?</dialogue>
    <scene_description>He smiles at Lupe, but she doesn't trust herself to even look at him. The SOUND of theme music signifies the end of Joe's Program. PEREZ comes in and puts Bond's passport and gun on the desk.</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(to Truman-Lodge)</parenthetical>
    <dialogue>Send them an anonymous donation •• $10,000 .•</dialogue>
    <scene_description>Bond walks ever to him.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Wonderful work these people do.</dialogue>
    <scene_description>Lupe introduces them, Sanchez remains seated.</scene_description>
    <character>LUPE</character>
    <dialogue>Franz Sanchez, Senor --</dialogue>
    <character>BOND</character>
    <dialogue>(cutting her off} Bond. 3ames Bond. Bond steps forward to shake hands, Heller moves between them cutting Bond off. He points to a chair in front of the desk. HELLER Sit.</dialogue>
    <scene_description>Bond does so. Perez comes and stands directly behind him. Heller takes a seat midway between Sanchez and Bond.</scene_description>
    <character>LUPI</character>
    <parenthetical>(apologetic)</parenthetical>
    <dialogue>He insisted on seeing you.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>It's okay, baby.</dialogue>
    <scene_description>194 CONTINUED: Sanchez 1lance&amp; briefly throu•h Bond's passport.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>A well-travelled man.</dialogue>
    <parenthetical>(puttin1 it down)</parenthetical>
    <dialogue>You did alri1ht at the tables toni1ht.</dialogue>
    <character>BOND '</character>
    <dialogue>I had the feelinr my luck was about to chan1e.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Its a wise rambler who knows when his tuck ha• run out.</dialogue>
    <parenthetical>(pickin1 up the 1un)</parenthetical>
    <dialogue>Why this?</dialogue>
    <scene_description>Sanchez looks at him quizzically. Lupe look ■ at the floor, trembling slightly.</scene_description>
    <character>BOND</character>
    <dialogue>In my business you prepare for the unexpected.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>And whet buainesa ia that?</dialogue>
    <character>BOND</character>
    <dialogue>I help people with problems.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>A problem solver.</dialogue>
    <character>BOND</character>
    <dialogue>More of a problem eliminator.</dialogue>
    <scene_description>Sanchez puts the 1un down on hia desk. Sanchez 1lancea toward Lupe.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Anda Ju1ar. (Go play). Leave ua.</dialogue>
    <scene_description>She quickly exits.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Are you here on buaineaa?</dialogue>
    <character>BOND</character>
    <dialogue>I'm temporally unemployed. Thourht I mi1ht find wor~ here.</dialogue>
    <scene_description>'(' JV' lv(ll..r 194 CONTINUED:</scene_description>
    <character>SANCHEZ</character>
    <dialogue>It ia very difficult to obtain a work permit in Isthmus, you have to show a 1pecial talent that people here don't have.</dialogue>
    <scene_description>Bond 1lance1 from Heller to Perez.</scene_description>
    <character>BOND</character>
    <dialogue>That ahouldn't be difficult.</dialogue>
    <scene_description>Heller and Perez bristle.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Senor Bond, You have bir cojone1. You come here, to my place, without referencea. Carryin1 a piece. Throwin1 a tot of money around. But you know ■ omething, nobody ■ aw you come in. So nobody haa to see you 10 out.</dialogue>
    <character>BOND</character>
    <dialogue>Senor Sanchez, I could be quite useful to a man in your position. And you have a reputation for rewardin1 loyalty very well.</dialogue>
    <scene_description>Sanchez is amu1ed. He 1ettle1 back into hi• chair. He pauses for a moment then take ■ Bond'• pa11port.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>I'll keep thi ■ for a few day ■ • We'll talk a1ain.</dialogue>
    <parenthetical>(He 1estures toward the run.)</parenthetical>
    <dialogue>You won•~ need thia in Iathmu1, ita a very aafe city.</dialogue>
    <scene_description>Bond 1eta up to leave.</scene_description>
    <character>BOND</character>
    <dialogue>I'm at the Hotel Preaidente for the next few daya.</dialogue>
    <scene_description>Bond walk• to the door.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Meanwhile you're welcome to the ca ■ ino at all timea.</dialogue>
    <scene_description>Bond exita. Sanchez hand&amp; Heller Bond'• passport.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Check him out.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SALON PRIVE PAM</stage_direction>
    <scene_description>sittin1 at the table, no plaques in evidence,</scene_description>
    <character>BOND O,S,</character>
    <dialogue>Let'• ro.,</dialogue>
    <scene_description>Pam looks up. Bond 11 at nding behind her. The CASINO MANAGER hurries up, a bank draft in his hand.</scene_description>
    <character>CAS NO MANAGER</character>
    <dialogue>I have the drat you wanted, Senorita Kenn y.</dialogue>
    <scene_description>Bond intercepts Pam•• o tstretched hand, takes the check, looks at it. The Casino Mona bows and leavea.</scene_description>
    <character>PAM</character>
    <dialogue>Just the profi •· I could uae aome walkin1 around money.</dialogue>
    <character>BOND</character>
    <dialogue>You can walk a long way with quarter of am Ilion dollars,</dialogue>
    <scene_description>Bond puts the check in h s pocket. They walk out of the Salon Prive and throu1h the ca ino,</scene_description>
    <character>PAM</character>
    <dialogue>What did you d with that hot tamale?</dialogue>
    <scene_description>They pas ■ throu1h the lo by,</scene_description>
    <character>BOND</character>
    <dialogue>We went to see anchez.</dialogue>
    <scene_description>Pam looks at him, amazed. They exit the buildin1. /</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CASINO - NIGHT - ROL S ROYCE PAM AND BOND ?/1. /</stage_direction>
    <scene_description>stop outaide.</scene_description>
    <character>PAM</character>
    <dialogue>What did you fin out?</dialogue>
    <character>BOND</character>
    <dialogue>I'll need a cann n to 1et to him. he'a aittin1 up here behind two inches of araore 1la ■■ •</dialogue>
    <scene_description>He looks up towards Sanche '■ office. He turns and ■ tares ecroa ■ the atreet at the 1 pin1 front of a condemned apartment buildinr awaitinr demoliti n. KWANG and LOTI come out of the casino behind them, Bond' CHAUFFEUR opena the door of the Rolls for Bond and Pam. T ey 1et in. KWANG and LOTI watch them drive away,</scene_description>
  </scene>
  <scene>
    <stage_direction>19? INT. EL PRESIDENTE HOTEL - GHT BONO AND PAM 19.</stage_direction>
    <scene_description>enter the hotel lobby. Bond tops at the CONCIERGE'S desk for the key.</scene_description>
    <character>BOND</character>
    <dialogue>314 please.</dialogue>
    <scene_description>The concierge hands Bond the key.</scene_description>
    <character>CONCIERG</character>
    <dialogue>Sr. Bond you'll b pleased to know that your Uncle ha arrived. I've put him in your su'te.</dialogue>
    <scene_description>Bond looks concerned.</scene_description>
    <character>BOND</character>
    <dialogue>Thank you.</dialogue>
    <character>PAM</character>
    <dialogue>Your uncle?</dialogue>
    <character>BOND</character>
    <dialogue>Let's make this a roper family reunion. Give me our gun.</dialogue>
    <scene_description>She steps into an unoccupie vestibule by the house phone, to conceal what she'.s doing. e raises her skirt, takes a small automatic strapped to her t igh and hands it to Bond.</scene_description>
    <character>BOND</character>
    <dialogue>Wait here.</dialogue>
    <scene_description>He goes to the elevator.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL CORRIDOR BOND</stage_direction>
    <scene_description>approaches the door ot his sui e cautiously. He rings the bell, takes out Pam's small pistol, lattens himself against the wall. A MAN opens the door. Bond pu hes him into the room and up against the wall, his gun at t e man's temple.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL SUITE BOND AND Q</stage_direction>
    <character>Q</character>
    <dialogue>Really, 007!</dialogue>
    <scene_description>It's a moment before Bond rea izes who he's holding. It's Q, dressed like the quintessenti l tourist, in walking shorts and a loud Hawaiian shirt.</scene_description>
    <character>199</character>
    <dialogue>1</dialogue>
    <character>CONTINUED:</character>
    <dialogue>BOND •</dialogue>
    <parenthetical>(releasing h{m)</parenthetical>
    <dialogue>Oh no. What are ou doing here, Q.</dialogue>
    <scene_description>Bond puts Pam's gun away.</scene_description>
    <character>Q</character>
    <dialogue>I'• on leave. ught I'd pop by and see how y were getting on.</dialogue>
    <character>BONO</character>
    <dialogue>How did you find e?</dialogue>
    <character>Q</character>
    <dialogue>Moneypenny. worried sick about you.</dialogue>
    <character>BONO</character>
    <dialogue>This is no place Go home.</dialogue>
    <character>Q</character>
    <dialogue>I know what you' up to, Bond. And quite frankl you need my . help. Why, if i wasn't for Q branch, you'd be ead years ago.</dialogue>
    <scene_description>Q pulls out a large bag whilh jamJDed with gadgets and too s. opens like an accordian. It's</scene_description>
    <character>Q</character>
    <parenthetical>(proudly)</parenthetical>
    <dialogue>Everything for th, man on holiday.</dialogue>
    <scene_description>He pulls objects from the b+., and hold them up for Bond. enough explosive never wake .up! A travel afarm cllk ••• packed with make sure they Bond reaches into case, take out a British passport. Don't open°that dotble-o-seven. It'll explode in y9ur face. (takes it frol Bond) Perfect diversion f questioned</scene_description>
    <character>.</character>
    <dialogue>He pulls out tube of toothpa~te.</dialogue>
    <character>,</character>
    <dialogue>too closely by the.local police •</dialogue>
    <scene_description>\ ·; 199 CONTINUED: (2) 1(i;i</scene_description>
    <character>Q</character>
    <dialogue>Dentonite Toothpaste .use it sparingly. It's the latest in plastique explosive.</dialogue>
    <scene_description>Bond relents.</scene_description>
    <character>BONO</character>
    <dialogue>I could use some stique.</dialogue>
    <scene_description>The door opens. They whirl PAM stands there, a second gun in her hand. She smiles</scene_description>
    <character>PAM</character>
    <dialogue>I thought there m ht be a mess to clean up.</dialogue>
    <character>BONO</character>
    <dialogue>Pam, this is Q, m</dialogue>
    <parenthetical>(Bond gestur Pam.)</parenthetical>
    <dialogue>Uncle, this is Mis Kennedy .•• my cousin.</dialogue>
    <scene_description>She steps forward and shake takes his hand.</scene_description>
    <character>Q</character>
    <dialogue>Are we related?</dialogue>
    <scene_description>Pam picks up a thin cyland from Q's case, examining it closely.</scene_description>
    <character>PAM</character>
    <dialogue>What's this?</dialogue>
    <scene_description>Q takes it from her and be 'ns to assemble a rifle from various innocuous objects in his b as he speaks.</scene_description>
    <character>Q</character>
    <parenthetical>(turning to ond)</parenthetical>
    <dialogue>It's a signature un with an optical palm rea r. After I program it for y , Bond, no-one else can fire it.</dialogue>
    <scene_description>Pam has picked up a polaroi camera from Q's bag. She points it at Bond and Q.</scene_description>
    <character>PAM</character>
    <dialogue>Smile, boys.</dialogue>
    <scene_description>Q whirls around, sees the c mera. 19? CONTINUED: ( 3) 199</scene_description>
    <character>Q</character>
    <dialogue>Don't use the fla h!</dialogue>
    <scene_description>He pushes Bond out of thew y just as Pam presses the shutter. A brilliant red laser beam hoots from the flash, burning a hole in the picture of Hector ez on the wall. Q grabs the camera from her.</scene_description>
    <character>Q</character>
    <dialogue>Ten •hot. Best closeups.</dialogue>
    <scene_description>Pam looks at the polaroid icture.</scene_description>
    <character>PAM</character>
    <dialogue>That'• odd.</dialogue>
    <character>INSERT</character>
    <dialogue>An X-Ray portrait of Bond Bond's jacket, pens, watc Q's. BONO</dialogue>
    <character>POLAROID PICTURE</character>
    <dialogue>nd Q. Pam's gun can be seen in and other gadgets can be seen under</dialogue>
    <character>BONO</character>
    <dialogue>Let's get some est. There's a lot to do befo we go back to finish off San ez tomorrow night.</dialogue>
    <scene_description>Q goes to the extra bedr</scene_description>
    <character>Q</character>
    <dialogue>This was empty</dialogue>
    <character>BOND</character>
    <dialogue>Take it, Q.</dialogue>
    <scene_description>Bond turns to the other edroom. Pam stands in the doorway.</scene_description>
    <character>PAM</character>
    <dialogue>(formally Sweet dreams. Mr Bond. She closes the door. sou o of deadbolt lock sliding home. Bond looks around, walks to Q s room. He looks in at the two double beds. Q glances up, puz led. BOND</dialogue>
    <scene_description>I hope you don t snore, Q. EXT. CASINO - NIGHT - RO lS ROYCE BONO PAM in chauffeur's cap and u iform, drives up in the Rolls, Bond and Pam are in the back. They get out, walk into the casino, leaving Q with the car.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALON PRIVE - NIGHT CASHIER PAM BOND</stage_direction>
    <scene_description>taking a stack of ten $10~000 plaques from cashier. Hands them to Pam. 1</scene_description>
    <character>\</character>
    <dialogue>BOND \</dialogue>
    <scene_description>Extra bonus. Y r job's done. Take Q and fly tot here now. I'll make my o way back. - I'd Go. r alone. He leaves her and heads f the bar, past ARMED GUARDS standing at the elevators. WAITER dressed in tuxedos, push large carts of food from the pantry.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PANTRY AREA BOND</stage_direction>
    <scene_description>'i/z. 0 202 slips into the hall by the kitchen. A continuous stream of WAITERS passes to and from the pantry. Bond walks into the pantry, picks up a napkin, drapes it over one arm and takes a cart of food. He pushes i out of the pantry to Sanchez' private elevator. TWO GU OS search the cart before they let him go on. TWO WAITERS st pout as the door opens. Bond pushes the cart into the elevator</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CASINO, SANCHEZ' FLO WAITERS</stage_direction>
    <scene_description>A group of waiters withe ty trays and carts wait for the elevator. The elevator a ives and doors open. It's empty except for a cart.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CASINO, ELEVATOR SHAT BOND</stage_direction>
    <scene_description>climbs up the girders suppo ting the elevator shaft, toward a hatch opening on to the roo.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CASINO ROOF BOND</stage_direction>
    <scene_description>walks to the base of the pole ~~oyj~ Sanchez's -office. INT. SANCHEZ' CONFERENCE ROO SANCHtt T~-L5&gt;DGE HELLER</scene_description>
    <character>KWANG ORIENTAL GROUP</character>
    <dialogue>I l"t' 10/, .., " '</dialogue>
    <scene_description>Meeting in progress. Sanche stands at the head of the conference table, Truman-Lod e and COLONEL HELLER, a former Green Beret type, sit on eit er side of him. The Oriental Group, which Bond saw arrivi g at the airport, sit facing them. There is a map of the Pacifi on one wall. 206 CONTINUED:</scene_description>
    <character>SANCHZ</character>
    <dialogue>Senors, welcome You all know Mr. Truman-Lodge, ad this is my head cf security, Co. Heller.</dialogue>
    <scene_description>Heller stands tc applause sits.</scene_description>
    <character>SANCHZ</character>
    <dialogue>This is a histo ic moment. East meets West. Dr g dealers cf the world unite.</dialogue>
    <parenthetical>(chuckles this own clevernes)</parenthetical>
    <dialogue>Asia is a new m rket for us. Mr Truman-Lodge, h re, my financial genius, will tel you how we can all become bill onaires ten times over. But I wa t to tell you something else. In this business there is a lot f cash. And a lot of people w th their hands out.</dialogue>
    <character>KWANG</character>
    <dialogue>(interrupt In a word, brib The group laughs. SANCH You said it! So Everyone and his on</dialogue>
    <scene_description>the payroll.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CASINO ROOF BOND</stage_direction>
    <scene_description>removes his cummerbund, revealing a climber's harness. He slides the rope from the flag pole through the harness rings, and steps over the edge cf the fOOf. t•ft&amp;· ¥ IO f/JiI; /0~•-;- fT,,,. INT. SANCHEZ' CONFERENCE R M TJtUMAN- DGE ELLER KWANG</scene_description>
    <character>ORIENTAL GROUP</character>
    <dialogue>continues the meeting.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>SANCHE</dialogue>
    <scene_description>So you buy a may r, a police chief, a general a president. one day you wake up, you own the whole qoddam cou try. Then you take what you wa t. (more) 208 CONTINUED: 20:</scene_description>
    <character>SANCHZ</character>
    <dialogue>A bank, e rambl nr casino, en airline concesa on -- Why1 Simple. lt'a e sier for politicians to eke silver then ••</dialogue>
    <parenthetical>(he points his finger like e cu)</parenthetical>
    <dialogue>••• Jead.</dialogue>
    <scene_description>They ell Jeugh. Sanchez to the map. SANCH z We have en invi ible empire from Chile to Alaska lli'hat I want to do, emicos, is eke you part of it. He points to Asia. Then o the Pacific Ocean.</scene_description>
    <character>SANCHZ</character>
    <dialogue>1 want the Paci ic to be our little puddle.</dialogue>
    <scene_description>They applaud. 10/s\_ .. ~</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CASIN.O, BOND ~,,,</stage_direction>
    <scene_description>repels down toe positio some ten feet out from the ledge above Sanchei's window. He ta s a looped nylon rope from his pocket, slings it over one of th marble nymph's outstretched arms and swings into her chilly e race. He squeezes the plastic explosives from the tube lonr the perimeter of the ledge. The SOUND of. TRUMAN-LODGE dr es faintly throu1h the rless. As Bond inserts a radio controll detonator in the explosive, he loses his footinc and slams er ·nst the edge of Sanchez's office window. He 1rab1 the le e end pulls himself up.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CONFERENCE ROOM HELLER 10/1;</stage_direction>
    <scene_description>hears a NOISE from the ad scent office, 1ets up and roes into it.· TRCMAN-LODGE 1 S VOICE continues THROUGHOUT THE ~EXT SCE~E.</scene_description>
    <character>TRUMA -LODGE O.S.</character>
    <dialogue>Here is a demo ephic report breakin1 down e eh territory by e1e and 1ocio-e nomic 1roup. As you can see, here is a hu1e potential -demand 1iven the implementation o e11ressive merketinr pro1ra s •••</dialogue>
    <character>211</character>
    <dialogue>just inches above aa Hell r arrive ■ on the other aide of the</dialogue>
    <character>EXT, CASINO, SANCHEZ' WIN OW</character>
    <dialogue>10/,,f</dialogue>
    <scene_description>window. Heller atand1 fo a moment, lookin1 around, then return ■ to hia 1eet in th other room. Bond climbs beck up on the roof.</scene_description>
    <character>TRU -LODGE 0,8.</character>
    <dialogue>A• in the Unite State ■, Senor Sanchez la prep red to aell excluaive franc i•••·</dialogue>
    <scene_description>The price $100 million pe territory.</scene_description>
    <character>1�</character>
    <character>212</character>
    <dialogue>/o</dialogue>
    <character>INT. SANCHEZ' CONFERENCE</character>
    <dialogue>TRU</dialogue>
    <character>.&gt;-LODGE HELLER 212</character>
    <dialogue>XWANG ORIENTAL GROUP</dialogue>
    <character>TRUMAN LODGE</character>
    <dialogue>We supply exclua vely to you, 10 tona per aonth. IF Hon1 Xona $20,000 a key.</dialogue>
    <scene_description>He aeea a KOREAN workin1 i out on a calculator.</scene_description>
    <character>TRUMAN LODGE</character>
    <dialogue>That comea to 20 million per metric ton, Hr Tan.</dialogue>
    <scene_description>Tan nods epprovin1ly, it'• EXT. CASINO ROLLS ROYCE Q fair price.'; /-zJ I ~/~,J' 213 VIEW FROM INSIDE ANOTHER C ACROSS STllEET. Q·waitinf in Rolla. Bond walk• out front door Ca ■ ino, 1et1 into car ••They drive. around corner. 213A EXT. ABANDONED BUILDING RO LS ROYCE Q BOND 2l3A 1et1 out•• they pull up outaide. Bond 1oe ■ to Q'a aide of the car and apeaka to him throu1h the open window.</scene_description>
    <character>BOND</character>
    <dialogue>Good-bye, Q. Thank ■ for what you've done. You're a bell of a field operative. Now 10. I'll aee you in London.</dialogue>
    <scene_description>He quickly walks into the buildin1, Q' ■ •Y•• are ■oi1t •• he 1ee1 hi• friend 10, \</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SANCHEZ' CONFERENCE ROM SANCHEZ TRUMAN-LODGE HELLER</stage_direction>
    <character>KWANG ORIENTAL GROUP</character>
    <dialogue>TRUMAN- DGE</dialogue>
    <scene_description>We ruarantee quali y and price for five year•. A.ny eationa? There la a conaen1ua of acce tance amonr the rroup.</scene_description>
    <character>JCWANG</character>
    <dialogue>Sr, Sanchez, aine eominr here, we've eaten well, eard a lot of 100d atoriea, but efore payinf enythinr, I want o aee aome hardware.</dialogue>
    <scene_description>There 1• a audden tenae ail The people in the room hold their breath.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Mr.Kwan,. You do 't pay for hardware. You p y for !L.l?!t.!.2!!!1 I!aunt!e a...,nd.\_\_...\_r..\_.o......e....c...t...1....on.:\_</dialogue>
    <scene_description>Sanchez and Kwanr are loeke in a momentary teat of will.</scene_description>
    <character>KWANG.</character>
    <dialogue>How do we know yo have the capacity?</dialogue>
    <scene_description>There ia a babble of a1reem t around the table.</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(an 1eature)</parenthetical>
    <dialogue>expan ■ ive</dialogue>
    <scene_description>Hey a■ iroa, you're rirht. We're partner ■, No? Tomrrow you'll•10 to our aain diatri ution center. Pack an overnirht Now, no ■ ore bu1lne11 toni He .pr••••• a b.utton on hi• d 1k and a larre double door at the oppoaite end of the room ope• revealinf • fantaatic buffet and TWENTY GORGEOUS HOSTESSES.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Enjoy your1elve1.</dialogue>
    <scene_description>Oriental rroup 1et1 up and pr ceeda to the other room, Sanchez'• eyea never leave Kwan1, e1 1oe1 into hi• office. Truman- Lod1e follow• .hi ■•</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING - NIG BOND</stage_direction>
    <scene_description>walk• up a derelict ataira to an upper landinr. He reachinf into hole in wall, extract• 1irnatur• run wrapped in dark cloth. He un.-rapa it and take• it tote OP,OOlfront of the buil'dinf, \b \'1, INT, .SANCHEZ' OFFICE SANCHEZ A TR N-LODGi</scene_description>
    <character>TRU</character>
    <dialogue>I don't like</dialogue>
    <character>N-LODGE</character>
    <dialogue>hi ■•That Kwanr 11</dialogue>
    <scene_description>trouble. Why ■ howthem the laba? SAN z Would you, put p $100 million without a litt e rea11urance? Don't worry, e wouldn't dare expoae ourope ation,</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING</stage_direction>
    <scene_description>overlookinr the caaino. BOHD look• for• firinr po•ltlon. In the bri1htly lit window f Sanchez' office, SANCHEZ and TRUMAN- LODGE converae.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SANCHEZ' OFFICE SAN HEZ TRUMAN-LODGE HBLLIR</stage_direction>
    <scene_description>enter ■ the room.</scene_description>
    <character>HELLE</character>
    <dialogue>President Lopez I here.</dialogue>
    <scene_description>PRESIDENT LOPEZ come ■ into the room. He' ■ carryinc a check,</scene_description>
    <character>SANCHE</character>
    <dialogue>Hector. Come in.</dialogue>
    <character>LOPEZ</character>
    <dialogue>There' ■ been a• take with ■y check, Look at ia.</dialogue>
    <scene_description>He ■ how ■ Sanchez the check. Sanchez looka at it, 1hru11,</scene_description>
    <character>LOPEZ.</character>
    <dialogue>It'a half the uau l amount.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>You were very quit when arre ■ ted. Rememb r, you're only</dialogue>
    <character>I���</character>
    <dialogue>Preaident for Llf •</dialogue>
    <scene_description>He lau1h1. Lope1 pal•••</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED BUILDING BON</stage_direction>
    <scene_description>11•• on the floor. He ha ■ ■ e up the rifle and la adjuatin1 the nicht ■ cope. ./ IXT, BOND'S POV - THROUGH THE RIFLE SIGHTS "//1.'J;"' tD/1 ~ SANCHEZ at hi ■ deak, PRESIDE T LOPEZ exit ■ •</scene_description>
    <character>BOND</character>
    <dialogue>react ■ to ■ ome·one et another indow. He •hifta ■ cope to focus on them.</dialogue>
    <scene_description>ct/iq~ 10/15 221 EXT, SANCHEZ' OFFICE - BOND'S OV - THROUGH THE RIFLE SIGH'.i'S 221 In the room adjacent to Sanch ', HELLER rreet1 a woman at tha door. It ia PAM, She handa im an envelope. They ■ peak animatedly for a moment then he leaves. BOND hi• face aet1 rrimly. He ■ov • bi ■ 1irht1 back to Sanchez• window. INSERT - BOND'S HAND· pre11e1 remote control deton tor button.</scene_description>
    <character>222</character>
    <dialogue>The window• to Sanchez' offi •blowout.</dialogue>
    <character>EXT, CASINO</character>
    <dialogue>223</dialogue>
    <dialogue>The concu11ion 1ro11ily.</dialogue>
    <character>INT, SANCHEZ' OFFICI</character>
    <dialogue>knock ■</dialogue>
    <character>224</character>
    <dialogue>Hi• finrer ti1hten1 on tri11 r.</dialogue>
    <character>EXT. ABANDONED BUILDING</character>
    <dialogue>EXT. BOND'S POV - THROUGH THE RIFLE SIGHTS</dialogue>
    <dialogue>The cro11 hair ■ center on San he1' back,</dialogue>
    <character>226</character>
    <dialogue>INT, ABANDONED BUILDING</dialogue>
    <scene_description>TWO GREY CLAD NINJA FIGURES anr fro■ open con1truction area in· floor just above Bond. They drop on him, kickin1 the run out of hia hand juat •• he fir••• e ahot roe ■ wild. BOND Rolla away, aprln11 to hi ■ f t. The ninja• both leap 1imultaneou1ly et hi ■, He ■ area to kick Nin)a •1 in the face 1endin1 him aprawlinr. Ninja 2 aenda a cru ■ binr blow to the aide of hia bead. The SOUND of ■ irena and allr co■•• fro■ acroaa the atreet. Ninja •2 picka up Bond' ■ rifl and point• it at him. The run won't fire. Bond leap• at hi • Ninja •1 firea a net from his aleeve. Jt catch•• Bond in ■ i -air and brinr• bi ■ craahin1 to the floor. Ninja •2 club■ Bon over the head with the rifle. Bond la ■ tunned.</scene_description>
    <character>227</character>
    <dialogue>j</dialogue>
    <character>EXT, NINJA'S CAR - NIGHT</character>
    <dialogue>The car turn• off the hirhwa on the outakirta of town and onto a dirt road. It pull• up in front of a bun1alow. A FOURTH MAN l• drivin1 the car. The NINJ S 1et out of the car, open the trunk, drar BOND into the bu ralow. THE FOURTH MAN look ■ around, then follow ■ carryin the al,nature rifle.</dialogue>
    <scene_description>i· • ,.,,..--···· ... \.. )</scene_description>
    <character>228</character>
    <dialogue>!HT. BUNGALOW - HIGHT</dialogue>
    <scene_description>draggvd through the tront roum to th¥ back of th• houue. Thay t~k• him to ata1r• lead1n to cellar.</scene_description>
    <character>229</character>
    <dialogue>OF.LETE</dialogue>
    <character>230</character>
    <dialogue>INT, BUNOALOW CEL~AR - NI</dialogue>
    <scene_description>~ull &amp;cmd into the zeoom,· hrow him into a chaii-,and et:-appina hi• arm• ~nd leg• to 1t. TH! FOUftTH MAN enter•, it 1• KWANQ. The Ninja• take ott their head ecarta. One ia LOT%, tho other a THIN ASIAN MAN, you'? Bond, glare•, doe•n't an er, In an in•t~t Lcti viciously smacks Bond aero•• the ta•· LO'l'I ae politw and ewer the aan. She rai••~ h•~ arm to hit him again. Kwang etcps her. Wait! arm.</scene_description>
    <character>230A</character>
    <dialogue>EXT. BONUALOW</dialogue>
    <scene_description>pull• up. A MAN ;eta out go•• into the bungalow, Out en th• hi;hway, another\_ .CAR pu •· ta a atcp. It• headlight• go out. 2308 INT, BUNGALOW CILLAR - GR'l' 2:3( The H1nja• b.old Bond'• a•· Kwang remove• the ■afazine oat ot the rifle, •qu••z•• it 1 to Bond'• hand, and fore:•• hio fin;er to pull the 't;ri;ger, r gun•• h•-•r cl.tck•. · XWA Nho would ha·.• a ■ ignatur• gun?</scene_description>
    <character>,....</character>
    <dialogue>PALLOM enter• from the</dialogue>
    <character>K 0,1.</character>
    <dialogue>aire, take• the S1gnatur• Oun from</dialogue>
    <scene_description>Xw&amp;ng examining it, fAL N. Thie i~ propca y ot ifer M• jacti•• Government. w did y~u ;et 1t? lu/1;~10 /1</scene_description>
    <character>231</character>
    <dialogue>An Iathmu1 ARMY TANK firea anther and a amall army unit ■ tand b.</dialogue>
    <character>EXT. BUNGALOW - NIGHT - ARMY</character>
    <dialogue>■ hell</dialogue>
    <character>, HELLER</character>
    <dialogue>Nice •• nice. That'• nourh.</dialogue>
    <scene_description>He wavea hi• aoldier• forward and follow ■ them toward• the bun1alow. The aoldier ■ enter it firlnr.</scene_description>
    <character>232</character>
    <dialogue>r r</dialogue>
    <character>INT. BUNGALOW CELLAR</character>
    <dialogue>·117~</dialogue>
    <scene_description>1■ dead. Kwanr lie ■ nearby, ao tally wounded. Loti crawl ■ &amp;ver to bi ■•</scene_description>
    <character>KWANG</character>
    <dialogue>Don't let them take</dialogue>
    <scene_description>Loti nod ■ with•under ■ tandinr, b r ■ the SOUND of ■ oldier ■ approachinf. She run ■ to the t of the· ■ taira and hides behind what is left of the door. It op na. She aprin1• on the FIRST SOLDIER killinf him instantly. he ■ pins to face SOLDIER #2, who ahoota her. Althourh wounded ■ he kill• him too. More SOLDIERS pour into the room. Lo 1 1oes down in a hail of bullet ■• 0 BOND dazed, aeea SANCHEZ AND HELLER e er. Sanchez ,raba Kwanr by the collar pullin1 him to within inc ea of hi• face.</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(Shoutinr)</parenthetical>
    <dialogue>Who aent you?</dialogue>
    <scene_description>Kwan1 smile ■ironically and diea Heller bend• down 1mella poi ■ on on Xwanr'• breath. HEl.LER Cyanlde. Sanchez throw ■ down Kwanr•• bod. A SOLDIER atandin1 over Bond CALLS to them. They co■•• Bond, atill •trapped to the chair, lie• amonr the debrla. He ■ tare up at them for a ao■ent, then pa•••• out. .</scene_description>
    <character>233</character>
    <dialogue>(</dialogue>
    <character>DELETE</character>
    <dialogue>.. ,..</dialogue>
    <character>.'</character>
    <dialogue>• 233</dialogue>
    <character>234</character>
    <dialogue>INT. SANCHEZ' BEDROOM, SANCHEZ' HOUSE - DAY. BOND</dialogue>
    <scene_description>awakens in an opulent bed! A ■ oft ■ ea breeze blowa throu1h the arched patio doora, Bond alt ■ up in bed. Look, around him in di1be11ef. Pullinl on a ■ ilk robe from the end of the bed. It bear, the ■0no1ram F.S. On a ailent butler ln one corner are hi• ahirt and ,Un~.tr jacket, which are 1tl 11 the worat for wear deapite havlnf been bruah•d and cleaned. Bond walk• from the room.</scene_description>
    <character>:235 EXT, PATIO, SANCHEZ HOUSE BOND 235</character>
    <dialogue>atare ■ around him in di1belief. The patio ■ tretche ■ forever, Concrete camel ■ kneel at it ■ border ■, under concrete palm trees beside deep couch••• Everythin1 i ■ pri ■ tine white. The blue line of the ■ ea.aparkle ■ in the di ■ tance.</dialogue>
    <character>:236 EXT, GARDEN, SANCHEZ HOUSE BOND 236</character>
    <dialogue>walk ■ throu1h an extrava1antly planted fern 1arden, down atep ■ past a ■ an-made waterfall. Flower ■ 1row out of the rock wall. He heads toward an open air livin1 room.</dialogue>
    <character>237</character>
    <dialogue>walk ■ in throu1h the doora.</dialogue>
    <character>INT, LIVING ROOM</character>
    <dialogue>The roo■ la bure, cool and white,</dialogue>
    <scene_description>decorated with a Moori ■ h ■otif. A lar1• ■wi ■min1 pool ■ erpentine ■ around it• perimeter. 'LUPI alta facin1 hi ■ on a lar1e white couch, the table in front of her la ■ et for lunch. She &amp;lance ■ around quickly and aeein1 they are alone cro ■ ses to him.</scene_description>
    <character>LUPE</character>
    <parenthetical>(whispers desperately)</parenthetical>
    <dialogue>The Wavekre ■ t 1 ■ arrlvin1 tonirht. Xrest la comin1 here.</dialogue>
    <character>BOND ,</character>
    <dialogue>Good!</dialogue>
    <scene_description>\~~) Before ahe can answer, Sanchez enters. He aeea Bond, 1mile1 and embrace ■ bi ■•</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Ami10. Hey, you abouldn't be up. Sit down.</dialogue>
    <scene_description>He point, to a place near where Lupe wa1 aittin1. Bond sits.</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(to Lupe)</parenthetical>
    <dialogue>Have a drink.</dialogue>
    <scene_description>She 1oea to the bar aero•• the roo■, Sanchez join• Bond.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>We both bad cloae calla laat ni1ht.</dialogue>
    <character>BOND</character>
    <dialogue>You were juat in time, thln11 were about to turn naaty.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Who were thoae 1uy1?</dialogue>
    <character>237</character>
    <dialogue>BOND</dialogue>
    <character>CONTINUED:</character>
    <dialogue>Free-lance hit team •</dialogue>
    <character>� SANCHEZ</character>
    <dialogue>So what did they want with you?</dialogue>
    <character>BOND</character>
    <parenthetical>(llrhtin1 up a clrarette)</parenthetical>
    <dialogue>I recornized one of them at the caaino. They were afraid I would warn you, ■ poll their plana.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>So you knew them?</dialogue>
    <character>BOND</character>
    <dialogue>I've recently retired fro■ the Britl ■ h Government. We kept doaaier ■ on ■ uch aen.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>A Britlah A1ent. I knew it, you have claaa,</dialogue>
    <parenthetical>(leaninr cloae to him)</parenthetical>
    <dialogue>\.:&gt; Bond look• at</dialogue>
    <scene_description>Those ■en tried to kill ■e. hi ■ ateadily, takinr a drar on hi• cirarette.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Who would 4o auch a thinr?</dialogue>
    <character>BOND</character>
    <dialogue>Someone cloae to you.·</dialogue>
    <character>SANCHEZ</character>
    <dialogue>They told you thia?</dialogue>
    <character>BOND</character>
    <dialogue>They wer• ••11 briefed. Obvioualy by ao■eone on the lnaide.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Did they . .ntlon ~ name?</dialogue>
    <character>BOND</character>
    <dialogue>No.</dialogue>
    <parenthetical>(euddenty r•c.111nr ■ o■ethin1)</parenthetical>
    <dialogue>Only that they were expectin1 to be paid a sreat deal of caah by a aan arrivin1 in Iathllua today. Do you auapect aoaeone?</dialogue>
    <scene_description>Sanchez aaaerta bi• usual ~ravado. CONTINUED:</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Every one in my orranization la one hundred percent loyal.</dialogue>
    <character>BOND</character>
    <dialogue>Then you have nothin1 to worry about.</dialogue>
    <scene_description>SOUND OF HELICOPTER APPROACHING:</scene_description>
    <character>SANCHEZ</character>
    <dialogue>I have to ro ■eet aome people. You ahould reat.</dialogue>
    <character>BOND �</character>
    <dialogue>I have to 1et back to ■Y Hotel.</dialogue>
    <character>SANCHEZ</character>
    <parenthetical>(inai ■ tin1)</parenthetical>
    <dialogue>You ahould re ■ t here! For a couple of daya. Hey, ■ ave your 1•1••</dialogue>
    <parenthetical>(turninr to Lupe)</parenthetical>
    <dialogue>Lupe, ■ how him the eaay way up.</dialogue>
    <scene_description>They join lupe and walk out to the path leadinf to a Funicular. 0 Lupe takes Bond to it. A• they 1et in and 10 up a helicopter pa ■••• overhead and lands on the roof above. While Sanchez watche ■ them 10, HELLER ■ ilently join ■ him. He cock ■ hi ■ head in Bond'• direction.</scene_description>
    <character>HELLER</character>
    <dialogue>I rot a report on him. You'll never ru••• who he i ■ ?</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Former Br1t11h arent.</dialogue>
    <character>HELLER</character>
    <dialogue>How did you know?</dialogue>
    <character>SANCHEZ</character>
    <dialogue>You think I don't know ■ uch thine•? I want to ■ eet Kreat•• boat tonifht. We'll need a dozen reliable ■en.</dialogue>
    <character>HELLER</character>
    <dialogue>Ia there a proble ■ with Kreat?</dialogue>
    <character>SANCHEZ</character>
    <dialogue>We'll aee. Brlnf Lupe, She we ■ there. H• won't lie in front of her.</dialogue>
    <scene_description>They exit toward the roof.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SAICHEZ HOUSE, BEDROOM LUPE AND BOND</stage_direction>
    <scene_description>dreaaed in hi• tux pant• and buttoninr up his formal ahirt.</scene_description>
    <character>LUPE</character>
    <dialogue>What are ~ou doinr?</dialogue>
    <character>BOND</character>
    <dialogue>I've bad ■y fili of Sanchez hospitality.</dialogue>
    <character>LUPE</character>
    <dialogue>He told you to 1tay, you're aakinr for bil trouble.</dialogue>
    <character>BOND</character>
    <dialogue>I don·'t want to involve you. Ju1t rive ■e five ■ inut••· then ■ cream your head off.</dialogue>
    <character>·LUPI</character>
    <dialogue>You'll never ■ake it. There are ruard• all over the place.</dialogue>
  </scene>
  <scene>
    <stage_direction />
    <scene_description>239-240 DELETE . ... ( ... .</scene_description>
    <character>I ;.</character>
    <dialogue>,</dialogue>
    <character>239-240</character>
    <dialogue>SANCHEZ HOUSE GARDENS AND DOCK GUAAD i,.:</dialogue>
    <scene_description>atanda overlookin1 the dock where a 22 foot apeedboat la moored. FUNICULAR leadin1 fro■ house arrive ■ at landin1. LUPE, a lar1e tote bar over her 1houlder, 1ive1 him a bi1 smile•• she ali1ht1. In B.G. a FIGURE darts by behind the Guard. She walks quickly to the dock and run• to the endt jumpin1 into the speedboat. She ■ tart ■ it up.</scene_description>
    <character>GUARD</character>
    <dialogue>Senorita! Senorita! No, no don't. Senor Sanchez 1aid •••</dialogue>
    <character>LUPE</character>
    <dialogue>l' ■ 1oinr aboppinr, Won't be lonrl</dialogue>
    <scene_description>The suard'a PROTESTS are drowned in the roar of the speedboat enrine. Lupe peela out fro■ tbe dock. BOND In the water holdinr onto the bumper line hidden fro■ the ruard by the boatt1 bull. 241A EXT. DESERTED DOCK SPEEDBOAT LUPE AND BOND .24lA arrivin1 at dock. Bond jumps onto dock holdinr the mooring line, He extend• hia hand to her.</scene_description>
    <character>, BOND</character>
    <dialogue>Hurryl</dialogue>
    <character>LUPE</character>
    <dialogue>I' ■ 1oinr back.</dialogue>
    <character>BOND �</character>
    <dialogue>You love him?</dialogue>
    <character>LUPE</character>
    <dialogue>No! I hate hi ■,</dialogue>
    <character>BOND</character>
    <dialogue>Then why don't you come with•••</dialogue>
    <character>LUPE</character>
    <dialogue>Becauae you're crazier then he ia.</dialogue>
    <scene_description>She drivea off in boat pullinf the line from hi• hand.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL SUITE - DAY PAM Q</stage_direction>
    <scene_description>fidaeta with hia tool ■• Pa ■ tare ■ out the window, amokinf. She look• at her ci1arette.</scene_description>
    <character>PAM</character>
    <dialogue>I haven't had one of theae in five year,.</dialogue>
    <character>Q</character>
    <dialogue>Don't worry, 007 lwaya come• back,</dialogue>
    <scene_description>There ia the SOUND of a kn k at the door, They both ru ■ h to open it. Pam r•t• there f at. lt'a Bond. He rraba her arm pu ■ hinr peat Q toward the edroom,</scene_description>
    <character>BOND</character>
    <parenthetical>(accu ■ ln1ly)</parenthetical>
    <dialogue>You're atill her.</dialogue>
    <character>Q</character>
    <dialogue>Of courae, We c uldn't 10 not knowin1 what hap ened to you.</dialogue>
    <scene_description>Bond puahea Pa■ rou1hly in o the bedroo■•</scene_description>
    <character>BOND</character>
    <parenthetical>(to Q)</parenthetical>
    <dialogue>Pack up, we're 1</dialogue>
    <scene_description>He abut ■ th• bedroom door Q'a face.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL BEDROOM PAM BOND</stage_direction>
    <scene_description>Without relea1in1 her arm he ■ in ■ her around to face him. He reache1 under her ■ kirt and p la her run out.</scene_description>
    <character>, PAM</character>
    <dialogue>What•• wron1, Jame ■ .</dialogue>
    <scene_description>i</scene_description>
    <character>BOND</character>
    <dialogue>Kwan1 and hi• ■en ••r• Brltiah</dialogue>
    <character>I</character>
    <dialogue>•cent ■• They're dea4. You're workinc both ■ id•••</dialogue>
    <character>PAM</character>
    <dialogue>Nol</dialogue>
    <scene_description>.i • t Bond move ■ a ■ tep cloaer, ■entin1 her.</scene_description>
    <character>PAM</character>
    <dialogue>I couldn't tell you efore. Remember the letter r•lix 1ave ■e?</dialogue>
    <character>,, BOND �</character>
    <parenthetical>(interruptin1)</parenthetical>
    <character>I</character>
    <dialogue>No more ■ toriea, I •int the truth. I aaw you with Hell•f•</dialogue>
    <scene_description>She i ■ tearful. \</scene_description>
    <character>PAM \</character>
    <dialogue>I am tellin1 the tru1. Hefler wanted to ■ake a deal with the U.S. We were friend■ back .n ■y army day ■• So he a ■ ked ■e to contact Leiter for him.</dialogue>
    <scene_description>He eyea her coldl\_y.</scene_description>
    <character>PAM</character>
    <dialogue>Sanchez ha ■bou1ht for hand held ■ iaail•• from the Con aa.</dialogue>
    <character>BOND</character>
    <dialogue>8tin1er1?</dialogue>
    <character>PAM</character>
    <dialogue>Yea, new prototype ■• nfrared Tar1et Lock. Sanches •• threatened to ■hoot airliner lf the DEA do an't lay</dialogue>
    <scene_description>dot: an off. The letter Feliz rave•• la from the Attorney Genetal promi1ln1 Heller immunity if he set ■ the ■ i11ile1 back. i ~ \ Bond curio ■ ity la arou ■ ed. Revised: 3uly 1,, 1988 243 CONTINUED:</scene_description>
    <character>BONO</character>
    <dialogue>Did Heller go for the al?</dialogue>
    <character>PAM</character>
    <dialogue>Everything was set, bu then you aissed Sanchez. Heller panic ed. He told me the deal'• off. I was dea ■ eat if he ever saw ae again. That•• the hank• l got for trying to help hia out</dialogue>
    <scene_description>She turns away in fruatration.</scene_description>
    <character>PAM</character>
    <dialogue>Sanchez baa tripled hi security. We'll never get another ahot at him.</dialogue>
    <character>BONO</character>
    <dialogue>Don't have to. We're g in; to finish Kwang'• job. Sanchez s going to live just long enough ·to•~• his empire crumble around him.</dialogue>
    <scene_description>He makes a quick decision.</scene_description>
    <character>BOND</character>
    <dialogue>Meet us at the Barbor aster'• Office in two hours.</dialogue>
    <scene_description>He opens the bedroom door, Q raightena up from the case he was packing. Bond enters auite. follows.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL SUITE Q PAM BONO</stage_direction>
    <scene_description>1/v? 2,,</scene_description>
    <character>BOND</character>
    <dialogue>Bring the Rolls round o the front of the hotel,</dialogue>
    <scene_description>Q beams, -. . .delightel! to be ,he job again.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BANCO DE ISTHMUS BOND</stage_direction>
    <scene_description>&lt;r/17 246 enters the bank carrying two auitcases. He walk• to the MANAGER'• desk. ·</scene_description>
    <character>BOND</character>
    <dialogue>Sr. Montolongo, I need to aake a withdrawal.</dialogue>
    <scene_description>The Bank Manager give• him an• •••Y go" look. EXT. BANCO DE ISTHMUS DOORMAN Q r /1) sitting at the wheel. BOND atri s out of the Bank, PORTER follows carrying the suitcases. The DOO N goes to open the trunk of the rolls, but Bond waves him off m tioning for the Porter to throwing the bags into the back aeat. Bo d gets in after them. Revised: 3uly·1,, 1988 I ,,,.,--....,. 1. ; 249 EXT. ISTHMUS CITY BARBOR - Jf HT - WAVEKREST 249 approaches the harbor entran e. A PILOT BOAT comes alongside, l f 11 at the wheel. Bond la at the ■ tern placin1 the "fenders" over the aide. In THE BACKG OUND, the harbor pilot climbs up a Jacob1 1 1 ladder to the Wavek eat. EXT. WAVEK.REST - HIGHT completes the climb up ~o th deck.</scene_description>
    <character>4,,,,</character>
    <dialogue>The MATE offers e helping</dialogue>
    <scene_description>hand. He ia aurpriaed when e •••• a woman. lt'a PAM.</scene_description>
    <character>PAM</character>
    <parenthetical>(Spaniah accen •• with authority)</parenthetical>
    <dialogue>Show ■e to the brid e.</dialogue>
    <scene_description>252 INT. WAVEKREST BRIDGE PAM TE 'ti? 2.52 walk onto the bridfe. The TAIN la at the wheel.</scene_description>
    <character>PAM</character>
    <dialogue>~ood evenin1, Capt take over now.</dialogue>
    <character>CAPTAIN</character>
    <parenthetical>(incredulous)</parenthetical>
    <dialogue>You? You're the ha bor pilot?</dialogue>
    <character>PAM</character>
    <dialogue>(aar.caatical ly Ho, I'• hi ■ aecreta She takes the wheel•• the tain back ■ off. 253 EXT. ISTHMUS CITY HARBOR - HI T - PILOT BOAT,~ 253 follows-behind the yacht a■ 1 head ■ into port. 254 I</dialogue>
    <scene_description>INT. PILOT BOAT Q BOND ~v J,,?"/:</scene_description>
    <character>"'</character>
    <dialogue>m</dialogue>
    <character>I</character>
    <dialogue>atanda on the deck next to Q a</dialogue>
    <scene_description>they follow the Wavekr•rrb.~~-'~'\_·\_· ~:</scene_description>
    <character>Q</character>
    <dialogue>She••••• to be doi rather well.</dialogue>
    <scene_description>Bond baa no tiae to reply. y hear the SOUND of the Wavekrest acrapin1 over a aandbar. The both wince.</scene_description>
    <character>2.5.5</character>
    <dialogue>EXT. WAVEKREST DECK ICREST</dialogue>
    <character>.</character>
    <dialogue>drink in h·and, atridea out of the lounae, looka up the bridge •</dialogue>
    <character>ICREST</character>
    <parenthetical>(yellin1)</parenthetical>
    <dialogue>What the bell 1• 1 ina on?</dialogue>
    <scene_description>I I</scene_description>
    <character>256</character>
    <dialogue>/,✓-</dialogue>
    <character>INT. WAVEKREST BRIDGE</character>
    <dialogue>... " '</dialogue>
  </scene>
  <scene>
    <stage_direction> \</stage_direction>
    <scene_description>\\_ ' • r~ ,-,/ j swings the wheel hard right. 257 EXT. WAVEKREST - MOORED DORY i/1 V., The Wavekrest's bow runs over an u ended moored dory, smashing it into splinters.</scene_description>
    <character>258</character>
    <dialogue>1rimaces, alapa hi• hand to hi• fo ehead in fruatration.</dialogue>
    <character>INT. WAVEKREST BRIDGE</character>
    <dialogue>259 EXT. ISTHMUS HARBOR DOCK - CAR LIM USINE. HEaiR LUPE SANCHEZ 259</dialogue>
    <scene_description>sit in the limou ■ ine with the door open, watchin1 the approachinr boat. BRAUN PEREZ AND HELLER lean up arainst their car. The WAVEKREST approaches the ock very fast.</scene_description>
    <character>260</character>
    <dialogue>INT. WAVEKREST BRIDGE</dialogue>
    <scene_description>at the wheel. The dock looms up.</scene_description>
    <character>CAPTAIN</character>
    <dialogue>We're comin1 in a little fast.</dialogue>
    <character>PAM</character>
    <dialogue>You want to do the drivinr.,.?</dialogue>
    <scene_description>Pam pushes the throttle all the way open and jerks the wheel to the left, towards the pier.</scene_description>
    <character>PAM</character>
    <dialogue>••• you take the wheel.</dialogue>
    <scene_description>She leaps off the bridge. The Captain 1rabs the wheel and pulls the throttle back. The enrinea reverse but too late.</scene_description>
    <character>261</character>
    <dialogue>EXT. HARBOR PIER</dialogue>
    <scene_description>1cramble away. SANCHEZ atepa ou of his car. The WAVEKREST is 10 yards away and closin1 fast. Her bow crashes into the pier. Sanchez and hia hoods are thrown off their feet.</scene_description>
    <character>262</character>
    <dialogue>~}</dialogue>
    <character>INT. WAVEKREST BRIDGE</character>
    <dialogue>m</dialogue>
    <scene_description>is ~cramblin1 up the brid1e ladd r when the crash occurs. He's thrown to the deck.</scene_description>
    <character>263</character>
    <dialogue>EXT. PILOT BOAT</dialogue>
    <scene_description>maneuvers the pilot boat alonrsi e the yacht. ii~ 263</scene_description>
    <character>/</character>
    <dialogue>i 264 INT. WAVEKREST CORRIDOR PAM 264</dialogue>
    <scene_description>nuns . .down towards the we 11 area</scene_description>
    <character>265</character>
    <dialogue>eases himself into the water. Q hand him a line attached to the</dialogue>
    <character>EXT. PILOT BOAT, DECK</character>
    <dialogue>"fendera", which are revealed to be eeks. Bond dive• under the water.</dialogue>
    <character>266</character>
    <dialogue>EXT, UNDERWATER BOND</dialogue>
    <scene_description>swims underwater, pullin1 the line behind hi ■•</scene_description>
    <character>267</character>
    <dialogue>1/,</dialogue>
    <character>INT. WAVEKREST WELL AREA</character>
    <dialogue>267</dialogue>
    <scene_description>pull• the control lever to ope~ up the hull door.</scene_description>
    <character>268</character>
    <dialogue>EXT. UNDERWATER BOND</dialogue>
    <scene_description>swim ■ into openin1 hull of the Wavekrest. 269 INT. WAVEKREST WELL AREA BOND 1{q 269 surface• in front of PAM. the line aeveral hard tu1s.</scene_description>
    <character>270</character>
    <dialogue>EXT. PILOT BOAT DECK</dialogue>
    <scene_description>feel• the tu1 of the line and cu s the "fender ■" free. They drop into the harbor and sink.</scene_description>
    <character>(::~ 271 EXT. WAVEKREST 271</character>
    <dialogue>The Wavekre ■ t ia jammed into the pier. Th• SOUND of the enrinea strainin1 in reverie can be hear over the DIN of voices.</dialogue>
    <character>272</character>
    <dialogue>i/.s</dialogue>
    <character>INT. WAVEKREST BRIDGE. CAPTAIN</character>
    <dialogue>pushea the lever from forward to reverie and back a1ain in an</dialogue>
    <scene_description>attempt to free the yacht. JC.RES atorma onto the bridf••</scene_description>
    <character>DEST</character>
    <dialogue>What the hell l• coin on?</dialogue>
    <character>CAPTAIN</character>
    <dialogue>The harbor pilot went ra1y.</dialogue>
    <character>.. DEST</character>
    <dialogue>(yellinr&gt; Get ua off. 273 INT. WAVEKREST WELL AREA PAM Nl) 1(f 273 pull• the aacka up throurh the•• 1 area. He open• one with his knife. The aacka are filled with 100 billa. He handa Pam a ■ eek. They head toward the decomp ••■ ion chamber.</dialogue>
    <character>BOND</character>
    <dialogue>You're a better flyer an a aail,:,r.</dialogue>
  </scene>
  <scene>
    <stage_direction>.</stage_direction>
    <scene_description>I 273 CONTINUED:</scene_description>
    <character>PAM</character>
    <dialogue>I 1ot the job done.</dialogue>
    <scene_description>Bond turns the wheel on the d r to the decompreaaion chamber. They are thrown backward aa t yacht co■e ■ ,ree of the pier. 274 EXT. WAVEKREST BRIDGE CAPTAI EST LUPE sHcHEZ HELLER 211+</scene_description>
    <character>PEREZ BRAUN MILITARY GUARD.</character>
    <dialogue>come aboard. Kreat eye ■ the ar y tuard nervou ■ ly, then put, on a ■ mile when he ••• ■ .Sanchez at aboard.</dialogue>
    <character>JCREST</character>
    <parenthetical>(to Sanchez)</parenthetical>
    <dialogue>Franzi</dialogue>
    <scene_description>He 1rab• Sanchez'• hand warml •</scene_description>
    <character>DEST</character>
    <dialogue>I didn't expect you to come.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Yeah? I like 1urp aea.</dialogue>
    <parenthetical>(lookinr arou )</parenthetical>
    <dialogue>You seem to be hav I a lot of problem• lately.</dialogue>
    <character>KREST</character>
    <dialogue>We rot a crazy.bar or pilot, ••</dialogue>
    <character>SANCHEZ</character>
    <parenthetical>(cuttin1 him ff)</parenthetical>
    <dialogue>Let'• talk abou~ e money you owe</dialogue>
    <character>���</character>
    <dialogue>Kreat 1lancea around, conce ed that the crew will overhear.</dialogue>
    <character>KRBST �</character>
    <dialogue>We'll talk in ■ idef</dialogue>
    <scene_description>He head• for the cabin. A• he other ■ follow Sanchez hold ■ back Lupe, Braun and Perez. Doe ■</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(to Lupe)</parenthetical>
    <dialogue>he have a•• e1</dialogue>
    <scene_description>t</scene_description>
    <character>LUPE</character>
    <dialogue>Not up here, ••Ybf below.</dialogue>
    <scene_description>SANCHEzf · (to Braun•~ Perez) Have a look aroun~. He take ■ Lupe to Kre ■ t'a ' cabin. 275 INT. WAVEKREST WELL AREA p 'BOND :r, madly throwin1 armful ■ of ■one into the decompreaaion chamber.</scene_description>
    <character>276-277 DELETE</character>
    <dialogue>278</dialogue>
    <character>276-277</character>
    <dialogue>INT. WAVEKREST OWNER'S CAaIN</dialogue>
    <character>;,,</character>
    <dialogue>LUPE KllS'tlJ 278</dialogue>
    <scene_description>■ eated on the couch, He'a bun ed forward nurain1 a drink. SANCHEZ ■ tends over him.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>•Do I have thi ■ rirht He</dialogue>
    <scene_description>waterakied behind th plane, Jumped on it ••</scene_description>
    <character>DEST</character>
    <parenthetical>(interrupt i nr)</parenthetical>
    <dialogue>No. Ye ■, well, hew kind of drarred into the air. Then he threw the pilot ■ out nd flew away •••</dialogue>
    <scene_description>Krest pau1e1.</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(flappinr hi ■ a 1)</parenthetical>
    <dialogue>Like a little bird,</dialogue>
    <scene_description>Kreat can't look at Sanchez.</scene_description>
    <character>278A</character>
    <dialogue>throwinr money into the decompr</dialogue>
    <character>INT. WAVEJCREST WELL AREA</character>
    <dialogue>chamber.</dialogue>
    <character>278B</character>
    <dialogue>lookinr around a ■ they approach</dialogue>
    <character>INT. WAVEKREST CORRIDOR</character>
    <dialogue>e door to~h• Well Area.</dialogue>
    <character>278C</character>
    <dialogue>hearinf</dialogue>
    <character>INT. WAVEKREST WELL AREA PAM BO</character>
    <dialogue>■omeone at the door. Thr</dialogue>
    <scene_description>the decompreaal:on chamber and 1 the la? ~of the caah into into the ■ ea wel 1. He beckon ■ for Pam. She duck ■ beh d • locker it Ju ■ t a ■ the door open ■•· PEREZ AND BRAUN enter. Braun 10•• to the Locker Pam is behind, open ■ it. He cloaea it and i• about to look into the area where Pam ia hiddinr, when Pere&amp; call• hi ■ to the open hatch of the decompre ■ aion cha er. They look in.jrez 1e1ture1 for BrJun to atay the • He ruahe ■ out.</scene_description>
    <character>278D</character>
    <dialogue>-</dialogue>
    <character>INT. WAVEJCREST OWNER'S CA.BIN</character>
    <dialogue>Pl HILLER SANCHEZ</dialogue>
    <character>-,T 278D</character>
    <dialogue>sweatin1 profusely.</dialogue>
    <scene_description>) 2870 CONTINUED:</scene_description>
    <character>JCR!ST</character>
    <dialogue>I'• telling you the th. He took every cent. Would I ■ake a story like this?</dialogue>
    <parenthetical>(to I,upe)</parenthetical>
    <dialogue>You ■ust have seen soa</dialogue>
    <scene_description>Lupe cannot face bi ■. She look• away trembling. PEREZ walks into the I lounge, whispers in Sanchez' ea. Sanchez nods bis head, looks at Xrest grimly, and abruptly get• p.</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(to JCrest)</parenthetical>
    <dialogue>Come.</dialogue>
    <scene_description>Perez lead• the way. ICrest foll ws reluctantly. -Sanchez and Heller trail after them. Lupe remain• ehind~ •f/$</scene_description>
    <character>,, ,-.IQ</character>
    <dialogue>i,,.,r ~,,o,91 ,</dialogue>
    <scene_description>279-280 DELETE l ·:.. .:'--, c- ,.:( )· 219-2 so</scene_description>
    <character>281</character>
    <dialogue>peering into the open hatch of</dialogue>
    <character>INT. WAVEKREST WELL AREA</character>
    <dialogue>e decompression chamber filled with</dialogue>
    <scene_description>money. He glances around then• ps in and grabs a packet of cash. While he is in there Bond waves . r Pam to come. She steps out f.rom behind the locker and runs to th side of the well, At THE SOUND OF FOOTSTEPS IN THE CORRIDOR, Braun ump• out of the chamber and looks around as he st.uf f• the cash int hi• pocket. Pam has ducked down out of sight. A• Braun turns hi• back to them and goes to the door to greet Sanchez, Bond pull• Pam nto the Well. BOND AND PAM in the well. Gestures for Pam to awia out. She takes a breath and ducks under the water. WELL AREA PEREZ entera. HELLER pushes DES ahead of him. SANCHEZ follows them. He goes straight to the de 011preasion chamber and looks in. Xrest, looking ov.er his shoulder t the packet• of cash, is dumbfounded. Sanchez ..whirl• aro d, knock• hia to the.floor,.</scene_description>
    <character>DIST</character>
    <parenthetical>(protesting)</parenthetical>
    <dialogue>That'• not ay ■oney, ar.</dialogue>
    <character>\</character>
    <dialogue>\I</dialogue>
    <scene_description>281 CONTINUED:</scene_description>
    <character>SANCHEZ</character>
    <dialogue>(1lappinr him acro11 the face) i</dialogue>
    <scene_description>Ri1ht amito, it'1 ■ii•• (acreaminr) Do you think I'm 1tu id? You rip me off then uae my own oney to pay ■ omeone to kill me!/ . He leans down and 1raba Kreat1bY the collar and dre1• him to the decompreaaion chamber. He opena the hatch,</scene_description>
    <character>SANCHEZ ,1</character>
    <dialogue>You want it ao bad? Take lt.</dialogue>
    <character>� !</character>
    <dialogue>He throw ■ the SCREAMI"NG Kre ■ t into the chamber, Lupe back• up a1ainat the door leadin1 int~ the corridor. BOND peekin1 over the edre of the :•ell, WELL AREA</dialogue>
    <character>I</character>
    <dialogue>The muffled SOUNDS of Krest'~ desperate plea ■ can be heard aa he pres1ea hi• face arainat the 11las1. Sanchez turn• up the pressure inlet valve to it' ■ ~aximum poaition. INSERT - DEPTH GAUGE NEEDLE</dialogue>
    <character>'</character>
    <dialogue>be1in1 to decline indicatin1 ~ depth of 50ft,</dialogue>
    <character>I</character>
    <dialogue>j</dialogue>
    <character>SANCHEZ-</character>
    <dialogue>1Iance1 around the room, Hi ■</dialogue>
    <character>I</character>
    <dialogue>I•Y•• reat on a fire axe. He</dialogue>
    <scene_description>1natche1 it off the wall, 1tep1 back to the decompreaaion chamber, Kre1t ia •prawled on\ the pile of money, 1a ■ pin1 for breath. Hi ■ eye ■ widen ea Sanrhez ahowa him the axe throurh the window, INSERT - DEPTH GAUGE read ■ 500 ft.below••• level, 1and droppin1, SANCHEZ examine• the network of pipe11aervicin1 the chamber. One i ■ labeled "VENT", Sanchez ama1bea it with the axe. The pipe fittinf come ■ looae with a bllj ■ t •• a jet of air "whooahea" from the chamber, The preaaure dr~p• inatantly. Sanchez whirls toward• the window, l REVISED 14 JULY,1988 103A/103C 281 CONTINUED:</scene_description>
    <character>KREST</character>
    <dialogue>his face contorts, then expl blood.</dialogue>
    <character>BOND</character>
    <dialogue>dives underwater.</dialogue>
  </scene>
  <scene>
    <stage_direction>A EXT. UNDERWATER BOND</stage_direction>
    <scene_description>swimming out into the open water, towards the pilot boat. 2818 INT. WAVEKREST WELL AREA SAN HEZ PEREZ AND HELLER e,/,at,,,1-- 2Bl Heller turns away in disgust. Perez peers through the window.</scene_description>
    <character>PEREZ</character>
    <parenthetical>(to Sanchez)</parenthetical>
    <dialogue>But the money, patr n?</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Launder it.</dialogue>
    <scene_description>He strides out of the room. 2BlC - 281J OMITTED 281K EXT. PILOT BOAT PAM AND rf y 28: BOND surfaces next to the b t. Pam helps him aboard as Q revs the motor and heads the boa into the darkness of the open sea. 2BlL EXT. PILOT BOAT DOCK BOND PAM AND Q ~~ 28: come along aide dock in boa. Pam and Bond have changed into dry clothes. Pam and Q get onto dock. Bond tosses their gear up on the ·dock.</scene_description>
    <character>BOND</character>
    <dialogue>Now we'll aplit u You and Q take the plane. I'll t ke care of the boat. We'll ■eet ack in Miami.</dialogue>
    <character>PAM</character>
    <dialogue>Shouldn't we stick together?</dialogue>
    <character>BOND</character>
    <dialogue>No. They'll be at It will be safer if I'm al</dialogue>
    <scene_description>He pulls away leaving them o the dock. (PAGES 1038-1030 DELETED) revieed: 3uly 1,, 1988 104, INT. LIVING ROOM, SANCHEZ HOUSE ORIENTALS TRUMAN-LODGE 28lfw having cocktaila. Pl~!Z, SANCHEZ and LOPE enter. Sanchez waives a greeting to them.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Gentlemen, excuse ae for being late. I had a problem suddenly blow up at the office. We'll have dinner in a few ao■enta.</dialogue>
    <scene_description>Sanchez, Perez and Lupe cro•• the room going toward the stairs.</scene_description>
    <character>SANCHEZ .</character>
    <dialogue>You look tired, baby. Get aome rest.</dialogue>
    <character>281N</character>
    <dialogue>They stop at Lupe'• door.</dialogue>
    <character>INT. SANCHEZ' HOOSE HALLWAY</character>
    <dialogue>LUPE</dialogue>
    <scene_description>Goodnight, Franz. They kiss affectionately. Sanchez spots Bond'• suitcase and Briefcase in the hall by Bond'• door.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>What'• that?</dialogue>
    <character>PEREZ</character>
    <dialogue>Bond'• clothes, he had the Hotel</dialogue>
    <scene_description>-send them over this afternoon. They're clean.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Come.</dialogue>
    <scene_description>Lupe watches them go to Bond'• door.</scene_description>
  </scene>
  <scene>
    <stage_direction>� 2810 INT. BOND'S BEDROOM, SANCHEZ' HOUSE 2810</stage_direction>
    <scene_description>It is dark. The door burst• open. Sanchez 1• ailhouetted in the doorway. Be awitches on the light and enter•. BOND bear chested, ait• up 1n bed rubbing the aleep from hi• eyes. SANCHEZ AND PEREZ Sanchez am.ilea broadly.</scene_description>
    <character>CONTINUED:</character>
    <dialogue>SANCHEZ</dialogue>
    <character>2810</character>
    <dialogue>Amigo! Sorry to wake you. But you should know, your information paid off. You well enough to travel tomorrow?</dialogue>
    <character>BOND</character>
    <dialogue>Of course. Where we going?</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Surprise. You won't be disappointed.</dialogue>
    <scene_description>Perez drops Bond'• luggage on the floor and exit• with Sanchez. A• the door closes, Bond pulls back the blanketa and gets out of bed. Be still• wears hi• pants and shoes, evidently having only jumped into bed second• before Sanchez opened the door. Be pull• on a shirt as he quickly aovea to hi• briefcase, opening it.</scene_description>
    <character>281P</character>
    <dialogue>INT. HALLWAY</dialogue>
    <scene_description>exit past Lupe's door. She steps into the hall as they go down stairs and goes to Bond"• room.</scene_description>
  </scene>
  <scene>
    <stage_direction>\ '�) 2 81 Q INT. BOND'S BEDROOM BOND 281Q</stage_direction>
    <scene_description>opens the false bottom of his silver flask. It is empty. He looks up to see LOPE silently opening his bedroom door. She steps in, quickly closing the door behind her.</scene_description>
    <character>LOPE</character>
    <dialogue>Por Dios! What are you doing here?</dialogue>
    <character>BOND</character>
    <dialogue>Looking foray extra gun.</dialogue>
    <parenthetical>(tossing flask into .case)</parenthetical>
    <dialogue>Sanch,.z i• thorough.</dialogue>
    <scene_description>She throws up her hands and sits down on the bed.</scene_description>
    <character>LOPE</character>
    <dialogue>You're impossible.</dialogue>
    <character>BOND</character>
    <dialogue>Where 1• Sanchez takin; •• tomorrow?</dialogue>
    <character>LOPE.</character>
    <dialogue>I don't know.</dialogue>
    <scene_description>She takes hi• hand pull• him down so he sits by her on the bed. ~~lQ CONTINUED: 28lQ l\ j</scene_description>
    <character>BOND</character>
    <dialogue>You must have heard something.</dialogue>
    <character>LOPE</character>
    <dialogue>He'• •howing the Chinese a special place. I don't know where. 3ames, what is going to happen to us?</dialogue>
    <character>BOND</character>
    <dialogue>Don't worry. You'll be safe. When this 1• over I'll aee you get back hoae to your family.</dialogue>
    <scene_description>Lupe turn• away from him.</scene_description>
    <character>LOPE</character>
    <dialogue>Nol I spent the first fifteen years of my life getting away from there. I was one of ten children with no food, no hope •.• a• bad as Sanchez is he got me out.</dialogue>
    <parenthetical>(turning back to him)</parenthetical>
    <dialogue>Can't I stay with you?</dialogue>
    <character>BOND</character>
    <dialogue>I'm not sure that would work out, Lupe.</dialogue>
    <scene_description>She moves closer to him.</scene_description>
    <character>LOPE</character>
    <dialogue>How can we tell .••</dialogue>
    <parenthetical>(ahe pulls him close)</parenthetical>
    <dialogue>••• unless we try.</dialogue>
    <scene_description>They enjoy a long passionate kiss. They embrace and fall back on to the Bed.</scene_description>
    <character>LOPE</character>
    <dialogue>I think thi• 1• going to work out very well.</dialogue>
    <scene_description>28lR INT. HOTEL SUITE DAY PAM AND 281R hurriedly bringing hastily packe suite•••• to the door. DOOR BUZZER SOUNDS.</scene_description>
    <character>Q</character>
    <dialogue>I'll get it.</dialogue>
    <scene_description>He opens the door, Lupe steps in</scene_description>
    <character>I.OPE</character>
    <dialogue>Miss Kennedy? I •aw ou at the casino with 3ames.</dialogue>
    <scene_description>(she glances to We need to •peak in PAM It's alright he'• wi I.OP! 3ames ia in danger. Sanchez 1• no fool, he'• check ng up on him. If they find anythi g suspicious ••• She break• down 1n tears. embraces her.</scene_description>
    <character>PAM</character>
    <dialogue>It'• alright. out of the country</dialogue>
    <character>I.OPE</character>
    <dialogue>No! Don't you Jeno. t.ast night he stayed with me.</dialogue>
    <scene_description>Pam and Q exchange looks,</scene_description>
    <character>Q</character>
    <dialogue>At Sanchez• house?</dialogue>
    <character>I.OPE</character>
    <dialogue>Si. Franz 1• taki g him on a trip. They leave nan hour. You must help him. I couldn't live if anything h ppened, I love 3ames ao much.</dialogue>
    <scene_description>Pam bristle• at .her d•clarat on of love. Q takes t.upe's arm and escorts her.to the door.</scene_description>
    <character>Q</character>
    <dialogue>You mu•t go back you're aissed. We'll th aoaething.</dialogue>
    <scene_description>She Jaavea. Q turn• to P-</scene_description>
    <character>PAM</character>
    <parenthetical>(imitating t. pe'• voice)</parenthetical>
    <dialogue>•1 love 3ames ao ucb.•</dialogue>
    <parenthetical>(with anger)</parenthetical>
    <dialogue>Damne4 if I'll hep him.</dialogue>
    <character>REVISED: SEPTEMBER 20, 1988</character>
    <dialogue>108.</dialogue>
    <scene_description>I</scene_description>
  </scene>
  <scene>
    <stage_direction>.; 281R CONTINUED: ( 2) 281R</stage_direction>
    <character>Q</character>
    <dialogue>Don't ,udge him too h rshly, field. operatives otten must use every means at their dispos l to achieve objectives.</dialogue>
    <character>281S</character>
    <dialogue>EXT SANCHEZ' HOOSE</dialogue>
    <scene_description>in large straw sombrero wearing white shirt and pants•with an old rope for a belt .. He weeds the roadside with hoe as gates open and convoy of vehicles exits. PICKUP TRUCK driven by BRAUN with THREE ARMED GUARDS leads the way. A SEDAN driven by TRUMAN-LODGE holding three of the ORIENTALS and Sanch·ez car with his CHAUFFEUR and the rest of the ORIENTALS. An open 3EEP driven by PEREZ carrying BOND and TWO MORE GUARDS brings up the rear . . Convoy turns on to the main road and-speeds away leaving Gardener in the dust. GARDENER It is Q. He unscrews top of wooden handle of hoe revealing hidden microphone. He speaks•into it.</scene_description>
    <character>Q</character>
    <dialogue>They've just left in convoy, a pickup, two sedans and a jeep .••</dialogue>
    <character>281T</character>
    <dialogue>INT. ROLLS ROYCE</dialogue>
    <scene_description>driving car as she listens to Q's voice over radio; Q v.o . .•. turnin; north onto the main highway\_.</scene_description>
    <character>PAM</character>
    <dialogue>I copy that, Q. Base out.</dialogue>
    <scene_description>She turns it oft and turns into entrance of Airport. 2810 EXT. ISTHMUS CITY AIRPORT PAM 28 l tJ passing through gates and pulling up to apron near; her plane. She steps out and stops dead in her tracks. . ,. HER POV THR!! SCRUFFY MECHANICS are removing parts from her plane. REV:St~: SEPTEMBER 20, 1988 109. 2SlU CONTINUED: . 2810</scene_description>
    <character>PAM</character>
    <dialogue>rushing up to them.</dialogue>
    <character>PAM</character>
    <dialogue>What are you doing to my.plane.</dialogue>
    <scene_description>One of them hands her a grease covered work order.</scene_description>
    <character>MECHANIC .</character>
    <dialogue>Overhaul.</dialogue>
    <parenthetical>(pointin~ to signature)</parenthetical>
    <dialogue>Senor Sanchez ordered it.</dialogue>
    <character>PAM</character>
    <dialogue>I must have a.plane!\_ Where can</dialogue>
    <scene_description>.I rent one? The mechanics look at one. another and shrug,</scene_description>
    <character>MECHANIC</character>
    <dialogue>Nad,a, Senorita.</dialogue>
    <scene_description>They go back to work. Pam turns away to see Crop Ouster momentarily unattended at refueling pwaps. She glances around and heads quickly for it. 282 28~ thru OMITTED thr\ 301 30:</scene_description>
  </scene>
  <scene>
    <stage_direction>.301A EXT. SA~CHEZ HOOSE PATIO - HELICOPTER SANCHEZ .301,</stage_direction>
    <scene_description>getting off helicopter carrying CANISTER. He greets Sanchez. Helicopter remains idling, ready for take-off. Dario opens the canister, takes out a HAND-H!LD STINGER MISSILE. Sanchez smiles broadly.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Ah, you brought my insurance</dialogue>
    <scene_description>- policy, amigo. Dario nod• knowingly. In B.G. HELLER runs out of the house to join them. Dario jerks his thumb toward the helicopter.</scene_description>
    <character>DARIO</character>
    <dialogue>Got four.</dialogue>
    <character>HELLER</character>
    <dialogue>We'll stow them in the vault.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>No. Leave them in the Helicopter. From now on I want them close to me.</dialogue>
    <character>REVISED: SEPTEMBER 20, 1988</character>
    <dialogue>110.</dialogue>
    <scene_description>, ,\_\_; 301A CON~INOED: 301A They' all swing aboard the Helicopter and take oft.~ lf!fl.k /0 Z-0 3015 EXT. OLIMPAT!O MEDITATION INSTIT E (OMI) jEtP PI UP AND CARS 301B approaches the gates of the Insti ute. Through the gates in the background we see a fantastic recreation of an Olimpatec Indian Ceremonial Temple. 301C EXT. J'EEP PEREZ GUARDS BOND, ,o/t.( 301C lqoking at the Institute as they ear it.</scene_description>
    <character>301D</character>
    <dialogue>thru 301J'</dialogue>
    <character>3010</character>
    <dialogue>OMITTED 301J'</dialogue>
    <character>302</character>
    <dialogue>EXT. OMI GATES CONVOY</dialogue>
    <scene_description>sweeps in and approaches reception area. 303 INT.' CAR ORI!NTAtS. TROMAN-tO E 10/1~,K 10/-i I 303 turns to the Orientals seated n rear indicating the Institute complex with a sweep of his had.</scene_description>
    <character>TROMAN-LOD E</character>
    <dialogue>We s.tarted this plae strictly as a cover, but Prof ssor Joe manages to turn a ti y profit.</dialogue>
    <scene_description>The orientals peer through the window•, astounded.</scene_description>
    <character>304</character>
    <dialogue>passing huge STATUTE OF INDIAN.</dialogue>
    <character>EXT, OMI.</character>
    <dialogue>305</dialogue>
    <character>EXT. REVERSE ANGLE</character>
    <dialogue>view of valley with STATUE in foreground. CROP .DUSTER flies low aci-o•• field ·•praying it.</dialogue>
    <character>306</character>
    <dialogue>INT. CROP DUSTER</dialogue>
    <scene_description>watching convoy as it approaches OMI complex. Behind reception building is a .large amphitheater. On the upper most gallery are a picket ot stone cones each about twice the aize of a teepee.</scene_description>
    <character>307</character>
    <dialogue>EXT. OMI UNDERGROUND ENTRANCE</dialogue>
    <scene_description>passes TWO parked TANKER TRUCKS and proceeds through entrance in stone wall below amphitheater.</scene_description>
    <character>REVISED: SEPTEMBER 20, 1968</character>
    <dialogue>111.</dialogue>
    <scene_description>308 INT MIXING AREA CONVOY 308 enters large brightly lit underground area. Convoy stops near entrance by another TANKER TRUCK. The air is tille~ with a cloud of fine cocaine dust. SEVERAL WHITE COATED WORKMAN wearing dust filter masks supervise the operations. To one side is vast MIXING VAT from which a SECOND TANKER TRUCK is being filled. Steps lead to an observation platform above the vat. From the platform a walkway runs to a door leading to the LAB. A large picture window in the Lab overlooks the.Mixing Area. A CONVEYOR BELT leads from the Lab parallel to the walkway to a PULVERIZER atop the mixing vat. BRICKS OP WHITE COCAINE ride along the Conveyor Belt and fall into the Pulverizer where they are ground into powder and mixed with gasoline in the vat. High metal GUIDES on along each side of the Conveyor Belt keep the Bricks from spilling off.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MIXING AREA BOND</stage_direction>
    <scene_description>steps out of the Jeep and takes in the mixing complex. Ahead of him TRUMAN-LODGE gets out of his CAR and takes a stack of surgical masks from the hands of a GOARD. He hands. them out to the.GROUP. .</scene_description>
    <character>TRUMAN-LODGE</character>
    <dialogue>Put these on. We can't have our best customers developing a drug habit. .</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CROP DUSTER SANCHEZ' HELICOPTER</stage_direction>
    <scene_description>passes crop duster and flies over TWO parked TANKER TRUCKS on its way to the Institute. 311 EXT. OMI HELICOPTER 3ll flies to center of vast empty amphitheater. It approaches as if to land on colorful mosaic tiled·floor of amp~itheater, but just•• .it is about. to touch down, the floor parts and the helicopter disappears below. · 312 INT. tnmERGROOND HANGER HELICOPTER 31 • rotors send up a· cloud of dust•• it settles on to floor of vast hanger. As SANCHEZ, DARIO ANO HELLER alight from the ~elicopter and head for doorway to MIXING AREA. As they leave the Hanger Dario places his palm up against an OPTICAL READER set in door jam. A steel FIRE DOOR closes behind them. An ATTENDANT hands them FACE MASKS. . 313 31 thru OMITTED tht 320A 32(</scene_description>
    <character>REVISED: SEPTEMBER 2~, 1988</character>
    <dialogue>112.</dialogue>
    <scene_description>INT. MIXING AREA qANTRY BOND ORIENTALS BRAUN· PEREZ 320B</scene_description>
    <character>AND TRUMAN LODGE</character>
    <dialogue>addressing the Party as they enter on the gantry level.</dialogue>
    <character>TRUMAN-LOOGE</character>
    <parenthetical>(his voice is muffled by his mask)</parenthetical>
    <dialogue>Our product dissolves c~mpletely in ordinary gasoline, making it completely undetectable.</dialogue>
    <scene_description>They watch as the large blocks of cocaine are pulverized into powder which dissolves completely in the liquid in the Vat.</scene_description>
    <character>TRUMAN-LODGE</character>
    <dialogue>We ship our product to the United States in the reserve fuel tanks of our Institute aircraft,</dialogue>
    <scene_description>The Korean raises his hand to indicate a question.</scene_description>
    <character>KOREAN</character>
    <dialogue>How do you get it back?</dialogue>
    <character>SANCHEZ O.S.</character>
    <dialogue>Hey, you want us to tell you all our secrets before we're partners?</dialogue>
    <scene_description>They turn to see SANCHEZ mounting the steps to the observation platform. HELLER AND DARIO follow him. Bond reacts to Dario. He adjusts his mask, pulling it higher, and shrinks to the rear of the Group. Sanchez greets the Oriental•, embracing them. He turns to. Truman-Lodge. · ·</scene_description>
    <character>:SANCHEZ</character>
    <dialogue>Take them up to the Lab,</dialogue>
    <character>TRUMAN-LODGE</character>
    <dialogue>This way, Gentleman.</dialogue>
    <scene_description>The Group follows him. C INT MIXIN.G AREA GANTRY SANCHEZ DARIO holding him back. He points to the receding figure of Bond.</scene_description>
    <character>DARIO</character>
    <dialogue>Who is the new guy?</dialogue>
    <character>...</character>
    <dialogue>SANCHEZ</dialogue>
    <scene_description>Just somebody I thought could be useful. They follow the Group into the Lab. REVlSED: SEPTEMBER 20, 1988 113. 3200 !XT. OMI GATE GUARDS BATTERED OCK IO /t'f 3200 driven by local PARMER stops a gate. PAM gets out passenger side carrying brief case. Tru pulls away. She steps up to guard at gate.</scene_description>
    <character>PAM</character>
    <dialogue>I have• special sur ise for Professor Joe.</dialogue>
    <character>GUARD</character>
    <dialogue>Sorry, no visitors th s week, they are on a private medi ation retreat.</dialogue>
    <character>PAM �</character>
    <dialogue>But I've come all the Whichita Falls. The· t home took up a collect</dialogue>
    <scene_description>She opens her brief case. it is crammed full of packets of hundred dollar bills. d's eyes-bulge at the eight .</scene_description>
    <character>. PAM</character>
    <dialogue>... and they'd be so. dis ppointed if the Professor wouldn' accept .it personally.</dialogue>
    <character>320!</character>
    <dialogue>INT. LAB</dialogue>
    <scene_description>enters. Braun and Perez clear Workman from room. Bond keeps to .the rear away trom Dario. Behind him, along one wall, are TWO TABLE·s. A large, bubbling RETORT covers most ot one table and a ROW OP BEAKERS are set out on the ·other. Sanchez pulls off mask, the other• follow suit, except Bond. He turns his back to Party pretending to study the equipment on the.table. DARIO drifts aero•• the room toward Bo~d. Sanchez is beaminsi as he surveys the Orientals.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>So, do we have a deal?</dialogue>
    <character>TRUMAN-LODGE</character>
    <dialogue>The term• were one hundred million in negotiable bearer bonds, gentlemen.</dialogue>
    <scene_description>The Orientals look from one to another for a moment, then accept. They put their briefcase• on the-table and open them ) handing over the bonds to Truman-Lodge. i</scene_description>
    <character>REVISED: SEPTEMBER 20, 1988</character>
    <dialogue>(~</dialogue>
    <character>114.</character>
    <dialogue>I</dialogue>
    <scene_description>I ' I j j</scene_description>
    <character>320F</character>
    <dialogue>320F</dialogue>
    <scene_description>driving her in converted Go f Cart. They stop ·at.ba•• ot steps leading to Reception office She gets out and looks around wide-eyed. To one •ide of he Amphitheater a Party ot fifteen Acolytes sit in raptured at ention as one of the Institute INSTRUCTORS lectures them 0 the benefits. of Cone Power. JOE BOTCHER in white suit with old cone on chain around his neck steps majestically down th stairs. At his elbow are TWO GUARDS. They come up behi Pam .</scene_description>
    <character>.10E</character>
    <dialogue>It's a truly ma ificent aight. Rebuilt stone fo stone, .restored to all its origi al glory.</dialogue>
    <character>PAM</character>
    <dialogue>(turning a most 'into his arms) ...</dialogue>
    <scene_description>Professor Joe! It's· really you! She acts flustered. He oks down at the briefcase she clutches.</scene_description>
    <character>JOE</character>
    <dialogue>Is this .for me</dialogue>
    <character>PAM</character>
    <dialogue>You got me so lus~ered I forgot.</dialogue>
    <scene_description>He takes the briefcase f m her hands and deftly hands.it to a Guard at his side. He uts his arm around her affectionately steering her toward the art •</scene_description>
    <character>.10£</character>
    <dialogue>Tell me, Child have you ever thought of stu ying here?</dialogue>
    <character>.PAM</character>
    <dialogue>Would that be</dialogue>
    <character>J'OE</character>
    <dialogue>Because of a la e cancellation we auddenly hav one place available. Com along, let'•••• if you have ·the aptitude. ·</dialogue>
    <scene_description>He gets into the driver's eat of the Cart. She sits next to him. They drive away, 320G INT. OMI LAB ORIENTALS HEL ER DARIO SANCHEZ BOND CHIEF-CHEMlST 320C</scene_description>
    <character>HENCHMAN BRAUN TRUMAN-LODGE</character>
    <dialogue>stands before the Group, behind him on the table are stacked the bearer bonds.</dialogue>
    <character>REVISED: SEPTEMBER 20, 1988</character>
    <dialogue>115.</dialogue>
    <scene_description>320G CONTINUED: 320(;</scene_description>
    <character>KOREAN</character>
    <dialogue>What's the process?</dialogue>
    <character>TRUMAN-LODGE</character>
    <dialogue>Very simple.</dialogue>
    <scene_description>He nods toward the Chief-Chemist, who stands by one of the Lab tables. He takes up a beaker with the gasoline cocaine mixture ..</scene_description>
    <character>CHEMIST</character>
    <dialogue>An eighteen percent mixture ot cocaine and ordinary gasoline.</dialogue>
    <parenthetical>(he takes a second beaker)</parenthetical>
    <dialogue>Ammoniumhydroxide.</dialogue>
    <scene_description>The Chemist adds the liquid to the mixture, the cocaine precipitates out. He then recovers it by pouring the liquid through filter paper. While the Group watches, Dario steps up behind Bond sticking his gun into his back.</scene_description>
    <character>DARIO</character>
    <parenthetical>(whisper)</parenthetical>
    <dialogue>3ust keep quiet, Gringo.</dialogue>
    <scene_description>Bond freezes, does what he is told.</scene_description>
    <character>TRUMAN-LODGE V.O.</character>
    <dialogue>As you saw out side, we have your first shipment of 20 tons being</dialogue>
    <scene_description>· loaded in the four tanker trucks.</scene_description>
  </scene>
  <scene>
    <stage_direction>320G EXT. CONE CART JOE AND AM ,~,~ 320GA</stage_direction>
    <scene_description>stop at the door to one of the large stone cones overlooking the Amphitheater. He esco ts her to the door. They enter. 320H INT. OMI 30l'S PRIVATE CON PAM AND 30! /0,/{( 320H enter. The interior is or ately decorated in a Central American Indian style. The room is ominated by a large king-size bed. 3oe lock• the door and swi tly pockets the key as he shows off the room with a sweep of h arm.</scene_description>
    <character>JOE</character>
    <dialogue>This is my humble sanctuary away from the cares of th~ world.</dialogue>
    <character>PAM</character>
    <dialogue>Wow! Your own pr ate meditation chamber?</dialogue>
    <character>REVISED: SEPTEMBER 20, 198</character>
    <dialogue>116.</dialogue>
    <character>320H</character>
    <dialogue>JOE</dialogue>
    <character>CONTINUED:</character>
    <parenthetical>(proudly)</parenthetical>
    <dialogue>Yes, built from t e sacred rocks of the original t mple. I've had it completely sou d proofed so nothing will.dist rb .2YJ: meditation.</dialogue>
    <scene_description>Pam sits on the edge of the ed provocativ•ly; Joe slides up looking her over as she str ches out her legs.</scene_description>
    <character>PAM</character>
    <dialogue>I brought you er surprise.</dialogue>
    <character>JOE</character>
    <dialogue>I love surprises, here is it?</dialogue>
    <character>PAM</character>
    <dialogue>Right here.</dialogue>
    <scene_description>Pam puts her hand on her kne and slowly moves it higher under her dress. She draws her gu and points it into the astonished Professors face.</scene_description>
    <character>PAM</character>
    <dialogue>The keys!</dialogue>
    <scene_description>He hands it over. She grabs plain 'WHITE ROBE off a hook by the door,slips it on, and ste s outside, fr,/tq</scene_description>
    <character>3201</character>
    <dialogue>EXT. OMI CONE PAM</dialogue>
    <scene_description>locks Professor Joe in his ro m, then hurries away.</scene_description>
    <character>321</character>
    <dialogue>thru</dialogue>
    <character>321</character>
    <dialogue>OMITTED</dialogue>
    <character>323</character>
    <dialogue>324</dialogue>
    <character>323</character>
    <dialogue>INT, LAB</dialogue>
    <scene_description>at table with Dario'• ;w:i in his back.</scene_description>
    <character>TRUMAN-LODGE V.O,</character>
    <dialogue>Your monthly delivery will be by ocean-going tanker. We will send our chief chemist along to supervise the reconversion.</dialogue>
    <scene_description>Bond glances over his shoulder, looking for• ehanee to escape.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>/ (interrupting)</dialogue>
    <scene_description>You keep the gas as a bonus. Sanchez picks up the beaker with the remainder of the gasoline.</scene_description>
    <character>REVISED: SEPTEMBER 20, 1988</character>
    <dialogue>117.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>SANCHEZ</character>
    <dialogue>And if there's a problem with customs .•</dialogue>
    <scene_description>He puts the beaker on the table and drops a match in it. The beaker ignites.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>No evidence! .</dialogue>
    <scene_description>There is appreciative applause. Bond sees hi• chance as Dario's attention is momentarily diverted by Sanchez' bravado. He kicks out behind him catching Dario in the instep. He smash him across the bridge of the nose with his elbow as he simultaneously knocks the gun from his hand. Bond lunges for the burning beaker. Grasps it, then hurls it at the bubbling RETORT, It smashes and instantly bursts into flame. The people in the room are thrown into panic as the flames spread. Braun and Dario grapple with Bond pulling him out the door on to the gantry. Truman-Lodge quickly snatches up the bearer bonds and pushes the Orientals out the door. Heller rushes out on to the gantry barking orders to the workers to bring fire fighting equipment. INT. MIXING AREA GANTRY ORIENTALS HELLER DARIO PEREZ 324A</scene_description>
    <character>BRAUN TRUMAN-LODGE</character>
    <dialogue>The Orientals beat a hasty retreat out the way they came. and Braun hold the struggling Bond against the gantry railing as they tie his hands.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Dario Sanchez steps up to him.</dialogue>
    <character>DARIO</character>
    <dialogue>I know h!m, he's an informer.</dialogue>
    <character>SANCHEZ</character>
    <parenthetical>(cold furry)</parenthetical>
    <dialogue>You .disappoint me. Who are you working tor?</dialogue>
    <scene_description>Bond is silent. Sanchez backhands him across the face.·</scene_description>
    <character>. SANCHEZ</character>
    <dialogue>You don't want to talk?</dialogue>
    <scene_description>He nods toward the conveyer belt. Sanchez switch•• it off. They throw Bond to it. The metal sides keep him from rolling off. Sanchez looks down into the. teeth of the pulverizer.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>When you're up to your ankles you'll beg to tell me everything. When you're up to you knees, you'll kiss my ass to kill you.</dialogue>
    <character>REVISED: SEPTEMBER 20, 1988</character>
    <dialogue>I</dialogue>
    <character>118.</character>
    <dialogue>-</dialogue>
    <scene_description>~ \ ~ 324A CONTINUED: 324A On th• floor of the Mixing Area Heller directs Perez and several of the WORKMEN trying to put out the fire in the small lab. Suddenly something in the Lab explodes, sending burning debris across the hanger and starting several small fires.</scene_description>
    <character>HELLER</character>
    <dialogue>Hurry, keep those from spreading.</dialogue>
    <scene_description>He calls up to Sanchez.</scene_description>
    <character>HELLER</character>
    <dialogue>I've moving the trucks out but I'm not sure we can contain the fire.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Forget the ~ire! Get some cars, we'll take the tankers with us.</dialogue>
    <scene_description>Heller waives the TRUCKS out the Door.</scene_description>
    <character>TRUMAN-LODGE</character>
    <dialogue>This set up cost 10 million bucks. We have to try and ••ve it.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Our cover's blown.</dialogue>
    <parenthetical>(points to bearer bonds)</parenthetical>
    <dialogue>I got 500 million in that case</dialogue>
    <scene_description>and 20 tons of Colombian pure in -the trucks so who needs this?</scene_description>
    <character>TRUMAN-LODGE</character>
    <dialogue>But we have a deal with the . Chinese.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>We got their money. Go help Heller.</dialogue>
    <scene_description>Truman-t.odge burr ies down the stairs. . . ,o/ ,,'f.</scene_description>
    <character>324B</character>
    <dialogue>EXT. OMI UNDERGROUND ENTRANCE TROCX CONVOY</dialogue>
    <scene_description>on parapet overlooking Convoy. She watches 'l'ROMAN-LODG! run from smoke filled Entrance.</scene_description>
    <character>REVISED: SEPTEMBER 20, 1988</character>
    <dialogue>119,</dialogue>
  </scene>
  <scene>
    <stage_direction>324C INT. MIXING AREA GANTRY SANCHEZ DARIO BOND</stage_direction>
    <scene_description>still on CONVEYOR BEtT.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>You want to make this hard or easy?</dialogue>
    <scene_description>He switches on Belt. Bond struggles•• he nears the end.</scene_description>
    <character>BOND</character>
    <dialogue>I'm the least of your problems, Sanchez. If you couldn't trust Krest, who can you trust. Truman-Lodge with all that money? And whose looking after the stingers? Heller?</dialogue>
    <scene_description>Sanchez switches off the conveyor belt just as halt of Bond's body disappears off the end. · Bond's legs are dangling over the end of the belt just above the shoot leading into the jaws of the pulverizer</scene_description>
    <character>SANCHEZ</character>
    <dialogue>What do you know about stingers?</dialogue>
    <scene_description>Smoke is quickly filling the room. PEREZ rushes up the stairs. He grabs Sanchez' arm.</scene_description>
    <character>PEREZ</character>
    <dialogue>We got to go, patron. Thia pla~e will blow any second.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>(shouting} Why aren't. you with Heller? PEREZ He went to the Hanger to get something. BOND</dialogue>
    <scene_description>That's the last you'll see of the stingers. One of the overhead beams collapses. Perez pulls Sanchez to the stairs. Braun follows. Dario stays by the switch.</scene_description>
  </scene>
  <scene>
    <stage_direction>� INT. MIXING AREA FLOOR JEEP... PEREZ BRAUN SANCHEZ</stage_direction>
    <scene_description>turns to Pere~ pointin~ to Jeep.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Close the doors. Have my car meet me at the Hanger.</dialogue>
    <character>REVISED: SEPTEMBER 20, 1988</character>
    <dialogue>~-</dialogue>
    <character>120.</character>
    <dialogue>)</dialogue>
    <character>325</character>
    <dialogue>He look• up to the Conveyor Belt. Bond just manages to struggle</dialogue>
    <character>CONTINUED:</character>
    <dialogue>up on his elbows so he can look down to Sanchez over the top of the metal side of the Conveyor. Sanchez smiles.</dialogue>
    <character>SANCHEZ</character>
    <dialogue>Thanks for the advice.</dialogue>
    <scene_description>He nods to Dario at the top ot the stairs·.</scene_description>
    <character>326</character>
    <dialogue>INT. MIXING AREA</dialogue>
    <scene_description>switches on the conveyer belt. The sudden movement forces Bond's elbows from under him. He falls flat· on to the moving Belt. He tries to crawl along the .Belt against the flow, but it is a losing battle as he is carried inexorably to the jaws of the Pulverizer.</scene_description>
    <character>327</character>
    <dialogue>INT MIXING AREA</dialogue>
    <scene_description>gestures for Braun to come with him. They run to door leading to Hanger. Braun use OPTICAL PALM READER to open door then steps aside to let Sanchez through. Braun steps through putting to his hand to the Optical Reader again. The steel fire door shuts solidly behind them,</scene_description>
    <character>328</character>
    <dialogue>halts Jeep just outside Entrance. Gets out and goes·to door</dialogue>
    <character>EXT. OMI TUNNEL</character>
    <dialogue>controller. PAM slips past Jeep when his back is turned. She just ducks inside as doors slide clcsed.</dialogue>
    <character>329</character>
    <dialogue>INT. MIXING AREA GANTRY</dialogue>
    <scene_description>disappears over end cf Conveyor Belt into Pulverizer. DARIO starting down stairs, stops for a last look back. He spots a flicker of movement at the end of the conveyer belt. He goes back.</scene_description>
    <character>330</character>
    <dialogue>INT. MIXING ARIA</dialogue>
    <scene_description>approaches conveyor belt he looks down into pulverizer. BOND has hooked the rope binding his hands over a metal bar protruding from the end of the Conveyor to keep from falling in. His feet are standing on a block of cocaine merely inches from the whirl!ng teeth of tr.e pulverizer. Dario goe, to one knee, hi• KNIFE springs into his hand. He begi-ns to saw through the rope. It frays and snaps. Bond grabs the bar with one hand. Dario and places h:s boot on bonds fingers, he slowly presses down. Suddenly he sees Pam standing at the top of the stairs, backlit and ethereal !tt her robes. Dario looks up at her, dumbfound.</scene_description>
    <character>330</character>
    <dialogue>DARIO</dialogue>
    <character>CONTINUED:</character>
    <dialogue>You 1 re deac.</dialogue>
    <scene_description>St!l! on one knee he pivots pu!ling back h!s knife to throw it at ru:•:-.</scene_description>
    <character>BOND</character>
    <dialogue>You took the words right out of my mouth.</dialogue>
    <scene_description>Bond menages to snatch at his throwing arm tipping him off balance. Dario falls past him down into the pulverizer. PtJLVER:ZER The white powder turns red. ?AM AND BOND She pulls knife switch on wall, Pulverizer grinds to a halt. z30ND You're a real angel.</scene_description>
    <character>:?\':' OM: HANGER P.EL!COPTER FOR!{LIFT TRUCK HELLER 330A</character>
    <dialogue>!oadi~g Missile Canisters from the Helicopte~ on to the FORK::~T TRUCK. SANCHEZ and BRAU~ step up behind him. He whirls around to face them.</dialogue>
    <character>HELLER</character>
    <parenthetical>(~!ustered)</parenthetical>
    <dialogue>~though~! better make sure these were secure.</dialogue>
    <scene_description>SANCHEZ' CA~ ?Ulls up, his DRIVER at the wheel.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>Good idea. Put them into my car.</dialogue>
    <character>HELLER</character>
    <dialogue>Of course.</dialogue>
    <scene_description>Heller carries missiles to the car. Sanche: gives Braun a ~oc i~ Helle~•s ~irectio~. thru OMIT'!'ED</scene_description>
    <character>346</character>
    <dialogue>-OM!TTE:</dialogue>
    <character>34</character>
    <dialogue>{330B-346A)</dialogue>
    <scene_description>J {CONTI~O!D)</scene_description>
  </scene>
  <scene>
    <stage_direction>. ./</stage_direction>
    <scene_description>REVISED: OCTOBER 13,19B8 3,sa IN? CMI MlXlNG ARIA OANT~Y BON~ PAM 3469 help~ him out of PULV!ftlZER, They run down •tairs to the ontrance. Huge tire doox·• are now ·1ocked £n place, fallen deb1"1s make it i~possible to open them. They are ~hok!n; in the am0ke, Bond spots doorway to Hanger.</scene_description>
    <character>BOND</character>
    <dialogue>thi• way</dialogue>
    <scene_description>They arrive at the loctee door leading to the Han;er. Bond •••rchco 1n Vilin for mechani•m to open th• duor. Another beam craohes from the ceiling near them. They are hopele••ly trapped, Suddenly so~ething crash•• through tbe brickwork next to the door. Ao the dust settles they••• it is the body of HILtlR ekewervd on end of the FORKLIFT TRUCK prQtruding through w•ll, Pam ahrink• ba~k 1n horror.</scene_description>
    <character>PAM</character>
    <dialogue>God! It's Heller.</dialogue>
    <scene_description>BONt&gt; t,ooka like he c=ame to a dead end. Bond pushes past the fallen ~r1ck work to"•• into the next room. H pull• Pam wlth him th~ou;h the hole in the WAll. · 10/i. f tXT. OMI ROW OF CONES JEEP S CH!%' CAK ,ft1VER waiting, SANCH!Z emerges fr~m oorway hurry1n~ to CQr, PEREZ ANO H!NCHMEN follow carry1ng Stin;e MISSILES, fhey load them in trunk ut car. · 9An~h•a·lcok• down to phithoater. ~47A HIS POV AMPHl THltJ\':l.ll TRUMAN\_.t,Ot&gt;GI burr in; tuward Wh1 te PlCKOP 'l'1WOK. '/9 EXT. OMI AMPHXl'HIATJlJt . OJUIHTAt. looking aro\ffid• tor Truman-Lodge ana their money. On• of them motio !or the other• to follow h1m. • they move of! TR~MAN-tO~GE emerge rrom the ■ hadowa clutching br11 . c••~ w4th bwarer. He head• for tb ?ickup. Th• SOUNO or ~ANCHIZ 0%CE ■ top• hi~ in hie track• ■</scene_description>
    <character>SANCHEZ</character>
    <dialogue>You! Com• with•••</dialogue>
    <scene_description>Truman-Lo!Sge turn ■ to see SAM IZ a.1. .. t.tng in h.ta car bee'kon.ing to· him. lh~ diveo into Sanch•z • c o/</scene_description>
    <character>1 I~</character>
    <dialogue>3</dialogue>
    <scene_description>at top vel ot Amphjtheater. in•~ da i;ht, Bond look• dow</scene_description>
    <character>122A</character>
    <dialogue>~!VlSED: OCTOB!R 13,1988</dialogue>
    <dialogue>.349 EXT. sono·s POV 349</dialogue>
    <scene_description>tl1.-ing OMl ACOLYTES ANtl CIUMOS. SANCH!Z' CAR, 3EEP ANO TH! tAST TANKiR TRUCK just d1••ppearing t rough the Main Gates of the 1nstjtute. e,low tham, in the phitheat•r, lltAON ;et• into PICKUP and drives away.</scene_description>
    <character>PAM 0.S.</character>
    <dialogue>f o/rJ</dialogue>
    <character>!X!. ROW OF CONES PA~ BO~~ ": "C .\_</character>
    <dialogue>-•-n</dialogue>
    <scene_description>loc~s around as she pulls up besid him in PROFESSOR JOE'S c~~=- He gets in.</scene_description>
    <character>349B</character>
    <dialogue>ND</dialogue>
    <scene_description>driving ~owa:c ga~es past !l~eing N$T!TUT! GUARDS AND ACOt:7:.S. :wo GUARDS jump into bac~ o: B~AU? 'S P:C!=UP. PAM spots JOE ::-unning aheaci of them carry.:.ig he SR:E:Fr.ASE. She pulls wne~.! sharply to right so as to pass cl se by h!m. As they eo~e abr~~st o: Joe, Pam sna~ches the riefcase out nf his grasp.</scene_description>
    <character>?AM</character>
    <dialogue>Surprise!</dialogue>
    <scene_description>~hey leave him in the dust. She ands Briefcase to Bond. c~ening it he discovers it is f ! l ed with stacks of cash. looks up at her sharpJy.</scene_description>
    <character>PAM</character>
    <dialogue>! co~ldn't let you put ll the cash in the decompress n champer.</dialogue>
    <character>349C</character>
    <dialogue>C</dialogue>
    <character>EXT. ROAD CONVOY</character>
    <dialogue>lagging. behind as the Trucks lumber up an incline.</dialogue>
    <scene_description>349D FIELD N~AR OM! :~O? Di.!R CART SOND AND PAM / ~ ... :.~, pu 2 : ~p to Crop Duster in C t. 3ump out and run to ?lane. They tu:n at SOUND OF EXPLO ON.</scene_description>
    <character>01-'.!- MAIN GATE</character>
    <dialogue>t:..? tab S.1ilcing explodes.</dialogue>
    <dialogue>~X:. RbA~ NEAR OM: CROP DOS~iR</dialogue>
    <dialogue>-ta.'Cis f:-om field on to road tak~s ind ;r;, '"' fi &gt;''".,.\_..:.</dialogue>
    <scene_description>350 z:-:':':'. ROAD CROP DOSTER coNvot"sANt,Ez Vt!R '.,J- 1 ,J 13</scene_description>
    <character>,;;. · ,· ZS</character>
    <dialogue>, I.' ,,.,,uJ. .</dialogue>
    <scene_description>~acing to catch up. As they descend the mounta!n, the Crop Duster buzzes over the top of thee. ~VT -~• ,</scene_description>
    <character>""'1::1"'1:I</character>
    <dialogue>..,, . . .., •</dialogue>
    <scene_description>"'" ..... -e 1.1 l.i :&gt; • ::... ... ,. ..fv-R #S =-AM ,. • ,ruu•.:.. • , 71-r., J,j~</scene_description>
    <character>-- '</character>
    <dialogue>..,,~,,,, 1'J'i,\_,.</dialogue>
    <scene_description>r '. . ,.~--•·· ;\_, . .,. ..,...,: ': C.: banks the C~op Duste~ and be;ins deseend!ng behind TANKER #S. She cuts the airspeed to match that of ~he Tanker. She slow:y descen~s u~t!: on~ wheel settles gently on the top of the !a~~e~ :ra!!e~. 5c~~ ::!:~s c~: =~ :~e str~~-</scene_description>
    <character>--- --··---</character>
    <dialogue>C.' '!."" :,. p1 ~ ••. •, ~ i.</dialogue>
    <character>. ---·,</character>
    <character>353</character>
    <dialogue>sees Bond on Crop Ou$ter strut above Tanker. He grabs UZ!,</dialogue>
    <character>:NT. SANCHEZ' MERCEDES</character>
    <dialogue>:ea~s out the window, and begins fir!:~g at Bond. J-,</dialogue>
    <scene_description>4/;J-:</scene_description>
    <character>CF&lt;OP</character>
    <dialogue>•I~ ,Je,,T' 'l'l,o,-. f/,~.# f/"i-t -</dialogue>
    <scene_description>Des±EF~'.t!AN~R' 1;· for:':r:1. -'\\_ 36 ... - '?I "'"r' 1 y?, · .,\_::X,- 1q:, :-&gt;:c e~ops onto the moving TANKER. The Crop ~ust~r immediately c- ·.imbs awa~ trom 'the barrage of gunf jre. The SOUND of bullets ~~riking metal resound around Bond. He jumps into the gap betwE:-en the '!'ra!.ler ant! Prime Mover, tall!n; to where his legs are ~angling next to the wheels. He pulls h!:.3elf up, opens the passenger door, and climbs in just as a h&amp;!l of bullets hi~s the door behind him, ~lowing several large holes in it. d e,/~14'" ~1,tx ~-· ·- 333 l~T. PRJ:-1E. MO\'ER CAB SA~CHEZ' MER~EDES T~iK ~!-•~~ER BOSD ~I ,/ ··.•. en~erinr cab. Drl\'er pulls ~fc'f~f.:rrorn sceb~r~··attached to wall above seat end slashes out. Bond blocks blow, then 1rabs fir~ ~~tin,uisher from its hutder end sprays it into Driver·s lace temporaz·ily blindhia ldm. Bond &amp;lances into the rearvi~w ml 1·ro1·.</scene_description>
    <character>BO~D�S POV</character>
    <dialogue>In the rearv! ew. mirror Sanchez' Mercedes can be seen comiril up fast on the Prime Mover's left side.</dialogue>
    <character>XEW AXGLE</character>
    <dialogue>Tt.'1 kl ni the whet- J , ill-. one hbnd, Bond opens the door with the ot l1er and kicks the hapless Truck Driver out the door onto the hood of Sanchez's Mercedes which has pulled alon11ide. 1xr •. SANCHEZ' ntRCEDEs cHAUFF£t;R PEREZ · SANCHEZ 1h1.ort · - . 356 rm;c;;. ORlVER 'i/3°11,..,t . falls bcross the hood of the car obscurin1 the Driver's view. The car swerves al~ng the ro~d. Santhe2 empties his clip into the PRI~E NOVER cab. He b~gins to reload. The Prime Mover swerves towards lhe Mercedes almost forcinr it off the road. Sbnchez see$ body of Truck Driver across windshield.</dialogue>
    <scene_description>'�:</scene_description>
    <character>SANCHEZ ..</character>
    <scene_description>./ .... ". ;.~:</scene_description>
    <character>.. . .- . .</character>
    <dialogue>Pull him off! G~t ahead of Bond.</dialogue>
    <character>.. . ~,</character>
    <scene_description>41. ...... � �:</scene_description>
    <character>,. ·-· .....</character>
    <dialogue>"'··:·:,-~..,'i···</dialogue>
    <character>..;</character>
    <dialogue>The Driver reaches throu1h window;- 1rab1 Truck Drivers- heir· e·nd~:.:~;~~~-: pulls hlrn off. He falls into a ditch at the aide of the roed.·:; ···:';-.:.·.:: The ~ercedes surces forward ~head of the Truck. · :~</dialogue>
    <scene_description>357 EXT. ·:-1:ERCIDES TANKER #5 r/,;t~-'. ' .. -: eo~e, up behind Mercedes pushes it forward. ~ercedes oc~~:erates and pulls -clear. Ahead Ss Trailer #4. 358 l ~T. ~£RC EDES 'CHAt;r:J:£.liR TRli?-lAS-LODGE SASCHEZ ?/l"ti ~~--", 358 en Walkie-Talkie. Trumen-Lodce hold• Nap 1n his lap polntinr to spot on it.</scene_description>
    <character>SASCHEZ</character>
    <dialogue>Perez, Bond has escaped. Wait for•• at the Demoniocroce c:rosa Si11.</dialogue>
    <scene_description>He turns aro~nd, sees Tanker •S comint up fest, 1rab1 the - . ' Driver'&amp; erm, and points at the TAKKER •4 ·•head •. ,'.</scene_description>
    <character>SAXCHEZ</character>
    <dialogue>Fei1r. him!</dialogue>
    <character>,</character>
    <dialogue>1 o(7rf</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TASKER #4 SANCHEZ' MERCEDES</stage_direction>
    <scene_description>swines out and passes the Tanker #4. Bond in Tanker\*' closes the rep. lXT, SASCHEZ' ~ERCEDES TRUMAN-LODGE CHAUFFEUR SANCHEZ rolJs down his window and aotions to the driver of Tanker ~4. The so~~D of the Mercedes honkin1 can be heard. The Truck Driver can be seen roll inc down hia window. Sanchez ahouta to him.</scene_description>
    <character>SANCHEZ</character>
    <dialogue>El Grlnro loco robo el ultimo cemluon ~ No 1• dejen pasar! (The med 1rin10 stole the last truck. Don't l\*t him pass.)</dialogue>
    <scene_description>The Truck Driver nods in under1tendin1 •• the Mercedes passes . 36\] him. ·IXT. TAXh£R v5 - Bl.:S BOND</scene_description>
    <character>A/2-··</character>
    <dialogue>I</dialogue>
    <scene_description>11/'-\_ .~. ·.· .-.,i 1 ¥&gt; 9/,z,t ~,:rt . c;/iltf coming up fest on Tanker 14. He be1ins to pull out to pass it, but is stopped by an oncominr Bus that sports chic);en cares and piles of baggage lashed on the roof, He pulls back in behind the Tanker #4. EXT. ROAD TANKER w4 ·- TA.~KER, 362</scene_description>
    <character>. ... .</character>
    <dialogue>;</dialogue>
    <character>':' ·- ..� .</character>
    <dialogue>pulls out attemptinf to pass Tanker-~~~</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TANKER '14 DRIVER</stage_direction>
    <scene_description>looks in the rearview mirror and swines hi1 IXT, DEMONIOCROCE - JEEP THUGS PEREZ 10/,,Jr X'i,;:: 1tandin1 next to it•• Mercedes pulls up. Driver r•t• out, opens trunk as Senche&amp; speaks to Perez thiou1h open window.</scene_description>
    <character>SANCHEZ. �·</character>
    <dialogue>Stop Bond.</dialogue>
    <scene_description>Driver hands Perez one of the Missiles and 1et1 back into Mercedes. They drive away. JXT. ~ERCEDES SANCHEZ TRi'lUS-LODGE CHAUFFE~1l</scene_description>
    <character>TRUNAN-LODGE</character>
    <dialogue>Each of these Tankers 11 worth ltO million!</dialogue>
    <character>SANCHEZ '</character>
    <dialogue>-.</dialogue>
    <scene_description>Cheep price to pay to be rid of him, r"' 366 EXT. ROAD - TA~t£R •S - TASKER #4 366 '. j swinrs out into the passinf Jene partially blockinr Tanker #5 progress. swJnrs his wheel hard r1rht aendinr hia Truck towards the side of Tanker•'-· 368 EXT. ROAD TANKER .,. -TAt.KER #5 I~ . ,It~,:,,·W,:t. . ffk,J q li.f :, ·'. : . 368 bits the side of Tanker #4 sendin1 up shower of sparks. The SOU~J&gt; OF CRCNCHlSG METAL can be heard es the t.wo trucks sideswipe each other like fiant dinosaurs in battle. Tanker '15 repe~tedJy smashes into the other truck. 3c,9 JiT. TAN&gt;a:R os BOND . 'f/i. r' ·,\_,:-,&gt;· to/rt,.,,:. ·,~ 369 r .. I repeatedly turns his wheel towards the other truck·and then s,dnging it in the oµposltff direction, forcing Tanker ¥4 into th~ shoulder or the road. Bond 1ets sliehtly ahead of it. 3ti9A I NT. TAXKER (14 DRIVER 369A on walkie-talkie. v DRIVER So puedo sujetai'to: Este Grinro maneja como un demonlo. (I cannot ... hold him. Thi1,Grin10 drives like . • .. the devil.)·\_-;~::,·:·· ·. · ··· .-ji~:~</scene_description>
    <character>��. ~ � �� 'W'~ .... � ,, ' ..�</character>
    <dialogue>369B EXT. nEMosiocRocE JEEP.... THUGS PEREZ ·4/.i:· -::,· · 369B</dialogue>
    <scene_description>li•tenin1 on walkie talkie.</scene_description>
    <character>PEREZ</character>
    <dialogue>Okay •. Q.ue pa1e.</dialogue>
    <scene_description>H~ ~ut1 away welkle-tal~i• and picks up missile.</scene_description>
    <character>369C</character>
    <dialogue>His truck is aakint pro1res1 ea it approaches e treacherous</dialogue>
    <character>£XT ROAD TAXKER 15</character>
    <dialogue>curve. The other Driver seems to be more cautious. There is 11 11teep drop off on one 1lde of theroad into the Valley below •.,,</dialogue>
    <scene_description>370 EXT. DE!IOXlOCROCE ROADBLO(:~ :\_ TA~KER fl~ STI~GIR !'ilSSlLES TH\;GS PEREZ ~ T1~!1ni\_ •5J01.71/r- JEEP\_ .'J/ f( ·, , 1:</scene_description>
    <character>'., 37~</character>
    <dialogue>sirhtin1 the missile on Bond'• Tanker 05 as comes abreast of Tan1'er #4.</dialogue>
    <scene_description>~370 COSTJ~t:ED: 370 ,, -~~··'</scene_description>
    <character>PEREZ'S POV - THRO~GH ~JSSILE SJGHT</character>
    <dialogue>The ~1TSSJLF. SIGHTING SCk£E" is rectaniul.-.r with a cross hair. All imeges ere displayed as infrBr~d s.illaouettes. The outline of the road end mountains Js mostly 1reen .-1th 1malJ waves of red. Sudder.Jy, the outllne af the truck appears ora the scre~n. n,ere llli a ,-n,aJ l rP-d flow 111 lho f1•0nt of the truck .-here the ttnaine is located. The e;russ heirs ertt fixed on the red clowinr en~ine. In an upper corner the word "armed" blinks in red letterin1. TANKER fl5</dialogue>
    <dialogue>Bond pulls In front o! Tanker #4. MISSILE SIGHT ~nw nnly one siJhnuette can be seen.</dialogue>
    <character>371</character>
    <dialogue>IXT. TA~KER ~5</dialogue>
    <scene_description>sees Perez eimin1 Missile et him. EXT. CROP D~STER 372 flylns on Bond's "win1• about road Jeve1.·</scene_description>
    <character>373</character>
    <dialogue>.</dialogue>
    <character>JXT. CROP. DUSTER</character>
    <dialogue>374 EXT. TANKER -t15 374</dialogue>
    <scene_description>Bond jerks the wheel of the road. IXS£RT - PIRtz·s FI~GtR PCLLI~G TRIGGER OF ~ISS!LE.</scene_description>
  </scene>
  <scene>
    <stage_direction>· 375 EXT. ROAD TA~KER �5 375</stage_direction>
    <scene_description>starts to roll over on to two wheels. PEREZ'S POV - THROUGH ~ISSILE SIGHT As word •armed• switches to •fire•·, th• truck's silhouette slants to the rirht in r•Jetion with the roadway and another truct can be seen behind it. The red rlow of the second truck's enrine is now lined up squarely in the.fro•• h-,~,. 376 EXT. ROAD TAXKER #4 - TAXKER v5 376 11 on two wheels. The missile passes hermJessly under i t end hit• ranker u4 causinr a deafenint explosion and fireball. 377 EXT. DtMOKIOC~OCE ROADBLOCK - 1 ii</scene_description>
    <character>TANKER #4 - JEEP</character>
    <dialogue>.:</dialogue>
    <character>THUGS</character>
    <dialogue>"'&gt;~rll/a ." 377</dialogue>
    <scene_description>/~ PEREZ 10/11.f,d" ·. , : reacts with disbelief as he takes the firinr canister off his shoulder. Surprise quickly 1ive1 way to terror. PEREZ'S POV Bond in Tanker •5, 1tlJl up on it ■ wheels, bears down on hfm. The remnants of Tanker •4 burn furiously in the beckrround. ~EW A~GLE Perez starts to run for the Jeep which l1 perked in the middte of the road. Jt•• too late, Tanker w5 la 25 yards and closinr fast. Perez throws himself out of the way, a1 Tanker •s settles down on top of jeep flattenin1 it. · 378 OMITTED 378</scene_description>
  </scene>
  <scene>
    <stage_direction>3':'9 EXT. ~OAD PEREZ'S THUGS 379</stage_direction>
    <scene_description>fire furiously at Tanker •Sas it careens down the road. INSERT Two of Tanker •S's tires are hit by eunfire and blowout. rnT. TA:!KER 115 BOh'D ~{1;.-•:}&lt; - /t {",; ·" ,o/i1~,</scene_description>
    <character>�</character>
    <dialogue>3B0</dialogue>
    <scene_description>is havinr rreat difficulty controlJin1 the truck as it 1winrs ·trom aide to side. He 1lam1 on the brakes and the Truck shudders to a halt. BOND'S POV - IN THE R£ARVIEW ~IRROR Perez• s Thu11 runnin1 down the road towards him/ } ,</scene_description>
    <character>,;,1.1</character>
    <dialogue>l.1c ,r '··'·:. ',</dialogue>
    <scene_description>381 EXT, ROAD PEREZ TH\;GS ~)/- ,,·, ,p-'•' . o,/1fl . 1 ~ -,,t 38l firin1 their weapons and runninr towards Bond. The SOUND of the Crop Duster can be heard as it comes .in low over the road re!easin1 a cloud of insecticide on Perez and his Thuca. CJ..OSE A&gt;:GLE Th•Y cover their heads and crumple to their knees. 382 EXT. ilOA.D TAN"ER IJ5 BOND ·;o(i~f ;, 'f,~;,·· i~,J\_sr·1"~'. ,o/,t.•'7.~82 sees Per~z and the Thurs immobi 1 i zed, run~ back to the Tanker,." -f disconne~t• the Trailer, jumps in the Prime Mover, and pushes 1 J:.,--: the Tanker Trailer over the cliff towards the switchback below. • ~e l&amp;ans out the Prime Mover window to see the result. • ~</scene_description>
    <character>383</character>
    <dialogue>hurtJ~• throurh the air towards the convoy below. It bounces</dialogue>
    <character>EXT. ROAD TRAILER �.5</character>
    <dialogue>on,e near the bottom and then smashes into Tanker #3 causinf ~n en~rmous explosion and the spewinr of fleminr g~soljne In ell Jirections. ·</dialogue>
    <character>384</character>
    <dialogue>384</dialogue>
    <character>EXT. ROAD</character>
    <dialogue>forced off road by fireball fro• Tankers.</dialogue>
    <scene_description>365 EXT. ROAD PRIME :'10VER BOND e,}~ 38.5 drh·es ol f in purauit of the convoy. 38b EXT. ROAD DE:10~IOCROCE CROSSROADS PJCJ\\!P BRAUN ,11 A</scene_description>
    <character>......</character>
    <dialogue>.~,... i.</dialogue>
    <character>. -.··</character>
    <dialogue>FLAMING TA~KER #4</dialogue>
    <scene_description>drives throuch the flaminr remains of Tanker••• He spot• Perez, w.ho $$ s1andin1 in the middle of the road surrounded by a iilst of irL,&lt;.-c:Ucide. He's courhint end •·ovinr frantically at Braun to slow down. Braun pulls up. Perez 1ets in. 387 EXT. RO.-\D - B1:RX l KG DIBR 1 S - MERCEDES CHAUFFEl:R lo/?,t', . 387 TRv:-2 ..\X-lODGE A~D SA.SCHEZ</scene_description>
    <character>.</character>
    <dialogue>TberP. .-ey is blocked b)' the burninir Tankers. They jump out. Truman-LodJ~ clutches BRIEFCASE with bearer bonds. He ia rrim es he sur,·ey• remain• of the Tankers. He speaks t-o Sanchez in en otticious ■ enner. .,</dialogue>
    <character>--~-··- . . ..</character>
    <dialogue>TJU1MAX-LODGI</dialogue>
    <scene_description>Another 80 million dollar write off!</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(furious)</parenthetical>
    <dialogue>Tim&amp; to Mtert cuttihl overhead.</dialogue>
    <scene_description>H~ reache1 baek into the limo for the Vii end shoots Truman-Lodi• several times, killinr him. Chauffeur pulls last three canisters from trunk of Mercedes. Sanchez takes the brie!ce1e from the dead Truman-Lod1e. They leave the road and skirt the fire. 307A IXT. ROAD TAXKIRS #1 A~D •2 DRI\.IRS ,ofc-,,&lt; ::&gt;\_•,. 387A wait beside their trucks watchlnr the fire•• S.4.,CHEZ AND CHACTTEt:Rrush up to them. He 1h·es aisai le• to Tanker Dri"'er ul. , . I SAt;CHEZ (to Driver -1) In your tenker. (COXTJNliED) COSTl~UED: 387A He hends Chauffeur Uzi.</scene_description>
    <character>SANCHEZ</character>
    <parenthetical>(Gesturin1 towards Tanker •2.)</parenthetical>
    <dialogue>You 10 in that one.</dialogue>
    <scene_description>Sanchez, still h0Jdin1 the BRJEFCASE, c11mba into the passen1er seat of Tanker • 1. , ~ :-,~"' -,/~,,- .·,. ,\_ · 388 EXT. ROAD - FLAMI~G DEBRIS PRI:'iE MOVER BOND ,J - . /i 388 epproar.hes the fJaminf remnants of the Tanker• •3 6 •4 blockin1·\_·.~·-..\_: the roacJ. Braun• s Pickup I ooms up behind him. :. ~: 389 Jl'\T, PRUSE MOVER Fl.A!"IING DEBRIS - BOND'S POVt;/lor ;.\_ j.- 389 the road ahead is awash in flalnine eosoline •. . o/i</scene_description>
    <character>11</character>
    <dialogue>390.</dialogue>
    <character>1</character>
    <dialogue>i:XT. ROAD F LAl!l NG DEI!R Is l!RAUN • s PI CKl,;P</dialogue>
    <scene_description>does a "-.·heelie" through it. Braun's Pickup which is~o"· tar behind slows down as it approaches the pools of flemin1 rasoline. THUGS jump out of the beck. leavinr Braun and Perez alone in the cab. 391 1ST. BRAtN'S PJCK~P BRAUN REZ .... looks behind him to see THUGS Jump clear~</scene_description>
    <character>. PEREZ</character>
    <dialogue>Ch1ckensb5ta!</dialogue>
    <parenthetical>(to Braun)</parenthetical>
    <dialogue>Go!</dialogue>
    <scene_description>Braun accelerates to~ards th flames. 3?2 IXT, ROAD BRACS HELLER BRAUN'S PJCKCP r/;o? - roars throurh the flames. When it eaerr•• on the other side, its tires ere burninr. ~/2 .\_ 393 IXT .~OAD TASKER •2 BOND cHAtffJ~ ·\_-~ P~tME MOVER 393 comes up behind Tanker •2 and starts to pa11. Tanker •2 blocks 394 ;:; .-::~KER tl2 PRil'IE MOVER DJIIVEJI cJ/.J~~:, 1 of, rJ"¥ - ',.\_\_\_J now in passen1er 's seat 1•e1 the Prime Mover in his aide mirror. He puts• he•.clip in his Uzi. l~T. PRIME ~OVER - BOND'S POV 395 Tenker u2 is weavin1 acro11 both Janes effectively keepinr the Prime ~over fr~m passin1. EXT. TANKE~ v2 - PRl~E ~OVER</scene_description>
    <character>,</character>
    <dialogue>. /, (</dialogue>
    <scene_description>DRIVE~- tHACFFEtR . leans out the wind~• •1th hf1 Cii and b•"ins firin1 et the Prime 397 397 the •·iudscreen shatters Cron the Impact of the bullets. XEW ANGLE Bond ducks d~wn but continues to steer the truck. He sets the crui!iie control for '70 mph. qft,J,~ ~··~ ,/,· - . 4t'~t L.~ · . 398 EXT. PRIM:£ noVER - 112 TA~1'ER BOND. 1/1-'tr' -:~ 11/1 . , .;o/Jj( 398 1olti,:t: ,t.J,t; ' c8tches up to u2 TA~KER. Bond pulls up to the rear end. He r - kicks out the •haltered wlndscreen and crawls out on the hood only feet from the rear of the Tanker t;2. It slo•·s for a cur\'e in th~ road. the i~P b~tw~en the trucks closes. Bond stretches ou~ to reach a valve at the rear of the Tanker. He arebs it, but ls strelche&lt;l b~tween the two vehicles as they move apart. Tankvr 112 roes into the curve pul lint Bond ~10!ll with\_ i~•.in?, ~- ?J:U:'ii nov:tR c:ontinues atrei1hl ahead, · -. '· •· := ••-.= ·-.- -... :.. •.. i~! :\ . ::~ ::- -:</scene_description>
    <character>.. ..:- .� �.' ~:..��.</character>
    <dialogue>:e:·~;.\_;~ --~-:·· ~~·-· ·- ...... ·</dialogue>
    <scene_description>:,-..-r,J,,•~····-· • ~ • -~ • . u " • ••• .,\_S,i.,;:~~ ...- . ...: · ·</scene_description>
    <character>� �� �� � �</character>
    <dialogue>· • ' . . . ·-~ ..•-'t • . ·~--1';" ,::-·· :.-.</dialogue>
    <scene_description>"" bis feet fall off t11e prime mover, be'a dra11ed elonr. ···The · Prime ~over ~ontinues 1treS1ht ahead off the roed and across thu trackle•• desert. Bond mana1e1 to climb up onto the rear of the tanker. looks up•• shots rinas out. 399 399 fire at BO~D. .400 l~T. BRAUX'S PlCKuP BRAuH PEREZ 400 is reloadin1 his 1un. lreun ia firin1 at Bond as be drives.</scene_description>
  </scene>
  <scene>
    <stage_direction>'-OOA EXT. CROP DUSTER</stage_direction>
    <scene_description>1/'yJ,.d- r• .:' ~- '.</scene_description>
    <character>,\.""'"'-? 400A</character>
    <dialogue>flyin1 at road level fotlowinr TA~KER v2.</dialogue>
    <character>.. .·� �'" .</character>
    <dialogue>ltOOB I~T. CROP D~STER PA, 400B</dialogue>
    <scene_description>concerned es she watches BO~D.</scene_description>
    <character>EXT.</character>
    <dialogue>12 TANKER</dialogue>
    <scene_description>duckin1 dosn to avoid shots. Bond opens outlet valve of Tenker. Gas-cocaine mixture flows out on to the road. 402 txr. aRAl:i • s P1cKuP ,(,,, 11-- ·· ~ &gt;- •• -. ,/~rt 1;::; trh~ lt02</scene_description>
    <character>. . ~ ..//' -~~~--</character>
    <dialogue>with smokinr tires from pass throu1h flames, drives into the pool o! iasoline from Tanker •2. Roadway burata into flames, engulfin&amp; the pickup. It swerves off road and over edae of cliff'</dialogue>
  </scene>
  <scene>
    <stage_direction>402A EXT. CROP DUSTER 402A</stage_direction>
    <character>. .</character>
    <dialogue>flyinr at road level as Pam searches for Bond. PICKUP catapults--:· o-..·er ed1e of cliff. It 111omentu11 takes lt on a trajectory which· ·· ~arries it ov~r the top of the Crop Dust•~• ONJTTED 403</dialogue>
    <scene_description>BOND le04 c 1i mus on top of valve. EXT. CROP D~STER PAM 405 .: s•oops down to~ards BO~D.</scene_description>
    <character>; .·-</character>
    <dialogue>,~t</dialogue>
    <character>. .</character>
    <dialogue>·,11•i t";:'.,1: ·~-,.'"'\_...\_.·-:.-•·.·~1/,.,· ~-</dialogue>
    <character>.:</character>
    <dialogue>406 EXT. •2 TANKER - CROP DUSTER PA.'I :1/l.~,j': ~,{;\_ ;·:,:,.\_//,ot:.</dialogue>
    <scene_description>fl 1•• directly above Tanker landinr orie ...... 1.. on-·top" 'of trai Jerfl·~~. . She mot ions for BOND to 1et in. He 1tand1 ·on wins brace wa~·in1·:~-----: . .:1~ her to ro ahead. She lifts him off •2 Tanker, Just•• flames enrulf it. Tanker explodes. BOXD loo~s eheod to Tanker #1. 40i. l~T. #1 TANKER SANCHIZ 407</scene_description>
    <character>AXOTHER ANGLE</character>
    <dialogue>Plene rises and climbs away with sudden r~.l~~•• ··of Bond'•.-.~ ~- .-ei1ht. Missile misses the body of the pJ•~•• but just clips ... the tail.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CROP DUSTER PAM</stage_direction>
    <scene_description>reacts to her plane beinr hit, She 1tru11les with the controls. She banks the plane, seerchinr the rround for• place to crash land. · £&gt;:T, CROP DUSTER : :.,jz'f/ 1,, &lt;~ 1rJ/,/ :-. 410 s~eepinr low over the around, smoke· ~ourin1 from its tail.'</scene_description>
    <character>A~OTHER ANGLE</character>
    <dialogue>• dirt road r~n• throu1h • dry river bed. P~, heada ~or it.</dialogue>
    <character>.. '.</character>
    <dialogue>,.lOA INT CROP DUSTER PAM ·410A</dialogue>
    <scene_description>concentratinr on flyin1 tlae bucldn1'pl9:ne. 41 O'S INT. HER POV .. ·: --9J,,,r th~ rood passes throurh a rap in the rocks, too narrow for the plane, lelOC EXT. CROP DUSTER .I .l IOrtor.., . ✓ te/11,': · 410C landinr herd on road, bouncinr and rol linr to the G;;/.' ~ ANOTHER ANGLE its winis are clipped off•• lt taxi;~~hrou1h</scene_description>
    <character>. ........-=·::;..:-:.�--.</character>
    <dialogue>·-· .</dialogue>
    <scene_description>410D ··.·. -~~":</scene_description>
    <character>··-~~-:..--</character>
    <dialogue>··~5"- ~ . .·</dialogue>
    <scene_description>minus winrs, rol 11 to • atop. P.Vi' r•t• out., EXT. DESERT -CROP DUSTER PAM 410£ lookinr around the vest emptiness. She turns et the SOCND OF A TRt:Cl\ EXGIXE:. AS01.H£R ANGLE The PRIME MOVER Bond was lest on chu1a throurh the desert. It runs into a sand dune and stalls. EXT, •1 TA.~KER BOND scramble• down to outlet valve, opens.it</scene_description>
    <character>. ·� �· .</character>
    <dialogue>•</dialogue>
    <scene_description>•. •fl· .. ·: - O~iITTED</scene_description>
    <character>SANCHEZ</character>
    <dialogue>.. -· . . :</dialogue>
    <scene_description>EXT. "1 TAi"KER (COXTINliED) COSTltiUED: 413</scene_description>
    <character>SANCHEZ</character>
    <dialogue>fscreamin1)</dialogue>
    <scene_description>Stup! S1op! Tiu: :11 'li1hh.e!r Vri~·er aJams on the brakes. r</scene_description>
    <character>BOND</character>
    <dialogue>c 1 imbs to top of tanker end heads to•·ard ·cab. The truck skids to a halt, pitchinr him forward. H• 1• hurled •1ainst the back or the cob. Stunned, he feJlM onto tbe rear of the priae aov~r.</dialogue>
    <scene_description>41S JNT. #1 TAXKER SANCHEZ ,o/"/11 · ., snatches a machete from between the seats and leaps out the dc,or. EXT. ::1 TAXtER SANCHEZ tt(z.,,:,- , ·•, '. ,o/r,p (-c.&gt;·j • ,o1,,.,.~'o.J.:- 416 1r)l/f IJ' cl iu,hs· around· tJ1e back of the ceb and s~ ashes at BOt\D .-1th the mar:1,ete. He 1111sses, but severs the hydraulic bral;.e lines. The tanker. im,oediately starts to roll down a steep slope. The L~IVE~ ju~ps out. S~hchez runs to rear of tanker. He jump~ aboard 1i-abbi111 the outlet valve end closin1 it. Bond who has r,m h~cl,.. al on1 \bt.t top of tanker kicks out at him. He swipt-s at Bund •·1th hla machete. Bond f1Jl1 beck. Sanchez\_ cl.hr.bs up un top of tanker· after hi ■• Bond bJocks a do.-n.-ard- b.low from the rnachttte. Ht- duck and dodaes to avoid Sancher'·. relentless . ,-.·h,1~. Th&amp; Tenker, Row brake,e11 and drlverleai\_, ·hu·rtles alon1 4J6A 1redually .,cceleratS:n1 t~. • considerabJ"e apeed.·~---:..:.;~· •. · .\_ . =· · EXT. TASK£R .111 ~~NC;EZ t~</scene_description>
    <character>BOND</character>
    <dialogue>hen1inr on for d•er llfe ea the speedin1 tanker run1 off the</dialogue>
    <character>7/&gt;7~ :</character>
    <dialogue>j ~1'/}:'.</dialogue>
    <scene_description>1 :~t;,r 416A wide of the road end do•n an embanksr,ent. Jt rolJa over, thro•·inr BCJSD clt11:1r. The tank's welded sttem has cracked and S:u•r.dine, Jeoks i1, 1t puddle around the it. Bond is dazed. SAXCHEZ limps O\'er tu bJm. He fT6bt. Bt,nd by the h11ir and rais.es the m6chete t~ dec•pit•t• hia. Bond barely has enouth 1tren1th to speak.</scene_description>
    <character>BOXD</character>
    <parenthetical>(•hi1perin1)</parenthetical>
    <dialogue>Do you want to know what Its about• Sar,chez?</dialogue>
    <scene_description>s~nehez leads closer t~ hear. lXSERl-Bond ta1'es Lei\_ter'a ·11ft H1hter from his p~~~•t.</scene_description>
    <character>"�:, . .</character>
    <dialogue>'\_) (CONTINl:ED) ·/</dialogue>
    <scene_description>,, 16.-' COXTIS\:Eo: 416A</scene_description>
    <character>,:~</character>
    <dialogue>( ) BOSD</dialogue>
    <character>BOXD</character>
    <dialogue>r'ed ix Lttitl!r.</dialogue>
    <scene_description>he ~trikes the lJ1hler. The flame ahools out icnitinr Senchez• ld5 sn~~•d cloth••· He stAirers blindly enaulfed in flAmes, Uurn faJJ11 into a puuJ of ralic.,line Jeadin1 Crum th• ruptured Tdnk~r. Jt expl~des in a firehall, vaporizin1 hi ■• Bond ls kr,ocked flat by thtt fore• of the explosion. O~iTT;;n 417 ltJi,\ F.XT. ROAD BO~D 417A staggers awey ror the burnSn1 Tanker. Suddenly, throurh an npenina in the rock.a, the PRJ~lE MOVER appears. It pulls to a •toJ,. J&gt;AX open,- thtt p11sstt11gf!r's door. Cl OSJ-; OS HER Get in. Bond j u1,,pt- l n. EXT. ROAD 418</scene_description>
    <character>..</character>
    <dialogue>dri\·es awa,· as the hurnin1 tanker J • rocked by a seri•• of</dialogue>
    <scene_description>. · a-econdary explosions in the BACKGROu~D. · · · · on:TTID 419 EXT. tlOSF. ON SANCHEZ' JGCANA • SIGHT 420 t.ittinr in a chair. SOCXD OF ~l\.iSlC playinsr quietly in B.G. CA:•;;;:"&lt;,.\ pull, bfllc·k to irtc-Jude lo'"':·: 0. SAS CHEZ nO\.: St Ti\£NTV FAfff'i c;l"ESTS ~O~D in Bleck Tie 1ittin1 next to JGVANA at the bar. He speaks into telephone as he fe•ds the Iauana • bit of cocktail cracker end nursvs his vodka martini. A small cocktalJ party 11 in pro~re11. TEl ~ELL DRESSED COUPlES !rom the tnp crust of l•th~us soct~ty chatter q~S,tly ln •••11 1roups amon1 the Pl.ASTIR L1rE SiZE CA~ELS.</scene_description>
    <character>BO~-"</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>J'll be vp to •••.you next week.</dialogue>
    <scene_description>i I ·...\_\_\_\_,.1 ~e'll do •ome flshin1.</scene_description>
    <character>(CCJXTI~\:ED)</character>
    <dialogue>lt20 COSTJ~l.:ED: 420</dialogue>
    <scene_description>I------, :,..) HvSPITAL ROOM LEITER sittin1 uµ in bed.</scene_description>
    <character>LEITER</character>
    <dialogue>Good! J '11 be out by then. !"I celled, he'M been trylnr to reach you.</dialogue>
    <character>BOND V.O.</character>
    <dialogue>I (noncommittal)</dialogue>
    <scene_description>Yes.</scene_description>
    <character>LEJTER</character>
    <dialogue>James, just remember, there ere\_\_.</dialogue>
    <scene_description>things• lot ■ore important thin our crazy business.</scene_description>
    <character>·-</character>
    <dialogue>I NT. PATIO, SAXCHEZ HOuS£ BOND 421</dialogue>
    <dialogue>lookin1 up and reectinr to some one epproechin1.</dialogue>
    <character>BOND</character>
    <dialogue>I have to 10, my hostess ia cominr.</dialogue>
    <scene_description>He henr• uv the phone. Lupe Joins him picks up the I1uana from the chair next to Bond. ...</scene_description>
    <character>~</character>
    <dialogue>.</dialogue>
    <character>; � · .: ~- · .-;;:. BOND -··</character>
    <dialogue>... .</dialogue>
    <scene_description>· • J thou1ht you hated that anima J.</scene_description>
    <character>INSERT LUPE'S \~JST</character>
    <dialogue>tbe IGUANA'S DIAMOXD ~ECKLACE la around her wrist. The i1uana •ears e plain leather collar.</dialogue>
    <dialogue>She smiles.</dialogue>
    <character>LUPE</character>
    <dialogue>Didn't you know iruanas are• rlrl'• best friendZ</dialogue>
    <scene_description>PRESJDENTE HECTOR LOPEZ joins them. She puts her era throu1h h!a affectionately. L\iPE Hector rave•• this house.</scene_description>
    <character>LOPEZ</character>
    <dialogue>~Y l•st official act.</dialogue>
    <parenthetical>(COXTJ~l'ED)</parenthetical>
    <dialogue>421 COSTl~l'ED: 421</dialogue>
    <scene_description>--,·-·1 c".\_ . ..} LUPE He's had to resi1n in dis1rece.</scene_description>
    <character>LOPEZ</character>
    <dialogue>It's not the firat time, probably not the Ja1t.</dialogue>
    <scene_description>He steps away to areet another 1roup of well wishers. LliPE Thank you tor everytbina. She 1tves him• friendly kiss ASOTHER ANGLE OVER BOND'S BACK PAM comes to the er1trance of the patio dressed in an etecant e,·en i ne dr6's5.</scene_description>
    <character>422</character>
    <dialogue>en elefant LADY on eech arm, waives to her. She smiles beck.</dialogue>
    <character>EXT. GARDE~ ENTRANCE</character>
    <dialogue>Then turns lookinc for Bond. The smile disappears form her lips es she spots him.</dialogue>
    <scene_description>e HER POV ~ond end Lupe ki11in1. She becomes more passiona\e. PAM She turns •~•Y deflated, walkin1 to~ard the exit.</scene_description>
    <character>423</character>
    <dialogue>EXT. GARDEN</dialogue>
    <scene_description>UiPE You ~Quld stay here with me,</scene_description>
    <character>J��···</character>
    <dialogue>He sees PA.~•s BACK Just•• she turns end heads down the stairs.</dialogue>
    <scene_description>Excuse me. He stances around, then aakea his ••Y quickly throu1h the crowd to the edre of the patio well. Lupe trail• after him. She·end • few of the otlaer GUESTS watch dumbfounded•• Bond climbs over .the we I 1. He stops when his head 11 even with the top of it •</scene_description>
    <character>BO~D</character>
    <dialogue>l'ou end Hect or •111 w.ake a perfect c.:nuple.</dialogue>
    <scene_description>He jump~ dowai 1.o th.~ level b-Jow. IXT. kOC'1F Of' LJVIXG\_·MOO~ BOKD lends on one knee. ,He just sets ,a 11 iapse of PA:-1 es she hurries 111 or11 the path be l os. EXT. GARDES, SA~CHtZ HOUSE :PA~ hulJing her ,emotions in ,ch•ck ,ea .she -selk• do.-n the steps pa·st -- the wet-erf.-1,ls. She !enters tbe liv1n1 room area neer the :pooJ. t.·:t6. Jl\T. LJVlSG R00:-1 PAM .-nlks into the- rc,om a.top,. Thttre ere t-ear.s .in he:r e)·es. Sudde11 l y .BOND, -•ha hes just I eeped :from ·the ·roof of ·the livtn.1 :rocnn, l b11ds .ri rht ln fror,t. of her. He sweeps her into bi's e:rms -kis1in.1 her :"passionet·ely. A·ft-er ,a ·few moment•:s ,ahc puJ.J·s beck.</scene_description>
    <character>,PA~</character>
    <dialogue>,ll'hy don't you ,wa.it ':t l ! you 're el-ked?</dialogue>
    <character>,�.</character>
    <dialogue>They 1,eurla er,d k! 11 ••r•in sett l in1 down into ,a nest :of ,couches .by the ~c,ol .• CAMERA PANS CP to l·er1e .ceramic f,ish '.SCul.pture ·fount a in. The fi •h 'a ,,eye ..-Jnks. IXD CRID.IT.S</dialogue>
    <character>..</character>
  </scene>
</script>
DEA agents collect MI6 agent James Bond and his friend, CIA agent Felix Leiter, on their way to Leiter's wedding in Key West, to have them assist in capturing drugs lord Franz Sanchez. Bond and Leiter capture Sanchez by attaching a hook and cord to Sanchez's plane and pulling it out of the air with a Coast Guard helicopter. Afterwards, Bond and Leiter parachute down to the church in time for the ceremony. Sanchez bribes DEA agent Ed Killifer and escapes. Meanwhile, Sanchez's henchman Dario and his crew ambush Leiter and his wife Della and take Leiter to an aquarium owned by one of Sanchez's accomplices, Milton Krest. Sanchez has Leiter lowered into a pond holding a Great White Shark. When Bond learns that Sanchez has escaped, he returns to Leiter's house to find that Leiter has been maimed and that Della has been murdered. Bond, with Leiter's friend Sharkey, start their own investigation. They discover a marine research centre run by Krest, where Sanchez has hidden cocaine and a submarine for smuggling. After Bond kills Killifer using the same shark pond used for Leiter, M meets Bond in Key West's Hemingway House and orders him to an assignment in Istanbul, Turkey. Bond resigns after turning down the assignment, but M suspends Bond instead and revokes his licence to kill. Bond becomes a rogue agent, although he later receives unauthorised assistance from Q. Bond boards Krest's ship Wavekrest and foils Sanchez's latest drug shipment, stealing five million dollars in the process. He discovers that Sharkey has been killed by Sanchez's henchmen. Bond meets and teams up with Pam Bouvier, a pilot and DEA informant, at a Bimini bar, and journeys with her to the Republic of Isthmus. He seeks Sanchez's employment by posing as an assassin for hire. Two Hong Kong Narcotics Bureau officers foil Bond's attempt to assassinate Sanchez and take him to an abandoned warehouse. They are joined by Fallon, an MI6 agent who was sent by M to apprehend Bond. Sanchez's men rescue him and kill the officers, believing them to be the assassins. Later, with the aid of Bouvier, Q, and Sanchez's girlfriend Lupe Lamora, Bond frames Krest by planting the $5 million in Wavekrest. Sanchez shuts Krest into a decompression chamber and cuts the oxygen cord, causing Krest to explosively decompress to his death. Bond is then admitted into the inner circle. Sanchez takes Bond to his base, which is disguised as the headquarters of a religious cult. Bond learns that Sanchez's scientists can dissolve cocaine in petrol and then sell it disguised as fuel to Asian drug dealers. The televangelist Joe Butcher serves as middleman, working under Sanchez's business manager Truman-Lodge, who uses Butcher's TV broadcasts to communicate with Sanchez's customers in the United States. During Sanchez's presentation to potential Asian customers, Dario enters the room and recognises Bond. Bond starts a fire in the laboratory, but is captured again and placed on the conveyor belt that drops the brick-cocaine into a large processing machine. Bouvier arrives and shoots Dario, allowing Bond to pull Dario into the processing machine, killing him. Sanchez and most of the others flee as fire consumes his base, taking with him four tankers full of the cocaine and petrol mixture. Bond pursues them by plane, with Bouvier at the controls. During the course of a stunt-filled chase through the desert, Bond destroys three of the tankers and kills several of Sanchez's men. Sanchez attacks Bond with a machete aboard the final remaining tanker, which crashes down a hillside. A petrol-soaked Sanchez attempts to kill Bond with his machete. Bond then reveals his cigarette lighter—the Leiters' gift for being the best man at their wedding—and sets Sanchez on fire. Sanchez stumbles into the wrecked tanker, causing a big explosion and killing himself. Bouvier arrives shortly afterward, and picks up Bond. Later, a party is held at Sanchez's former residence. Bond receives a call from Leiter telling him that M has congratulated him for his work and offers him his job back. He then rejects Lupe's advances and romances Bouvier instead.