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       T H E   W O R L D   I S   N O T   E N O U G H

       (BOND 19)

       --------------------------------------------------------------

       GUN BARREL LOGO OPENS ON

       GENEVA SWITZERLAND, an unnaturally clean city that melds old
       Europe with new money of both dubious and legitimate source.

       INT. HALLWAY OFFICE BUILDING - DAY

       An engraved brass plaque announcing the name of the "private
       banking institute" within.

       INT. PENTHOUSE BANK OFFICE - GENEVA - DAY

       JAMES BOND, dressed impeccably as ever, is being FRISKED by
       three THUGS in Armani suits.  They remove A GUN from inside
       his jacket, a well-concealed knife, a metal case, laying them
       on the desk that separates Bond and...

       LACHAISE...an extremely well-groomed gentleman. Behind him,
       three floor-to-ceiling windows lead out to a rooftop garden.

                           LACHAISE
                 Not the usual Swiss procedure, Mr. Bond,
                 but you understand, a man in my
                 position..

                           BOND
                 Which is neutral, no doubt.

       Lachaise takes the joke a little tight-lipped.  Gestures for
       Bond to sit.

       A GIRL ENTERS, a gorgeous Swiss bombshell in a pin-striped
       suit.  She pushes a cart. On it are a BRIEFCASE and a box of
       EXPENSIVE CIGARS, which she offers to Lachaise and Bond.

                           LACHAISE
                 It wasn't easy, but I retrieved the
                 money.  No doubt Sir Robert will be
                 pleased to see it again.

       The efficient Cigar Girl brings the briefcase to Bond,
       setting it in his lap and opening it up...inside is a good
       deal of CASH in pound sterling.

                           LACHAISE
                 In the current exchange rate, minus the
                 fees, of course, and certain
                 unforeseeable expenses. Here is the
                 receipt...

       The CIGAR GIRL offers Bond a RECEIPT...

                           CIGAR GIRL
                 Would you like to check my figures?

                           BOND
                 Perhaps later.

       She steps back. Bond reaches for the metal case on the
       desk...the THUGS TENSE...

                           BOND
                 My glasses.

       Lachaise nods.  Bond can have his glasses.

       He puts them on, gives a cursory look at the receipt...an odd
       number in pound sterling, calculated down to the penny:

       3,030,303.03.

                           LACHAISE
                 It's all there.

       Bond folds the receipt, slips it into his WALLET...then, he
       removes the glasses, slowly, deliberately, eyeing Lachaise.

                           BOND
                 I didn't come for the money. The report
                 you sold him was stolen from an MI-6
                 agent, who was killed for it.

       He takes a photo from his jacket and lays it on the desk.

                           LACHAISE
                 I did not get the report from an MI-6
                 agent.

                           BOND
                 Who did you get it from?

                           LACHAISE
                 I am just a middle man. I am doing the
                 honourable thing and returning the money
                 to its rightful owner...

                           BOND
                 And we know how difficult that can be for
                 the Swiss.

                           LACHAISE
                     (controlled fury)
                 Your last chance. Take the money.

                           BOND
                 Your last chance. Give me the name.

                           LACHAISE
                 Stripped of all your weaponry, you still
                 threaten me?

       He nods.  An Armani thug steps up and takes out a gun...

                           BOND
                 Perhaps you failed to take into account
                 my...hidden assets.

       Bond's mouth edges into a smile.  A flicker of doubt on
       Lachaise's face -- as Bond's finger finds a protrusion on the
       tiny arm of his glasses and...

       KABOOM!  The pistol on the table FLASHES...blinding those
       around, they cover their eyes, stagger back...it is a brief
       effect, just enough to disorient the thugs and give Bond his
       opening...

       He KARATE-CHOPS HENCHMAN #1 unconscious, taking his gun.
       Kicks HENCHMEN #2 in the face and throws #3 OUT THE WINDOW
       just as they're getting their bearings.  Now he nestles the
       barrel of his borrowed hand gun into the hollow of Lachaise's
       cheek.

                           BOND
                 The name?

                           LACHAISE
                 I can't tell you...
                     (Bond cocks the gun)
                 Alright, alright! But you must protect
                 me!

       And he freezes.  The handle of a THROWING KNIFE is sticking
       out of his neck.  Bond looks up, catches sight of the CIGAR
       GIRL as she vaults out the broken window and onto THE ROOF.

       Bond rushes to the window...

       EXT. VERANDAH - ROOFS - GENEVA - DAY

       She swings on a WIRE across to another roof, quickly
       disappearing into shadows.

       Bond can hear sirens approaching. He returns to...

       THE OFFICE...he grabs the money and moves fast for the door,
       casually slipping that cigar into his pocket...

       Except Henchman #1 has recovered, blocks his way, gun in
       hand.  He starts to squeeze the trigger -- when a RED DOT
       appears on his chest...another window SHATTERS as a bullet
       zings through and pierces the henchman in the heart.

       Bond looks back once at the shattered window, then heads out.

       INT. BANK - GENEVA - DAY

       Bond appears on the top floor of the grand old building, by
       the elevator.  Looks over the balcony, sees figures on the
       stairs.  Hears the elevator cage start from below.

       Thinking fast, he wrenches open the steel gate, leans into
       the lift shaft, watches the elevator COUNTERWEIGHT as it
       comes down.  Almost nonchalant, he steps out...

       INT. STAIRWELL/ELEVATOR SHAFT - DAY

       As the cageful of police rises, Bond is now standing on the
       counterweight, DESCENDING.

       EXT. STREET - GENEVA

       Lunchtime.  Faceless business crowds heading for their brief
       moment of freedom, among them we spot BOND...one of them,
       with a briefcase and a suit and tie...HOLD on his face,
       troubled.

       INT. HOTEL - GENEVA - DAY

       The Cigar Girl enters a huge, high-ceilinged room. Edgy, she
       approaches a BIG MAN standing on a balcony overlooking the
       city.  Propped against the doorframe, an assassin's RIFLE
       with LASER-SIGHT attached. BINOCULARS are on a tripod,
       trained on the rooftop below where we can see cops examining
       the shattered office windows.

       The man turns. Powerful, deadly, with a military haircut.
       There is a raised, red scar of an ENTRY WOUND at his temple.
       It throbs and shifts with the slightest facial expression,
       like an insect living just beneath his skin. One EYE seems
       slightly drooping, deadened. The other eye is sharp and black
       as anthracite.  It is a frightening face. This is RENARD.

                           RENARD
                 What's his name? Our friend from MI-6?

                           CIGAR GIRL
                 James Bond.

                           RENARD
                 One of M's more accomplished tin
                 soldiers.

                           CIGAR GIRL
                 He could identify me.

                           RENARD
                 If it concerns you...kill him.

       He touches her cheek and moves into the room, pouring two
       glasses of wine.

                           RENARD
                 Let's toast this James Bond.  We're in
                 his hands now...

                                                            CUT TO:

       EXT. RIVER THAMES - LONDON - DAY

       A SEAPLANE swoops over the Millennium Dome, banks along the
       snaking river.

       EXT. MI-6 - LONDON - DAY

       Tate Gallery in background, the seaplane moors beneath the
       vast stepped cake that is MI-6.  Bond exits with the
       suitcase.

       INT. SECURITY, MI-6 - DAY

       CAMERA MOVES with Bond as he enters this secret, hi-tech
       world.  He passes through countless security procedures,
       watched by an attentive staff.

       Bond scoops the money out of the suitcase.  Three million
       sterling in tightly bundled hundreds makes quite a sight.  He
       flicks his finger through the last wad, tosses it down
       wistfully.  A blue light scans it on three axis.

       The money is bundled into a clear plastic bag, put on a tray
       and wheeled through a series of barred enclosures into the
       SECURE ROOM.  Bond hands the suitcase to a STAFF MEMBER.

                           BOND
                 Have this checked, see what you can get
                 off it.

       INT. MONEYPENNY'S OFFICE, MI-6 - DAY

       Bond appears, hiding something behind his back.  Moneypenny
       brightens.

                           MONEYPENNY
                 James.  Brought me a souvenir from
                 Geneva?

       He produces the cigar, now in a large phallic TUBE.  Stands
       it end up on the desk.

                           BOND
                 Thought you might want one of these.

                           MONEYPENNY
                     (beat, deadpan)
                 I gave up a long time ago.
                     (nods to M's door)
                 She's in with Sir Robert.

       INT. M'S OFFICE, MI-6 - DAY

       Bond enters.  SIR ROBERT KING is perched on the edge of M's
       desk.  Two glasses, a bottle of scotch open.

                           M
                 Sir Robert King, James Bond.

       King moves toward Bond with an easy, patrician smile. Bond
       notes a TINY BADGE in his lapel -- like the glass eye of a
       stuffed snake.

                           SIR ROBERT
                 Thanks for getting my money back --never
                 expected to see it again.  You're the
                 kind of man I could use.  Though I won't
                 offend certain parties by asking you to
                 join King Industries.

       King looks to M, smiling.

                           BOND
                 Construction's not exactly my line.

                           M
                 Quite the opposite, in fact.

       She couldn't resist. King smiles at Bond.  As he goes, he
       gives M a respectful kiss on the cheek. The door closes.  M
       turns.

                           BOND
                 Old friend?

                           M
                 Since Oxford. I knew him when he had
                 nothing but a brilliant mind and enough
                 guts to conquer the world. He's a man of
                 great integrity.

                           BOND
                 Who buys classified reports for three
                 million pounds.

       M picks up the report from her desk.  Bond notices it is in
       Russian, with a SEAL from a Russian military agency in the
       corner: MIRATOM.

                           M
                 It's a report on weapons security in the
                 former Soviet Union, which, as you know,
                 is shaky at best.  He's had several
                 instances of sabotage at the pipeline,
                 and he's understandably concerned. He
                 called me the moment he realized its
                 sensitive nature.

       She pours a scotch for Bond.  He drops some ice in,
       thoughtful.

                           BOND
                 Someone was watching over me in Geneva.
                 A guardian angel with a laser sight.

       He stops, rubs his thumb and forefinger together -- a strange
       SIZZLING where he touched the ice.  Realization sinks in.

                           BOND
                 King.

       M sees the seriousness in his eyes -- stabs at the intercom:

       INT. MONEYPENNY'S OFFICE, MI-6 - CONTINUOUS

       Moneypenny's eyes shoot to the intercom console:

                           M
                     (filtered)
                 Moneypenny, stop King leaving.

                           MONEYPENNY
                     (flicking switch)
                 Security --

       INT. CORRIDORS, MI-6 - CONTINUOUS

       Sir Robert King and an MI-6 AIDE walk toward SECURITY.

       INT. Q DIVISION, MI-6 - CONTINUOUS

       Q and his men are working on a strange half-built BOAT
       suspended over a water tank.

                           Q
                 ..the hydro boat can operate in three
                 inches of water...

       He looks up as Bond runs through...

       INT. SECURITY, MI-6 - CONTINUOUS

       THE MONEY lies on the tray, wrapped in plastic.

       Sir Robert approaches, two rows of security bars between him
       and the cash.  An official produces a bag and moves toward
       it:

                           SIR ROBERT
                 Thanks, but I'll count it myself.
                     (apologetic, smiles)
                 Lifetime habit.  I'm Scottish.

       INT. LOWER CORRIDORS/SECURITY AREA, MI-6 - CONTINUOUS

       Bond shoots around the corner just in time to see Sir Robert
       disappearing past the THICK STEEL DOOR of the secure room.

                           BOND
                 Stop!  King!

       INT. SECURITY, MI-6 - CONTINUOUS

       The shout is muffled, Sir Robert's more interested in the
       money.

       He continues toward camera, that PIN on his lapel emits a
       serene HUM and we

                                                            CUT TO:

       CLOSE ON THE METAL STRIP IN ONE NOTE AS IT CRACKLES AND --
       KABOOM!  A MASSIVE EXPLOSION.

       INT. LOWER CORRIDORS/SECURITY AREA, MI-6 - CONTINUOUS

       MAYHEM.  FIRE blasts out of the open doorway just as Bond
       reaches it.  The STEEL DOOR flies toward him.  He dives --

       EXT. MI-6/RIVER - CONTINUOUS

       The building rocks.  SMOKE is pouring from a HOLE that's
       appeared in a lower tier. A wall and a section of roof gone.

       EXT. MI-6/RIVER - CONTINUOUS

       A figure staggers out, shaken.  Catching his breath.  BOND.

                                                            CUT TO:

       ECU CIGAR GIRL

       Lining up Bond with her infra-red telescopic sight.

       ANGLE ON BOND

       In the swirling dust and smoke, he suddenly sees a wand of
       red light, pointing at his chest.

       All instinct, he dives for cover.  Powerful, high velocity
       bullet hits blanket the area.  Bond prepares to return fire,
       scanning around for the source. Through the debris he spots
       an unusual, hi-tech BOAT on the river -- long and narrow and
       low.  A figure on board.  THE CIGAR GIRL.

       ANGLE ON CIGAR GIRL

       She FIRES OFF A ROUND OF SHOTS, forcing Bond back into cover.
       Then she guns the engines and SPEEDS OFF down the Thames.

       EXT. MI-6 - CONTINUOUS

       Determined, Bond races back into the wreckage...

       INT. MI-6 - CONTINUOUS

       Bond races through the chaos that is MI-6 and into...

       Q DIVISION

       Where he leaps into the prototype BOAT.  Q protests...

                           Q
                 It's not finished!

       Bond looks at the mystifying number of buttons and gadgets
       ...presses something red and...THE BOAT LEAPS OUT, ENGINE
       ROARING...

       EXT. SLIPWAY - RIVER - DAY

       THE 007 THEME KICKS IN AS:

       JAMES BOND, in the Q boat, SHOOTS OUT of the MI-6 rubble and
       onto the Thames.

       EXT. RIVER THAMES - DAY

       Bond can see the Cigar Girl up ahead...he is closing the
       distance.  She catches sight of him in pursuit...

       EXT. CIGAR GIRL - BOAT - DAY

       She pushes the boat to its limit, it roars to a new level of
       speed...the chase is on.

       EXT. THAMES - DAY

       Police speedboats, alerted by the commotion, trail Bond.

       ON THE EMBANKMENT

       Police cars scream alongside, sirens wailing.

       ON THE THAMES

       Bond is losing ground as he and the Cigar Girl weave through
       traffic on the Thames. In a gutsy bid to keep pace, he
       corrals the Q boat into a hair-raising SHORT-CUT, shooting
       off...

       UNDERNEATH A PIER

       He maneuvers the boat under the low pier and emerges EVEN
       CLOSER to his prey...

       EXT. CIGAR GIRL - BOAT - DAY

       The Cigar Girl stops her boat, moving to the back, manning
       her large, rear-mountain MACHINE GUN and taking aim at
       Bond...

       EXT. RIVER THAMES - DAY

       Bond continues at full speed, fearless in the hail of bullets
       ricocheting off the vessel.

       THE CIGAR GIRL Remains calm and cool, shooting with
       precision.

       BOND closes in...

       CIGAR GIRL'S eyes widen as...

       BOND STEERS HIS BOAT RIGHT OVER THE MACHINE GUN AND TURRET...

       Cigar Girl dives out of the way, as her boat becomes a RAMP,
       LAUNCHING the Q boat INTO THE AIR before it dives, nose-
       first, into the Thames.

       EXT. - CIGAR GIRL BOAT - CONTINUOUS

       CIGAR GIRL gets up from the deck and sees BOND, turning his
       boat to close in for the kill...

       She scrambles to the helm and SPEEDS OFF, seeing ahead of
       her...

       TOWER BRIDGE

       Just beginning to open, to allow for passage of a small
       tanker.

       EXT. CIGAR GIRL BOAT

       She streaks toward the bridge, Bond lagging behind...

       ON BOND

       As he looses her boat in the distance, he makes a DESPERATE
       MOVE...he cranks the wheel of his boat and veers off, UP A
       SLIPWAY and into...

       EXT. FISH MARKET

       Where the boat hydroplanes on masses of surface water and
       propels him into

       EXT. LONDON STREET

       The hurtling boat causes mayhem and panic as he wrestles with
       the controls, jetting off the street and straight toward...

       EXT. RIVERSIDE RESTAURANT

       Bond's boat crashes right through it, sending diners LEAPING
       in every direction. The Q boat SHOOTS OUT over the balcony
       and splashes down once more into...

       EXT. THAMES - DAY

       Cigar Girl is now clearly in his sights.  She is amazed to
       see that Bond has managed to overtake her.

       The racing boats dice through an armada of lazy, over-loaded
       BARGES, nearly crashing into the much larger vessels.

       AT EVEN PACE NOW...Cigar Girl attempts to force her way past
       him, but Bond, punching buttons on the console of the Q-boat,
       releases a set of catapulting FLAME CANNISTERS which create a
       massive WALL OF FIRE ahead of them...

       CIGAR GIRL is forced toward the very edge of the river...the
       jig is almost up, and then...

       HER P.O.V.  She spots the launching of a HOT AIR BALLOON from
       the base of the massive MILLENNIUM DOME.

       She skids her vessel to a stop at a nearby pier and quickly
       scrambles out of her boat.

       EXT. MILLENNIUM DOME - DAY

       ...A crowd around a RICHARD BRANSON-like figure about to
       climb into his HOT AIR BALLOON.

       The Cigar Girl, brandishing her gun, forces her way through
       the crowd and LEAPS INTO THE BALLOON CARRIAGE, just ready to
       lift off.  She cranks open the gas nozzles and the balloon
       rises with surprising speed.

       EXT. BOND'S BOAT - DAY

       Bond steers his craft toward a slipway adjacent to the pier
       and SHOOTS UP INTO THE AIR...

       EXT. MILLENNIUM DOME

       An amazing sight...Bond's boat sailing through the air just
       beneath the balloon.  With split second precision he reaches
       up and GRABS ONE OF THE ROPES dangling down from the balloon.

       Bond finds himself being CARRIED THROUGH THE AIR as his boat
       falls away from him, hitting the ground and ERUPTING into a
       ball of flame.

       EXT. HOT AIR BALLOON - CONTINUOUS

       As Bond is carried higher and higher, the Cigar Girl begins
       FIRING AT HIM over the edge of the carriage.

       Bond, with ONE HAND, returns fire.

       CIGAR GIRL then leans over the edge of the carriage and
       begins to SLICE THE ROPE that Bond is hanging from.

       The fibers split and fray away from each other as...

       BOND FALLS, heading straight toward...

       THE MILLENNIUM DOME, which the balloon has drifted over.

       AS HE PLUMMETS DOWNWARD...Bond, never surrendering, still
       FIRES HIS WEAPON up at the balloon. A bullet hits the gas
       tank...

       EXT. BALLOON - DAY

       The BALLOON EXPLODES IN A MASSIVE FIREBALL taking the Cigar
       Girl with it...

       EXT. MILLENNIUM DOME - DAY

       Bond lands with a spectacular thudding bounce, the roof of
       the Millennium Dome breaking his fall.

       EXT. MILLENNIUM DOME ROOF - DAY

       He slides uncontrollably down the slope of the Dome as scraps
       of burning balloon rain down all around, before he FALLS OFF
       THE EDGE of the Dome and lands with a THUD ON...

       THE GROUND BELOW

       He struggles up, wincing in SEARING PAIN as his hand goes to
       his INJURED SHOULDER. He hold it, and looks up, into the sky
       as we zero in on the iris of...

       HIS EYE

       reflecting the massive smoke cloud from the explosion as the
       screen transforms into...

       THE MAIN TITLES

                                                            CUT TO:

       EXT. COUNTRY ESTATE, LOCH LOMOND - DAY

       BAGPIPES.  A chapel atop a green slope overlooking the waters
       of Loch Lomond.

       A long line of mourners files out at the end of a memorial
       service.  They mill about on the lawn, among them,  M, grim-
       faced, BILL TANNER, CHIEF OF STAFF and JAMES BOND, his arm in
       a black sling.

       Bond, ever vigilant, scans the crowd...

       HIS P.O.V.  It's like a state funeral.  Rich and powerful
       people, government ministers, chief executives from around
       the world...and then...

       FAR OFF, on a DISTANT RISE, he sees a BIG MAN, not one of the
       mourners but an isolated observer, standing alone, wearing
       sunglasses and a military haircut.

       The man seems to see Bond looking at him...

                           M
                 Bond, we'll meet you inside.

       Bond looks at her for a brief second...when he turns back,
       the man is gone, like an APPARITION.

       Bond walks off, up the grassy slope, toward the rise.

                                                            CUT TO:

       THE VIEW ACROSS THE VALLEY

       Bond stands on the hill, looking below.  He sees nothing but
       a green carpet, not a tree to hide behind.

       He hears a crunch of leaves...turns...

       HIS P.O.V.  A WOMAN, in mourning black, coming up the hill.
       Her china doll face is both fragile and proud.

                           WOMAN
                 Beautiful, isn't it?

                           BOND
                 Yes.

       She steps up to the ridge with him.  A breeze blows her hair.
       They stare out. The sun's rays have broken the clouds and
       strafe the valley.

                           WOMAN
                 Today, of all days, the sun decides to
                 shine.

                           BOND
                 Perhaps Sir Robert had a word with the
                 Man Upstairs.

                           WOMAN
                 A word? I'm sure by now he's engineered a
                 hostile takeover.

                           BOND
                 You knew him well?

       The sun glints off her bejewelled earlobe.

                           WOMAN
                 He was my father.

                           BOND
                 I'm sorry.

                           WOMAN
                 He died before he could complete his
                 lifelong dream.
                     (beat)
                 I intend to finish it for him.

       A voice interrupts them, calling from the estate...

                           OLDER MAN
                 Elektra!

                           ELEKTRA
                 Excuse me.

       She walks away, the wind pressing her dress against her
       delicate figure.  She looks brave and vulnerable as she walks
       back toward her father's grand house.

                                                            CUT TO:

       INT. LIMOUSINE - TRAVELING - DAY

       M, Bond and Tanner in the rear of a limousine. The vehicle
       swoops through the epic countryside of the Scottish
       Highlands.

                           M
                 Elektra?  Running King Industries?
                     (she broods)
                 I've known that girl all her life. I'm
                 not sure she knows what she's walking
                 into.

                           BOND
                 She's not a girl anymore.

       M looks at Bond. Eyes his sling.

                           M
                 I've scheduled a medical for you.

                           BOND
                 It's barely a scratch. The Dome broke my
                 fall.

                           M
                 Well, at least it turned out to have some
                 purpose.

       Bond gives her a look.

                           M
                 No-one goes into the field on this unless
                 they're 100%.  Dr. Greatrex is waiting.

       EXT. CASTLE THANE - HIGHLANDS - DAY

       The limousine swoops under the portcullis, into a courtyard.

       ADJUST ANGLE to reveal huge antennae and satellite dishes
       within.

       SUPER:  MI-6 REMOTE OPERATIONS CENTRE, SCOTLAND

       EXT. CORRIDOR - CASTLE THANE - CONTINUOUS

       Bond walks through the corridors.  Just before he enters the
       medical room, he removes his sling and casually drapes it on
       a suit of armor.

       INT. MEDICAL ROOM - CASTLE THANE - DAY

       Bond sits on the couch, shirt off, awaits the results of his
       medical.

       The very attractive DOCTOR GREATREX looks at her notes.

                           DOCTOR GREATREX
                 Dislocated collar bone.  If any more
                 tendons snap...
                     (looks up)
                 It won't just be two weeks out of action.

                           BOND
                 I need you to pass me fit now, Molly.

       She moves to him, touches the scarred and bruised bone.

                           BOND
                 It's just a scratch.

                           DOCTOR GREATREX
                 James.  It wouldn't really be...

       His hand comes up, rests on her waist.

                           BOND
                 Ethical?  Can't we just skirt the issue?

       And he pulls down the zip on her skirt.  Flicks the clasp and
       it drops to the floor.  She shakes her head -- as he starts
       undoing the buttons on her shirt.  She's very business-like,
       despite what's happening.

                           DOCTOR GREATREX
                 ...if you showed sufficient...willpower.
                 Promised to slow down.  Cut out running,
                 jumping...shooting.  All kinds of...

       And he pulls her toward him, they kiss.

                           BOND
                 Strenuous activity?

       Her shirt drops to the floor.  She pushes him back, lies on
       him.  Just wearing knickers now.  Between kisses:

                           DOCTOR GREATREX
                 Then maybe I'd be... open to that.

                           BOND
                     (smiles)
                 Perhaps after this ... test?

                           DOCTOR GREATREX
                 ...yes?...

                           BOND
                 I could come for a second opinion?

       INT. BRIEFING ROOM, CASTLE THANE (MI-6 HQ)- LATER

       A huge chandelier dominates the vast stone room. SEVERAL
       AGENTS listen to the debriefing.  ROBINSON and M watch TANNER
       explain things; he holds a FIFTY POUND NOTE and KING'S LAPEL
       PIN (now blackened, fused, melted to expose electronics
       beneath).

                           TANNER
                 ...The money was dipped in urea, dried,
                 and packed tight. In one note the metal
                 strip had been replaced with a
                 combustible magnesium circuit -- in
                 effect a tiny detonator. King always wore
                 a pin in his lapel, an heirloom called
                 'the Eye of the Glens'; but someone
                 switched it for a copy, a ceramic micro-
                 circuit emitting an electronic signature.

       ANGLE

       on BOND as he enters the room.  He hangs back in the shadows,
       watches Tanner mime the pin moving to the note:

                           TANNER
                 When he came within range of the money --
                 boom.  Ingenious.

       M steps forward.  Her fury controlled.

                           M
                 We've been pawns in someone's game. They
                 tricked us into bringing the money to
                 King. Not just elaborate.  Cock-sure.

                           TANNER
                 And expensive.  Cost three million plus.

       Suddenly the chandelier darkens, the floor brightens into a
       VAST SCREEN, showing a satellite image of Central Asia and
       the Mediterranean.  M and Robinson walk onto the screen.

                           M
                 Cheap, if it achieves your aim of de-
                 stabilizing the Western World.

       She causes the desired stir.  Bond steps forward from the
       shadows to get a better view.  M sees the sling has gone.

                           M
                 007. What do you know of the Caspian Sea?

                           BOND
                 Caviar capital of the world. Matchless
                 beluga. Firm, yet subtle.
                     (M looks askance)
                 Largest landlocked body of water on
                 Earth.  Oil-rich.  Hitler wanted it.
                 Stalin beat him to it.

                           M
                 And now it's up for grabs, a goldrush.
                 Far more oil than anyone thought.

                           ROBINSON
                 Latest estimates, six trillion dollars.
                 It'll make the Gulf look like a puddle,
                 see us right through the new century.
                 The problem is getting the oil out of
                 there.

                           M
                 There are four pipelines in the works.
                 Three to the Black Sea, shipping out
                 through the Bosphorus. All vulnerable to
                 unstable governments or Russian blockade.

                           BOND
                 So Sir Robert's goes through Turkey,
                 direct to the Med...?

                           ROBINSON
                 A huge project. The most expensive of the
                 pipelines, but the one supported by every
                 Western leader. None of the American oil
                 companies were willing to take it on.
                 But King has connections to the region.
                 He married into the Vavra family, rich
                 local industrialists. He used those
                 connections to hold it all together.

                           BOND
                 Kill the man, kill the pipeline.

                           M
                 Not necessarily.  Not with Elektra taking
                 over.

       Tanner notices a RED LIGHT start pulsing.  He moves to M:

                           TANNER
                 Your call to the PM.

       M nods grimly.  As Robinson distributes sealed envelopes:

                           M
                 Our credibility has been hit hard.  We
                 have to hit back harder. Your
                 assignments.

       They open their envelopes, but Bond received nothing.

                           M
                     (to Bond)
                 I'm waiting for the report on your
                 medical.

       She leaves.  Bond is brooding.

                                                            CUT TO:

       INT. RESEARCH ROOM, CASTLE THANE (MI-6 HQ) - NIGHT

       An ancient nook chock full of hi-tech equipment.  Bond
       concentrates on a screen displaying PHOTOGRAPHS, NEWSPAPER
       AND TELEVISION CLIPS -- all to do with King's life and times.

       Bond touches the screen on a photo of...ELEKTRA.

       INT. SCREEN

       One story dominates -- the KIDNAPPING OF ELEKTRA KING. A
       Polaroid of Elektra savagely beaten, ear bandaged, holding a
       newspaper: beneath the photo is scrawled "$5,000,000."

                           NEWSCASTER
                 ...somehow managed to shoot two of her
                 captors and escape...

       POLICE VIDEO: Elektra interviewed; bruised, emotional.

                           VOICE
                 ... the leader, the one who escaped.  Can
                 you describe him?

                           ELEKTRA
                 He shouted.  He shouted all the time --

       Bond touches Elektra's face, freezing her tears.

       His eyes wander to the photo with the ransom demand:
       $5,000,000.  A thought forms.  He takes out his wallet,
       opening it and removing:

       THE RECEIPT FROM LACHAISE.

       E.C.U. The strange figure, in pounds: 3,030,303.03.

       Bond taps some keys. The words EXCHANGE RATE appear on the
       screen...pounds to dollars.

       He enters '3,030,303.03 POUNDS STERLING' and through
       multiplication by the exchange rate this becomes:

        '5,000,000 US DOLLARS.'  He stares at it.

                                                            CUT TO:

       INT. PASSAGEWAY - CASTLE THANE (MI-6 HQ) - DUSK

       Bond paces the flagstones, FOOTSTEPS ECHOING.

       INT. BRIEFING ROOM - CASTLE THANE (MI-6 HQ) - CONTINUOUS

       Bond opens the door on M who stands alone by the window,
       looking out at the long shadows on the moors.

                           BOND
                 Tell me about the kidnapping of Elektra
                 King.

       She turns, her brow furrowing.

                           M
                 Who told you to look at Elektra's files?

                           BOND
                 I took the initiative.

                           M
                 You haven't been given an assignment in
                 this case.

                           BOND
                 I was the one who brought that money
                 in...

                           M
                 I'm well aware of your stake in this,
                 007.
                 If you have a point, get to it.

                           BOND
                 The amount of money that killed Robert
                 King is the same amount as the ransom
                 demand for Elektra.

       He hands her a slip of paper.

                           BOND
                 Whoever kidnapped Elektra is the same man
                 who killed her father.

       M looks at the paper, a long time.

                           M
                 It's a message.  He wants us to know he's
                 back.

                           BOND
                 Who?

                           M
                 Claude Serrault.  A.K.A...

                           BOND
                     (this is serious)
                 Renard.

                                                            CUT TO:

       INT. BRIEFING ROOM, CASTLE THANE (MI-6 HQ)- NIGHT

       A HUGE, TRANSPARENT 3-D IMAGE OF RENARD'S SKULL floats in the
       centre of the room.  Other images of him on wall screens.

                           M
                 Sir Robert tried to deal with the
                 kidnapping with his own...resources, at
                 first. When Elektra's ear was delivered
                 to him in the post, he came to me.
                     (measured)
                 I advised against paying the ransom. I
                 knew it was Renard. I played it out as
                 long as possible to get a fix on him.

                           BOND
                 Sacrifice the girl to take out the
                 terrorist?

                           M
                 How many deaths is he responsible for?
                 How many innocent people? You may only
                 get one shot at a man like Renard. Same
                 circumstances, I'd do the same again.

       She turns to the hologram.

                           M
                 We sent 009 down to kill him.  Before he
                 could, Elektra escaped.  A week later our
                 man caught up with the target. Put a
                 bullet in his head.
                     (beat)
                 That bullet is still there.

       Bond moves toward the ghostly Renard. We now see THE BULLET
       INSIDE HIS SKULL.

                           BOND
                 He survived?

                           M
                 The doctor who saved him couldn't get it
                 out, so Renard killed him. When Interpol
                 found the x-rays, there was mild
                 jubilation. Effectively, he's a dead man.

       She presses a button, the hologram turns...

                           M
                 The bullet is moving through the medulla
                 oblongata, killing off his sense of
                 touch. He feels no pain. He can push
                 himself harder, longer than any normal
                 man.

                           BOND
                 'That which does not kill me makes me
                 stronger.'

                           M
                 Now Robert is dead. He got his revenge.

                           BOND
                 He's not through yet. Renard doesn't blow
                 up five million dollars unless he knows
                 there's more coming in. He's working for
                 someone. Someone who wants to stop the
                 pipeline.  And they hired the perfect
                 killer. One with a vendetta against
                 King...and you.

       MONEYPENNY ENTERS with a file, which she hands to M.

       M looks over the file: his medical report.

                           M
                 I see the good doctor gave you glowing
                 testimonials. 'Exceptional stamina'...

                           MONEYPENNY
                 He's always been good at oral exams.

       Moneypenny disappears out the door. M is all business.

                           M
                 Get out to the pipeline. Find the insider
                 who switched the pin. If your instincts
                 are right, Renard will be back. He hasn't
                 completed the job. The pipeline is still
                 going forward, and we have Elektra to
                 thank for that.

                           BOND
                 The worm on the hook again.

       They exchange a look. A look of recognition between two
       professionals, who know the terrible price of what they do.

       INT. Q'S LAB - NIGHT

       A Scot in a kilt plays the bagpipes -- badly.  He spins
       round, drops the pipe from his mouth, simultaneously fires
       bullets from one pipe and a jet of flame from another.  The
       target is a realistic dummy -- now a molten, bullet-ridden
       mess.

       We're in Q's laboratory.  He's walking Bond through.

                           BOND
                 Scottish heavy metal, Q?

                           Q
                 Oh pipe down, 007.
                     (irritated, hands over a WATCH)
                 Your 29th. Try not to lose this one. It
                 has dual lasers and a miniature grappling
                 hook with fifty feet of high-tensile
                 micro-filament, able to support 800
                 pounds.

       In the background, we see a man in a sleek black jacket. The
       man PULLS A STRING...the jacket becomes AN AIRBAG...it
       envelopes him, he gets impossibly tangled in it.

       Q ignores it, handing Bond a new pair of GLASSES.

                           Q
                 New refinement.  Sort of X-ray vision.
                 For checking concealed weapons.

                           BOND
                 And other uses, no doubt.

                           Q
                 Abuses in your case. You destroyed my
                 hydro-boat in less than seven minutes, as
                 no doubt will be the case with this...

       He presses a button and a section of ceiling lowers to reveal
       a BMW Z7.
       A MAN in a white coat is loading A MISSILE into one of the
       headlamps, then steps off the platform.  Q gestures to him.

                           Q
                 007, my Deputy Assistant.  I'm grooming
                 him to follow me.

                           BOND
                     (to Man)
                 That would make you..."R"?

                           R
                 Ahh, the rampant 007 wit.  I, of course,
                 am laughing inside.  But I dare say
                 you've met your match in this machine.
                     (touring the car)
                 The absolute latest in intercepts,
                 surveillance and countermeasures.
                 Titanium plating and armor, a multi-
                 tasking heads-up display. Completely
                 indestructible.  All in all, rather
                 stocked.

                           Q
                 'Fully loaded' I think is the term.

       "R" pats the fender, he's pretty damned fond of his machine.

                           R
                 Do take good care of her.

                                                            CUT TO:

       EXT. CONSTRUCTION SITE, NEAR CAUCASUS MOUNTAINS - DAY

       A hot day. CAMERA soars over tall trees. We can just make out
       the sleek muscular car, beetle-black and far below, bouncing
       over rough terrain.  Bond "taking care" of his new BMW Z7.

       INT. BOND'S CAR - NR CAUCASUS MOUNTAINS - DAY

       We join Bond at the wheel, driving hard, loving it, pushing
       up extreme inclines, smashing through overhanging limbs.

       EXT. PERIMETER FENCE, CONSTRUCTION SITE, NEAR CAUCASUS
       MOUNTAINS - DAY

       Bond reaches a PERIMETER FENCE, manned by a GUARD.  The guard
       examines Bond's PASS and waves him through.

       EXT. AIRSTRIP AREA NEAR CONSTRUCTION SITE, NEAR CAUCASUS
       MOUNTAINS - DAY (OLD SC. 69)

       As Bond drives on he passes an area where HELICOPTERS
       trailing GIANT SAWS are trimming back trees.  Felled trees
       are being dragged away, being replaced by huge metal sheets.
       An incredibly fast and well-oiled operation -- but why?

       EXT. CONSTRUCTION SITE, NEAR CAUCASUS MOUNTAINS - DAY

       Bond pulls up at the CONSTRUCTION SITE, teeming with ultra-
       modern robotic construction machines and vehicles.

       He gets out, and is immediately surrounded by men with guns.
       A man in a suit steps forward.  DAVIDOV is tall, blonde, with
       a dangerous charm Bond instantly recognizes as ex-KGB.

       He turns Bond around, hands on the car.  Pats him down.
       Pulls out an ID, checks it:

                           DAVIDOV
                     (excellent English)
                 Bond. A government man. I'm afraid since
                 you English got the boss killed we've
                 been a little...jumpy.

       Bond stares ahead, watches a PRIVATE JET swoops past...

       OMITTED

       EXT. AIRSTRIP AREA NEAR CONSTRUCTION SITE, NEAR CAUCASUS
       MOUNTAINS - DAY

       The jet lands on a runway of the metal sheets Bond saw being
       laid as he passed...

       EXT. CONSTRUCTION SITE, NEAR CAUCASUS MOUNTAINS - DAY

       Davidov pulls out Bond's gun.

                           BOND
                     (re:  gun)
                 I'd rather you didn't play with that.

       Davidov ignores him, looking the gun over.

                           DAVIDOV
                 Nice.

                           BOND
                 Quite stunning.

       Bond turns to watch a LIFTING HELICOPTER swoop in and drop
       down an air-conditioned office.  Military precision.

       Davidov's radio crackles out a message and he tosses the gun
       back to Bond.  They start walking:

                           DAVIDOV
                     (pleasant)
                 Sorry about all that, comrade. Old habits
                 die hard. I am Head of Security.
                 Davidov.

       Bond eyes him, but is distracted by a jet coming to a halt
       ahead of them.

       Stairs swing down and out steps ELEKTRA KING.  Beautiful,
       elegant.  So out of place in this world of men.  She surveys
       the worksite.

       Impressed, Bond takes his ID back from Davidov.

       INT. OFFICE, CONSTRUCTION SITE - CONTINUOUS

       Bond and Davidov step into a fully functioning office.
       Everything Elektra requires is here. Computer, phones, drinks
       cabinet. She is in the middle of a group of workmen and
       secretaries, looking at plans, talking, pouring herself a cup
       of coffee.

                           ELEKTRA
                     (to Foreman)
                 ...they should have been in place two
                 days ago. That is the target my father
                 set.

                           FOREMAN
                 We've had some trouble with the villagers
                 at Ruan. Some sacred burial plot...

                           DAVIDOV
                 Miss King...James Bond here to see you.

       She looks up...a brief moment of RECOGNITION...then back to
       business.

                           ELEKTRA
                 Find me the research on the limestone
                 deposits, go ahead and place these
                 orders, and get the jeep ready. I will go
                 to Ruan myself...

                           DAVIDOV
                 Miss King, I wouldn't recommend...

                           ELEKTRA
                 I said, I will go.

       She signs some documents and the men file out. She gets up,
       turning her back to Bond, hands on her hips.

                           ELEKTRA
                 Would you excuse us, Davidov?

       Davidov nods and leaves. Elektra still keeps her back turned,
       but he can see her physically change, her shoulders sag, her
       arms cross in front of her. When she finds her voice, it has
       a gravelly sound of emotion.

                           ELEKTRA
                 I met you at my father's funeral.

                           BOND
                 Yes.

                           ELEKTRA
                 I haven't been able to recall a single
                 moment of that day...until now.

                           BOND
                 Funerals aren't exactly memorable.

                           ELEKTRA
                 God no. All those horrible loved ones and
                 relatives. I don't want to talk to those
                 people. I just want to...talk to my
                 father.
                     (beat)
                 I loved him.  I'm not sure he knew that.

                           BOND
                 Is that why you want to finish the
                 pipeline?

                           ELEKTRA
                 Partially, yes.

       Her muscleman BODY GUARD appears, says briefly:

                           GABOR
                 The jeep is ready, Ma'am.  Will I be
                 driving with you?

                           ELEKTRA
                 No, Gabor. We have a guest.

       Gabor glares at Bond before he leaves.

                           BOND
                 Who is he?

                           ELEKTRA
                 My bodyguard. He follows me everywhere.
                 He's decisive, vigilant.  And he makes an
                 excellent omelette.

                           BOND
                 How long has he been with you?

                           ELEKTRA
                 Since the kidnapping. Why do you ask?

       Bond takes something out of his pocket, he opens his palm,
       shows it to her.

                           BOND
                 Does this look familiar to you?

                           ELEKTRA
                 It's my father's pin. He wore it everyday
                 of his life.

       She swallows back emotion. Looks in his eyes, with a sad half-
       smile that unsettles him.

                           ELEKTRA
                 Are you trying to break my heart? Or is
                 it just your way with women?

                           BOND
                 It's not the pin your father wore. It's
                 an exact duplicate. Inside is a tiny
                 electrical detonator. We have reason to
                 believe the assassin had an inside
                 accomplice, someone who worked at this
                 company.

                           ELEKTRA
                 If you've come here to look after me, Mr.
                 Bond, thank you, but no thank you.  I
                 have two bodyguards, I don't need a
                 third...

       She starts to walk out.  He follows her...

       EXT. CONSTRUCTION SITE - CONTINUOUS

                           BOND
                 The killer doesn't want to see this
                 pipeline continue, doesn't want to see
                 you take over...

                           ELEKTRA
                 That's every man within a five mile
                 radius.  Including you.
                     (off his look)
                 That's why you're here, isn't it? You
                 think I can't do it. You think I'm going
                 to screw up. Or get myself killed.

                           BOND
                 I think running this pipeline would be a
                 difficult job for anyone. Especially
                 King's daughter.

                           ELEKTRA
                 You are wrong, Mr. Bond. In fact, I am
                 the only person who can do it.

                                                            CUT TO:

       EXT. JEEP, TRAVELING - OILFIELDS - DAY

       Elektra drives the all-terrain jeep with casual assurance.
       Bond is beside her, cold-weather gear in the back.  They're
       following a huge pipeline, passing a blighted petrified
       forest of twisted iron:  derelict oil derricks.

       Elektra gestures at the oil fields they're now leaving
       behind.  Receding into the distance, a DELTA OF ROADWAYS
       perched on rusting stilts juts out into the sea.

                           ELEKTRA
                 My mother's people discovered oil here
                 ninety years ago.  The Bolsheviks
                 slaughtered them for it.
                     (beat)
                 Some say oil is in my family's blood.  I
                 say our blood is in the oil. This is the
                 very heart of the planet.  Up here in the
                 hills was Eden, literally.  Look what the
                 Russians did to it.  Now we have a second
                 chance and this time we'll do it right.
                 When the other wells have all dried up,
                 she'll still be pumping her lifeblood to
                 the world.  And this
                     (proudly, of pipeline)
                 Will be one of the main arteries...

       OMITTED 75-

       EXT. POV FROM HELICOPTER - DAY

       Bond and Elektra travel beside the vast pipe through
       dramatic, beautiful, scenery...

       INT. HELICOPTER - DAY

       Davidov and Gabor, in the helicopter, watch the jeep below.

       EXT. CONSTRUCTION CAMP, FOOTHILLS OF THE CAUCASUS MOUNTAINS
       (CAPPADOCIA, THE VILLAGE OF ZELVE) - DAY

       The jeep reaches a break in the pipe: a SURVEY CAMP, flags,
       strings.  The SURVEY CREW cower behind a 4WD, local tribesman
       are stoning them from a village carved into the rock.  A lot
       of SHOUTING.

       Before Bond can stop her, Elektra gets out, moves toward the
       tribesmen.  The stoning ceases. They know who she is.  She
       begins to speak quietly -- in their own tongue.

       INT. CHAPEL, ZELVE - DAY

       A stunning pre-Byzantine chapel hewn from the rock.  Flames
       illuminate beautiful mosaics and paintings on the cavern
       wall.  A COPTIC PRIEST proudly shows Elektra about, jabbering
       in his mother tongue.  She answers in his language.

       Bond watches her, impressed.

       EXT. CONSTRUCTION CAMP - DISTORTED ELECTRONIC POV, FROM
       ABOVE:

       We hear the click of high-powered electronic binoculars,
       zeroing in on Bond and Elektra as they return to the survey
       team.  This can't be Davidov's view, as the helicopter has
       settled down below.

       EXT. CONSTRUCTION CAMP, FOOTHILLS OF MOUNTAINS - DAY

       Bond is edgy.  Someone is out there.  He's sure of it.  He
       sees Davidov and Gabor scanning the area as well.  Elektra
       speaks to the foreman.

                           ELEKTRA
                 Send the pipe around.

                           FOREMAN
                 It will take weeks, cost millions.
                 Your father approved this route.

                           ELEKTRA
                 Then my father was wrong.

       The first time Elektra has asserted her own authority. The
       foreman is surprised, angry. But he doesn't question her.

       She moves toward the helicopter, says to Bond:

                           ELEKTRA
                 I have to check the upper lines.  Gabor
                 will drive you back.

                           BOND
                 Always wanted to see the upper lines.

                           ELEKTRA
                 You don't take no for an answer, do you?

                           BOND
                 No.

       She shrugs, mischief in her eyes.

                           ELEKTRA
                 Alright then. Do you ski?

       Bond just smiles.

                           BOND
                 I've been known to.

       INT/EXT. HELICOPTER - DAY

       The chopper swoops over SNOWY WASTES.  It reaches a mountain
       peak, hovers.  The wind is strong, buffeting.

       Elektra and Bond are both now in ski suits, Bond wearing a
       sleek black jacket.

                           PILOT
                 Can't land.  Wind's too strong!

                           ELEKTRA
                 Just hold her steady.
                     (to Bond)
                 You wanted to see it.

       She steps into her skis, opens the door.  Wind rushes in.

       EXT. MOUNTAIN TOP - DAY

       Without a moment's hesitation, Elektra leaps out of the
       chopper and falls fifteen feet, landing on the move.

       INT/EXT.  HELICOPTER - DAY

       Unbelieving, Bond quickly dons skis and leaps after her.

       EXT. MOUNTAINS - DAY

       Below him on the mountain, she is already a way ahead.  Her
       skiing is fearless.  Bond likes a challenge...

       They wind down the slope, competitive, testing one another,
       enjoying it.

       EXT. MOUNTAINSIDE - DAY

       After an exhilarating run, she stops on the edge of a huge
       drop.  Bond joins her.  They look down at the snowy valley
       below.  A line of survey FLAGS visible through the middle.

                           ELEKTRA
                 We're building from both ends.  This is
                 where they'll meet.  Fifteen hundred
                 miles from the Caspian to the
                 Mediterranean.

       Bond and Elektra stand on the mountainside, feeling like the
       only two people in the world, when they hear: THE DISTANT HUM
       OF A PLANE.

       EXT. SKY - DAY

       They see FOUR OBJECTS falling out the back of the aircraft.
       As the objects plummet silently toward the earth, they POP
       PARACHUTES, their fall slows and then, as Bond and Elektra
       watch in disbelief...

       GUNFIRE echoes out from the black shapes, now visible as
       PARASKIS, low-flying, sleek, deadly snow vehicles.

       EXT. MOUNTAIN TOP - DAY

       Bond turns to Elektra, he has to yell over the sound of the
       approaching machines.

                           BOND
                 Head for that gully, I'll lure them into
                 the trees!

       He points her off to one side, where a shallow gully offers
       cover...she skis off to shelter and he skis OUT...INTO THE
       OPEN...where the paraskis trail after him...

       He streaks toward the trees as the vehicles gain on him,
       firing...

       EXT. FOREST

       He makes it to the woods, finding cover in the trees,
       whipping in and out of sight as PARASKI #1 tries to follow,
       sinking lower and lower until...

       HIS SKIDS catch on some over hanging branches...the Paraski
       is CATAPULTED into a tree and EXPLODES...

       EXT. WOODS - CONTINUOUS

       Coming in to pick up the pursuit of Bond is Paraski #2,
       firing down at Bond, dropping bombs which explode just behind
       him in the snow.  The other two paraskis LAND and eject their
       chutes, now RACING THROUGH THE WOODS on the ground.

       Bond looks behind him, sees them gaining...he zigzags through
       the trees and suckers Paraski #3 to glance off one tree, hit
       another and wipe out behind.

       But the remaining predator on the ground, Paraski #4, is
       gaining on him...Bond bursts out of the trees and finds
       himself heading toward...

       THE EDGE OF A PRECIPICE...

       He cranks himself right, narrowly avoiding a tumble over the
       edge.  Paraski #4 isn't so lucky and SAILS OFF THE CLIFF to a
       hundred and fifty foot drop.

                           BOND
                     (smiling)
                 Should have stuck to snowboarding.

       But the smile is wiped off his face as...AN EMERGENCY
       PARACHUTE deploys from the back...

       The Paraski does a climbing turn and heads straight back for
       him...

       Bond skis for his life, away from Paraski #4 when PARASKI #2
         appears in front of him...guns blazing...

       One ahead and one behind, Bond turns back...he has nowhere to
       go but...

       OVER THE EDGE

       He sails through the air and lands on the Paraski #4,
       slashing the parachute with his ski pole before bouncing off
       and doing an amazing tumbling hundred foot fall to the snow,
       where he lands on his skis... Paraski four, the chute
       tangling in the rotors of its propeller, struggles to
       maintain control, his vehicle inexorably hurtling toward
       PARASKI #2: both of them having set their course for Bond,
       they are now on a collision course with EACH OTHER...

       IN THE GULLY BELOW

       Bond meets up with Elektra as above them...

       The two Paraskis collide, crashing into the snowy hill above
       and tumbling down, end over end.

       Bond and Elektra huddle together as shards and debris rain
       down on them.

       Then...silence.  An eerie silence.

                           ELEKTRA
                 Are they gone? All of them?

       Bond nods, ripping from his pole a PIECE OF THE PARACHUTE he
       slashed and wiping his face with it...he looks at the piece
       of fabric in his hand.  He sees:

       CYRILLIC LETTERS...undecipherable to us...but there is a look
       on his face, a look of recognition as...

       AN EARTH RATTLING RUMBLE grows above them.

       Bond stuffs the parachute fragment in his ski-suit as he
       turns...

       The exploding Paraskis have triggered AN AVALANCHE on the
       slope above.

       EXT. MOUNTAINSIDE/AVALANCHE AREA - DAY

       They try to outrun it -- riding the sliding hill -- but they
       haven't a hope... the rest of the snow is catching them,
       they're going to get swallowed.

       EXT. MOUNTAINSIDE/AVALANCHE AREA - DAY

       The ground shudders, the THUNDER CLOSING...  Their ankles are
       soon covered, Elektra falls.  Bond stops, pulls her up.
       They're about to die.  He pulls her to him.

                           BOND
                 Hold on to me.

       She's confused and frightened but does as she's told.

       They hold one another tight as -- here it comes -- the white
       fury hurtles over them, burying them...  At the last moment,
       just as their heads vanish from view...

       CLOSE ON BOND PULLING THE Q GADGET ON THE JACKET.

       The AIRBAG slams open.  The snow covers it and them.  More
       and more snow slides over...

                                                            CUT TO:

       INT. SNOW HOLE - MOMENTS LATER

       Darkness.  The RUMBLING CEASES...

       Light emanates from Bond's watch.  In the shadows he pulls a
       knife, punctures the air bag. It deflates, leaving them
       cocooned in an icy tomb.  Elektra looks around, staring,
       unbelieving.

                           ELEKTRA
                 Oh my God...we're buried alive...

                           BOND
                 We're alright.

       But her breath is coming in short, irregular bursts.

                           ELEKTRA
                 I can't stay here.

                           BOND
                 You're not going to.

       Bond takes a knife from a sheath around his ankle.  Flicks
       open the small blade.  He starts to cut a hole in the snow
       above their heads. She stops him.

                           ELEKTRA
                 No!  It will cave in!

                           BOND
                 It's the only way out...

       The snow CREAKS eerily, she gasps, terror mounting.

                           ELEKTRA
                 I can't breathe, I can't breathe...

       Bond grabs her, holds her tight.  She resists, bucks.

                           BOND
                 Elektra, look at me, look in my eyes!

                     (she does)
                 You're alright. Everything will be
                 alright.  Trust me.

       Finally, arrested by the strength in his eyes, she calms...

       EXT. MOUNTAINS - MOMENTS LATER

       A beautiful expanse of smooth virgin snow.  All is quiet.
       CLOSER

       Bond's fist PUNCHES through the white.  He pulls the snow
       away, climbs out.  Leans in, lifts Elektra out.

       Bond and Elektra stand, lone figures in the perfect white.
       They hear a sound...HELICOPTER ROTORS.  Rescue on its way.

                                                            CUT TO:

       EXT. ELEKTRA'S VILLA - DAY

       An establishing shot of Bond's BMW parked outside the ornate
       villa on the shore of the golden Caspian.

       INT. ENTRANCE HALL, ELEKTRA'S VILLA - DAY

       Palatial.  Hallway dominated by a LARGE PAINTING of a bearded
       man in traditional Turkish garb, sitting proudly on a horse.

       Davidov, Gabor, waiting, pacing.

       Bond is sits in a chair, ON EDGE, writing something over and
       over on a small pad of paper...THE CYRILLIC LETTERS on the
       parachute fragment.

       A DOCTOR comes down the grand staircase. The men stand.

                           DOCTOR
                 She's fine. Contusions. A slight strain
                 to her ankle, but otherwise, fine.
                     (to Bond)
                 She wants to see you.

       INT. ELEKTRA'S BEDROOM - SUNSET

       Bond enters. Elektra is standing by the window watching the
       golden ball of the sun sink into the sea. She wears nothing
       but a silk embroidered robe; the sun shows through it,
       outlining her naked body in soft, shadowy curves.

                           ELEKTRA
                 Are you alright?

       He nods.  He is wound tight, she senses it.

                           BOND
                 I can't stay.

                           ELEKTRA
                 I know.

       A moment.

                           ELEKTRA
                 I need to ask you something.  And I need
                 you to tell me the truth.

       He waits.

                           ELEKTRA
                 Who is it? Who is trying to kill me?

       Bond looks at her; vulnerable, fragile, trying to be strong.
       He cannot tell her the truth.

                           BOND
                 I don't know. But I will find him.

       She stares at him, sensing he is withholding something. She
       turns back to the window.

       He approaches behind her.

                           ELEKTRA
                 After the kidnapping...I was afraid to go
                 outside, to be alone, to be in a crowd,
                 to do anything at all, until I
                 realized...
                     (pause)
                 There's no point in living if you
                 can't...feel alive.

       She looks out at the fading sun.

                           ELEKTRA
                 I can't huddle in the shadows. I can't
                 let fear run my life.  I won't.

       She turns to him.

                           ELEKTRA
                 The way I acted, in the snow...you must
                 think I'm a coward.

                           BOND
                 I think you're one of the bravest people
                 I've ever met.

       She looks up at him, into his eyes; they are so close. All
       she has to do is tilt her mouth upward...she kisses him.  His
       hands come up across her back, pressing her toward him, her
       body melting into his, and then...

       He pulls back. Has to physically step away from her.

                           ELEKTRA
                 What is it?

                           BOND
                 ...you should rest.

       That was exactly the wrong thing to say. He sees the
       rebellion flair in her eyes.

                           ELEKTRA
                 James...

                           BOND
                 I have to go.

                           ELEKTRA
                 Then take me with you.

                           BOND
                 No. You'll be safe here.

                           ELEKTRA
                 I don't want to be safe!

                           BOND
                 I have to go to work.

       He starts toward the door.

                           ELEKTRA
                 Now who's the coward?

       He stops, his back up...then heads out the door.

       IN THE HALLWAY

       He passes Gabor, standing faithfully outside.

                                                            CUT TO:

       EST. SHOT - EXT. CASINO NOIR D'OR, BAKU - NIGHT

       Elegant, mysterious.  A modern day Casablanca.

       INT. CASINO NOIR D'OR, BAKU - NIGHT

       Bond in evening dress in the sumptuous casino. He takes out
       the Q glasses, slips them on, surveys the room --

       HIS X-RAY POV

       He can see all the WEAPONS carried by the players.  All sizes
       of pistol, even the odd grenade.  The obvious side-effect of
       this view -- he can see through clothes.

       His eyes alight on two girls walking away from him.  One of
       them turns to look back, unaware that she is on display.  She
       returns Bond's smile.  Her friend turns to look.  Bond's
       smile grows:  she has a small pistol concealed over one
       breast.

       INT. CASINO NOIR D'OR, BAKU - NIGHT

       He looks over the lenses -- and spies someone on the fringes.
       His old adversary, ex-KGB, VALENTIN ZUKOVSKY, talking to some
       suspicious types. Zukovsky looks across. Bond walks toward
       him.

                           BOND
                 Valentin Zukovsky.

                           ZUKOVSKY
                 BondJamesBond. What brings you here?

                           BOND
                 You, of course. I need some information.

                           ZUKOVSKY
                 Bond, I'm a civilian. This is my place.
                 Used to be the royal family's, now it's
                 mine. I run my little business, I stay
                 out of trouble...

                           BOND
                     (looking about)
                 Mafia warlords, Diplomats and spies,
                 consortiums from every country in the
                 world.  A nice little rat's nest.

                           ZUKOVSKY
                     (offering hors d'ouevres)
                 Have some of the rat's nest caviar.  From
                 my own fishery.  They buy my caviar,
                 drink my champagne, lose to my House.

       He turns to a suspicious-looking Heavy.

                           ZUKOVSKY
                 Let me introduce you to a former
                 colleague of mine at the KGB. Dmitri
                 Palov, you may know him as...the Boa.

       The Boa is completely bald, muscular; huge, deadly hands.

                           BOA
                 The great 007. For years I have dreamed
                 of closing my hands around your neck.

                           BOND
                 Boa. Have you had any therapy since
                 Perestroika?

                           ZUKOVSKY
                 Why am I suddenly worried I'm not
                 carrying enough insurance?

       The Boa leaves, glaring all the while.

                           ZUKOVSKY
                 See?  You're upsetting my customers.
                 What do you want?

                           BOND
                 How does a terrorist like Renard supply
                 his men with state-of-the-art Russian
                 Army weapons?

                           ZUKOVSKY
                 What?  This is not possible.

       Bond takes from his pocket the fragment of the PARACHUTE.
       Zukovsky examines the letters.

                           BOND
                 If I remember my Cyrillic that says 101st
                 airborne division.

                           ZUKOVSKY
                 Where did you get this?

                           BOND
                 Off a high-powered Paraski that was
                 trying to kill me.

       Zukovsky shakes his head. Sighs.

                           ZUKOVSKY
                 The Russian Army, they spend millions on
                 flying skis, but they cannot afford to
                 pay the soldiers. The men, they do what
                 they have to do to feed their families.
                 In this country, for the right price and
                 a pack of cigarettes, you can get
                 anything you want.

       He notices Bond watching THE HOSTESS BAR...a dark alcove of
       the casino, where slinky HOOKERS flatter the guests.

                           ZUKOVSKY
                 That too. Everyone does what they can to
                 survive.

                           BOND
                 How high up does this...arms dealing go?

                           ZUKOVSKY
                 Bond. If someone wants you dead, it is
                 Renard. Our government has nothing to
                 gain by killing you.

                           BOND
                 But you would have something to gain by
                 killing Robert King. And stopping his
                 pipeline.

       This hits Zukovsky. He closes down. A chill between them.

                           ZUKOVSKY
                 Poor Bond. The cold war is over.  What
                 have you got left? Economic espionage.
                 Murder in the boardroom.  So dull.

       Bond's eyes catch something, someone entering the casino.

       HIS POV:  ELEKTRA...more vibrant than we have ever seen her,
       living up to her name. She is impossibly glamorous in a
       sparkling dress that fits like second skin.  Her hair is full
       and tumbling, her eyes are fiery and wild.

                           BOND
                 Oh, you'd be surprised.

       Bond starts toward her, but she tosses her head, defiant, and
       turns away, making her way to the Roulette tables.

       Bond follows her across the casino. They are like two cats,
       moving through this neon jungle, their energy dangerous and
       sexy, all eyes on them. He takes note as she passes...MINIMUM
       $100, then $500, $1000...

       She finally stops at the 'No limit' table.  Crowded with the
       nastiest and richest of the high rollers, Armenians, Turks,
       South Americans, a computer nerd American and a Russian
       industrialist's wife, heavy with jewelry and drink.

       ZUKOVSKY is suddenly there, pulling out a seat for her in the
       center.

                           ZUKOVSKY
                 We've kept your father's chair free.

                           ELEKTRA
                 And his account?

                           ZUKOVSKY
                 You have a credit line of a million and a
                 half.

       He gestures to the Dealer, who pushes ten towering stacks of
       CHIPS toward her. A WAITRESS is right there to take her
       order.

                           ELEKTRA
                 Vodka martini.

                           BOND
                 Two. Shaken not stirred.

       He leans in, smiling his charming smile as he says:

                           BOND
                 What the hell are you doing here?

                           ELEKTRA
                     (smiling right back)
                 Someone wants to kill me, I'd rather die
                 looking him straight in the eye.
                     (lightly)
                 What are you doing here?  Looking for a
                 woman a little more your type? How about
                 that one?

       She points to a SHOW GIRL in a feather headdress and pasties.

                           BOND
                 If this little show is for my benefit,
                 I'll take you home right now.

                           ELEKTRA
                 You had your chance, James. Now I'm
                 looking for a bigger thrill.

       She pushes half her chips back onto the table, letting them
       stand on her bet.  The whole table exhales. Then, it starts:
       bets are placed, gamblers energized by her arrival.

       Bond scans the room, vigilant, nervous...

       HIS P.O.V.  He zeroes in on Davidov, sidling off, away from
       the table, trying to look nonchalant, his eyes shifting this
       way and that...he looks suspicious as hell.

       Bond watches, his blood running, and then...

       Davidov slips into the HOSTESS BAR.  A HOOKER is soon
       wrapping herself around him. After a few words, she leads him
       off toward the back.

       Bond returns to the game, shaking his head.  He watches as
       THE DEALER DEALS FROM THE SHOE.

                                                            CUT TO:

       INT. SALON PRIV - NIGHT

       A small room.  Lit by sconces that sport LIVE FLAMES.  Tacky-
       luxurious, a refracted Eastern reflection on an old west
       whore house.

       Davidov undresses in the little bathroom alcove.  He faces a
       small ornate mirror over the sink, in which he can see THE
       HOOKER behind him, on the bed.

                           HOOKER
                 You want to be...on top, or not on top?

                           DAVIDOV
                 On top.

       She slowly pulls a pair of SILK ROPES out from her bra and
       DANGLES THEM.

                           HOOKER
                 Tied up, or not tied up?

       Davidov smiles, struggling with his belt.  He looks down,
       gets it, looks up...his heart stops...it is not the hooker in
       the mirror but...

       RENARD'S FRIGHTENING FACE.

       Davidov spins.

       HIS P.O.V.  Renard's henchman stands by the door, an
       automatic rifle cocked at Davidov.

                           RENARD
                 Dead, or not dead?

                                                            CUT TO:

       INT. CASINO - THE BLACK JACK TABLE

       Elektra with black king showing. A seven beneath.

                           BOND
                 I understand it's normally good practice
                 to get the feel of the cards before going
                 off the deep end.

                           ELEKTRA
                 Really?

       And with a smile she scratches her cards on the table for a
       hit.  The Dealer gives her an eight.  She reveals her cards.

                           DEALER
                 Bust.

       He rakes in her chips. But Elektra is undeterred.  She pushes
       another pile forward as the next deal commences.

                           ELEKTRA
                 I like the deep end, James.

                                                            CUT TO:

       INT. SALON PRIVE

       The HENCHMAN holds Davidov against the wall with his huge
       fist around his neck.  Near his head, the live flame of a
       SCONCE hisses, burning blue and yellow, drawing their fuel
       from the glass basin of hot oil attached beneath it.

       The HOOKER, obviously one of Renard's gang, has finished
       donning her khaki pants and combat boots and straps a gun
       onto her shoulder.

       Renard looks distastefully at the room.

                           RENARD
                 Is this how you spend the money I pay
                 you? And with the rest you hire fools who
                 shoot like blind men?

                           DAVIDOV
                     (croaks out)
                 Bond...

                           RENARD
                 Should be dead as well. Your failure
                 today is astonishing.  It is a disgrace.

       He approaches close to him, stopping at the flaming SCONCE
       near his head.

                           RENARD
                 Do you know why the color is blue at the
                 wick?

       Davidov starts to sweat.

                           RENARD
                 Because that is where the flame is the
                 hottest.

       Renard touches the glass well of oil.

                           RENARD
                 The temperature is close to five hundred
                 degrees.

       Renard uses his knife and POPS the seal from the lamp,
       removing the well of oil...a DROP of the hot oil FALLS ON HIS
       HAND and SINGES IT BLACK in an instant...

       Renard does not even flinch.  Davidov starts talking, trying
       to placate...

                           DAVIDOV
                 The plane...it's all been arranged...

                           RENARD
                 Then you are completely unnecessary...

       Renard raises the container of oil over Davidov's head:

                           DAVIDOV
                 I have the documents, the landing
                 authorizations, the security passes...

       Renard stops, the oil tilted, just ready to pour...

       His dead eye...has it drooped further since we last saw
       him?...seems to glitter in the light...

                           RENARD
                 Bond is suspicious. We are moving sooner,
                 tonight.  We understand each other?

                           DAVIDOV
                 Yes...yes...

       Renard lets a TRICKLE OF OIL drop onto Davidov's head...

       HE SCREAMS as his hair smokes and singes...

       Renard makes a motion, the THUG releases Davidov, who falls
       to the floor, clutching his head.

                                                            CUT TO:

       INT. CASINO - THE BLACK JACK TABLE

       Another deal. ZUKOVSKY and others watch, as Elektra stakes
       even more.  People move closer for a view.  The Dealer shows
       a five. Elektra shows Bond her cards.

       Elektra is holding two eights. Dealer's up-card is a six.

                           BOND
                 Stand or split them.

       She smiles. He holds her gaze.

                           ELEKTRA
                 Surely you believe in living dangerously.

                           BOND
                 Not at that price. Time to surrender.

       They eye one another a long while -- sex firmly in the air.
       She smiles.  She moves ALL HER CHIPS forward.

       Bond catches a look between the Dealer and Zukovsky:

                           DEALER
                 The House has no limit.

       General kerfuffle.  Bond looks back toward THE HOSTESS
       BAR...no sign of Davidov's return...

                           ELEKTRA
                     (to Dealer)
                 Hit me.

       The Dealer scoops a card from the shoe.  Tension.  Everyone
       holds their breath...as he turns over...  -- a six.  Bust.
       The audience inhale as one AS THE DEALER TAKES ALL HER CHIPS
       AWAY.

       Elektra stands.  She has dignity in defeat. She turns to
       Bond, holding out a hand.

                           ELEKTRA
                 Time to surrender.

       EXT. CASINO - NIGHT

       Bond, Elektra, Gabor outside, Davidov soon joining them,
       trying to look like he hasn't been through hell.  Bond
       notices the burn on his head. Davidov touches it self-
       consciously.

                           DAVIDOV
                 A little accident.

                           BOND
                 A night of burning passion?

       Davidov scowls at him. Bond leads Elektra away...

                                                            CUT TO:

       A DISTANT P.O.V. FROM HIGH ABOVE.

       Someone watches Bond and Elektra move toward his BMW.

                           HENCHMAN (V.O.)
                 What about Bond?

       EXT. CASINO ROOF

       RENARD and his henchmen, watching. Renard seems mesmerized by
       the sight of Bond's HAND on the small of Elektra's back,
       their easy sensuality as they both get into the car.

                           HENCHMAN
                 Sir?  Sir?

                           RENARD
                     (seething)
                 I will take care of Mister Bond.

                                                            CUT TO:

       EXT. ELEKTRA'S VILLA - NIGHT

       Bond and Elektra emerge from the BMW.  Behind them, Gabor and
       Davidov get out of her car. Bond watches as Davidov slams his
       door and marches off, angry, toward the SECURITY QUARTERS at
       the side of the house.

       Bond and Elektra walk to the front door, anticipation thick
       in the air.  Gabor opens the door. Elektra sweeps through...

       INT. ENTRANCE HALL, ELEKTRA'S VILLA - NIGHT

       Bond pauses just inside the open doorway.

       HIS P.O.V.  Two figures in the cavernous entrance hall,
       Elektra having a brief word with Gabor, before he turns and
       exits, leaving only...

       ELEKTRA AND BOND.

       She starts upstairs, Bond's eyes locked on her body, and
       then:

       SHE LOOKS BACK...just once.  But it says everything. She
       continues upward.

       Bond taps the front door closed with his foot.

       INT. BEDROOM, ELEKTRA'S VILLA - NIGHT

       Half-light.  They're entwined between the sheets.  This is
       something slow, languorous, not to be rushed.  We can't make
       out the mechanics, but they're beaded with sweat.

       Her fingers trace the contours of his torso.  Linger on his
       bruised collar-bone.

                           ELEKTRA
                 You knew when you first saw me.  You knew
                 it would be like this.

                           BOND
                 Shush.

       Her hand dips in an ice bucket beside the bed.  She rubs a
       slither of ice down her chest, shudders with pleasure.  It's
       a move Bond hasn't seen before.

       Now she brings the ice to his shoulder.

                           ELEKTRA
                 Poor shoulder. Looks painful...

       She kisses his purple flesh.  Licks.

                           BOND
                 ...needs constant attention...

       She slides her tongue back and fore along the groove above
       the tendon.  And he pulls the ice from her hand:

                           BOND
                 Enough ice for one day.

       Tosses it across the room as passion takes over...

       INT. BEDROOM, ELEKTRA'S VILLA - LATER

       A puddle of water where the ice fell.

       Post-sex on the bed. He traces a hand down her naked back.
       The sweat glistens off the curve of her spine.  She turns.
       The light glints off her jewelled earlobe...he touches it.

                           BOND
                 You never take this off?

       Elektra looks at him.

                           ELEKTRA
                 Why do men always want to undress the one
                 part of a woman's body she doesn't want
                 to reveal?

       She reaches to the large, diamond-encrusted earring and
       gently plucks it away. Pulls her lush hair back...

       The lower half of her ear is gone, reduced to a misshapen
       clump of scar tissue. It is the only mark on her perfect
       body. A physical reminder of her ordeal. It breaks his heart.

                           BOND
                 How did you survive?

                           ELEKTRA
                 I used my body on the guards.  It gave me
                 control. I got to a gun and I took my
                 chance.
                     (beat)
                 I've never told anyone that.

       They are looking at each other, both suddenly feeling
       something dangerously close to real connection.  It is not
       what Bond expected.

                           ELEKTRA
                 Do you ever stop, James?  Do you ever
                 think about...another kind of life?

       He holds her gaze for a long time before he looks away.

                           BOND
                 I can't afford to.

       She frowns, slightly.  Settles into his chest.

                           ELEKTRA
                 Don't worry. I know who you are.

       He holds her, eyes full of conflict, staring into the dark.

       EXT. VILLA - NIGHT - LATER

       The lights of a car pulling up at the security office by the
       perimeter wall of the property.

       EXT. SECURITY QUARTERS - SAME

       Bond's car, several of Elektra's vehicles, all parked around
       the security office.  They have been joined by:

       A WHITE ECONOMY CAR, a Russian make, with a familiar SEAL
       painted on the door...we've seen it before, the seal on top
       of the stolen report at the beginning...Miratom.

       Out of the driver's seat steps...DAVIDOV.  He carries a
       briefcase from the car to the front door of the security
       office. He looks around furtively before he disappears
       inside.

       The parking area is dark and silent and then:

       JAMES BOND sits up in the driver's seat of his BMW.

       INT. BMW - SAME

       Bond sticks his key in the ignition and activates the car's
       various systems.

       HIS P.O.V.  Davidov is a shadow in the office window.

       Bond flicks a switch.  A NEEDLE-THIN BEAM is directed from
       the BMW to the window of the office.  He can HEAR a synthesis
       of Davidov's voice...

                           DAVIDOV (V.O.)
                 I'm running late...no, no, I'll make
                 it...how will they know I'm your
                 man?...romashka...romashka...alright.

       Bond hears the click of a phone hanging up.  He flicks
       another switch in his car, an infra-red tracking system
       activates in his WINDSCREEN...

       He can now see Davidov perfectly as he comes out of the
       security quarters, carrying a briefcase and a large DUFFLE
       BAG which he carries to the car and loads into the TRUNK.

       He goes back inside.

       BOND gets out of the BMW.  He moves stealthily to the Russian
       vehicle and, using the laser beam on his watch, opens the
       lock on the trunk.  It pops open.

       Bond sees the briefcase, and the dufflebag, and...SOMETHING
       ELSE...something beneath them...he moves the objects aside:

       A MAN is folded into the back of the trunk, his head slumped
       forward, dark hair on the back of his head slightly wet
       ...blood? Bond tips the head back, revealing GLASSY DEAD
       EYES.

       Bond leans in and plucks a BADGE from his white shirt pocket.

       It has a photo of the dead man and reads, in English and
       Cyrillic: LEONID TASHKA - FIELD INSPECTOR.  On the corner of
       the badge...THE RUSSIAN SEAL...Miratom. The one from the
       report.  Bond touches it with his thumb, recognizing it.

       AT THE OFFICE

       Davidov is coming out...

       Bond LOWERS THE TRUNK DOOR and crouches behind the car.

       AT THE OFFICE ENTRANCE

       Davidov pauses to lock the door. He walks toward the Russian
       car...he is actually WHISTLING a happy tune and then...

       HE STOPS. He has heard something. He draws his gun. He walks
       AROUND the entire car.  When he gets to the rear...

       THE TRUNK IS CLOSED.  Bond is not there.  No evidence he ever
       was.

       Davidov gets in the driver's seat and starts the car.

                                                            CUT TO:

       EXT. AIR STRIP - NIGHT

       The Russian car drives onto the grounds of a small, deserted
       AIRPORT consisting of one outbuilding and a crudely cleared
       airstrip.

       INT. CAR

       Davidov pulls off the road and parks his car in a wooded
       area.

       EXT. CAR

       Davidov's feet crunch in the dirt as he walks to the back and
       opens the trunk.

       He removes the briefcase.  Then the duffle bag.  He looks
       down at the dead body,  head slumped forward, as before...but
       something is different, the clothes not quite right and then:

       THE DEAD BODY MOVES, the head turns, Davidov gasps...

       It IS JAMES BOND.

                           BOND
                 Problem, comrade?

       Davidov pulls his HAND GUN from inside his coat, but Bond is
       quicker.  With a silenced pistol he shoots Davidov in the
       head. One little red hole forms in his forehead as his eyes
       go wide and he crumbles, dead.

       Bond climbs out of the trunk.  Crouches to examine Davidov.

                           BOND
                 Old habits die hard.

       He straightens.  Picks up the briefcase.  It is locked.  He
       searches Davidov and finds a set of keys in his pocket.  He
       opens the lock.

       INSIDE THE BRIEFCASE:  FOUR STACKS OF MONEY.  Documents
       headed with the official crest of Miratom.  A new security
       tag, it looks just like the dead guy's, but has Davidov's
       name and picture...some hologrammed (blank) security tags --
       and a polaroid-type camera.

       He picks up a blank security tag and inserts it in the
       camera.  Points at himself, takes a shot.  Punches in
       'Davidov' on the KEYPAD.  Out comes a brand new pass.

       Bond goes to look in the dufflebag but...

       A PLANE is approaching...HE LOOKS UP.

       HIS P.O.V.  A Russian military jet appears over the trees,
       flying low, its red landing lights blinking.

       EXT. AIRSTRIP - NIGHT

       A door opens on the sinister-looking plane.  A hydraulic step
       unit folds out of it.  A BIG SOLDIER with a machine gun waits
       in the doorway.

       BOND, standing at the edge of the runway, clips on his badge
       and picks up the briefcase.  He has NO IDEA what he's walking
       into.

                           BOND
                 Here goes nothing.

       He hoists the dufflebag over his shoulder and walks out to
       the plane.  He starts up the steps:

       THE SOLDIER POINTS HIS GUN DOWN AT HIM. Says something to him
       IN RUSSIAN.

       Bond pauses.  And then, thinking, says:

                           BOND
                 Romashka.

       The soldier looks at him, then lowers his weapon.

       INT. PLANE

       Four soldiers. The first guy and a moustachioed PILOT and two
       young men, a nasty-looking private, cadaverously thin, and a
       big, thick-necked tough.

       They all look at Bond, expectantly, waiting for him to say or
       do...what? He decides to take the lead. He opens the
       briefcase and hands over the STACKS OF MONEY.

       The Pilot passes it out. But that isn't the end. They still
       stare at him.  The Pilot says something IN RUSSIAN that
       sounds like..."where's the rest?"

       Bond swallows.  Thinks, without showing it.  He decides to
       OPEN THE DUFFLE BAG.  He looks inside. Pauses, then reaches
       in and takes out...A BOX OF NIKE SHOES.

       The thin soldier smiles. That's the ticket. Bond hands out
       shoes to the rest of the guys.

                                                            CUT TO:

       EXT. TEST FACILITY - KAZAKHSTAN - DAWN

       A red dawn.  Dominating the landscape, a valley of weirdly-
       shaped rocks. To one side, an airstrip.  The plane
       approaching.

       INT. PLANE - LANDING

       The three soldiers wear their new shoes and smoke and chat
       amongst themselves.

       Bond sits in the rear of the plane, which is dominated by
       heavily buffered receptacles, clearly awaiting some deadly
       cargo. There is Russian writing everywhere, and one symbol he
       clearly recognizes:  DANGER - RADIOACTIVE.

       Bond looks out of the window.  Beneath a huge MESA, a huddle
       of low buildings.

       They come to a stop near the end of the runway.  A SMALL JEEP
       is driving out to them.

       One of the soldiers throws something to Bond. An ORANGE
       JUMPSUIT that says Miratom on the breast.  He catches it.

                           PILOT
                     (subtitles)
                 You have fifteen minutes.

       EXT. AIRSTRIP/VALLEY/TEST FACILITY - KAZAKHSTAN - DAWN

       Bond, in the orange overalls and wearing his ID tag, is
       driving with a Russian soldier through the weird rock valley -
       -

       KABOOM!

       A cloud of dust from a detonation rises up on the other side
       of the hill.

       EXT. TEST FACILITY - KAZAKHSTAN - DAY

       They turn the corner and see trucks marked IDA, several
       Kazakhstan army personal carriers, soldiers dotted around,
       IDA (International Decommissioning Agency) scientists and
       personnel quietly going about their business.  A vast
       protective 'bubble' is inflated at the front of the building.

       INT. 'BUBBLE' - TEST FACILITY - KAZAKHSTAN - DAY
       (CHRISTMAS JONES') POV:

       The sound of breathing LOUD, we're looking from inside the
       visor of a protective suit.  It's hard to tell what's going
       on, but our hands are removing a sphere of cobalt blue
       plutonium from inside a corroding WARHEAD...

       EXT. FACILITY - SAME

       An officer eyes Bond's pass.

                           COLONEL AKAKIEVICH
                     (subtitles)
                 You are late. The transport documents?

       Bond shows him the case.  Akakievich examines the documents.

                           COLONEL AKAKIEVICH
                     (subtitles)
                 They are waiting for you below.  It
                 should be ready. Check with the IDA
                 physicist.

       He points toward the "bubble."

       Inside the transparent bubble, a protective-suited FIGURE
       finishes placing a blue PLUTONIUM CORE into a box.

       As Bond and the Colonel walks toward the bubble, the FIGURE
       steps out, still enveloped in the white protective suit.

       Moving fast, off comes the helmet to reveal a BEAUTIFUL
       AMERICAN GIRL.  CHRISTMAS JONES is mid-twenties, shortish
       hair, hot right now.  In one movement she unzips and steps
       out of the suit, revealing a khaki sports bra, cut-off
       shorts, heavy duty boots.  A nasty-looking hunting knife
       strapped around her hips.  She has a deep tan and an
       incredible figure.

       She grabs a bottle of water, guzzles.

       Bond tosses an arched brow to Akakievich, who nods bitterly,
       also unable to take his eyes off her.  He spits on the floor
       and speaks in ENGLISH, so Christmas can hear.

                           COLONEL AKAKIEVICH
                 Not interested in men. Take my word for
                 it.

       Akakievich isn't exactly what you'd call a looker.  Bond
       offers a disappointed tut as Akakievich walks away.

       Christmas approaches.  He notices her IDA tag -- and an
       incongruous PEACE TATTOO just above her hip. She's checking
       him out as well.

                           CHRISTMAS
                 You new?

                           BOND
                     (Russian accent)
                 Yes. Viktor Davidov, Miss...?

                           CHRISTMAS
                 Doctor. Jones. Christmas Jones.
                 No jokes, I've heard them all.

                           BOND
                 Don't know any doctor jokes.

       She is wary.  It's been a long time since a man this
       attractive stepped onto her beat. They walk toward the
       building.

                           CHRISTMAS
                 What happened to Len Tashka?

                           BOND
                 Couldn't make it. Splitting headache.

                           CHRISTMAS
                 The soldiers may give you a hard time.
                 Whatever. If we weren't around, they'd
                 have their whole nuclear arsenal lying by
                 the roadsides, rotting in the sun.

       Bond looks at the ominous radiation WARNING SIGNS.

                           BOND
                 Will I need protection?

       She squints at him, taken aback.

                           CHRISTMAS
                 There's no radiation danger down there.

       Bond turns to go, knowing he misstepped.  Christmas then
       speaks to him, asking a question, IN RUSSIAN.

                           CHRISTMAS
                     (subtitles)
                 Where is this stockpile going?

       Bond turns, answers IN PERFECT RUSSIAN.

                           BOND
                     (subtitles)
                 To the nuclear facility at Penza 19.

       She nods. Watches him disappear into the building.

       INT. TEST CHAMBER MAIN ELEVATOR - MOMENTS LATER

       Bond descends, going down deep.

       INT. TEST CHAMBER ELEVATOR/CORRIDOR - LATER

       The elevator creaks to a halt.  He slides the elevator doors
       OPEN revealing...

       TWO SOLDIERS waiting for the elevator. Bond shows them his
       ID.

                           SOLDIER
                     (subtitles)
                 See the corporal, at the end of the
                 chamber.

       The soldiers get into the elevator and disappear, leaving
       Bond completely ALONE.

       Dead silence in the shadows.  Bond's in his element, that
       alert glint in his eye as he takes in his surroundings.

       HIS P.O.V.  A long, dark corridor...leading off to a more
       open circle in the distance, lights and an ominous humming
       there.

       Bond starts down the passageway.

       INT. TEST CHAMBER - CONTINUOUS

       Ahead of Bond, like a deadly spider at the centre of a web, a
       NUCLEAR BOMB suspended over a pit.

       Blast openings range around to channel its fury to measuring
       equipment.

       Bond is alone with the bomb. An eerie moment. Then, he comes
       to notice a figure, across the expanse of the pit, on the
       opposite side of the catwalk, a man, with his back to him, in
       Russian Army fatigues.

                           BOND
                 Corporal?

       The man turns...

       IT IS RENARD.

       He smiles.

                           RENARD
                 I see my friend Davidov ran into some
                 difficulty.

                           BOND
                 Indeed.

       Renard starts toward him.  Bond draws his gun.

                           BOND
                 Don't come any closer.

                           MAN
                 You can't kill me. I'm already dead.

       He and Bond face off, the malevolent bomb between them, a
       ROBOT DEVICE beginning to lower it into the pit.

                           RENARD
                 Go ahead.  Shoot.  My men will still
                 steal the bomb, and the shot will bring
                 them directly to you.

       Renard gestures into the pit.

       BOND'S P.O.V.  TWO OF RENARD'S MEN in the pit, unaware of
       what is happening above, working directly with the bomb. One
       of them is using a manual...IT IS JUST LIKE THE STOLEN
       REPORT, the Miratom seal in the corner.

       Bond aims his gun at Renard's head.

                           BOND
                 Who's paying you to destroy the pipeline?

       Renard resumes walking, around the catwalk at the edge of the
       pit, toward Bond, slowly, surely, totally fearless.

                           RENARD
                 To die by a man who can't even grasp what
                 he's caught up in...

       Bond, out of the corner of his eye, sees Renard's man remove
       a SMALL DEVICE from inside the bomb.  It is the size and
       shape of a credit card, black, with shiny transistors on
       it...the man slips it into his pocket.

                           BOND
                 Revenge isn't so hard to fathom. What's
                 clever is getting someone else to pay for
                 it.

                           RENARD
                 Not many people in this world have that
                 kind of fortune.

       Bond cocks the pistol.

                           BOND
                 Who is it?

                           RENARD
                 You think I fear death? I welcome it. I
                 get on my knees and pray for it. You, on
                 the other hand, you have something to
                 live for, no?
                     (closer now)
                 She's beautiful isn't she? You should
                 have seen her before. Flawless, and still
                 so innocent, not such a whore in bed...

       Bond's eyes flare in fury.  He shoves Renard into the wall
       and presses the gun to his temple.

                           BOND
                 You will never touch her. You will never
                 get near her.

                           RENARD
                 Have you forgotten who saved your life in
                 Geneva?

                           BOND
                 Consider me ungrateful.

                           RENARD
                 It's I who should thank you -- for taking
                 that money back to MI-6.  So distressing
                 for M.  An explosion inside her lair.

                           BOND
                 She'll get over it.

                           RENARD
                 You even brought the plane for us.  We
                 really couldn't have done it without you.

       Bond strikes him across the temple with his pistol.  Renard
       drops to his knees.  He touches his temple, looks at the
       blood curiously, feeling no pain.

                           RENARD
                 A man tires of being executed.

       As Bond screws a silencer onto the muzzle of his gun:

                           RENARD
                 But then again...There is no point in
                 living if you can't...feel alive.

       Bond knows that, he's heard it somewhere before...IT FREEZES
       HIM, just a beat, but it is enough...

       SUDDENLY, the noise of footsteps -- CHRISTMAS JONES, with
       COLONEL AKAKIEVICH and two armed soldiers.

       We're with them as they turn the corner of the passageway and
       see Bond with silenced pistol aimed at the kneeling Renard --
       classic execution stance:

                           COLONEL AKAKIEVICH
                     (to Bond)
                 Drop your gun.

                           BOND
                 Keep away, Colonel.

       The soldiers' guns are trained on Bond.

                           CHRISTMAS
                 He is an impostor.
                     (clutching a printout)
                 There's no Davidov at Miratom.

                           BOND
                 Here's your imposter. He's paid off the
                 men on the plane outside.  They're not
                 taking the bomb to any Russian facility,
                 they're flying it wherever he tells them.

       Christmas is listening, but Akakievich cocks his rifle.

                           COLONEL AKAKIEVICH
                     (to Bond)
                 I said drop it.

       And he means business.  Bond delays ... but has no choice.
       He pulls the clip from his gun, tosses it down.

                           RENARD
                     (to Christmas)
                 Well done -- he would have killed us all.
                 I suppose you
                     (to Akakievich)
                 were you the one who allowed him down?

       Colonel Akakievich looks suitably stung.  But Renard is
       looking past him now, as with a quiet WHIRR, the BOMB raises
       into view on a trolley.  Renard's team is ready to move.

                           RENARD
                     (to Akakievich)
                 Take him away, I don't want him around as
                 we move the bomb.
                     (whispered, to Bond)
                 You had me.  I knew you couldn't shoulder
                 the responsibility...

       And Renard jams his hand onto Bond's shoulder, squeezing his
       collar-bone hard...  Pain jolts through Bond, he drops to his
       knees in agony. He shoves Bond down.  Bond's hand goes to his
       shoulder, his mind now racing -- how did he know to hurt him
       there?

       Renard's men start to maneuver the bomb toward the curving
       passageway.  It's all too much for Colonel Akakievich:

                           COLONEL AKAKIEVICH
                 No -- the bomb does not go anywhere until
                 I am satisfied.  All of you to the
                 surface, now...

       Renard stops and turns.  Bond sees him nod to two of his men:
       one quietly slopes off down the tunnel.  The other innocently
       opens a container...

       INT. CONTAINER

       Camera shows the INSIDE of the container's lid; the man
       releases a false lining to reveal several MACHINE GUNS...

       INT. TEST CHAMBER - DAY

                           RENARD
                     (urgent now)
                 Very well, Colonel. We will all go up.

       One of Colonel Akakievich's men gestures with his gun that
       Bond should get up.  Knowing it's now or never, Bond PUSHES
       him away, yanks a PISTOL from his holster, GRABS Christmas,
       LEAPS down into the bomb PIT just as

       RENARD'S MEN open fire...  Akakievich dies straight away.  So
       do two of his men.  The gunfire RICOCHETS around the chamber
       and ceases.

       Renard hangs back.  His radio crackles a message:

                           RENARD
                     (nods, into radio)
                 Shut them.

       THE GUY ON THE OTHER END OF THE RADIO

       Right next to the ELEVATOR.  He turns a switch that activates
       two sets of red buttons and two sets of green.

       He punches one green button...

       INSIDE TEST CHAMBER

       Heavy doors close all exits but that to the tunnel.

       INT. THE PIT

       Bond and Christmas know they are being sealed in.

                           CHRISTMAS
                 Melt-down doors.  If he gets them closed,
                 they won't be opened again for forty-
                 eight years.

       Bond peers over the edge -- sees Renard and his men working
       the nuclear device into THE PASSAGEWAY.

       INT. THE PIT

       If Bond doesn't get through now, they're trapped forever.  He
       points his wrist watch toward the cat walk above and presses
       a button...THE TINY GRAPPLING HOOK shoots out, Q's super
       filament wire that can hold up to 800 pounds is
       attached...Bond uses the rope to RAPPEL UP THE SIDES OF THE
       PIT and into

       INT. TEST CHAMBER

       Where he LEAPS ON TOP OF Renard's last man.  They fall
       THROUGH THE IRIS, it SHUTS behind them.  The man swings his
       machine gun at Bond -- it hits the wall next to him, breaks
       apart.  Bond grabs a broken section and kills him with one
       strike.

       He pauses at his dead body and reaches into his jacket,
       retrieving...THE CARD-LIKE DEVICE.

       INT. PIT

       Christmas looks around, desperate to help.  Using Bond's
       wire, she climbs up to the CLOSED IRIS DOOR.  She pries open
       a panel next to it and reveals complex WIRING...

       INT. PASSAGEWAY

       Up ahead of Bond, the bomb disappears down the passageway. He
       can see it is attached to A PULLEY above, helping the men to
       move quickly, Renard, pulling, the two men pushing

       Renard signals one of them to drop back to cut off Bond...

       Machine-gun fire turns the wall next to Bond to dust -- Bond
       dives to a recess.  An overhead LIGHT SHATTERS.  His section
       of the tunnel darkens.

       INT. PASSAGEWAY - BOND'S END

       Bond looks up at the broken LIGHT.  Takes careful aim at the
       next one along.  BLAM.  It disintegrates.  Again...

       INT. PASSAGEWAY - RENARD'S END

       The other guy answers with another spray of bullets.  Watches
       uneasily as Bond takes out light after light.  A funnel of
       darkness coming to swallow him -- concealing Bond's approach.
       Nervous, he fires, muzzle flash and sparks illuminating the
       void.  To keep it lit, he keeps firing...

       INT. PASSAGEWAY

       WITH BOND as the bullets cease with a loud CLICK...  What
       Bond was waiting for.  He moves.  The gunman frozen in the
       light, grappling to fit another clip --

       BLAM!  He goes down.  Bond not wasting bullets.

       INT. OTHER END OF PASSAGEWAY

       Renard is loading the bomb it into the ELEVATOR. He flicks a
       switch on the panel by the elevator.  The IRIS starts closing
       on Bond...

       INT. PASSAGEWAY

       Bond rushes for the door -- but he's shocked as the man he
       shot lunges.  Clings to him.

       Bond hits him away, he LEAPS for the cart blocking his way
       and SHOVES IT INTO THE IRIS DOOR just as it almost closes...

       Bond squeezes through...

       INT. OTHER SIDE OF IRIS

       Renard is getting in the ELEVATOR.  Sees Bond made it, fires.
       Bond rolls into a corner.

                           RENARD
                 We have our fireworks.  Now you can have
                 yours.

       And he machine-guns some barrels.  Rocket fuel spills out.
       He digs a finger into one of the holes, effortlessly rips the
       metal so more fuel cascades out.

                                                            CUT TO:

       INT. CATWALK ABOVE PIT

       Christmas cuts some wires together and with a hum, her IRIS
       DOOR OPENS...

       AT THE ELEVATOR

       Bond fires at Renard, hitting his shin...

       WITH RENARD

       looking down at his shin, noticing the blood.  Inconvenienced
       but not in pain.  He shuts the cage doors.  Pauses only to
       fire off half a clip at the SWITCH PANEL.  Shreds it.

       Bond leaps to his feet, racing forward, firing -- gets to the
       elevator as Renard disappears upwards with a smile. He POINTS
       DOWN...underneath him...

       Bond looks down.

       HIS P.O.V.  BENEATH THE ELEVATOR...A makeshift explosive
       device...sticks of dynamite wrapped around a detonator, set
       to explode

       Eyes wide, Bond looks back to the doors -- then to the switch
       panel -- now just a chaos of sparking wires.

       INT. LIFT SHAFT

       The pipe bomb ticking...

       INT. PASSAGEWAY BY ELEVATOR

       Bond is trapped.  He looks up...

       THE PULLEY HOOK HANGS DOWN...

       He jumps up, grabbing it, just as...

       KABOOM!

       The bomb ignites the spilled oil, A FIREBALL shoots along,
       scorching after Bond, who is SAILING THROUGH THE PASSAGE WAY,
       the force of the blast sending him hurling down the
       passageway ON THE PULLEY...heading straight for:

       A CLOSED IRIS DOOR which miraculously begins to OPEN as he
       SHOOTS THROUGH...

       Ahead, the next door is OPEN as well. He sees CHRISTMAS on
       the other side...

       HER P.O.V.  Bond hurtling toward her, ahead of a MASSIVE
       FIREBALL...

                           BOND
                 Close the door!  Close the door!

       But before she can, two of the FUEL BARRELS HURTLE through
       the closing iris, clattering into the pit, starting a fire
       below.

       Flames licking up the sides of the pit toward them.

       Bond looks up, sees the ARM OF THE ROBOT LIFTER, stretching
       upward toward an old SHAFT t the top of the ceiling...

       He and Christmas scramble up the robot arm, walk along the
       spider-like web that supported the bomb and find...

       AN OLD ELEVATOR...powered by a hydraulic system...

       They get in...hear the rumbling of the fire below...the old
       elevator moves slowly...the rumbling grows louder...

                           BOND
                 Shame you had to spot I wasn't the real
                 thing.

                           CHRISTMAS
                 So who are you?

                           BOND
                 Bond --

       Bond FIRES HIS GUN at the hissing hydraulic pulleys and...

       THE ELEVATOR shoots through the shaft at breakneck speed as

       BELOW THEM...THE PIT EXPLODES...

       INT. ELEVATOR

       Fire shoots up. Bond lunges to cover Christmas. As the smoke
       clears:

                           BOND
                     (finishing)
                 James Bond.

                                                            CUT TO:

       EXT. MESA - TEST FACILITY - KAZAKHSTAN - CONTINUOUS

       Christmas and Bond climb out of the duct.  Through a cloud of
       dust he can see people running about, panicked.  There's been
       some shooting -- fresh corpses litter the ground.

       Bond looks past them to a plane coming this way.  The plane.
       It roars past, level with them.  He follows it with his eyes,
       helpless as it gets smaller and smaller...

                           CHRISTMAS
                 They won't get far. Every warhead has a
                 locator card.  A Miratom device.  Emits a
                 high-pitched signal on Russian emergency
                 frequencies. We can track the bomb.

                           BOND
                 With this?

       Bond removes the locator card from his jacket and shows it to
       her.  It flashes in the sun.

       Christmas shakes her head, disgusted.

       OMITTED 170 - 172

                                                          DISSOLVE:

       INT. BRIEFING ROOM, CASTLE THANE (MI-6 HQ) - DAY

       Busy.  Analysts huddle over monitors showing satellite
       images, trying to track the plane.

                           M
                 Do we have the range of Renard's plane?

                           TANNER
                 Anywhere in this circle.  Iran, Iraq,
                 Pakistan, Syria, Afghanistan...

                           M
                 Marvellous.

       Moneypenny enters...

                           MONEYPENNY
                 Elektra King is calling from Baku.

       M is surprised.

                           MONEYPENNY
                 It's a video line.

                           M
                 Put her on the wide screen.

       The face of ELEKTRA materializes on a large WALL MONITOR.

                           ELEKTRA
                 I'm sorry. I would never call you
                 except...Bond's disappeared. He...he left
                 my villa, some time in the middle of the
                 night and...

       M exchanges a look with Tanner.

                           ELEKTRA
                 My head of security has been found near a
                 local airstrip, murdered...

       M leans on the console in front of her.

                           M
                 I'll send someone out.

                           ELEKTRA
                 Could...could you come?

       M looks up.

       ELEKTRA, on the monitor, looks about as lost as she ever has.

                           ELEKTRA
                 I just can't help thinking...I'm next.

       M stares at the girl's face, her whole sordid history written
       there.  M turns away from the screen and says to Tanner...

                           M
                 Get me out there.


       OMITTED:174 - 201

       EXT. ELEKTRA'S VILLA, BAKU - STORM APPROACHING

       Elektra's villa against blue-black storm clouds, the Caspian
       choppy, wind blowing.

       INT. ELEKTRA'S VILLA - BAKU - DAY

       Elektra works in her father's STUDY, illuminated by a halo of
       light from a single desk lamp. Pictures of her grandfather
       and father stare down at her from the walls. The wind BLOWS A
       WINDOW open.

       She gets up, crosses the room, shutting the window.  She
       stands there, listening to the silence and then...

       SHE HEARS A THUD. A strange, unsettling thud.

       She listens, a long time, to the silence.

                           ELEKTRA
                 Gabor...?

       She goes to the door, opens it...it whines on its hinges.
       She steps into...

       INT. LIBRARY

       A big room lined with books. Three french doors lead out to a
       balcony.  She walks a few paces in...

       THE DOOR SHUTS BEHIND HER, she whirls...

       GABOR, propped up behind the door, stares, wide-eyed, before
       he FALLS TO THE FLOOR.

       Elektra gasps, she turns again...

       A DARK FIGURE LOOMS, a shadow against the windows.  He moves
       forward, his face becoming visible...IT'S BOND.

                           ELEKTRA
                 James!

       She stares at him, shocked, hesitant.

                           BOND
                 You look surprised.

       She moves to Gabor, gets down to help him.  He stirs, he is
       alive, but unconscious. Elektra looks up at Bond.

                           ELEKTRA
                 What's wrong with you?  Are you crazy?

                           BOND
                 A little. Does it matter? After all,
                 what's the point of living if you can't
                 feel alive?  Isn't that right, Elektra?
                 Isn't that your motto?

                           ELEKTRA
                 What are you talking about?

                           BOND
                 Or did you steal it from your old friend
                 Renard?

                           ELEKTRA
                 ...what?

                           BOND
                 We had a run-in, he and I. He knew about
                 us, he knew about my shoulder, he knew
                 exactly where to hurt me...

       Elektra stands...she begins to tremble.

                           ELEKTRA
                 Are you saying...Renard is the man who's
                 trying to kill me?

                           BOND
                 You can drop the act, it's over.

                           ELEKTRA
                 I don't know what you're talking about!

                           BOND
                 I think you do.

       He walks toward her, threatening...

                           BOND
                 At MI-6 we call it Stockholm Syndrome.
                 It's common in kidnappings.  A young
                 impressionable victim. Sheltered,
                 sexually inexperienced. A powerful
                 kidnapper skilled in torture, in
                 manipulation. Something snaps in the
                 victim's mind. The captive falls in love
                 with her captor.

       At the word "love," Elektra explodes.  She SLAPS an
       unsuspecting Bond hard across the face.

                           ELEKTRA
                 How dare you!  How dare you! That
                 animal!?  That monster!? He disgusts me!
                 You disgust me!  So he knew where to hurt
                 you, is that it? You had a sling on your
                 arm at the funeral! I didn't have to
                 sleep with you to find that out.

                           BOND
                 He used your exact words.

                           ELEKTRA
                 You knew.  You knew all the time, that he
                 was out there, that he was coming for me,
                 and you lied. You used me, you used me as
                 bait. You made love to me -- what, to
                 pass the time as you waited for him to
                 strike?

       He has no answer.  He can't deny what she says.

       The phone rings, cuts through the tension.  Bond and Elektra
       staring at one another.  She lets it ring...  Then picks up.
       Listens, looks to Bond.

                           ELEKTRA
                 He's struck again.
                     (beat)
                 Five men are dead at the pipeline.

       He moves toward her.

                           BOND
                 I'm coming with you.

                           ELEKTRA
                 You do what you have to do, but I've
                 called in M.  She's en route from London
                 even now.

                                                            CUT TO:

       EXT. PIPELINE CONTROL CENTER, TURKEY - DAY

       The MI-6 chopper lands.  We can see M through the window.
       Face set hard.

       EXT. PIPELINE CONTROL CENTER, TURKEY - MOMENTS LATER

       SCIENTIFIC, MILITARY and TURKISH POLICE VEHICLES parked
       around a medium-sized industrial plant.

       Bond accompanies M and Tanner toward a clutch of offices.
       All around, SOLDIERS, IDA personnel, POLICE scour the area.

                           M
                     (to Bond)
                 Glad to see you've turned up.

       He is moving fast, talking fast -- a sense of urgency.

                           BOND
                 They hit about 90 minutes ago. There's a
                 scientist here from the International
                 Decommissioning Agency, Dr. Jones.  She
                 has ten crews combing the area.

       They step out of the bright sunlight and into

       EXT.\INT. CONTROL CENTRE - CONTINUOUS

       FIVE BODY BAGS are being carried out by soldiers.  M surveys
       the scene; in an unlit corridor CHRISTMAS JONES and several
       men sweep the area with CLICKING Geiger counters.

       ELEKTRA is a distance away, listening to a Turkish policeman
       explain what's happening.  She nods acknowledgement to M.

       Tanner senses that Bond wants to talk to M alone:

                           TANNER
                 I'll see how they're coming with the
                 power...

       They watch him go.  M turns to Bond:

                           M
                 You had your hand on the bomb and you let
                 Renard get away with it.

       He draws her away, to a small alcove.  Takes something out of
       his jacket...THE LOCATOR CARD.

                           BOND
                 The report King bought. It's a manual.
                 Renard's men used it to remove this radio
                 tracking device from the warhead.

                           M
                 Then Robert was right about a Russian
                 connection.

                           BOND
                 They're getting their weapons from the
                 Russians, but where are they getting the
                 money to buy the weapons?  I can't help
                 thinking...the person close to King, the
                 one who switched that pin...

                           M
                 The inside man?

                           BOND
                 Is maybe...the inside woman.

       NOW THE LIGHTS POWER UP, disrupt the intimacy and intensity
       of their exchange.  The room is lined with MONITORS and a
       huge SATELLITE MAP of the pipeline's meandering path.

                           M
                 A woman?

       But before he can speak, ELEKTRA calls out, gesturing to A
       DIM LIGHT flashing on a console in front of her.

                           ELEKTRA
                 That's not right.

       A Technician comes over.  Tanner too, followed by Bond and M.

                           TANNER
                 What is it?

                           ELEKTRA
                 It's an observation and repair rig.
                 Travels along the pipe, checks for broken
                 seals.  But it's not supposed to be
                 there.

                           BOND
                     (thinks)
                 Stop it.

       The Technician flicks two switches.  The light continues to
       flash.  Confused, he tries others.  No change.

                           TECHNICIAN
                 I don't understand...

                           M
                 Where is the rig?

       Harried, the Technician activates the wall schematic of the
       pipeline.  A pulse of light travels along the line. And with
       it, a sense of horror descends...

                           M
                 The parcel's in the post.

                           TANNER
                 It's heading for the oil terminal.

                           M
                 Where it can do the most damage.

                           ELEKTRA
                 My God.
                     (to one of her men)
                 Have the terminal evacuated.

       The man gets on the phone...

                           BOND
                     (to Tech)
                 Speed?

                           TECHNICIAN
                 Full on.  Seventy miles an hour.

       He punches buttons. Christmas has come, stands next to Bond.

                           TECHNICIAN
                 One hundred and six miles from the
                 terminal.

                           BOND
                     (quick)
                 It'll reach the other end in seventy-
                 eight minutes.
                     (to Tech)
                 Any more of these rigs?

       The Technician checks his records, looks up, nods.

                           TECHNICIAN
                 There's one parked in the passageway
                 ahead of it.

       Decisive, Christmas heads for the door, turns to her team:

                           CHRISTMAS
                 I'll need some help...

       Her IDA colleagues look sheepish.  Bond moves to her.

                           BOND
                 Come on.

       For just a moment, Christmas looks wary:

                           BOND
                 Unless you'd like to see my ID first.

       She almost smiles.

       M nods to Tanner to follow them.  Bond doesn't look at
       Elektra.  But she watches him go...

                                                            CUT TO:

       EXT. HELICOPTER - DAY

       The MI-6 helicopter swoops along the pipeline...

       Tanner is beside the pilot.  Bond and Christmas in the back.

       They look at one another, the danger ahead melting the frost
       between them.

       INT. PIPELINE - LATER

       Bond and Christmas climb through an access hatch down onto
       the electric RIG.  Its lights blaze fifty yards into the
       tunnel.  Then darkness.

       Christmas takes the driver's spot, Bond the rear, nearest to
       the approaching BOMB.  Tanner leans in:

                           TANNER
                     (sealing them in)
                 Good luck.

       Bonds nods, checks his watch.  Christmas looks nervously down
       the pipe.

                           BOND
                 Be one along any minute.

       And she starts the machine off...

       INT. ELECTRIC RIG - PIPELINE (TRAVELLING)

       It quickly picks up speed, its lights flooding the seemingly
       endless pipe before them.

       Christmas looks behind, apprehensive.  Waiting for the lights
       of the explosive rig.

       It's tense.  They travel along, expectant...

                           BOND
                 When this is over we should bury the
                 hatchet. Celebrate. A champagne dinner?

                           CHRISTMAS
                 When this is over our bodies may be blown
                 to smithereens.

                           BOND
                 Alright then, brunch.

       His lightness relaxes her, she appreciates it.


       INT. COMMAND ROOM - PIPELINE CONTROL CENTRE - CONTINUOUS

       Elektra, M, and others. The room is crowded with concerned
       personnel.  M watches the two blips on the schematic getting
       closer together. One of her MEN approaches, a radio in his
       ear.

                           RADIO MAN
                 Tanner reports Bond is headed for the
                 rendezvous.

                           M
                 Excellent. Evacuate Miss King and the
                 others.

                           ELEKTRA
                 You can evacuate my workers, but I'm not
                 going anywhere.

       M looks at her, then nods, impressed by her courage.

       INT. PIPELINE (TRAVELLING) - DAY

       Bond and Christmas waiting expectantly.  Tense silence.

       Finally, a WHOOSHING NOISE, GETTING LOUDER.  Lights appear
       behind, reflecting on a bend, then... here it comes, the rig
       tearing through the pipe.

       Bond looks over his shoulder at Christmas'
       speedometer...she's only at fifty...

                           BOND
                 Faster! Get our speed up!

       Christmas presses forward...Bond turns, his feet OUT toward
       the approaching rig...the lights getting closer... closer...

       Bond's rig jolts as the other makes contact.  He cushions the
       blow with his feet.  Both rigs moving together now, he CLIMBS
       ONTO THE BOMB RIG...Puts out a hand, helps Christmas across.

       The bomb sits there, daunting, deadly.

                           CHRISTMAS
                 Tactical fission device.  Low yield.

       They look at one another, then set straight to work.

       INT. COMMAND ROOM - PIPELINE CONTROL CENTRE - CONTINUOUS

       The room is quiet, tense.  M and her two men, Elektra, Gabor,
       the King TECHNICIAN and three armed security guards at the
       doors. They are the only ones left.  Going down with the
       ship...if it goes.  M and Elektra watch the two lights now
       together on the console.  A tense silence.  Everyone's edgy.
       Elektra perhaps a little more than the rest.  She exchanges a
       glance with Gabor.

       INT. ELECTRIC RIG - PIPELINE (TRAVELLING) - DAY

       CLOSE INSIDE THE BOMB:  the timer.  1:45 MINUTES.

       Bond's face betrays the difficulty of what they're
       attempting.  The digital clock ticks down... 1:30, 1:29...

       OMITTED 217-218

       INT. PIPELINE - DAY

       The rigs speed through the tunnel. Nothing to see.  But
       WHOOSH!  As the rigs hurtle past...

       INT. ELECTRIC RIG - PIPELINE (TRAVELLING) - DAY

       The pipe suddenly dips.  They cling on as the machine bucks
       like a rollercoaster.  Back on a straight...

       Her brow furrows.

                           CHRISTMAS
                 The plutonium is missing.  They've taken
                 the core!

                           BOND
                 Then it's no longer a bomb?

                           CHRISTMAS
                     (back to work, urgent)
                 It's a bomb alright. We're still dead if
                 the trigger charge goes off...

       Bond's mind races in the ghostly light of the tunnel.

       He stares at the timer:  0:44, 0:43...  Makes a decision.

                           BOND
                 Let it blow.

       Christmas shoots a look, astonished.

                           CHRISTMAS
                 But we can stop it.

       Taking her arm...

                           BOND
                 Let it blow.

       She can't believe what he's saying. His eyes shoot to an
       INSPECTION HATCH the lights illuminate up ahead.

                           BOND
                 Trust me.  Leave it.

       He grabs her, wrenches her away from the bomb.

       INT. PIPELINE - DAY

       The rig zooms past the exit hatch -- Bond leaps off, taking
       her with him.  They tumble along the pipe.  Agile, Bond
       springs to his feet, pulls her up.  They run like hell for
       the hatch, into the darkness...

       EXT. PIPELINE - DAY

       The pipeline.  A long beat, then...

       KABOOM!!  A section of the pipe explodes, debris rocketing in
       every direction.

       As the smoke clears we see a fifty yard section of pipe has
       been destroyed.

       OMIT 223

       INT. PIPELINE CONTROL CENTER - SAME

       On the consoles, red concentric circles pulse outward from
       the point of impact, emitting one, monotone BEEP....

       The watchers are frozen, stunned, shocked. Gabor, a radio
       earpiece in his ear, reports information.

                           GABOR
                 It wasn't nuclear...the bomb was a dud.
                 The trigger charge blew out a fifty yard
                 section of pipeline...

                           M
                 And Bond?

       An agonizing beat. The alarm beep sputters and dies.

                           GABOR
                 Nothing.

       M and Elektra share a look.

                           ELEKTRA
                 Do you think he's dead?

       M can't answer.  She shakes her head.

                           M
                 We just have to wait.

       M shifts. The hi-tech room is eerily lit by the pulsing red
       lights on every screen, showing the explosion.

                           ELEKTRA
                     (to M)
                 I have a gift for you.  Something that
                 belonged to my father. He would have
                 wanted you to have it.

       M feels uneasy.

                           M
                 Perhaps this isn't the time...

                           ELEKTRA
                 Please.

       She hands M a small box.  M unties the ribbon.

                           ELEKTRA
                 He often spoke of how...compassionately
                 you advised him on the best course of
                 action during my kidnapping.

       M opens the box.  It is THE EYE OF THE GLENS...the heirloom
       pin, the original.

                           ELEKTRA
                 It's very valuable, you know. I just
                 couldn't let it explode with the rest of
                 him.

       M looks up, horrified, when:

       GABOR AND ANOTHER SECURITY MAN SHOOT M'S TWO GUARDS IN THE
       HEAD...point blank, cold blood.  The men fall.

       M looks back at Elektra, a blood-curdling glare.

                           ELEKTRA
                     (to her men)
                 Take her to the chopper.

       EXT. PIPELINE - DAY

       From on high we follow the snaking pipeline ... until it
       disappears in a VAST, SMOULDERING BOMB CRATER.  Beyond, the
       pipeline continues unperturbed.

       Two TINY FIGURES on the banks of the crater.

       CLOSE ON THEM

       Bond and Christmas, very much alive.  She's angry.

                           CHRISTMAS
                 What the hell were you doing?  You nearly
                 killed us!

                           BOND
                 I did kill us. She thinks we're dead.
                 And she thinks she got away with it.

                           CHRISTMAS
                 What the hell are you talking about?

                           BOND
                 It's part of some plan. She dresses it up
                 like a terrorist attack.  The explosion
                 covers up the theft of the plutonium.

                           CHRISTMAS
                 Who's she?

                           BOND
                 Elektra King.

                           CHRISTMAS
                 Elektra King?  Are you insane?  This is
                 her pipeline.

                           BOND
                 Makes her look even more innocent.

                           CHRISTMAS
                     (skeptical)
                 What would she want with weapons grade
                 plutonium?

                           BOND
                 I was hoping you could tell me.

       Christmas stares at him.  Wheels turning.

                           CHRISTMAS
                 You steal an old bomb, small by today's
                 standards, about the size of the one that
                 destroyed Nagasaki, take the plutonium
                 core out of it, intending to use it...
                     (beat)
                 To make a bigger, better bomb.

       They're both chilled by the thought.

                           CHRISTMAS
                 I have to get after that core.  This is
                 my ass.

       She starts fiddling with the radio. Suddenly there's a
       CRACKLE.

                           TANNER
                 Tanner to 007, do you read?

       Bond grabs the radio.

                           BOND
                 Loud and clear.  I have to speak to M.

                           TANNER
                 She's gone.

                           BOND
                 What?

                           TANNER
                 She's disappeared.  And two of our men
                 have been killed.

       It impacts on Bond.  His eyes harden.

                           CHRISTMAS
                 What is it?

                           BOND
                 She just upped the stakes. All her chips
                 are on the table now.  And M's life is
                 part of the bet.

       He looks out at the long stretch of pipeline, like a deadly
       snake with the world for its bed.

                           BOND
                 I know I promised you champagne, but
                 would you settle for caviar?

                                                            CUT TO:

       EXT. MAIDEN'S TOWER - BOSPHORUS - ISTANBUL - TWILIGHT

       A boat puts in at an ancient tower in the middle of a vast
       body of water (in fact, the Bosphorus).

       Renard disembarks with several of his retinue, heavily laden
       with bags and cases.  They enter the tower...

       INT. MAIDEN'S TOWER - CONTINUOUS

       A fantastic space:  stained glass windows cast myriad
       patterns over elaborate tile and marble surfaces.  Pillars,
       iron lattices, velvet drapes and flowers embroider the huge
       room.

       As they enter, Elektra swoops across the floor and into
       Renard's arms.  He holds her.  She pushes him away.

                           ELEKTRA
                 You're hurting me.

       He senses something different between them.  She tries to
       hide it.

                           ELEKTRA
                 Brought me something?

       He smiles, grabs a case off one of his men, opens it up,
       pulls out a sphere of cobalt blue metal.

       She looks at it with wary fascination.

                           RENARD
                 Go on.  It's safe.  Touch your destiny.

       She traces a finger along the metal.  A flicker of wonder:

                           ELEKTRA
                 Warm.

                           RENARD
                     (pointed)
                 Is it?

       She's sensitive to his buried frustration:

                           ELEKTRA
                 I've brought something for you as well.

       INT. ROOM - MAIDEN'S TOWER - MOMENTS LATER

       Elektra opens a heavy door, she and Renard past through to...

       A SMALL ROOM...a window set in the stone on one side.  The
       other side is divided off by a WALL OF BARS, creating a cell
       which now contains: M

       The cell is bare, except for a camp bed in the corner. M
       betrays no fear.  A quiet defiance burns in her.

                           ELEKTRA
                 Just as I promised.

       Renard steps forward.  Bars separate him from M.

                           RENARD
                 My executioner.

                           M
                 Over-praise, I'm afraid.  But my people
                 will finish the job.

                           ELEKTRA
                 Your people? Your people will leave you
                 here to rot just like you left me. You
                 and my father. He didn't think my life
                 was worth the chump change he spent on a
                 day at the stock market.

                           M
                 Your father...

                           ELEKTRA
                 Is nothing.  His kingdom he stole from my
                 mother. The kingdom I will rightly take
                 back.

       Elektra leaves.  Renard is left alone with M.

                           M
                 She's insane.  Is that what you did to
                 her?

                           RENARD
                 No. I'm afraid it is what you did.

       He crosses close to the bars.

                           RENARD
                 When I took her she was...promise itself.
                 So clever, so vibrant, so...full of life
                 force. And you left her there, at the
                 mercy of a man like me. You ruined her.
                 For what?  To get to me? She is worth
                 fifty of me.

                           M
                 For once, I agree with you.

       He shakes his head, amused by her pluck.

                           M
                 So she used all that brilliance to get
                 revenge on her father, on me.

                           RENARD
                 No. I wanted you. I wanted you for
                 myself.

       He takes something out of his pocket.  A small TRAVEL CLOCK.
       He sets it.

                           RENARD
                 Since you sent your man to kill me, I
                 have been watching time tick slowly away,
                 marching inevitably toward my own death.
                 Watch these hands, M. At noon tomorrow,
                 your time is up. And I guarantee you...I
                 will not miss.  You will die. Along with
                 everyone in this city and the future of
                 the West.

       He places the clock on a tall stool, just out of reach
       through her bars.  He leaves.  We hold on the clock:

       Eight p.m.


       EXT. CITY OF WALKWAYS - BAKU - DUSK (OLD SC. 174)

       Valentin Zukovsky in the back of his chauffeured Rolls
       Royce...  We PULL BACK, to take in an amazing sight:  the car
       is on a network of raised walkways and platforms that extends
       as far as the eye can see.  A decaying legacy of the Soviet
       years.

       EXT. CAVIAR FISHERY - CITY OF WALKWAYS - DUSK (OLD SC.175)

       Zukovsky limps purposefully away from his Rolls along a
       walkway leading to a Beluga fishery built over the water.

       INT. CAVIAR FISHERY - CITY OF WALKWAYS - DUSK (OLD SC.176)

       Nailed on the battered old door, the lid of a caviar jar, a
       label illustrated with a LINE DRAWING OF ZUKOVSKY. Zukovsky
       opens the door and finds himself...

       Staring straight down Bond's pistol.  Bond and Christmas are
       silhouetted by the gold dusk light.  At their feet lies one
       of Zukovsky's workers.

                           ZUKOVSKY
                 What are doing, Bond?  Trying to impress
                 this innocent thing?

                           BOND
                 She's no innocent.  This is my nuclear
                 consultant.

                           ZUKOVSKY
                 Ah, I see.  A purely...plutonic
                 relationship.

       Hands held clear of his body, Zukovsky enters, his evening
       dress decidedly out of place here.

                           ZUKOVSKY
                 Really Bond, couldn't you find a nice
                 Russian scientist with hair growing out
                 of his ears?

                           BOND
                 What's your business with Elektra King?

                           ZUKOVSKY
                 I thought you were the one in her
                 business.

                           BOND
                 She dropped a million and half dollars to
                 the House -- your House. And you didn't
                 even bat an eyelid.  She was paying you
                 off.  What for?

                           ZUKOVSKY
                 As ever you are the spy who has to see a
                 plot wherever he looks.

       Bond SLAMS Zukovsky hard against a vat of caviar.  Wood
       splits, roe spills onto the floor.  Zukovsky is appalled.

                           ZUKOVSKY
                 That is 5,000 dollars of Beluga ruined!

                           BOND
                 You are out of your league.  She's
                 working with Renard.

       Christmas moves in, intense but firm:

                           CHRISTMAS
                 They've stolen a nuclear device.

       A subtle change in Zukovsky's countenance.

                           BOND
                 Tell us what you know, Zukovsky.  Tell
                 us, before its too late.

       But it may be already:

       The SOUND OF A HELICOPTER.  Zukovsky frowns, the SOUND
       GETTING LOUDER --

       Bond is the first to move as --

       INT. CAVIAR FISHERY - NIGHT (OLD SC. 177)

       -- wood suddenly splinters everywhere -- the wall and roof
       tear open behind them - GIANT VERTICALLY-SUSPENDED SAWS RIP
       THROUGH, just missing them.

       THE SPINNING TEETH (OLD SC. 178)

       The blades churn through the corrugated roof, spraying CAVIAR
       everywhere.

       EXT. CAVIAR FISHERY - CITY OF WALKWAYS (OLD SC. 179)

       Bond BURSTS OUT OF THE BUILDING...Zukovsky and his guards and
       even the chauffeur are firing at the chopper...

       EXT. RAMP TO LOWER WALKWAY (OLD SC. 180)

       Bond makes for his BMW, running down a flight of steps, onto
       a lower walkway when...THE SECTION AHEAD OF HIM
       EXPLODES...the second chopper above hitting its mark with a
       thrown grenade.  Bond is trapped by the fire and smoke, the
       only way out is ALONG THE PIPELINES...he runs along a narrow
       section of pipe and then JUMPS DOWN to another walkway.  The
       PIPES are now above him...the chopper's relentless saws CUT
       THROUGH THE PIPE...GAS JETS OUT...Bond HURLS HIMSELF up a
       stairway.

       INT. CAVIAR FISHERY

       Zukovsky and Christmas watch in horror as Chopper One blades
       away more roof above them.

       EXT. LOWER WALKWAY

       Bond takes something out of his pocket, a remote control
       device...he presses some buttons...HIS CAR COMES TO
       LIFE...lights on, it drives toward him.

       He rushes to meet it. Chopper Two follows behind Bond,
       slicing up the walkway just behind him.  Bond gets to the car
       and JUMPS IN as the chopper veers away.

       INT. CAR

       Bond activates his missile device as he watches Chopper Two
       pass behind the factory.  Suddenly there's a huge roar behind
       him as the blades from Chopper One RIP THROUGH THE ROOF,
       SLICING HIS CAR IN HALF.

       But Bond is undeterred.  He sets off the missile toward the
       disappearing Chopper One.

       EXT. CHOPPER

       A DIRECT HIT. Chopper One explodes and falls onto the walkway
       setting the scene ablaze.

       EXT. WALKWAYS - SAME

       Zukovsky and Christmas see the explosion, then see Chopper
       Two dropped FOUR ARMED MEN onto a nearby walkway.  The men
       make their way toward the factory, firing at the guards.
       Zukovsky and Christmas are forced inside.

       ANGLE ON BOND

       Who sees the danger to the others and runs off along the
       walkways back to the factory.  The Chopper follows him,
       shooting.

       Bond outruns it, until, ahead of him A GRENADE EXPLODES,
       destroying the walkway and hurling Bond into the water.

       EXT. FACTORY

       The gunfight continues as the armed men take out Zukovsky's
       guards. Then, two of the assailants follow ZUKOVSKY and
       CHRISTMAS into...

       INT. FACTORY - NIGHT

       The chauffeur is shot and killed.  The gunmen then turn their
       attention to Zukovsky and Christmas, when suddenly BOND
       APPEARS through a trap door in the floor boards.

       Bond shoots one of the gunmen, then fires on the other...
       Zukovsky grabs Christmas and they make their escape  Bond
       sees a third gunman firing from the basement and takes him
       out.

       EXT. WALKWAYS - SAME

       Zukovsky and Christmas make a dash for Zukovsky's Rolls.
       They dive in...Zukovsky rams the car into reverse...behind
       him, A CHOPPER SLICES the walkway to smithereens...Zukovsky
       can't stop it as the car leaps backward and into THE WATER
       BELOW....

       INT. FACTORY

       Bond finishes off the remaining two armed men in a furious
       gunfight and exits.

       EXT. WALKWAYS - SAME

       Bond sees Zukovsky and Christmas swimming to safety.  The
       chopper bears down on him.  He leaps back to what's left of
       the building, picks up a flare gun.  He jumps down to a
       walkway at water level and cranks open a rusted GAS JET...he
       then waits for the Chopper to line up over it as it
       approaches Bond for the kill....

       Bond fires the flare gun...

       THE GAS EXPLODES!

       The Chopper tries to pull away, but it's too late.  The
       flames engulf it, igniting a fireball.

       IN THE WATER

       Zukovsky pulls himself back onto a walkway and heads for the
       factory, but speeding at him are to FREE-FLYING SAW BLADES
       from the chopper that has just exploded!

       OMITTED 231S to 231Z

       EXT. WALKWAY

       Zukovsky dives away -- into a CAVIAR PIT.  The saws embed in
       the cabin behind him.

       The caviar pit is like sinking sand, deep -- he's going
       under.  Flounders, trying to cling to a crate blown in there
       by the explosion.  Then he looks in horror:

       EXT. SIDE OF CAVIAR PIT (OLD SC. 199)
       POV ZUKOVSKY:

       Bond appearing at the edge of the caviar pit, dragging
       himself up, soaking wet.  He's holding another harpoon gun.
       Points it directly at Zukovsky.  This time he really means
       business.

       EXT. CAVIAR PIT/SIDE (OLD SC. 200)

       Zukovsky, on the point of being swallowed by the caviar,
       clawing at the crate.  Bond, steely eyed, cold:

                           BOND
                 Now...where were we?

                           ZUKOVSKY
                 A rope!

                           BOND
                 No.  The truth!
                     (beat)
                 She thought I was dead -- those blades
                 were meant for you.  What do you know
                 that she would kill you for?

       Zukovsky is sinking.

                           ZUKOVSKY
                 I don't know what you're talking --

       Zukovsky sees Christmas appear beside Bond:

                           ZUKOVSKY
                 Help me, don't let me drown.

       She looks to Bond -- sees he's serious.

                           BOND
                     (to Zukovsky)
                 You're in this thing up to your neck.

       Zukovsky sinks alarmingly -- he talks rapidly, staccato:

                           ZUKOVSKY
                 Alright, alright!  Sometimes I smuggle
                 machinery for her.  Russian stuff.

                           BOND
                 And the payoff on the tables?

                           ZUKOVSKY
                 A special job.  A...a...a submarine.

                           CHRISTMAS
                 What?

                           ZUKOVSKY
                 To haul some cargo. My nephew, he is
                 Captain of a sub in the Black Sea Fleet.

                           BOND
                 Where's the sub going?!

                           ZUKOVSKY
                 No!  Get me out!

                           BOND
                 This is too big for even you.  Where is
                 it?

                           ZUKOVSKY
                 This is a family matter! If my nephew is
                 in danger, we do it my way, or nothing!
                 Now get me out!

       But he looks more worried than ever as Bond takes aim with
       the harpoon gun -- squeezes the trigger.

                           ZUKOVSKY
                 No! Bond!

                           CHRISTMAS
                     (alarmed)
                 Bond!

       Bond fires.  Zukovsky YELLS as the HARPOON SHOOTS TOWARD HIM.

       It takes him a moment to realize he hasn't been hit -- the
       harpoon splintering the crate, just missing him.  He clings
       to the crate, exhausted, as Bond and Christmas drag him to
       safety.

                           CHRISTMAS
                 Commander Bond, you are dangerous,
                 unpredictable, and a hothead.

       He just looks at her.

                           CHRISTMAS
                 But then again, explosive devices are my
                 specialty.

       Zukovsky scowls, wet, angry, looking from his ruined suit to
       the devastation that was once his caviar factory as, behind
       him, walkways CREAK, teeter, and CRASH into the sea.

                           ZUKOVSKY
                 So.  My way.  No MI-6, no Interpol.  Just
                 you, me and my people.

                           BOND
                 Where?

                           ZUKOVSKY
                 Istanbul.

       OMITTED:233

       INT/EXT. BALCONY/MAIDEN'S TOWER - BOSPHORUS - NIGHT

       Beyond iron balustrades we see one of the most fabulous views
       in the world -- on one side the still waters of the Golden
       Horn, on the other, the dancing waves of the unsheltered
       Bosphorus -- and in between, the tumbling roofs, soaring
       minarets and crouching mosques of the Pera district.

       RENARD scans the water with night-vision binoculars.

       EXT. BOSPHORUS - NIGHT - HIS GREEN POV:

       A SUPERTANKER churns along...

       ADJUST ANGLE

       The CAMERA SINKS BENEATH THE WAVES, steals through the gloom -
       - eventually comes upon something sitting just beneath the
       belly of the tanker.  The silhouette of a SUBMARINE, hugging
       the tanker's shadow, creeping undetected into the
       Bosphorus...

       INT. M'S CELL - NIGHT

       M paces her cell.  Looks out, at the clock:

       It is MIDNIGHT.  Twelve hours to go.

       She crosses her arms.  Returns to pacing.  Puts her hands in
       her coat pockets:

       She feels something.  Takes it out.

       THE LOCATOR CARD.  Black and shiny, with two copper terminals
       on one end.

       M taps it on her hand. She looks back out.  TO THE CLOCK.

                                                            CUT TO:

       INT. BEDROOM - MAIDEN'S TOWER - BOSPHORUS - NIGHT

       Renard and Elektra.  She is on the bed, Renard stroking her,
       worshipping her skin.

                           RENARD
                 So beautiful. So smooth, so warm.

                           ELEKTRA
                 How would you know?

       It stings him. Elektra sits up, pulling a robe around her.

                           RENARD
                 Why are you like this?  Because Bond is
                 dead?  It's what you wanted.

                           ELEKTRA
                     (beat)
                 Of course...

       Renard gets up.  Paces the floor.

                           RENARD
                 He was a...good lover?

                           ELEKTRA
                 What do you think?

       Renard leans against her desk, closing his eyes, squeezing
       out the images.  After a moment, he SMASHES HIS FIST through
       the hand-painted wood.  Elektra looks up.

       HER P.O.V.  A huge splinter of wood juts out of Renard's
       hand.

       Renard looks at it, curious, unfazed.

                           RENARD
                 Nothing.

       Elektra comes to him. Leads him to the bed.  Sits. Gently
       removes the splinter.  Then, she takes an icecube from the
       bucket.  Runs it along his wound.

                           ELEKTRA
                 What about this?

       And she runs the ice down his cheek.  He shakes his head.
       Tormented.

                           RENARD
                 Nothing.

       Now she runs the ice down her neck...

                           ELEKTRA
                 But surely...

       ...her fingers becoming wet, she runs the ice down between
       her breasts, leaving a trail.  Teasing...

                           ELEKTRA
                 ...You can feel this?

       She's moving the ice lower on herself... We see her lips
       open, enjoying the sensation.  A beat, then his smile slowly
       grows.  As she does something else.

                           ELEKTRA
                     (sensual)
                 Remember ... pleasure?

                                                          DISSOLVE:

       INT. MAIDEN'S TOWER - DEAD OF NIGHT

       Eerily quiet.  The calm before the storm, except:

       INT. M'S CELL - SAME

       M is at the door of her cell.  Her arm is stretched out
       through the bars.  She is using her high-heeled shoe to try
       to HOOK the leg of the stool and drag it toward her.  She can
       only jut tap the leg with the tip of the heel.  She swipes
       out at the little three-legged stool, tapping it, tapping
       it...

       It scoots toward her a little...she taps it again, gets her
       shoe HOOKED on the leg of the stool and starts to drag it
       when...

       The rickety stool hits a bump on the ancient stone floor and
       SPILLS OVER...the clock HITS THE GROUND and SKIDS across the
       stones, coming to rest ACROSS THE ROOM, on the floor near the
       window.

       M leans against the bars. SHE HEARS HER THE OUTER DOOR
       CLANKING OPEN...

       She hurries to her cot and lies down.

       GABOR ENTERS...a burly shadow in the light from the hall.  He
       walks in.  Looks at M.  Picks up the clock and sets it ON THE
       WINDOW SILL.

       He leaves, shutting the door behind him.

       M sits up. Looks out to the clock, glowing in the dark.

       IT READS TWO A.M.

       She drops her head back on the wall.  She will not sleep
       tonight.

                                                       DISSOLVE TO:

       OMITTED: 236 - 243

       EXT. ISTANBUL - DAWN

       ESTABLISH the vast city astride the Bosphorus.

       EXT. ISTANBUL STREETS - SAME

       The sun starting to rise.  Street vendors are the only people
       about, moving their carts into place, getting ready to place
       out their wares.  We hold on a BUILDING.

       INT. DYE FACTORY - SAME

       A multi-levelled, rickety old building full of colourful
       fabrics drying high overhead; the light shafts through them
       casting pools of different coloured light.

       It is a working factory, bolts of fabric and vats of dye, but
       it is also:

       AN OLD KGB SURVEILLANCE CENTER

       Pushed to one end of the large room are stacks of radio
       equipment, old consoles, audio equipment and radar screens.
       Once a high-tech surveillance center, it has gone to seed.
       There are men and women here, smoking, using the equipment,
       slightly dissolute, very sinister, where the only membership
       card is an old KGB ID.  Zukovsky is here, leaning behind a
       RADIO OPERATOR.

                           ZUKOVSKY
                 Any luck reaching Yevgeny?

                           OPERATOR
                 Negative, comrade.

       He moves to CHRISTMAS AND BOND, pouring over a large MAP OF
       ISTANBUL spread out on a table.

                           CHRISTMAS
                     (to Zukovsky)
                 What is this place?

                           ZUKOVSKY
                 Former KGB surveillance post. The Dye
                 Factory was just a front; now it turns a
                 good profit.

       Bond notices THE BOA in the corner with some others.

                           BOND
                 Your old friend Dmitri.

       Zukovsky nods to his old friend.

                           ZUKOVSKY
                 Today, you are glad to have the Boa  on
                 your side.

       Zukovsky looks at the map.

                           ZUKOVSKY
                 In the good old days, the KGB had three
                 or four spots where our submarines could
                 surface without anyone knowing. But
                 Yevgeny is supposed to be loading cargo.

                           CHRISTMAS
                 What class sub does your nephew run?

                           ZUKOVSKY
                 C-class.

                           BOND
                 Nuclear.

                           CHRISTMAS
                 Not just nuclear. Powered by a nuclear
                 reactor.
                     (the penny drops)
                 He's not loading any cargo. They want the
                 sub. The sub itself.
                 Put weapons grade plutonium inside the
                 sub's reactor: Instant, catastrophic
                 meltdown.

                           BOND
                 Made to look just like an accident.

                           ZUKOVSKY
                 Mother of God.

                           BOND
                 The right kind of explosion in the right
                 spot -- it would block the Bosphorus, cut
                 off the Black Sea.

                           CHRISTMAS
                 But why? Eight million people would die,
                 the land irradiated for a hundred years.
                 A cloud of radiation the size of
                 Europe...

                           BOND
                     (chilled)
                 Because an explosion like that would kill
                 all the other pipelines. There would be
                 only one way to get the oil out of the
                 Caspian and pump it to the world...

                           CHRISTMAS
                 The King pipeline.

                           BOND
                 Elektra would control it all.

                           ZUKOVSKY
                 If what you say it true...it may be too
                 late for Yevgeny.

                                                            CUT TO:

       INT. SECRET QUAY (MAIDEN'S TOWER) - ISTANBUL - DAY

       The ancient arched underbelly of a waterside building.

       Something is disturbing a large expanse of water.  A black
       shadow looms beneath the waves.  A SUBMARINE SURFACES.

       INT. SECRET QUAY (MAIDEN'S TOWER) - ISTANBUL - DAY

       Waiting at the newly excavated quay:  Renard and his men.

       The submarine's hatch opens.  A YOUTHFUL CAPTAIN EMERGES,
       vaguely resembling his uncle, Zukovsky.

                           RENARD
                 Captain...

                           YEVGENY
                 Sir. We are ready to load your cargo.
                 We only have a few hours before we'll be
                 missed.

                           RENARD
                 You came with a skeleton crew?

                           YEVGENY
                 That's all we can afford these days.

                           RENARD
                 Of course. We are grateful for your
                 efforts.

       One of his men comes forward with several bottles of brandy
       and other food.

                           RENARD
                 We have brandy and other refreshments for
                 your men.

       The Captain nods, pleased.

       INT. DYE FACTORY

       Bond and Christmas and Zukovsky watch as the radio operators
       scan the airwaves.

                           ZUKOVSKY
                 If we're not in time and something has
                 happened to him... you must let me kill
                 them.

       Bond stares hard at him.  A long beat.

                           BOND
                 Whoever gets there first, Zukovsky.  They
                 have M.

                                                            CUT TO:

       INT. SUBMARINE - DAY

       Eerie, dark, the lights inside green and sickly.

       CLOSE ON

       A half-eaten sandwich. An empty glass of brandy on the floor,
       just near the hand it fell from...

       PULL BACK TO SEE

       The dead face of Yevgeny, poisoned.  Others of his crew
       around, also dead.

       Renard and his men tour the grisly scene.

                           RENARD
                 Take them up and throw them in the sea.

       As they drag Yevgeny away, his HAT falls on the ground.
       Renard picks it up and PUTS IT ON HIS HEAD.

                           RENARD
                 We'll be underway in two hours.  Use that
                 time to re-familiarize yourselves with
                 your stations. Then ponder how rich
                 you'll be.  The re-breathers for the
                 escape are already on board.

       A man appears holding a heavy lead box containing the
       plutonium.  Renard takes the box as if it weighs nothing.
       Stronger then ever.

                                                            CUT TO:

       INT. CELL - MAIDEN'S TOWER - MORNING

       Elektra stands at the door looking in at M.

                           ELEKTRA
                 Now you know how it feels.  To be locked
                 away, to wonder if they're coming for
                 you, if anyone will ever come for you.

                           M
                 Someone will come.

                           ELEKTRA
                 Who?  Bond?  Bond is dead.

       Elektra walks to the window.  She looks out.

                           ELEKTRA
                 Somehow, I find that strangely
                 ...disappointing.

       M watches her, her heart beating.

                           M
                 Elektra. What time is it?

       Elektra picks up the little clock. Walks over to the cell
       bars.

                           ELEKTRA
                 Time for you to die.

       And she reaches through the bars and HANDS M THE CLOCK.

       The two women's eyes meet.

                           RENARD
                 The reactor is secured.

       She turns, sees RENARD in the doorway.  She crosses to him
       and SLAMS THE DOOR SHUT behind her.

       INT. OUTSIDE DOOR - MAIDEN'S TOWER - DAY

       Their eyes lock.

                           RENARD
                 This is the end.

                           ELEKTRA
                 No.  It is the beginning. The world will
                 never be the same.

       He lays the Captain's hat down. Tries to mask his sorrow.

                           RENARD
                 It will be yours, and yours alone. Have
                 fun with it.

       Forces himself to leave, heads down the stairs.

       INT. M'S CELL - SAME

       M works quickly.  She pops open the back of the clock and
       takes out the batteries.  She pries off the tops with a key
       and connects the wires to the LOCATOR CARD...

                                                            CUT TO:

       INT. DYE FACTORY - SAME

       The Radio Operator touches his earpiece...

                           OPERATOR
                 Comrade, it's faint, but I'm getting
                 something. A signal. Transmitting at...37-
                 19 degrees north...

       He writes the coordinates down.  Bond picks them up.

                           BOND
                 The locator card. It's M.

       He takes the coordinates over to the map and DRAWS A
       CORRESPONDING LINE across it.

                           BOND
                 The rest?

       Christmas reads them out as the Operator writes them down

                           CHRISTMAS
                 Forty, forty-three degrees East...

       Bond draws another line across the map. At the point at which
       the intersect...a small island in the Bosphorus.

                           ZUKOVSKY
                 The Maiden's Tower.

                           BOND
                 How appropriate.

                           ZUKOVSKY
                 I'd heard there were some renovations
                 there...no one would look for a sub in
                 that place in a million years.

       Suddenly Bond's instinct are aroused.  Out of the corner of
       his eye, he sees THE BOA set something on the ground and move
       slowly UP THE STAIRS.

       Bond looks at the pack he left on the ground...

       He grabs Christmas and HURLS HER TO THE FLOOR.

       KABOOM!

       A MASSIVE EXPLOSION rips the place apart.  In half a second
       the air is thick with coloured dust and drifting clumps of
       burning silk.

       Bond stands.  Christmas is stunned, but okay.  He looks
       around at the others - few dead, all out for the count, among
       them, Zukovsky.

       Bond heads for the door after the Boa.

                           CHRISTMAS
                 Zukovsky...

                           BOND
                 If I don't get to the Boa before he gets
                 to Maiden's Tower, M is dead.

       Bond runs out, into

       EXT. STREET - DAY

       Teeming with people, his eyes scanning, he spots...THE BOA
       climbing a ladder alongside a building to A ROOF.

       Bond chases after him, clambering up, but when he gets to the
       top of the roof...

       Boa has now been joined by THREE THUGS.  One attacks Bond as
       the Boa and the others move away...

       Bond fights with the thug, they stumble across the roof,
       gripping each other, until Bond gets the upper hand and
       THROWS HIM DOWN through a thatched roof where he falls...

       EXT. BAZAAR

       Into the market below.

       Christmas, just coming into the square, sees the body
       falling...she runs to the thug, thinking it might be Bond...

       But the thug raises up, smiling at her, blood on his teeth.

       She turns and runs...the thug gives chase...

       ON THE ROOFS ABOVE

       Bond is following Boa and the other two men as they LEAP from
       roof to roof. He sees them jump off onto the roof of...

       EXT. MOVING BUS

       Motoring rapidly away from him.  He makes a spectacular leap
       to a wobbly FLAG POLE that swings him toward the bus,
       dropping him on the roof before it SNAPS BACK, into the
       overhead TRAM WIRES ABOVE and setting off sparks.

       ON THE BUS

       Bond barely gets to his feet before Thug #2 is upon him.
       They grapple, struggling to maintain their footing as the bus
       speeds through the rickety old streets. He throws the guy
       over...

       The thug desperately CLINGS TO THE SIDE OF THE BUS...

       Bond now takes on the third thug, unaware that number two has
       climbed back on and is about to WHACK HIM ON THE HEAD with
       his gun when...

       THE BUS TURNS onto a new street...THE WIRES AGAIN...Thug
       Two's gun is caught up in them...he is instantly
       ELECTROCUTED.

       Thug three watches his friend's horrible death, giving Bond
       time to slug him hard across the face and THROW HIM FROM THE
       BUS...

       EXT. STREET

       Thug two's body goes SLAMMING INTO THE WINDSHIELD of a fast
       moving van...BURSTS OUT through the back doors of said van
       and tumbles out onto the street where it is HIT BY A CAR.

       ON THE BUS

       Bond turns back toward...BOA. Now it is just the two of them.

       The bus is hissing to a stop.

       The Boa leaps on to the bed of a passing truck.  Bond rushes
       forward and leaps on to the top of a passing taxi.  The taxi
       jams on his breaks and Bond rolls across the bonnet and on to
       the street.  He springs to his feet.

       Fifty yards ahead the truck carrying the Boa has stopped for
       traffic.  The Boa jumps out and darts into an alley.

       EXT. ISTANBUL - ALLEY - DAY

       The Alley leads into a small CAFE where PATRONS smoke water
       pipes and drink coffee.  The Boa is nowhere to be seen.

       Bond slips out his gun holding it out of sight close to his
       leg so as not to alarm the civilians.  He steps into the
       cafe.

       EXT. ISTANBUL - CAFE - DAY

       Bond makes his way through the tables to the doorway in the
       back.  He looks inside - just a few children  at play.  Bond
       is suddenly blind-sided by a vicious kidney punch which
       brings him to his knees.  He struggles to bring up his gun -
       but the Boa knocks it out of his hand.

       The Boa locks Bond's head in an unbreakable choke hold from
       behind.  Bond pulls on the massive arms - but to no avail.
       He glances down to his right - HIS GUN - just out of reach.

       Bond reaches out for it - his fingers just graze it.
       Suddenly the Boa's foot kicks out, knocking the gun across
       the room.  He tighten his grip and speaks in Bond's ear.

                           BOA
                 For years I was told I could never take
                 the great James Bond and his Walther PPK.
                 What good is your gun now, Bond?

       Bond can't breathe, his eyes start to dim.  He slumps
       forward, his left hand touches something hot.  It's the iron
       basket of coals used to keep the water pipes lite.  Bond's
       fingers touch the wire handle that arches across the top.  He
       grabs it and with his last reserves -

       Swings it at the back of his head hitting the Boa on the side
       of the head with the SOUND OF RAW BACON HITTING A HOT
       SKILLET.

       The Boa drops Bond and leaps to his feet holding the side of
       his face.  Bond falls forward fighting for breath and trying
       to clear his head.

       The Boa runs out the back door.  Bond finds his gun, holsters
       it and follows.

       EXT. ISTANBUL - SIDE STREET - DAY

       Bond comes out into a side street crowded with VENDERS AND
       SHOPPERS.  Bond sees the Boa pushing his way through the
       crowd to...

       EXT. ISTANBUL - FERRY TERMINAL - DAY

       RUSSIAN TRAMP STEAMER taking on cargo.  Bond enters square in
       time to see the Boa making a Bee line for the Russian
       steamer.

       As the Boa, much the worse-for-ware, starts up the gangway to
       the top deck of the steamer, Bond hitches a ride on a cargo
       net that is being hoisted aboard by the ship's boom.

       EXT. RUSSIAN STEAMER - DAY

       Boa, breathing hard gets to the deck.  He lumbers across it
       but before he can reach the other side he is tripped up by
       Bond who has been waiting for him by the side of the deck
       house.  The Boa goes sprawling.  As Bond comes for him he
       scrambles to his feet, grabs a nearby bailing hook, and
       swings at Bond.  But Bond is ready for him.  He wards off the
       blow with a small wooden cover from a shipping crate.  He
       traps the Boa's arm and gives him two quick devastating kicks
       in the solar plexus.  He Boa stages back to the railing.  A
       final kick from Bond sends him over the side...

       THE BOA FALLS, LANDING ON HIS BACK ON THE DECK BELOW WITH A
       SICKENING THUD.

       Bond looks down, sees the Boa's body at a horrible angle, his
       neck broken.

       Bond sighs, turns...

       GABOR is there. Gun trained on him.

                           GABOR
                 Welcome aboard, Mr. Bond.

       BOND'S P.O.V.  A thug steps into sight below, holding
       CHRISTMAS hostage as well.

       EXT. MAIDEN'S TOWER - DAY

       A magnificent ornate tower in the centre of the Bosphorus.

       An innocent-looking launch coasts up to it.  A tarp is raised
       and Bond and Christmas are revealed, hands bound.  They are
       helped out, led inside by a number of henchmen.

       INT. MAIDEN'S TOWER - DAY

       Elektra crosses the hallway as the doors open.  Kisses Bond
       on the cheek as she eyes Christmas.

                           ELEKTRA
                 James Bond and his amazing resurrection.
                 If only you'd kept away, we might have
                 met again in a few years, become lovers
                 once more.

       Christmas eyes Bond anew as Elektra leads him to an ornately
       carved chair, covered in silk.

                           ELEKTRA
                     (to guards)
                 Take her to Renard.

       Bond and Christmas exchange a look as the guards start her
       towards some steps.

       Elektra indicates for him to sit.  Behind him, the whole of
       Istanbul is visible through a large curved window.

                           ELEKTRA
                 Pretty thing.  You had her too?

       Bond ignores her.

                           ELEKTRA
                 I could have given you the world.

                           BOND
                 Not interested.

       This cuts. She casually reaches behind his neck, flips up a
       wooden arm to which is attached a metal collar.  A GAROTTE.

                           ELEKTRA
                 They were digging near here and they
                 found some very pretty vases.  They also
                 found this...
                     (meaning the garotte)
                 I think we ignore the old ways at our
                 peril, don't you?

       Bond recoils as she fastens the collar...  She steps back.

                           BOND
                     (ignoring her)
                 Where's M?

                           ELEKTRA
                 Soon she'll be everywhere.

       Bond keeps his cool:

                           BOND
                 All this, because you fell for Renard?

                           ELEKTRA
                 Five more turns and your neck will break.

       She moves to the back of the chair, twists the screw ONE
       NOTCH.  The effect on Bond is instantaneous as a bolt jolts
       into the back of his neck, tilts his head back.

                           ELEKTRA
                 Since I was a child, I've always had a
                 power over men. When I realized my father
                 wouldn't rescue me from the kidnappers, I
                 knew I had to form a new alliance.

                           BOND
                     (realizing)
                 You turned Renard.

                           ELEKTRA
                     (smiling)
                 Just like you...only you were even
                 easier.

       She pulls the jewel from her ear, reveals the ugly scar:

                           ELEKTRA
                 I told him he had to hurt me, he had to
                 make it look real. When he refused I told
                 him I would do it myself.

       She turns the screw again.

                           BOND
                 So you killed your father.

                           ELEKTRA
                 He killed me! He killed me the day he
                 refused to pay my ransom.

       A flicker of emotion.  Bond is getting to her.

                           BOND
                 Was this all about the oil?

                           ELEKTRA
                 It is my oil!  Mine and my family's!

       Her eyes are shining.  She moves toward the view, gazing out
       at this spectacular cradle of civilization.  Bond works his
       wristbinds feverishly.

                           ELEKTRA
                 It runs in my veins, thicker than blood.
                 I'm going to redraw the map.
                 And when I am through the whole world
                 will know my name, my grandfather's name,
                 the glory of my people.

                           BOND
                 No-one will believe this melt-down was an
                 accident.

       She eyes him, impressed that he's worked out her plan.
       Tightens the screw again.  Her confidence amazing.

                           ELEKTRA
                 They will believe.  They will all
                 believe.

       Tightening the screw again:

                           ELEKTRA
                 You understand? Nobody can resist me.

       Now she straddles him.  She puts the jewel back on her ear.
       All the time, he's working that wristbind.

                           ELEKTRA
                 Know what happens when a man is
                 strangled?

                           BOND
                 Elektra, it's not too late.  Eight
                 million people needn't die.

       She smiles, twists the screw again.  A nasty, grinding sound.
       Sweat trickles from his brow.  She licks it away.

                           ELEKTRA
                 You should have killed me when you had
                 the chance.  But you couldn't. Not me.  A
                 woman you've loved.

       She pushes her hips into his.  Turns the screw.  The bolt is
       jammed right into the back of his neck.  His face is angled
       upwards.  Breathing is difficult.  He glares up:

                           BOND
                 You meant ... nothing ... to me.

       She fingers the bolt.  Prepares to turn it the last
       time...His hand strains at its binding...

                           BOND
                 One... last... screw?

                           ELEKTRA
                     (kissing his ear)
                 Oh James.

       She begins to turn the screw...

       ... when SEVERAL GUNSHOTS are heard outside.

       Bond is on the edge of consciousness.

       Elektra freezes.  Gets off him.  Moves to a window.

       EXT. MAIDEN'S TOWER - BOSPHORUS - DAY
       HER POV:

       Big, battered and bloody, Valentin Zukovsky is leaving a
       boat, moving over the rocks toward the entrance with three of
       his men.  Two bodies in his trail.  He's on course for
       Elektra and nothing is going to stop him, even as his
       henchmen are cut down by ferocious fire.

       INT. MAIDEN'S TOWER - BOSPHORUS - DAY

       Elektra moves to her gun.  Just then, Gabor crashes through a
       stained glass window, neck broken.

       TWO ELEKTRA HENCHMEN appear from below stairs as the doors
       burst open.  Zukovsky stands there.  A bloody giant.

       They open up with machine guns, but two shots from Zukovsky
       take them out, though he takes one in the shoulder.  Right
       now, he's unstoppable.

       A shocked silence after the shooting.  He eyes Bond in the
       chair.  To the room:

                           ZUKOVSKY
                 I'm looking for a submarine.  It's big
                 and black, and the driver is a friend of
                 mine.

       Then his eye falls on the HAT Renard had brought up from
       below.  He knows at once what it means.

                           ZUKOVSKY
                 Bring it to me.

       She picks it up, walks to him (surreptitiously sliding a gun
       beneath it).  She proffers the hat...

                           ELEKTRA
                 What a shame.  You just missed him.

       BLAM BLAM BLAM -- she fires through the hat.

       He staggers back.  Stares.  Slumps down.  Lowers his head to
       the ground.

       She walks over, puts her heel on his gun arm, presses down,
       smiling a half-psychotic smile.  The gun is pinned.

       Zukovsky is dying.

       But he dredges up every last ounce of energy to raise his gun
       a millimetre off the ground, his outstretched arm already
       pointing at Bond. Elektra looks surprised, then amused as
       Zukovsky's finger begins to squeeze the trigger:  he's going
       to shoot Bond!

       Bond stares back.  Zukovsky's eye narrows -- trying for
       extreme accuracy...

       BLAM! The SHOT hits the binding at Bond's wrist.  Splinters
       the wood there.

       ELEKTRA stares at Zukovsky.  She didn't see where the bullet
       went, just that it missed Bond.  She watches his head slump
       further, staring at Bond...

       A look passes between the two men.  Comrades in arms.  The
       merest of smiles.  Then the light fades from his eyes.  Dead.

       ELEKTRA

       turns back to Bond.  Smiles.

                           ELEKTRA
                 Excuse me.

       She picks up a walkie-talkie, speaks into it:

                           ELEKTRA
                 Everything's under control up here.  Are
                 you ready?

                           RENARD
                     (filtered)
                 Yes.  Au revoir...

       Lost for a moment, she breathes heavily.  She glances at
       Zukovsky's corpse.  Slightly puzzled, to Bond:

                           ELEKTRA
                 Zukovsky really hated you.
                     (beat)
                 Time to say goodnight.

       And she kisses him -- reaches behind to deliver the killer
       twist...

       One super-fast movement:

       Bond's hand breaks free, grabs her throat, tight.  He holds
       her, their faces close together, disdain in his eyes -- hurls
       her backwards, her hand scratching at his face.

       Ripping the collar from his neck, he gets to his feet.  Moves
       to Zukovsky, checks his pulse, takes the bloody gun from his
       fingers.

       Turns back, to see Elektra disappearing upstairs.  A moment's
       dilemma:  should he race below to the sub -- or up to
       Elektra?

       He takes off after Elektra, grabs the radio handset.

                                                            CUT TO:

       EXT. SUBMARINE - SECRET QUAY (MAIDEN'S TOWER) - DAY

       The submarine's engines roar to life.

       INT. TOWER - CONTINUOUS

       ELEKTRA rises up one of the triple spiral stairways leading
       to the various balconies of the minaret tower.

       INT. TOWER/M'S CELL - DAY

       Bond stalks up after her.  THEIR VOICES ECHO through the
       intertwined stairs:

                           ELEKTRA
                 James.  You can't kill me.  Not in cold
                 blood.

       But Bond isn't wavering.  Clutches Zukovsky's bloody wet gun.

       He heads up in the semi-darkness -- and suddenly swings to
       his right, at an unexpected but familiar Voice:

                           M
                 Bond --

       Bond kicks open a door and enters...

       M'S PRISON ROOM

       He fires at the lock on her cell door and frees her. Turns to
       go, heading upward, after Elektra.

                           M
                 Go after the submarine, forget the girl.
                 Bond!

       INT. BALCONY/MAIDEN'S TOWER - BOSPHORUS - DAY

       Elektra has reached a balcony.  It affords a spectacular view
       of Istanbul.  Bond appears, has her cornered.

                           BOND
                 Call him off.

       He holds the walkie-talkie to her mouth.

                           BOND
                 I won't ask again.  Call him off!

       She looks at him seriously.  He's giving her a last chance,
       willing her to save herself and the city.

                           ELEKTRA
                     (into walkie-talkie)
                 Renard.

       Bond waits...

                           ELEKTRA
                     (to Bond)
                 You wouldn't kill me.  You'd miss me.

       And her face breaks into a perverted grin and --

                           ELEKTRA
                     (into walkie-talkie)
                 Dive!  Bond --

       BLAM!  Bond shoots her.

       She staggers back, shocked at her own mortality.

                           BOND
                 I never miss.

       He looks out:

       EXT. BOSPHORUS - DAY

       Sees the nose of the sub heading into the Bosphorus, half
       submerged.  The hatch is still open.

       INT. BALCONY/MAIDEN'S TOWER - BOSPHORUS - DAY

       He stares at her dead body a beat. And then, he crouches. He
       touches her cheek, just once, before he goes.

       Behind him, unbeknownst, M has seen it all.

       EXT. MAIDEN'S TOWER - BOSPHORUS - DAY

       He moves to the ledge. Composes himself -- and

       DIVES ONE HUNDRED FEET to the water.  Amazing.

       EXT. SUBMARINE, BOSPHORUS - DAY

       He surfaces close to the exiting sub.  Grabs a ladder, pulls
       himself up.

       The hatch is closing...  He splashes through the water
       flooding over the sub, appears in front of the amazed sailor
       shutting the hatch.  WHACKS him with the hatch.  Gets inside.
       Closes it.  Milliseconds before the hatch slides under the
       water.

       INT. SUBMARINE - CONTINUOUS

       Bond down below. Renard's crew are spread throughout the sub.
       He creeps through...

       Approaches one man working some levers, smoking.  Bond holds
       his gun to his head.

                           BOND
                 How do you want to die?
                     (re:  cigarette)
                 That?
                     (re:  gun)
                 Or this?

       INT. CABIN, SUBMARINE - MOMENTS LATER

       A few SOLID BANGS on the metal of Christmas' door.  It opens
       and Bond lets the now unconscious man hit the deck.  That was
       his head banging.

                           CHRISTMAS
                     (stunned)
                 James!...

       He takes her by the hand, they move through the shadows of
       the sub.

       INT. SUBMARINE - MOMENTS LATER

       A man is operating the tanks.  Through the intercom:

                           RENARD
                     (filtered)
                 Flood tanks 4 and 5...

       The man does as told.  When he's finished -- Bond knocks him
       out with the butt of his gun.

       INT. SUBMARINE CONTROL ROOM - MOMENTS LATER

       Several men occupy the central control room, Renard at their
       centre.  Beyond, on the other side, the outer chamber of the
       reactor.

       INT. OTHER END OF CONTROL ROOM - SUBMARINE - DAY

       From the other end of the control room, Bond and Christmas,
       so near and yet so far -- they can't get to the reactor
       because there are so many men in there.

       Keeping behind cover:

                           CHRISTMAS
                 Is there another way?

                           BOND
                 We go down to the torpedo bay.

       INT. TANK CONTROLS ROOM, SUBMARINE LOWER DECK - MOMENTS LATER

       Bond and Christmas get attacked.  A vicious, silent fight...
       Then the radio set sparks into life --

                           RENARD
                 Open the tanks.

       Bond is throttling the man with the cable.  Speaks into the
       handset.

                           BOND
                     (disguising voice)
                 Tanks open.

       But the man has stretched his hand to a fire alarm:

       The KLAXON RESOUNDS.

       INT. SUBMARINE CONTROL ROOM - CONTINUOUS

       Renard looks up.

                           RENARD
                     (to self)
                 Bond...

       He flicks a switch;

                           RENARD
                     (into mic)
                 Bond! You have decided to join me on this
                 historic voyage.  Welcome to my nuclear
                 family.

       INTERCUT:

       BOND ON AN INTERCOM:

       His voice fills the control room.

                           BOND
                 You're really going to commit suicide for
                 her?

       Renard responds, into the microphone.

                           RENARD
                 In case you've forgotten.  I'm dead
                 already.

                           BOND
                 Haven't you heard the news?  So is she.

       Renard's face screws up in pain more searing than any he
       could feel in his skin...he SCREAMS...

       INT. SUBMARINE...

       The scream, like a wounded animal, echoes throughout the
       doomed craft.

       BACK ON RENARD, gasping, spent.

                           RENARD
                 You will die for this.

       He strides through to the

       INT. REACTOR CHAMBER

       Jams shut the hatch behind him.  Now moves through to the

       INT. CHAMBER BEYOND REACTOR

       Where he picks up the PLUTONIUM. Moves back into the

       INT. REACTOR CHAMBER

       Sealing the other door behind him.  And now he opens up the
       cover of the glaring REACTOR...

       INT. TANK CONTROLS ROOM, SUBMARINE - CONTINUOUS

       Christmas sees a panel light up:

                           CHRISTMAS
                 The cover is off the reactor.

       Bond reads off more lights...

                           BOND
                 He's sealed himself in.

                           CHRISTMAS
                 He's going to insert the plutonium.

       Thinking fast, Bond moves to some controls.  Hits switches.

                           CHRISTMAS
                 Do you know what you're doing?

                           BOND
                 Like riding a bike.

       INT. AIR TANKS, SUBMARINE - CONTINUOUS

       The air tanks immediately filling with water.

       INT. TANK CONTROLS ROOM, SUBMARINE - CONTINUOUS

       Christmas and Bond shift to the side.  Everything not screwed
       down starts sliding...

       EXT. SUBMARINE - CONTINUOUS - LONG SHOT

       The submarine is tilting, further and further, the nose
       dropping down and down...

       Pretty soon we have the strange and incredible sight of a
       submarine hanging vertically, nose down.

       INT. REACTOR CHAMBER, SUBMARINE - CONTINUOUS

       Renard hangs on, swings, until he can get a footing on the
       nearest wall.

       INT. TANK CONTROLS ROOM, SUBMARINE - CONTINUOUS

       Bond and Christmas hang on too, get a grip.  He helps her up.

                           CHRISTMAS
                 What kind of bikes did you ride?

                           BOND
                 Just wanted to put him on edge...

       INT. REACTOR CHAMBER, SUBMARINE - CONTINUOUS

       Renard is disturbed by the sub's position, but only
       momentarily.

       He moves to an intercom:

                           RENARD
                 Open the torpedo tubes.

       INT. TORPEDO ROOM - CONTINUOUS

       Bond hears a creak, turns to see the tubes open -- water
       gushes up toward them at an incredible rate.

                           BOND
                 Climb!

       He pulls Christmas up and they ascend to the next level.  No
       chance to seal the chamber though, the water is already
       through the hatch.

                           BOND
                 Keep moving.

       INT. REACTOR CHAMBER - CONTINUOUS

       Renard now struggles back up to the reactor, stares into the
       violet blue heat...

       He hits a button.  A ROD slowly rises out of the reactor.

       INT. LOWER SUBMARINE - CONTINUOUS

       Bond and Christmas are ahead of the water.  They have reached
       a level where various systems are operated from.

                           BOND
                 There's one chance.

       He punches buttons.

       EXT. SUBMARINE, BOSPHORUS - CONTINUOUS

       High up on the sub, a hatch opens.  Water floods into an
       escape hatch.  An inner door stops it getting into the
       submarine itself.

       INT. REACTOR CHAMBER - CONTINUOUS

       Renard slowly inserts the plutonium rod.  Immediately the
       light around him becomes a deeper blue, a horrible
       luminescence.  The staccato click of a distant Geiger counter
       intensifies.

       INT. SUBMARINE - CONTINUOUS

       As Bond opens the inner door of an ESCAPE HATCH, he points
       out a cabinet on the wall to Christmas.

                           BOND
                 Re-breathers.

       She opens the box to find the RE-BREATHERS are ripped to
       shreds.  No-one was ever meant to get off the sub.  She shows
       Bond.

                           BOND
                 Never liked those things anyway.

       He climbs into the escape chamber.

                           BOND
                 Count to twenty.  When you get to twenty
                 open the hatch.  It can only be opened
                 for a few seconds or we'll sink.

                           CHRISTMAS
                 But what if...

                           BOND
                 Count to twenty.  I'll be there.

       She moves over and seals the door, wrenches a lever which
       immediately floods the chamber with water.

       INT. ESCAPE HATCH - CONTINUOUS

       Inside the chamber, Bond holds his breath as water seeps in.
       The most claustrophobic thing you've ever seen.

       INT. SUBMARINE - CONTINUOUS

       A green light comes on and Christmas punches a button...

       EXT. SUBMARINE, ESCAPE HATCH - CONTINUOUS

       The OUTER DOOR opens...  Bond burst out and starts the long
       swim up the OUTSIDE OF THE SUBMARINE...

       INT. SUBMARINE - SAME

       Christmas is counting.

                           CHRISTMAS
                 One, one thousand, two, one thousand...

       EXT. SUBMARINE - UNDERWATER

       It's dark out here.  It would be very easy for Bond to get
       disoriented.

       He peers around, trying to get his bearings against the vast
       vertical whale he's swimming up.

       Passes the conning tower.

       INT. SUBMARINE

                           CHRISTMAS
                 Fourteen, one thousand, fifteen, one
                 thousand...

       EXT. SUBMARINE - UNDERWATER

       Bond is running out of air...

       And then he sees it -- the open hatch of the rear escape
       door.

       He gets inside, yanks it closed...

       INT. SUBMARINE - CONTINUOUS

       Christmas, shivering in the rising water.

                           CHRISTMAS
                 Twenty.

       She presses a button...

       INT. CHAMBER BEYOND (NOW ABOVE) REACTOR - CONTINUOUS

       The hatch opens and Bond collapses out in a gush of water.
       The hatch closes.

       The whole world is at a crazy angle here. Bond looks down at
       the sealed door of the reactor chamber, curses.

       INT. REACTOR CHAMBER - CONTINUOUS

       Bathed in the horrible light of the over-heating reactor,
       Renard looks upwards, aware of sounds on the other side of
       the door...

       KER-BLAM!  A BLINDING FLASH OF LIGHT.

       The door shoots off its hinge, blasted by Bond.

       Bond drops down into the chamber, takes one look at Renard,
       now a crumpled heap in the corner.

       Bond moves down to the next door, opens it:

                           BOND
                 Christmas!

       And there she is, struggling, the water level way below still
       rising...

       He lowers an arm, pulls her up.

       They clamber up to the reactor:

       INT. REACTOR CHAMBER

       BOND'S POV: in the intense glow inside -- the overheating
       rod, protruding slightly.

                           CHRISTMAS
                 We have to get the rod out of the
                 reactor!

       INT. REACTOR CHAMBER

       Bond looks at the gauges from behind a thick GLASS SHIELD.
       Christmas comes up level with him:

                           CHRISTMAS
                 Melting down.  4000 degrees, the
                 Zirconium casings on the rods crack.
                 5000, the plutonium melts.  In ten
                 minutes, a hydrogen explosion.

       THE TEMPERATURE GAUGE READS 4500 AND RISING...

       He starts toward the reactor when suddenly

       RENARD IS BEHIND BOND, THROTTLING HIM.

       CHRISTMAS grabs at him, is flung back, nearly falls through
       the hatch but manages to grab a pipe, hangs on for dear life.

       THE GAUGE HITS 4700


       BOND AND RENARD

       struggle...  Both slamming into switches and buttons.

                                                            CUT TO:

       OMITTED 314-316

       INT. SUBMARINE - CONTINUOUS

       THE GAUGE IS PASSING 4900, EDGING TOWARDS THE NO-WAY-BACK
       5000 MARK.  Meltdown imminent...

       He looks down the sub -- more water racing upward...

       Back to the pile.  Scans the scene, searching for an idea.
       Sees a HOSE, compressed air escaping from a fissure.  Thinks
       fast.  Grabs the hose, snaps it free...

       RENARD

       is recovering, has found a FLARE GUN near him.  Raises it to
       Bond...

       BOND'S POV

       in the reflection of the gauge (which is millimeters from
       5000), we see Renard approaching from behind us...

       BOND jams the hose into the reactor, ducks down -- as the air
       blows the rod out - narrowly missing him as it shoots past --
       impales Renard in the heart, just before he could shoot.

       Renard stares at Bond in horror.  Bond calmly takes the flare
       gun off him.

                           BOND
                 She's waiting for you.

       And he lets him fall past Christmas, through consecutive open
       hatches of the sub, crashing into the rising water.

       Christmas looks down at the floating corpse.

       Bond watches the gauge -- as it edges DOWN from 5000.

       The nuclear disaster looks like it's averted.  But suddenly
       water is gushing in from above, through splits in the sub's
       shell; it's going to sink.

                           BOND
                 We're sinking.

       But she won't come.  As water courses over them:

                           CHRISTMAS
                 Help me.  We have to seal it.

       She moves to the reactor, closing the cover.  Bond uses his
       strength to push the heavy locking mechanism into place.

       Bond climbs upwards, dragging Christmas with him.

                           BOND
                 We've got to get out.

                           CHRISTMAS
                 We can't.

       INT. CHAMBER BEYOND REACTOR - CONTINUOUS

       They clamber into the next chamber up...

       EXT. SUBMARINE, BOSPHORUS - CONTINUOUS

       The submarine is slowly sinking, nose down.  Air is escaping
       from the many seams that are creeping apart.  We can hear the
       metallic GROANS through the water.

       INT. TORPEDO ROOM

       Bond and Christmas crawl into TORPEDO CHAMBERS...

       Bond reaches out, setting a timer to FIRE...

       The clock ticks down...

       EXT. SUBMARINE - UNDERWATER BOSPHORUS - DAY

       The Torpedo doors open and Bond and Christmas are SHOT OUT
       INTO THE WATER, streaking through, as behind them...

       THE SUBMARINE EXPLODES in spectacular fashion.

       EXT. SURFACE, BOSPHORUS - DAY

       Bond and Christmas reach the surface...  Look around them.
       No boats coming to the rescue.  They wave to a tourist boat
       passing.

       The boat heads over to pick them up...

                                                          DISSOLVE:

       OMIT 324

       EST. SHOT - MI-6 - NIGHT

       The damaged wing is being repaired.

       INT. BRIEFING ROOM - SAME

       Tanner overseeing things, and then...

       M walks in.  Efficient and steely as ever.  All eyes turn to
       her.  She looks at everyone...makes the briefest of nods.
       That is all the sentiment allowed as business resumes.

       She scans the machines:

                           M
                 Any word from him?

                           TANNER
                 Still no contact yet.

       EXT. ROOF, ISTANBUL - NIGHT

       A magnificent rooftop garden looking out over Istanbul.
       Christmas and Bond alone with some Bollinger.

       FIREWORKS explode above. They clink glasses.  He looks out at
       the cityscape.

                           BOND
                 I love Christmas in Turkey.

                           CHRISTMAS
                 So isn't it time you unwrapped your
                 present?

       INT. BRIEFING ROOM - NIGHT

       Tanner and Q look at a SATELLITE THERMAL IMAGE OF ISTANBUL.

                           TANNER
                 That's strange.

       The satellite image zooms in one particular car parked in a
       side street.  We can just make out Bond's ASTON MARTIN.

                           TANNER
                 He must be nearby.

       M comes over.

       The image moves from the car, closes on the garden rooftop.
       The thermal image is multi-coloured, difficult to decipher.

                           M
                 Where?

                           Q
                 This picks up body heat.  Humans should
                 be orange.
                     (searching)
                 There.

       And he points to ONE orange figure lying on the rooftop.

                           M
                     (to Tanner)
                 I thought you said he was with Doctor
                 Jones?

       They all look back to the image.  The figure is turning RED,
       almost glowing.

                           M
                 It's getting redder.

       Tanner, Q and M realize as one that this is an image of two
       people, one atop the other.  And getting hotter.

                           M
                 Bond.

       Q switches the screen off, clears his throat.

                           Q
                 Could be a premature form of the
                 Millennium Bug.

       EXT. ROOF, ISTANBUL - CONTINUOUS

       It's dark, we can't really see them.

                           CHRISTMAS
                 You know James...  I think Christmas is
                 coming early this year.

                                                           FADE OUT

       THE END

       --------------------------------------------------------------