"FROM RUSSIA WITH LOVE"

Screenplay by

Richard Maibaum

Adapted by

Johanna Harwood

Based on the novel by

Ian Fleming

[Note: Passages in brackets appear in the

cutting continuity but not in the film]

GUN BARREL LOGO

The James Bond trademark which is an IRIS moving to centre of

screen circling JAMES BOND. He fires a revolver.

IRIS CUTS OUT.

FADE IN:

EXT. RENAISSANCE GARDENS - NIGHT - SERIES OF SHOTS

- WIDE MOVING SHOT: Bond, dressed in a tuxedo, walks across a

bridge and down some steps as if stalking someone. He looks

back.

- CLOSE SHOT: The feet of another man, wearing sweat-pants

and soft shoes, walk forward.

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

continues walking.

- CLOSE SHOT: The other man’s feet walk quietly up some

steps.

- WIDE MOVING SHOT: Bond runs down a tree-lined path toward a

statue, hears a bird coo and looks back.

- WIDE SHOT: The other man is crossing the bridge. He is

DONALD GRANT. He stops and looks in front of him.

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

trees.

- MEDIUM SHOT: Grant stops on the bridge, looking forward,

then cracks a branch of a tree.

- BOND stops suddenly at the sound. He looks back, pauses

thinking, then continues walking.

- GRANT watches, then moves forward and

- GRANT’S FEET walk forward but stop, pivot back and walk in a

different direction.

- MEDIUM MOVING SHOT: Bond looks back, walks forward, hears a

bird cooing again, looks back, then walks forward again.

- WIDE ANGLE: Bond stops moving and peers behind some bushes.

Grant crosses in f.g. holding one arm out.

- BOND fires a revolver.

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

2.

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

continues on.

- GRANT keeps looking back.

- BOND walks forward glancing around anxiously.

- WIDE MOVING SHOT: Grant walks toward a fountain in f.g.,

Bond following, then Grant passes it and moves on.

- BOND emerges from behind a tree, looking in Grant’s

direction.

- WIDE ANGLE: Bond peers behind another tree then continues

forward. PAN OVER to reveal Grant waiting in f.g., concealed

by more trees.

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

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

around.

- FRONT ANGLE: Bond steps forward. Grant suddenly emerges

from the trees behind him and whips the garrote around his

neck. Bond clutches at it helplessly as Grant strangles him

and they drop to the ground.

Behind them, the lights of SPECTRE House go on, revealing the

MEN OF THE SPECTRE PARTY, standing on a terrace. The men walk

forward.

GRANT

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

see

MORZENY

approaching followed by the other men.

GRANT

stands at attention as Morzeny reaches him holding a watch.

MORZENY

(to Grant)

Exactly one minute, fifty-two

seconds. That’s excellent.

3.

BOND

lies motionless on the ground. Morzeny’s hand reaches down

and pulls a mask off his face, revealing an UNIDENTIFIED MAN

who has been disguised as Bond. TILT UP to reveal Morzeny and

Grant walking away toward the house.

CUT TO:

THE MAIN TITLES

A BELLY DANCER performs as the credits are projected across

various parts of her body.

FADE OUT.

FADE IN:

EXT. VENICE - ESTABLISHING SHOT - DAY

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

DISSOLVE TO:

INT. CHESS ROOM - VENICE HOTEL

A scoreboard reads:

VENICE INTERNATIONAL

GRANDMASTERS CHAMPIONSHIP

MATCH FINAL

Czechoslovakia WHITE BLACK Canada

KRONSTEEN 11 1/2 11 1/2 MACADAMS

PULL BACK to reveal KRONSTEEN (’No. 5’) and MACADAMS sitting

across from each other at a chess table, the 1st and 2nd

UMPIRES, an ATTENDANT and SPECTATORS. Kronsteen smokes a

cigarette and flicks an ash into an ashtray.

KRONSTEEN

moves his white knight and takes Macadam’s black bishop,

setting it beside many other black pieces.

KRONSTEEN

Check.

Kronsteen clicks a timer.

OVER KRONSTEEN’S SHOULDER

Macadams looks thoughtfully at the board.

4.

ANGLE ON THE SCOREBOARD

1ST UMPIRE

Knight takes bishop.

The Attendant moves a corresponding white piece on the

scoreboard.

ATTENDANT

Knight takes bishop.

EXTREME WIDE ANGLE

The spectators look on murmuring. A WAITER approaches the

table with a tray containing two glasses.

CLOSER

The waiter sets a glass in front of Macadams then turns to

Kronsteen and puts a glass of water and a mat in front of him.

STILL CLOSER

Kronsteen stares at the waiter, whose hand still grips the

glass. The hand backs away and Kronsteen picks up the glass

and the mat. He starts to drink then looks through the glass.

We hear the clock still ticking.

KRONSTEEN’S POV - THE GLASS AND MAT

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

’YOU ARE REQUIRED

AT ONCE.’

KRONSTEEN

sets the glass down and dabs the mat against his lips.

Meanwhile Macadams looks at the chessboard. Kronsteen tears

up the mat.

OVER KRONSTEEN’S SHOULDER

Macadams moves a black chess piece and clicks the timer.

ANGLE ON THE SCOREBOARD

1ST UMPIRE

King to rook two.

The Attendant moves a corresponding black piece.

ATTENDANT

King to rook two.

5.

AT THE TABLE

Kronsteen picks up a white piece then glances at Macadams.

Macadams looks back. Kronsteen sets the piece on the table,

looks again at Macadams and clicks the timer.

OVER KRONSTEEN’S SHOULDER

Macadams studies the chessboard.

ANGLE ON THE SCOREBOARD

The Attendant moves a corresponding white piece.

1ST UMPIRE

Queen to king four.

ATTENDANT

(repeating)

Queen... to king four.

WIDE ANGLE

The spectators murmur in anticipation.

MACADAMS

studies the board.

KRONSTEEN

stares back at him, eyes unmoving. Macadams’ hand reaches

forward and touches the top of the black king.

OVER KRONSTEEN’S SHOULDER

Macadams tips over his king onto the table.

KRONSTEEN

stares at him.

OVER KRONSTEEN’S SHOULDER

Macadams rises.

MACADAMS

My congratulations, sir. A

brilliant coup.

Macadams holds out his hand as the spectators applaud.

Kronsteen rises and shakes it.

6.

HIGH ANGLE - CRANE SHOT

Kronsteen releases Macadams’ hand and, as we CRANE DOWN, walks

away from the table. A SPECTATOR reaches out to give him a

handshake but Kronsteen ignores him and keeps walking.

DISSOLVE TO:

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

The yacht rests in a bay.

EXT. BLOFELD’S CABIN - SAME TIME

A GUARD with a machine gun over his shoulder comes downstairs,

Kronsteen following and looking around. The guard rings a

doorbell to Blofeld’s cabin. Kronsteen looks back and sees a

SECOND ARMED GUARD coming down the stairs.

INT. BLOFELD’S CABIN - SAME TIME

ROSA KLEB is looking into a desktop aquarium. She moves

backwards looking down at it.

BLOFELD (O.S.)

Siamese fighting fish. Fascinating

creatures. Brave, but on the

whole, stupid.

KLEB’S POV - THE AQUARIUM

Three fish swim in it.

BLOFELD (O.S.)

Yes, they’re stupid.

CLOSE SHOT - BLOFELD’S LAP

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

BLOFELD (O.S.)

Except for the occasional one such

as we have here...

CLOSE SHOT - AQUARIUM

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

each other.

BLOFELD (O.S.)

...who lets the other two fight

while he waits... waits until the

survivor is so exhausted that he

cannot defend himself.

7.

KLEB

watches the aquarium.

CLOSE SHOT - AQUARIUM

The fish continue to fight.

BLOFELD (O.S.)

And then, like SPECTRE, he strikes.

CLOSE-UP - KLEB

KLEB

I find the parallel -- amusing.

CLOSE SHOT - BLOFELD’S CAT

Blofeld handles the cat.

BLOFELD (O.S.)

Our organization did not arrange

for you to come over from the

Russians...

ANGLE ON KLEB OVER BLOFELD

BLOFELD

(continuing)

...just for amusement, Number

Three.

CLOSE SHOT - CONSOLE

Blofeld pushes one of four buttons on his desk.

BLOFELD’S POV - KLEB

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

enters.

BLOFELD

Come in, Kronsteen. Sit down,

Number Three...

CLOSE SHOT - BLOFELD’S CAT

He continues to stroke it.

BLOFELD

... while we listen to what Number

Five has devised for us.

8.

CLOSE-UP - KLEB

KLEB

I hope Kronsteen’s efforts as

Director of Planning will continue

to be as successful as his chess.

CLOSE-UP - KRONSTEEN

KRONSTEEN

They will be. According to your

instructions, I have planned for

SPECTRE to steal from the Russians

their new Lektor decoding machine.

For this we need the services of a

female member of the Russian

cryptograph section in Turkey and —

- uh —- the help of the British

Secret Service.

CLOSE-UP - KLEB

Listening, she looks up at Kronsteen.

KRONSTEEN (O.S.)

(continuing)

Naturally, neither the Russians nor

the British will be aware...

CLOSE-UP - BLOFELD’S CAT

He continues to pet it.

KRONSTEEN (O.S.)

(continuing)

...that they are now working for

us.

BLOFELD (O.S.)

Number Three, is your section ready

to carry out Kronsteen’s directives?

CLOSE-UP - KLEB

KLEB

Yes, Number One. The operation

will be organized according to

Kronsteen’s plan. I have selected

a suitable girl from the Russian

Consulate in Istanbul. She’s

capable, cooperative, and her

loyalty to the State is beyond

question.

9.

WIDE ANGLE OVER BLOFELD AT KLEB AND KRONSTEEN

BLOFELD

And you’re absolutely sure she

believes you’re still...

CLOSE-UP - BLOFELD’S CAT

He continues to stroke it.

BLOFELD

(continuing)

... head of operations for Soviet

Intelligence?

CLOSE-UP - KLEB

KLEB

It is most unlikely she would know

I’m now working for SPECTRE.

Moscow has kept my defection secret

from everyone but a few members of

the Presidium.

CLOSE SHOT - BLOFELD’S CAT

As he stroke it:

BLOFELD

For your sake, I hope so.

BLOFELD’S POV - KLEB AND KRONSTEEN

BLOFELD (O.S.)

Kronsteen, you’re sure this plan is

foolproof?

KRONSTEEN

(tapping a cigarette

against its case)

Yes, it is, because I have

anticipated every possible

variation of counter-move.

CLOSE SHOT - BLOFELD’S CAT

As he strokes it:

BLOFELD

But what makes you think that ’M,’

the head of British intelligence,

will oblige you by falling in with

your plan?

10.

CLOSE-UP - KRONSTEEN

KRONSTEEN

For the simple reason that it is so

obviously a trap.

(he starts to put the

cigarette into his

mouth then lowers it)

My reading of the British mentality

is that they always treat a trap as

a challenge. And in any case, they

couldn’t possibly pass up even the

slightest chance of getting their

hands on a Lektor decoder. They

have wanted one for years.

CLOSE SHOT - BLOFELD’S CAT

As he strokes it:

BLOFELD (O.S.)

Um-hmm. All that you say could be

true. What else?

CLOSE-UP - KRONSTEEN

KRONSTEEN

As an added refinement, I think

that SPECTRE would probably have

the added chance of a personal

revenge for the killing of our

operative, Doctor No. Because the

man the British will almost

certainly use on a mission of this

sort would be their agent, James

Bond.

ANGLE OVER BLOFELD AT KLEB AND KRONSTEEN

BLOFELD

Let his death be a particularly

unpleasant and humiliating one.

KRONSTEEN

Good. I shall put my plan into

operation straightaway.

KLEB

looks at Kronsteen.

11.

KRONSTEEN

KRONSTEEN

And there will be no failure.

CUT TO:

EXT. LAKE - MEDIUM CLOSE SHOT - GRANT

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

He glances up.

A FEMALE MASSEUSE

in a skirt approaches.

GRANT

closes his eyes.

MEDIUM SHOT - GRANT AND MASSEUSE

She sets a bag down then turns away and unbuttons and removes

her shirt, revealing large breasts in a bra. She pulls down

her skirt, revealing shorts, and turns toward Grant.

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

A HELICOPTER

hovers overhead.

MEDIUM SHOT

The masseuse massages Grant’s back.

THE HELICOPTER

lands in front of SPECTRE House.

CLOSER ANGLE

Morzeny and other SPECTRE men, including RHODA, approach the

helicopter as it lands.

MORZENY

Hurry.

Kleb emerges from the chopper.

MORZENY

(to Kleb)

Welcome to SPECTRE Island. A great

honour. I hope you had a pleasant

flight.

12.

CLOSER - MORZENY AND KLEB

KLEB

My time is limited. Is the man I

requested ready?

Morzeny hands her a file.

MORZENY

His dossier.

KLEB

Good.

Kleb look at the file.

KLEB

Donald Grant, convicted murderer.

Escaped Dartmoor Prison in nineteen

sixty. Recruited in Tangier

nineteen sixty-two. Excellent!

Where is he now?

Rhoda turns to Morzeny.

RHODA

At the Lake.

MORZENY

Bring him to my office, will you?

Morzeny touches Kleb’s elbow as if to escort her; she backs

away repulsed.

KLEB

Take me to the Lake.

MORZENY

(pointing)

Through the training area.

MOVING SHOT

Kleb, Morzeny and Rhoda walk across the grounds.

MORZENY

This Grant’s one of the best men

we’ve ever had. Homicidal

paranoiac, superb material. Though

his methods were a little crude,

his response to our training and

indoctrination have been

remarkable.

13.

EXT. KILLING SCHOOL - MOVING SHOT

Kleb, Morzeny and Rhoda walk along a series of galleries where

men fire at targets. Other men in judo garb break cinder

blocks in f.g. In another gallery, a man fires a flamethrower

at a running man. Two men fight with knives. In yet

another gallery, men practice judo.

MORZENY

I hope our work here meets with

your approval?

KLEB

Training is useful, but there is no

substitute for experience.

MORZENY

I agree. We use live targets as

well.

WIDE ANGLE

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

DISSOLVE TO:

EXT. LAKE

The threesome approach around a grove of trees and turn to

face the Lake.

Grant reclines on his back as the masseuse works on one of his

arms. A trampoline and barbell lay nearby. The masseuse

looks up at the visitors.

Kleb takes a step forward.

KLEB

Call him.

MORZENY

Grant!

Grant jumps to his feet and stands attention. Kleb looks at

him then removes her purse from her shoulder.

Grant walks up to the visitors. He stops in front of Kleb and

stands at attention. Kleb circles him, looking him over. As

she does, she puts on a knuckle duster.

When Kleb arrives in front of Grant again she suddenly punches

him hard in the stomach. He barely flinches.

14.

KLEB

He seems fit enough. Have him

report to me in Istanbul in twentyfour

hours.

Kleb immediately turns and walks off, Morzeny and Rhoda

following.

DISSOLVE TO:

EXT. ISTANBUL - ESTABLISHING SHOT - DAY

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

EXT. RUSSIAN EMBASSY - DAY

A sign on an outer wall reads:

CCCP USSR

CONSULATE GENERAL

A PORTER holds open a wrought-iron gate and three embassy

women emerge onto the sidewalk —- a striking blonde, TATIANA

ROMANOVA (known as TANIA), and her friends IRINA and NATASHA.

Tania holds a piece of paper.

IRINA

(in Russian)

Are you sure you don’t want to come

with us?

TANIA

(in Russian)

I have some shopping to do.

NATASHA

(in Russian)

We’ll see you later as the hostel.

IRINA

(in Russian)

Don’t be late. Goodbye for now.

TANIA

(in Russian)

Goodbye for now.

NATASHA

(in Russian)

Goodbye for now.

Irina and Natasha walk away. Tania turns, looking at the

piece of paper, and walks off.

DISSOLVE TO:

15.

EXT. STREET - KLEB’S HOTEL - DAY

Tania walks up a cobblestone path to a policeman and shows him

the piece of paper.

TANIA

(in Turkish)

Can you show me this house?

The policeman points further up the path.

POLICEMAN

(in Turkish)

It’s the first door on the left.

Tania continues up the narrowing path toward the hotel, which

looks more like a sinister tenement.

THROUGH AN ARCHWAY

Tania approaches the hotel, stops, looks at the paper again,

looks around, then turns up a flight of stairs.

ON THE STAIRS - MOVING SHOT

Tania continues up the stairs then turns down a walkway.

Suddenly a man’s shadow crosses a pillar in f.g. He stops

behind it and watches. It’s Grant, in a suit and tie.

Tania stops at a door and knocks.

AT THE DOOR

MOVE IN on the door as it opens with a creak, revealing Kleb.

She wears a Russian uniform.

INT. KLEB’S ROOM - WIDE ANGLE

Tania stands on the threshold.

TANIA

Corporal of State Security Tatiana

Romanova.

KLEB

(matter-of-factly)

Come in.

Tania enters the room. We CRANE DOWN AND IN as Kleb shuts the

door and follows her down a flight of stairs into an office.

It contains a desk and a chair. Kleb sits behind the desk.

KLEB

You know who I am?

16.

TANIA

Colonel Kleb. Head of operations

for -- for SMERSH. I saw you once

in Moscow when I worked for the

English decoding crew.

KLEB

Did you tell anyone at the

Consulate you were coming here?

TANIA

No, the message said --

KLEB

Yes, yes. I know. I sent it.

INTERCUT - TANIA AND KLEB

Tania stands watching her, uncertain.

Kleb dons a pair of black-rimmed glasses and opens a dossier

on her desk.

KLEB

Your work record is excellent. The

State is proud of you.

TANIA

Thank you, Comrade Colonel.

KLEB

Take off your jacket.

Tania is surprised, then unbuttons and removes her jacket.

KLEB

Turn around.

Tania obediently pivots around.

KLEB

Umm. You are a fine-looking girl.

Tania glances down diffidently.

KLEB

(politely)

Sit down.

Tania sits in the chair and keeps looking at Kleb, who

continues to scan the dossier.

KLEB

I see you trained for the ballet.

17.

TANIA

But I grew an inch over regulation

height, and so...

KLEB

And then you have had three lovers?

[Tania looks off shocked.

KLEB

Did you enjoy their attention?]

TANIA

(showing her anger)

What is the purpose of such an

intimate question?

Kleb explodes, cracking a short whip against her desk.

KLEB

You are not here to ask questions!

You forget to whom you are

speaking! [Did you enjoy it?]

TANIA

(softens then smiles)

I was in love.

KLEB

And if you were not in love?

TANIA

(thinks deeply, then

smiles again)

I suppose that would depend... on

the man.

KLEB

Sensible answer.

Kleb rises from her desk.

WIDER ANGLE

We see now that Tania is sitting with her legs crossed and her

skirt is raised revealing her knee.

Kleb walks to her holding a photograph, hands it to her then

sits on the edge of the desk holding the whip.

KLEB

This man, for instance.

18.

TANIA

(studying the photo)

I cannot tell. Perhaps if he was

kind and kulturny.

KLEB

Corporal...

Kleb rests a hand on Tania’s knee but withdraws it at Tania’s

look of distaste. DOLLY IN CLOSER to them.

KLEB

...I have selected you for a most

important assignment. Its purpose

is to give false information to the

enemy. If you complete it

successfully you will be promoted.

From now on you will do anything he

says.

TANIA

And if I refuse?

KLEB

Then you will not leave this room

alive.

Tania looks at her aghast, then regains her composure.

TANIA

I will obey your orders.

ANGLE ON KLEB

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

behind Tania.

KLEB

Good. Now these are your

instructions. You report to me

here.

TANIA

Yes.

KLEB

But the Consulate security man must

not know that I am in Istanbul.

This is classified far above his

level.

TANIA

I will say nothing to anyone.

DOLLY OUT as Kleb steps toward her.

19.

KLEB

If you do, you will be shot!

(she cracks the

whip hard against

the chair, then

softens)

Come, come, my dear.

(she strokes Tania’s

shoulder)

You are very fortunate to have been

chosen for such a simple,

delightful duty.

(her hand moves up

to stroke Tania’s

hair)

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

DOLLY IN to Tania looking down at the photograph.

DISSOLVE TO:

EXT. RIVER - DAY

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

piloting.

MAN

Great sport, this!

YOUNG WOMAN

What did you say?

MAN

Great sport, this punting!

The punt continues off. TILT DOWN TO REVEAL another punt,

resting on the shoreline beneath a tree. Inside are Bond and

SYLVIA, embracing and kissing. An ice bucket and glasses are

beside it.

BOND

I couldn’t agree with him more.

SYLVIA

I might even give up golf for it.

BOND

Really?

He tugs on a cord that extends between his toes into the

water, pulling up a bottle of champagne. He touches it.

BOND

Not quite.

20.

He lowers the bottle again. Sylvia notices something on his

back —- a scar. She runs her finger across it.

SYLVIA

Ooh! Souvenir from another jealous

woman?

He turns back and slips an arm around her.

BOND

Yes, but I haven’t turned my back

on one since.

He fully embraces her and they kiss. Suddenly a BEEPER goes

off. Bond looks back, disheartened.

BOND

Excuse me.

SYLVIA

What?

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

WIDER ANGLE

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

BOND

Give me my shirt, will you?

SYLVIA

(tossing it to him)

What’s going on?

BOND

I have to make a phone call.

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

convertible.

SYLVIA (O.S.)

(calling)

But we haven’t eaten yet! I’m

starving!

Bond opens the driver’s door and picks up a phone while

raising his shirt.

BOND

(into phone)

Come in, Univex. James Bond here.

Over.

21.

INT. MISS MONEYPENNY’S OFFICE - SAME TIME

She sits holding her phone and with her other hand taps a

cigarette against a file on her desk.

MISS MONEYPENNY

He’s been asking for you all

morning. Where in the world are

you, James?

MEDIUM SHOT - BOND

He is in his shirt now, buttoning it.

BOND

Well, I’ve just been reviewing an

old case.

SYLVIA

approaches in a huff. PAN ON HER as she walks to Bond.

SYLVIA

Oh, so I’m an old case now, am I?

BOND

Shh! It’s the office.

(into phone)

Err... tell him I’m on my way, will

you?

Sylvia snatches the phone from him.

SYLVIA

(into phone)

He is not on his way.

BOND

(taking the phone

back)

Sylvia, behave! We’ll do this

again some other time, soon.

(he keeps buttoning

his shirt)

SYLVIA

Do what? The last time you said

that you went off to Jamaica.

(she undoes one of

his buttons)

I haven’t seen you for six months.

He slaps her hand.

22.

BOND

(into phone)

I’ll be there in an hour.

INTERCUT - MISS MONEYPENNY

She now holds a lit cigarette.

MISS MONEYPENNY

Hey, your old case sounds

interesting, James.

INTERCUT - BOND AND SYLVIA

Sylvia has completely unbuttoned Bond’s shirt.

BOND

(into phone)

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

He returns the phone to its cradle as Sylvia quietly claps her

hands together. Bond passes her and raises the convertible

top. DOLLY IN till it conceals him and Sylvia and the screen

goes black.

BOND

Now, about that lunch...

SYLVIA

(giggling)

Hmm-hmm.

FADE IN:

INT. A DOOR - MEDIUM CLOSE SHOT

The door opens to reveal Bond dressed in a suit and tie and

holding his hat. As he enters, PULL BACK TO REVEAL

INT. MISS MONEYPENNY’S OFFICE

Unseen by Bond, ’M’ stands with Miss Moneypenny at a filing

cabinet behind the door. ’M’ holds a file marked ’SECRET.’

They look up.

Bond tosses his hat at a hat-rack and it lands perfectly on a

hook. He turns to Miss Moneypenny and begins to close the

door.

BOND

For my next miracle, I...

’M’ comes into view. Bond stops cold. The others just look

at him. Chagrined, Bond gently leans against the door to shut

it the rest of the way —- and it creaks loudly.

23.

Wordlessly, ’M’ nods to Bond to follow him. PAN ON THEM as

they cross the room and pass through an open doorway into

’M’s’ office. BOOTHROYD [’Q’] stands just outside the office

holding a briefcase and waiting. Bond closes a padded door

behind them.

MISS MONEYPENNY

(to Boothroyd)

It’ll be a miracle if he can

explain where he’s been all day.

INT. ’M’s OFFICE

’M’ walks toward his desk, Bond following having just closed

the padded inner door.

BOND

But I’ve never even heard of a

Tatiana Romanova.

’M’

Ridiculous, isn’t it?

BOND

It’s absolutely crazy.

’M’

Of course, girls do fall in love

with pictures of film stars.

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

INTERCUT - BOND AND ’M’

BOND

But not a Russian cipher clerk with

a file photo of a British agent.

Unless she’s, uh... mental.

’M’

Mmm.

BOND

No, it’s some sort of trap.

’M’

(filling his pipe)

Well, obviously it’s a trap, and

the bait is a cipher machine. A

brand new Lektor.

BOND

A Lektor, no less. The C.I.A.’s

been after one of those for years.

24.

ANGLE ON ’M’

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

’M’

Yes. So have we. When she

contacted Kerim Bey, head of

Station T, Turkey, and told him she

wanted to defect, she said she’d

turn it over to us, on one

condition: that you went out to

Istanbul and brought her and the

machine back to England.

(he takes a photo

from the file)

Here’s a snapshot Kerim managed to

get of her.

BOND

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

BOND

Well, I don’t know too much about

cryptography, sir, but, uh... a

Lektor could decode their top

secret signals. The whole thing’s

so fantastic, it just could be...

(he finally looks

at the photo and

catches himself)

...true.

INSERT - THE PHOTO

shows Tania standing at a railing aboard a ship with one hand

raised provocatively, holding her hair back.

’M’ (O.S.)

Hmm. That had occurred to me.

BOND

continues to look at the photograph

’M’ (O.S.)

Besides, the Russians haven’t been

up to any tricks recently.

BOND

Well, really, I’m not too busy at

the moment, sir.

25.

INTERCUT - BOND AND ’M’

’M’

You’re booked on the eight-thirty

plane in the morning. If there’s

any chance of us getting a Lektor,

we simply must look into it.

BOND

Suppose when she meets me in the

flesh, I don’t come up to

expectations?

ANGLE ON ’M’

over Bond’s shoulder.

’M’

Just see that you do.

He presses a switch on his intercom.

’M’

Miss Moneypenny, ask the Equipment

Officer to come in, please.

(he releases the switch)

Q Branch has put together a smart

looking piece of luggage for us.

ANGLE ON THE PADDED DOOR

Boothroyd enters carrying the briefcase. PAN ON HIM as he

walks to the desk, to include Bond and ’M’.

’M’ (O.S.)

We’re issuing this to all double-o

personnel.

Boothroyd nods to Bond and sets the briefcase on the desk.

Bond rises to face him.

BOOTHROYD

An ordinary black leather case...

(tilts it up and points

to two buttons on

its back edge)

... with twenty rounds of

ammunition here and here.

Boothroyd presses one of the buttons and a narrow tube pops

up. Bond does the same to the other button and another tube

pops up.

26.

MEDIUM SHOT - BOND AND BOOTHROYD

BOOTHROYD

(indicating the tube)

Now, if you take the top off,

you’ll find the ammunition inside.

Bond opens the top and drops a couple of bullets into his

hand, then returns them to the tube. Meanwhile Boothroyd

turns the briefcase the other way around.

BOOTHROYD

In the side here: flat throwing

knife.

CLOSE SHOT - THE BRIEFCASE

Boothroyd’s hand enters.

BOOTHROYD (O.S.)

Press that button there...

(he presses a release

and a knife pops

out)

... out she comes.

Bond’s hand enters and takes the knife.

MEDIUM SHOT - BOND AND BOOTHROYD

Boothroyd opens the briefcase and sets it down flat.

BOOTHROYD

Inside the case...

CLOSE SHOT - THE BRIEFCASE

The inside is bright red and contains what looks like part of

a rifle. Boothroyd’s hand picks it up.

BOOTHROYD (O.S.)

...you’ll find an AR Seven folding

sniper’s rifle.

(he pulls the heel

off the grip,

revealing a barrel

hidden inside)

Point-two-five calibre, with an

infra-red telescopic sight.

He reattaches the heel and sets the rifle beside the

briefcase. Then he pulls on a strap connecting the case’s lid

to its body. A hidden strap comes out of the inner lining and

gold sovereigns are embedded in it.

27.

BOOTHROYD

Then, if you pull out these straps,

inside are fifty gold sovereigns.

Twenty-five in either side.

He slides the strap back into the lining.

TIGHT TWO-SHOT - BOND AND BOOTHROYD

BOOTHROYD

Now watch very carefully.

(he reaches down)

MEDIUM CLOSE SHOT - THEIR TORSOS

Boothroyd takes a tin of talcum powder from his pocket. It

bears the trademark ’Club.’

BOOTHROYD (O.S.)

An ordinary tin of talcum powder.

Inside, a tear gas cartridge.

TWO-SHOT

BOOTHROYD

That goes in the case against the

side...

MEDIUM CLOSE SHOT - THE BRIEFCASE

DOLLY IN as Boothroyd’s hand attaches the tin to the inside of

the case.

BOOTHROYD (O.S.)

... here, like that. It’s

magnetized so it won’t fall.

His hands shut the case and close the catches.

BOOTHROYD

Shut the case.

TWO-SHOT

BOOTHROYD

Now, normally to open a case like

that...

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

Boothroyd’s thumbs rest on the catches.

28.

BOOTHROYD (O.S.)

... you move the catches to the

side.

(his thumbs move

sideways without

touching the catches)

If you do, the cartridge will

explode -- in your face.

TWO-SHOT

BOOTHROYD

Now, to stop the cartridge

exploding...

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

Boothroyd’s fingers twist the catches sideways.

BOOTHROYD

... turn the catches horizontally,

like that. Then open normally.

His thumbs open the catches and the briefcase pops open.

TWO-SHOT

BOOTHROYD

Now you try it.

MEDIUM CLOSE-UP - ’M’

Pipe in his mouth, ’M’ looks up at Bond, removes the pipe and

blows out smoke.

MEDIUM TWO-SHOT - BOND AND BOOTHROYD

Bond moves behind the upright case and lays his fingers the

catches.

BOND

Hmm. Turn the catches...

(twisting them)

...like that...

BOOTHROYD

That’s right.

BOND

And open ordinarily.

Bond snaps the briefcase open then grins in satisfaction.

29.

BOOTHROYD

You’ve got it?

BOND

Yes, I think so.

BOOTHROYD

(to ’M’, off)

Is that all, sir?

’M’ (O.S.)

Yes, thanks very much.

BOOTHROYD

Right. Thank you.

Boothroyd exits as Bond closes the briefcase.

BOND

That’s a nasty little Christmas

present. But I shouldn’t think

I’ll need it on this assignment,

sir.

CLOSE-UP - ’M’

’M’

All the same, take it with you.

WIDE ANGLE OVER ’M’s SHOULDER

’M’

Good luck, Double-o-seven.

BOND

Thank you, sir.

Bond heads for the door.

CLOSE-UP - ’M’

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

INT. MISS MONEYPENNY’S OFFICE - SAME TIME

Bond enters from ’M’s office flipping the padded door shut

behind him. PAN WITH HIM as he walks to Miss Moneypenny’s

desk and sets the briefcase down.

BOND

’Once more into the breach, dear

friends.’

Miss Moneypenny holds up an airline ticket.

30.

MISS MONEYPENNY

And one plane ticket.

Bond sits on the edge of her desk and takes the ticket from

her. SLOW DOLLY IN to tight two-shot as they talk.

MISS MONEYPENNY

Lucky man. I’ve never been to

Istanbul.

BOND

You’ve never been to Istanbul?

MISS MONEYPENNY

No.

BOND

(leaning toward her)

Where the moonlight on the

Bospherous is irresistible.

MISS MONEYPENNY

(rising and touching

her forehead to his)

Maybe I should get you to take me

there some day. I’ve tried

everything else.

BOND

Darling Moneypenny, you know I

never even look at another woman.

MISS MONEYPENNY

Oh, really, James?

BOND

Uh-huh. Let me tell you the secret

of the world...

(he leans back to

her ear)

Just then her intercom buzzes.

CLOSE SHOT - INTERCOM

Miss Moneypenny’s finger switches it on. PULL BACK TO MEDIUM

TWO-SHOT of Bond and Miss Moneypenny.

’M’ (over intercom)

Miss Moneypenny, ask Double O Seven

to leave the photograph. I’m sure

he’ll recognize the lady when he

sees her.

31.

Miss Moneypenny holds out her hand. Bond takes out Tania’s

photograph and sets it on her palm. Then he picks up a pen.

CLOSE SHOT - THE PHOTOGRAPH

Bond’s hand writes the words ’WITH LOVE,’ then adds above it

’FROM RUSSIA.’

MEDIUM TWO-SHOT

Bond picks up the briefcase and steps off the desk.

MISS MONEYPENNY

(watching him go)

Good luck.

BOND

(passing in front

of her)

Ciao!

MISS MONEYPENNY

Ciao!

SLOW DISSOLVE TO:

EXT. ISTANBUL AIRPORT - DAY

A plane lands on a runway marked ’2.’ PAN ON IT as the nosewheel

touches down.

INT. CONTROL TOWER - SAME TIME

A number of AIRPORT OFFICIALS look out the windows.

1ST OFFICIAL

(into microphone)

Hello, London. Your flight P-A-One

just landed Istanbul.

CUT TO:

INT. AIRPORT LOUNGE - REVERSE TRUCKING SHOT

Bond, wearing a grey suit and holding his briefcase, walks

through the lounge, surrounded by other passengers.

He passes a CHAUFFEUR who stands holding a glass at a drink

tray manned by a DRINK SELLER. The chauffeur sports a

mustache and wears a grey suit, black tie, cap and gloves.

CHAUFFEUR

(seeing him)

Mr. Bond!

(MORE)

32.

CHAUFFEUR (cont’d)

(to the drink seller,

in Turkish)

Tesekkür ederim.

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

CHAUFFEUR

Kerim Bey sent a car for you, sir.

BOND

Oh, fine.

(reaches into his

coat and takes out

a cigarette case)

Can I borrow a match?

CHAUFFEUR

I use a lighter.

BOND

(opening the case

to reveal cigarettes)

It’s better still.

CHAUFFEUR

Until they go wrong.

BOND

(shutting the case)

Exactly.

Bond gestures to the chauffeur to move on.

CHAUFFEUR

I’ll get the car, sir.

The chauffeur walks off. Bond follows in REVERSE TRUCKING

SHOT, returning the cigarette case to his pocket. Bond walks

off and we HOLD on a man in b.g. watching him —- HASSAN.

Hassan steps forward, staring after him.

EXT. TERMINAL BUILDING - LONG SHOT - SAME TIME

Bond follows the chauffeur to a black Rolls Royce waiting at

the curb. Meanwhile we see GRANT’S FACE reflected in the

driver’s door mirror of a car in f.g., watching them. He

raises a gloved hand to his mouth. PAN TO GRANT. He chews on

one of the gloved fingers.

BOND’S ROLLS ROYCE

PAN ON IT as it drives away, then HOLD on the front of the

terminal. Hassan emerges watching it go. A black Citreon car

pulls up. Hassan climbs into the passenger seat.

33.

GRANT

sits in his car watching.

THE CITREON

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

vacant!]

WIDE ANGLE - ENTRANCE TO TERMINAL

The Citreon drives away.

INT. ROLLS ROYCE - DRIVING - DAY

The chauffeur is in f.g., Bond behind him in the back seat.

Bond waves his hat across his face against the heat. Through

the rear window we see the Citreon following.

CHAUFFEUR

Kerim Bey suggested that you see

him before going to the hotel, sir.

Would that be convenient?

BOND

Fine.

Bond glances back, sees the Citreon following, then looks

forward again and continues fanning his face with his hat.

EXT. ISTANBUL STREET - SAME TIME

PAN ON THE ROLLS as it drives on. Then HOLD on ancient ruins

in b.g. as the Citreon passes following it.

DISSOLVE TO:

EXT. NARROW STREET - DAY

The Rolls continues past some buildings and continues down an

open road. The Citreon keeps following.

INT. ROLLS - SAME TIME

the Citreon still visible through the rear window.

BOND

I suppose it’s customary to have

people trailing you in these parts.

CHAUFFEUR

Oh, yes, sir. Today it’s Citreon

H-three-one-eighty-four on duty.

(MORE)

34.

CHAUFFEUR (cont’d)

They are Bulgarians working for the

Russians. They follow us, we

follow them. It’s a sort of

understanding we have.

BOND

That’s very friendly.

EXT. STREET - SAME TIME

CRANE BACK ON THE ROLLS as it swings over toward the Grand

Bazaar and stops.

THE CITREON

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

off.

MEDIUM LONG SHOT - A COBBLESTONE STREET

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

they walk into the bazaar.

INT. GRAND BAZAAR - SAME TIME

PAN ON THEM as the chauffeur leads Bond through the Bazaar.

It is filled with people and Bond glances back at some of

them. They continue past us and walk off.

HASSAN

stands in a passageway drinking a cup of coffee and watching

them.

HASSAN’S POV - BOND AND THE CHAUFFEUR

They turn into a shop where Turkish rugs hang outside.

INT. SHOP (STUDIO SEQUENCE) - SAME TIME

The chauffeur leads Bond through the shop to a door covered by

a hanging tapestry. Salesmen are showing rugs to customers.

CLOSER ANGLE

The chauffer pulls a cord which retracts the tapestry,

revealing a door. He opens the door to reveal an office.

Bond starts to step inside but stops, seeing KERIM’S MISTRESS

within. She is picking up a hat, dons it and walks toward the

doorway straightening the shoulder of her blouse. DOLLY BACK

as she exits past Bond pulling her skirt down and

straightening her hat.

35.

Bond steps into the office followed by the chauffeur.

KERIM (O.S.)

Ah, my friend, come in!

INT. KERIM’S OFFICE - SAME TIME

PAN ON BOND as he walks in, the chauffeur following. The

office is well-appointed with curtains, pillars, and a large

bed with a golden cover that KERIM BEY is straightening. He

turns to Bond.

KERIM

Come in! Glad to see you! Welcome

to Istanbul!

Kerim walks to Bond and shakes his hand, then PAN ON THEM as

they walk to Kerim’s desk.

BOND

Oh, thank you for sending the car,

but, uh —- it does rather tie you

in with me.

Bond sits in a chair across from the desk. Kerim picks up a

yellow plastic cigarette holder and a wooden cigarette box.

KERIM

You are in the Balkans now, Mr.

Bond. The game with the Russians

is played a little differently

here. In the day-to-day routine

matters we don’t make it too

difficult to keep a tab on each

other.

Kerim holds out the box to Bond.

ANGLE ON BOND

BOND

(taking a cigarette

from the box)

So I gathered from your chauffeur.

He’s a rather intelligent young

man, by the way.

Bond lights the cigarette.

KERIM

steps back behind his desk.

KERIM

He should be. He’s my son.

36.

Kerim picks up a bell and rings it.

ANGLE ON BOND

He puffs on the cigarette.

KERIM (O.S.)

Coffee?

BOND

Medium sweet.

A YOUNG MAN enters through the doorway behind him.

CLOSE SHOT - KERIM

KERIM

Two, medium sweet.

ANGLE ON BOND, KERIM IN F.G.

The young man nods and shuts the door.

KERIM

He also is my son.

INTERCUT - BOND AND KERIM

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

holder.

KERIM

All of my key employees are my

sons. Blood is the best security

in this business.

BOND

You must have quite an

establishment here.

KERIM

Biggest family payroll in Turkey.

Not bad for a man who started life

breaking chains and bending bars

with his teeth in a circus. But

let’s talk about this business of

yours.

BOND

Well, ’M’ thinks I’m wasting my

time here.

37.

KERIM

And so do I.

(points to his nose)

This is an old friend of mine. And

it tells me something smells.

BOND

Maybe. But if there’s a chance of

getting a Lektor... Now you tell

me. Where can I contact this girl?

KERIM

She said she would make her own

arrangements. You’ll just have to

wait.

A knock sounds at the door.

KERIM

(rising)

Ah!

A YOUNG MAN

walks in carrying a tray containing two demitasse cups. PAN

ON HIM as he walks to Kerim’s desk and sets the tray down.

KERIM

Thank you.

The young man exits. Kerim sets his cigarette in an ashtray,

hands Bond a cup and takes the other cup.

KERIM

My friend, if you really want my

advice...

DOLLY IN on Kerim.

KERIM

... you should spend a few pleasant

days with us here in Istanbul,

then... then go home.

DISSOLVE TO:

EXT. BAZAAR - DAY

The Rolls Royce drives through an archway and down a street.

[Mistake: there are no passengers.] The Citreon immediately

follows.

38.

MEDIUM SHOT - HASSAN

emerges from the Bazaar looking at both cars.

HASSAN’S POV - BOTH CARS

drive off.

INT. CITREON - SAME TIME

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

Cut to:

THE DRIVER

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

his temple.

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

DISSOLVE TO:

INT. KRISTAL PALAS HOTEL - LOBBY - DAY

DOLLY IN on Bond as he enters carrying his briefcase; the

chauffeur follows carrying Bond’s suitcase. They stop at the

front desk.

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

behind him.

BOND

James Bond. You have a reservation

for me.

CONCIERGE

Ah, Mister Bond. Your room is

ready.

(to the receptionist)

Number thirty-two.

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

suitcase from the chauffeur.

FEMALE ASSISTANT

(to the porter)

Thirty-two for Mister Bond.

CONCIERGE

(to Bond)

Hope you enjoy your stay.

BOND

Thank you.

39.

The chauffeur tips his hat to Bond, then Bond and the porter

cross the lobby and enter a lift. The doors close.

WIPE BOTTOM TO TOP TO:

INT. SITTING ROOM - DAY

The porter opens the door for Bond. Bond enters, crosses the

room and drops his briefcase on the bed. He hears the porter

clear his throat and turns back.

PORTER

Will there be anything else, sir?

Bond slips some cash into his pocket.

BOND

No, only this. Thank you.

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

money.

PORTER

Thank you, sir.

The porter exits.

Bond opens the bathroom door and looks inside, then turns to a

painting on the wall and looks behind it, then walks to

another painting and looks behind it. Then he crosses the

room, glances at a clock, then looks behind another painting.

On the wall behind it are a microphone and a cord.

BOND

backs away, continuing to look around. He sees a chandelier

overhead, walks under it and turns it around, then steps

forward and looks at:

INSERT - A PHONE

resting on the nightstand.

BOND

turns up his briefcase, moves the catches sideways and opens

it. He takes out a test instrument and picks up the phone.

INSERT - PHONE

Bond places the instrument beneath it. The meter rises and

crackles.

40.

BOND

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

BOND

Mister Bond here.

RECEPTIONIST’S VOICE

Yes?

BOND

I’m afraid the room won’t do.

RECEPTIONIST’S VOICE

I’m sorry.

BOND

The bed’s too small.

INTERCUT - FRONT DESK

RECEPTIONIST

(into phone)

One moment, sir.

She turns to the concierge, who stands in a back room holding

a receiver. A WOMAN sits behind him at a console wearing

headphones.

RECEPTIONIST

(to the concierge)

Did you hear that?

CONCIERGE

Tell him that’s all there is,

unless he would like the Bridal

Suite.

The concierge raises the receiver to his ear.

RECEPTIONIST

(into phone)

I’m sorry, sir. That’s all we have

available, except the Bridal Suite.

INTERCUT - SITTING ROOM

BOND

(into phone)

Well, let’s have a look at it. I

may like it.

41.

INTERCUT - FRONT DESK

The receptionist cups her hand over the receiver and looks

back at the concierge. He nods to her.

RECEPTIONIST

(into phone)

The porter will show it to you. He

will be up immediately.

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

CONCIERGE

Good.

INTERCUT - BOND

He cups his hand over the mouthpiece, hears a click, grins

tightly and hangs up.

CUT TO:

EXT. RUSSIAN CONSULATE - DAY

A whistle sounds as the Citreon drives up and stops at the

curb. Grant emerges. PAN ON HIM as he walks off removing his

gloves, then HOLD on the doorman.

GRANT

gets into a green car which drives away.

THE DOORMAN

walks to the Citreon, suddenly sees something and pulls the

back door open.

THE DEAD DRIVER’S HEAD

which was leaning against the door falls forward.

INT. GREEN CAR - DRIVING - SAME TIME

Grant sits in back with Kleb.

KLEB

Good work.

(puts on her glasses

and looks at a dossier)

Who can the Russians suspect but

the British? The Cold War in

Istanbul will not remain cold very

much longer.

CUT TO:

42.

EXT. A MOSQUE - ESTABLISHING SHOT

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

DISSOLVE TO:

INT. KERIM’S OFFICE - DAY

Kerim’s mistress lies on a bed tonguing a string of black

pearls.

KERIM’S MISTRESS

Ali Kerim Bey?

She looks off then glances at her watch.

WIDER ANGLE

Kerim sits in a chair writing in a file. The mistress turns

over and looks at him.

KERIM’S MISTRESS

Ali Kerim Bey!

KERIM

(glancing back)

Hmm?

THE MISTRESS

drops the string of pearls from her mouth.

KERIM’S MISTRESS

Ali Kerim Bey.

ANGLE ON KERIM

He sits unmoved, continuing to write.

THE MISTRESS

gets up, straightens her skirt, walks over to Kerim and puts

her hands around him.

KERIM’S MISTRESS

You’re not glad to see me this

morning, sirree?

KERIM

(annoyed)

Overjoyed.

43.

KERIM’S MISTRESS

I... I no longer please you?

KERIM

Be still.

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

table.

KERIM

(rising)

Back to the salt mines.

KERIM

walks toward the bed unbuttoning his jacket. From behind, his

mistress removes it. [MISTAKE: She starts further away.]

Kerim turns. She wraps her arms around him and they kiss.

Suddenly an explosion occurs which bathes them both in red.

She screams and they fall.

KERIM’S DESK

one leg broken crashes to the floor as smoke envelops it till

the image turns black.

FADE IN:

KERIM’S STORE

PAN ON BOND as he walks through the store then through the

open doorway into Kerim’s office. Workmen are clearing the

debris.

KERIM

Careful with those papers!

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

his handkerchief.

BOND

Well, who won?

KERIM

I had visitors.

CLOSER ANGLE

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

down.

44.

KERIM

Limpet mine on the wall outside,

timed to catch me at my desk. But

by good fortune, I was relaxing on

the settee for a few moments. The

girl left in hysterics.

BOND

(grinning)

Found your technique too violent?

KERIM

I cannot understand this sudden

breach of the truce. It is unlike

our Russian friends to break the

peace this way.

BOND

It’s most inconsiderate. I think

my visit might have something to do

with it.

KERIM

Let’s try and find out.

Kerim walks off; Bond follows.

KERIM’S SHOWROOM - SAME TIME

DOLLY BACK as Kerim leads Bond into the showroom, grabs a

flashlight from the wall and goes to a door covered by a

tapestry. Kerim pulls a cord, withdrawing the tapestry to

reveal a door which he opens.

KERIM

(to an assistant)

Close up after us.

Bond goes through the doorway, Kerim follows and shuts the

door. An ASSISTANT walks up and retracts the tapestry.

INT. UNDERGROUND CISTERN

Bond and Kerim walk down a flight of stairs.

BOND

Quite a place you’ve got here.

KERIM

The Emperor Constantine built it as

a reservoir sixteen hundred years

ago.

BOND

Really?

45.

KERIM

(tossing him the

flashlight)

Here.

Kerim unties a boat, they get in (Bond sitting and Kerim

standing), and Kerim moves them away with an oar.

CLOSE SHOT - THE OAR

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

the water.

LONG SHOT

Kerim continues rowing them through the cistern.

DISSOLVE TO:

THE BOAT

passes more pillars.

KERIM

My daily exercise. At eleven in

the morning; at three in the

afternoon.

CLOSE SHOT - THE OAR

continues guiding them.

KERIM (O.S.)

Tie her up, will you?

LONG SHOT

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

out.

PANNING SHOT

KERIM

Mind your head now.

They walk across a cobblestone path.

INT. ALCOVE - SAME TIME

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

KERIM

Underneath the Russian Consulate.

He pulls a tarpaulin off a periscope.

46.

KERIM

A present from your navy.

CLOSER TWO-SHOT

Kerim raises the periscope and wipes the lens with his

handkerchief.

KERIM

Our friends were turned out while

the Public Works Ministry conducted

a survey. The story was that the

heavy traffic was shaking the

foundations. By the time the place

was declared safe, I had this

installed.

BOND

I can see everything ’M’ said about

you is right.

KERIM

Or, why I stay in this mad

business?

BOND

Well, it could be that you find

selling rugs a bore.

KERIM

My friend, you should be a mind

reader.

Kerim looks into the periscope.

KERIM’S POV - A CONFERENCE ROOM

GENERAL VASSILI, KOSLOVSKI, BENZ and another MAN sit at a

conference table.

KERIM

Head of the table is General

Vassili, Director of Military

Intelligence. On his left,

Koslovski, Chief of Security.

Opposite him, Benz, one of his

agents.

He pans the periscope to one side.

KERIM

I can’t see the face of the other

man —- the one the general is

shouting at.

47.

BOND AND KERIM

Kerim steps back and Bond looks through the periscope.

BOND

He’s giving him a hell of a blowing

up for something.

BOND’S POV - THE CONFERENCE ROOM

Bond pans across the room.

KERIM (O.S.)

It’s too bad we can’t hear as well

as see.

BOND AND KERIM

BOND

Tell me, does our girl Romanova

ever come to this room?

KERIM

Sometimes with messages.

BOND’S POV - THE CONFERENCE ROOM

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

BOND (O.S.)

I can see the face of the other man

now.

BOND AND KERIM

Bond steps back and Kerim looks through the periscope again.

KERIM

(exclaiming)

Krilencu!

KERIM’S POV - THE CONFERENCE ROOM

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

vociferously.

KERIM

So he’s back! Another Bulgarian

they use as a killer.

48.

BOND AND KERIM

Looking up at them from a LOWER ANGLE

KERIM

Just the man for that limpet mine

job. I have had trouble with him

before. But he’s stayed away from

Istanbul for over a year now. Take

a look —- you should remember him.

This man kills for pleasure.

Bond looks through the periscope.

BOND’S POV - THE CONFERENCE ROOM

Krilencu is still talking, then suddenly stops and looks at

the door which is opening.

BOND (O.S.)

Nice face. —- Just a moment...

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

BOND (O.S.)

A girl’s just come in.

BOND AND KERIM

KERIM

Probably Romanova. She’s the only

one who’s allowed to. How does she

look to you?

BOND’S POV - THE CONFERENCE ROOM

The periscope pivots, following Tania’s legs.

BOND (O.S.)

Well, from this angle, things are

shaping up nicely. I’d like to see

her in the flesh. Yes.

BOND AND KERIM

Bond backs away from the periscope.

BOND

Could you get me a plan of that

place?

KERIM

I wish I could.

49.

BOND

But there must be the original

architect’s drawings registered

somewhere.

KERIM

I’ll get onto that.

(lowers the periscope)

Now, I need a little time to deal

with this stinking Krilencu. It

will be better if you didn’t stay

at the hotel tonight. Come.

PAN ON THEM as Kerim walks off, Bond following.

DISSOLVE TO:

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

A station wagon approaches.

INT. STATION WAGON - SAME TIME

Bond and Kerim sit in back. Kerim fans his face with his hat.

Bond glances back then forward again.

BOND

I see now why you keep the Rolls.

KERIM

One of my sons is driving it, with

two dummies in the back... in the

opposite direction. They’ll follow

it for hours. You’ll like my Gypsy

friends. I use them like the

Russians use the Bulgars. I’m

afraid it’s created a blood feud

between them.

THE STATION WAGON - DAY FOR NIGHT

It continues on.

EXT. GYPSY ENCAMPMENT - NIGHT

TWO BULGARS in dark clothes lurk in f.g. behind an archway,

one of them holding a walkie-talkie.

DOLLY IN THROUGH THE ARCHWAY as the station wagon drives up

and stops in front of a house. TWO SENTRIES approach it.

50.

CLOSER ON THE STATION WAGON

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

1ST SENTRY

(in Romany)

Ah, Kerim Bey!

They walk toward the house.

BEHIND THE ARCHWAY

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

1ST BULGAR

(into walkie-talkie)

Hello, Krilencu?

EXT. GYPSY CAMP - MEDIUM SHOT

Krilencu listens on a walkie-talkie, surrounded by OTHER

BULGARS. He glances at his watch, speaks into the walkietalkie

in Bulgarian, then rises with the others and gets into

a lorry which drives off.

EXT. GYPSY CAMP - HIGH ANGLE - SAME TIME

Bond and Kerim approach. A GYPSY MAN comes running forward

and converses with Kerim in Romany.

CLOSER ANGLE

The Gypsy man finishes talking and runs off.

CLOSER ANGLE - BOND AND KERIM

KERIM

It seems we have come on the wrong

night. Two girls in love with the

same man have threatened to kill

each other. It must be settled in

the Gypsy way. As I am an old

friend of the family, I think we’ll

be allowed to stay.

A GYPSY GIRL steps toward them speaking in Romany and

gesturing forward.

KERIM

We are bidden to table. I hope

you’re good at eating with your

fingers.

51.

VAVRA (O.S.)

(shouting)

Kerim Bey!

GYPSY CAMP - HIGH ANGLE

Bond and Kerim follow the Gypsy girl across the encampment.

CLOSER ANGLE

PAN ON ANOTHER GYPSY GIRL carrying a liquor bottle and pulling

out the cork with her teeth. She stops at the head table

where Bond and Kerim are sitting with Vavra, the Gypsy

chieftain.

KERIM

Ah, Rachi. Filthy stuff.

The Gypsy girl fills his glass while A THIRD GYPSY GIRL walks

up to Bond carrying a cushion. He rises, she sets it on his

seat, and he sits again, thanking her in Romany.

CUT TO:

A FEMALE GYPSY DANCER

rises into frame raising her arms seductively behind her head

and starts to dance.

SERIES OF SHOTS

- Bond and Kerim look back at her.

- She moves past their table dancing erotically and passes the

MUSICIANS who are playing.

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

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

- Kerim holding the Rachi bottle refills his glass.

- The dancer’s hips continue to sway.

- Kerim sips from his glass.

- Now she moves her belly in and out seductively.

- Bond, Kerim and Vavra continue to watch.

WIDER ANGLE - THE DANCER

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

52.

EXT. A GATE - SERIES OF SHOTS - SAME TIME

- A SENTRY stands on the gate watching the encampment.

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

- The sentry continues watching, then glances back.

- Krilencu throws a knife at him.

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

- Krilencu gestures to OTHER BULGARS.

KRILENCU

Quick!

WIDE ANGLE - THE ARCHWAY

Krilencu beckons and the lorry drives through the archway. It

stops for a moment for Krilencu to get into the passenger seat

then continues on. PAN ON IT to reveal Grant in f.g., holding

a pistol and watching.

SERIES OF SHOTS

- The Gypsy dancer continues to sway seductively, then drops

to her knees swaying.

- Bond, Kerim and Vavra continue to watch.

- The dancer rises and wiggles her ass frantically, revolves

around then moves forward.

- She approaches Bond who looks on appreciatively.

- She smiles at him as she dances.

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

- Kerim, looking on, grins.

- The dancer leans backwards so that her breasts are almost in

Bond’s face. Her mouth comes close to his and they almost

kiss, then she runs off and the music stops.

BOND AND KERIM

BOND

Tell our host his hospitality

overwhelms me.

THREE-SHOT - BOND, KERIM AND VAVRA

Kerim turns to Vavra and speaks in Romany.

53.

TWO-SHOT - BOND AND KERIM

Bond grins at Kerim as Kerim grins off at Vavra.

VAVRA (O.S.)

Thank you! Thank you!

Bond and Kerim laugh.

MEDIUM SHOT - ZORA’S CARAVAN

TWO GYPSY MEN approach. The first one opens the door. ZORA,

wearing a scarf and green top, immediately comes out. PAN

WITH HIM as he walks to VIDA’s caravan, pulls back a tarp,

beckons and tells her in Romany to come out. She emerges,

wearing a red top, and walks down some steps.

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

battle.

THREE-SHOT - BOND, KERIM AND VAVRA

Vavra calls out in Romany.

The first man separates the two girls.

Kerim turns to Bond.

KERIM

No matter what happens now, say and

do nothing.

WIDE REVERSE ANGLE - THE HEAD TABLE

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

THREE-SHOT - BOND, KERIM AND VAVRA

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

Kerim.

KERIM

(to Bond)

He’s asking them whether they’ll

cease their blood feud and give up

this fight. The elders of the

tribe will then decide who, in the

end, will marry the chief’s son.

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

TWO SHOT - THE GIRLS

Vida is speaking angrily.

54.

BOND AND KERIM

KERIM

She’s saying that...

BOND

Yes, I think I got it without the

sub-titles.

Kerim laughs.

THE TWO GIRLS

start to fight.

SERIES OF SHOTS

- A Gypsy man separates them.

- The girls run forward.

- Kerim watches intently.

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

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

waist.

- The two girls face each other.

- Bond, Kerim and Vavra look on.

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

- Zora lunges forward but passes her.

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

WIDE ANGLE

Bond, Kerim and Vavra watch in b.g. as the two girls face off

in f.g. The girls grab each other and pivot round and round.

Vavra watches intently.

CLOSER ANGLE - THE GIRLS

clutch each other. Vida holds back Zora’s hand which tries to

gouge her face. TILT DOWN to their feet as they circle each

other.

WIDER ANGLE - THE GIRLS

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

55.

As the men watch in b.g., Zora jumps at Vida but misses and

lands face-down. Vida jumps onto Zora’s back and starts to

strangle her.

BOND

watches intently.

THE GIRLS

roll around on the ground, clutching each other’s throats, as

the men keep watching in b.g.

CLOSER ANGLE - THE GIRLS - SERIES OF SHOTS

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

- Zora keeps strangling.

- Vida, looking up, strangles back.

- Vida kicks Zora backwards.

- Zora lands on her ass.

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

- Zora glares at Vida.

- The girls rise and clutch each other again.

WIDER ANGLE

The girls fall against a table, men scattering to make room

for them. Vida picks up a bottle, ready to smash Zora’s face

with it. Suddenly a GUNSHOT sounds. The girls freeze and

look up. ZIP TILT UP AND ZOOM IN on a sentry on a wall

falling dead in a puff of smoke.

THE HEAD TABLE

DOLLY IN on Bond, Kerim and Vavra jumping up. Bond grabs a

gun from inside his coat.

THE ARCHWAY

The Bulgar’s truck drives in.

CLOSER ANGLE - THE TRUCK

Krilencu rides in the passenger seat.

Kerim fires a revolver at him.

56.

Krilencu, outside the truck now, runs forward holding a

revolver and fires it.

WIDER ANGLE - THE ENCAMPMENT

A Gypsy falls dead as A DOZEN BULGARS run in through the

archway firing guns.

BOND

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

fires.

KRILENCU

hears the gunshot and dashes off.

KERIM

still sitting at the head table tries to fire his revolver but

it is jammed.

REVERSE ANGLE

Finally Kerim [actually a stand-in] shoots an oncoming Bulgar

who drops to the ground. ANOTHER BULGAR runs toward Kerim.

FRONT ANGLE

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

the Bulgar to the ground.

REVERSE ANGLE

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

table.

AT A CARAVAN

A Bulgar with a flaming torch sets the caravan ablaze.

WIDER ANGLE

Bond dashes past in f.g. A Gypsy shoots the Bulgar with the

torch. From O.S., a dagger flies at Bond. It misses him,

lodging in a tent-pole. A fighting Gypsy and Bulgar fall into

the tent. Bond grabs the dagger and cuts down the tent on

them.

KERIM

on his knees fires his revolver again.

57.

KRILENCU

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

KERIM

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

gushes out.

BOND

aims his revolver off at Krilencu.

KRILENCU

darts away between two caravans.

BOND

runs forward, chasing him.

A CARAVAN

blazes in flame.

KERIM

looks at his bloody arm. A GYPSY runs behind him firing a

revolver. Kerim picks up his revolver with his other hand and

fires it.

A BULGAR drops dead from the bullet.

ANOTHER ANGLE

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

runs away in b.g.

REVERSE ANGLE

A caravan blazes behind them. Bond enters.

BOND

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

THE GYPSY AND BULGAR

roll across the ground clutching each other.

As a caravan blazes behind them, a GYPSY throws a BULGAR over

a corral fence.

58.

AT THE BLAZING CARAVAN

Bond slices a holding rope with the dagger.

THE CARAVAN

rolls forward, crashing into the fighting Gypsy and Bulgar

against the corral fence.

ANGLE FROM BEHIND - BOND

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

KRILENCU

steps sideways and fires his revolver.

BOND

throws the dagger at him.

KRILENCU

runs behind a caravan, avoiding it.

BOND

runs forward then stops beside a caravan.

MEDIUM LONG SHOT

Bond trips a BULGAR running by. The Bulgar falls to the

ground. Bond leans down, smashes the Bulgar’s head with the

butt of his pistol, then runs off.

A HIGH ARCHWAY

Grant, holding a revolver, steps through the archway onto a

high ledge and crouches, watching the fracas.

REVERSE ANGLE - OVER GRANT’S SHOULDER

Men fight below as horses run past.

UPWARD ANGLE ON ANOTHER LEDGE

A BULGAR on the ledge fires a pistol. A GYPSY jumps him from

behind. They struggle. A horse crosses in f.g.

BOND

runs forward, aims his revolver and shoots an ONCOMING BULGAR

in the stomach. TILT DOWN as the Bulgar falls and Bond runs

off.

59.

ON THE LEDGE

The fighting men roll off the ledge to the ground as men past

in f.g.

BOND

gripping his gun runs toward a small lake; beyond it is a high

wall and ledge. We glimpse Vavra and a BULGAR running at each

other at the base of the wall.

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

runs past.

On the ground, beneath the white horse, Gypsies and Bulgars

are fighting.

Bond turns. He sees Vavra and the Bulgar fighting at the base

of the wall. Above them, a BULGAR aims a rifle downwards from

the ledge.

BOND

Head down!

Vavra drops to the ground. Bond drops to one knee aiming at

the Bulgar on the ledge.

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

VAVRA

Thank you! Thank you!

Vavra runs off. Bond runs forward firing his revolver again.

Then Bond pivots and upturns a table on which a Bulgar and

Gypsy are fighting. The men land in the lake.

ANGLE OVER GRANT’S SHOULDER

He continues to watch as men fight below and horses run past.

Below him, a BULGAR stands on a straw roof, also watching.

MEDIUM LONG SHOT - BOND

Bond stops and shoots a BULGAR running by; the Bulgar falls

over an overturned table.

MEDIUM SHOT - THE STRAW ROOF

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

just behind Bond.

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

60.

GRANT

watching through the archway, fires his pistol.

BOND AND THE BULGAR

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

for the first time.

ANGLE OVER GRANT’S SHOULDER

Grant fires again at the Bulgar as Bond looks at the body.

The body whirls around from the force of the shot.

BOND

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

MEDIUM SHOT - THE GATEWAY

Bulgars begin running out toward the truck. Krilencu follows

then stops and shouts back in Bulgarian to retreat.

More Bulgars run toward the gateway, shooting behind them as

they run.

Krilencu fires his gun at someone then keeps gesturing and

shouting as still more Bulgars run past. Krilencu runs out

after them.

HIGH WIDE SHOT - THE GYPSY CAMP

The battle ends as Gypsies surround the remaining Bulgars as

others retreat in b.g.

EXT. THE ENCAMPMENT - NIGHT

PAN ON BOND returning his revolver to its holster as he walks.

He reaches a tent where Kerim holds a bottle of Rachi.

KERIM

Did you get Krilencu?

BOND

No.

Bond takes the bottle and pours alcohol on Kerim’s wound. A

GYPSY GIRL walks by.

BOND

(to the girl)

Just a minute. Here.

(he takes her scarf)

Thank you.

61.

The girl walks off. Bond presses Kerim’s handkerchief against

his would.

KERIM

You fought well. I am nothing but

a clumsy old man.

A SCREAM sounds from O.s.

THEIR POV - THE GYPSY CAMP

Vavra and some torch-bearing Gypsies surround a Bulgar on the

ground.

KERIM (O.S.)

They are making one of the wounded

Bulgars talk.

Vavra looks back.

VAVRA

Kerim Bey!

Vavra continues speaking in Romany.

BOND AND KERIM

The scarf has been tied like a sling over Kerim’s arm and

shoulder. Kerim holds the Rachi bottle.

KERIM

It was me they were after. Why

would they want me out of the way?

Bond steps behind him and adjusts the sling.

KERIM

Tomorrow we will have to find

Krilencu’s hide-out.

Bond steps to his other side and takes the bottle from him.

BOND

In the meantime, I’ll take care of

this filthy stuff.

VAVRA (O.S.)

[He calls to them in Romany.]

Vavra approaches speaking fondly. When he reaches them he

pats Bond’s shoulder.

62.

KERIM

Vavra thanks you for saving his

life. You are now his son.

BOND

(to Vavra)

Oh, thank you.

(to Kerim)

I’d like to ask him a favour.

Could he stop the girl fight?

Kerim speaks to Vavra in Romany. Vavra replies with a laugh,

pats Bond’s shoulder again and exits.

KERIM

(to Bond)

He says your heart is too soft to

be a real Gypsy. But he’ll let you

decide the matter.

BOND

As if I didn’t have enough

problems!

He raises the Rachi bottle and sniffs it.

WIDE ANGLE - THE ENCAMPMENT

More Gypsies now surround the Bulgars and their truck.

DISSOLVE TO:

INT. VAVRA’S TENT - NIGHT

Bond sits at a bowl washing his face then picks up a towel.

He hears something and looks back. DOLLY BACK TO REVEAL Zora

and Vida entering demurely, then Kerim follows smoking a

cigarette. He leans devilishly against a tent-pole.

KERIM

(to Bond)

Vavra said for you to decide. So

decide. They are both yours.

He puts the cigarette in his mouth, turns and exits chuckling.

BOND

(to himself)

This might take some time.

DISSOLVE TO:

63.

EXT. THE ENCAMPMENT - DAY

PAN ACROSS the camp as Gypsies make repairs, tend animals and

cook.

EXT. VAVRA’S TENT - SAME TIME

Bond reclines on cushions with a coffee tray beside him as

Zora and Vida kneel before him. Zora hands him a cup of

coffee as Vida sews his shirtsleeve.

Bond raises the cup but lowers it again so Vida can cut the

thread with her teeth. DOLLY BACK.

DISSOLVE TO:

EXT. THE GYPSY HOUSE - NIGHT

The station wagon waits at the porch. Kerim is in the

passenger seat and his driver behind the wheel.

Bond emerges from the house with Vida on his arm, followed by

Zora, Vavra and a GUARD. Vida takes Bond’s hands, then Bond

turns to the car. She calls to him.

The driver opens the back door.

BOND

(to Kerim)

Did you pick up that package at the

hotel?

KERIM

It’s on the seat.

DOLLY IN as Bond climbs into the back seat and Kerim passes

the rifle back to him.

BOND

Thank you.

Bond shuts the door and the car drives off. TILT UP to the

porch where the Gypsies all wave goodbye and call out in

Romany.

DISSOLVE TO:

EXT. A SIDE STREET IN ISTANBUL - NIGHT

Bond and Kerim walk round a corner. Behind them stands a twostory

apartment house with a billboard mounted on it.

The billboard contains a picture of Anita Ekberg and the

words, ’HARRY SALTZMAN, ALBERT R. BROCCOLI PRESENT BOB HOPE

AND ANITA EKBERG in CALL ME BWANA.’

64.

Bond and Kerim stop at a dark alcove beside a shop and look

back.

KERIM

Twice has Krilencu tried to kill

me.

CLOSER ANGLE - BOND AND KERIM

They step further back into the alcove.

KERIM

The third time he will succeed...

unless I get him first. That I’ll

do tonight.

BOND

Not with that arm, you won’t.

Bond takes the folded rifle from his jacket.

BOND

You’d better leave it to me.

KERIM

I’m already too much in your debt.

BOND’S HANDS

assemble the rifle.

BOND (O.S.)

How can a friend be in debt?

TWO-SHOT

BOND

Here.

He hands Kerim an infra-red telescopic lens. Kerim looks

through it.

KERIM’S POV - THE BILLBOARD (THROUGH LENS)

KERIM (O.S.)

Infra-red lens.

It pans across the billboard then stops on Ekberg’s mouth.

KERIM

(suddenly)

Shh!

65.

BOND AND KERIM

They step back and look through some fencing. They see a

clear street. They keep looking.

From their POV, TWO POLICEMEN come walking down the street

beyond the fence. Bond and Kerim keep watching, Bond gripping

the rifle. The policemen come closer then stop.

Kerim signals Bond to do nothing, then steps forward. The

policemen turn away.

KERIM

My sons. They will ring his

doorbell. He has a private escape

hatch.

Kerim hands the infra-red lens to Bond.

WIDE ANGLE - THE STREET

Bond and Kerim lurk in f.g. as the two policemen approach the

apartment house in b.g.

IN THE ALCOVE

Bond raises the rifle to look through it but it wobbles.

Kerim steps in front of him.

KERIM

Try this for size.

Bond rests the barrel across Kerim’s shoulder and peers

through the lens.

BOND’S POV - THE BILLBOARD (THROUGH LENS)

We PAN ACROSS the billboard to reveal two windows.

KERIM (O.S.)

Do you notice anything?

BOND (O.S.)

Not yet.

He keeps looking.

KERIM (O.S.)

She has a lovely mouth, that Anita.

We PAN BACK ACROSS the billboard to Anita’s mouth.

BOND (O.S.)

Yes. I see what you mean.

66.

LONG SHOT - THE SIDE OF THE HOUSE

The two policemen approach.

BOND AND KERIM

KERIM

(frustrated)

Arm or no arm, I have to pull that

trigger.

BOND

(handing him the

rifle)

Here, if you think you can. You’ve

got one shot, remember.

KERIM

It’ll have to do.

Kerim puts the rifle on Bond’s shoulder and looks through the

sight.

LONG SHOT - SIDE OF HOUSE

The two policemen stand at the door.

CLOSE SHOT - THE DOORBELL

The hand of one of the policemen rings the bell.

WIDE ANGLE - FRONT OF HOUSE

The light in one of the windows goes out, then suddenly a

trap-door opens in Anita’s mouth and light streams through.

BOND (O.S.)

Quick! He’s coming!

ZOOM IN to the trap door. Krilencu peers out.

SERIES OF SHOTS

- Kerim takes aim over Bond’s shoulder.

- Krilencu lowers a rope through the opening.

- DOLLY IN on Kerim watching intently.

- Krilencu climbs out the opening.

- Kerim keeps watching.

BOND

Quick!

67.

- Krilencu dangles from the rope.

- DOLLY IN closer on Kerim. He fires the rifle.

- Krilencu spins around, shot in the back.

- Kerim looks up at him over Bond’s shoulder.

- Krilencu hangs desperately from the rope, then falls with a

scream.

WIDE ANGLE - THE APARTMENT HOUSE

Krilencu’s body tumbles to the ground.

CLOSER ANGLE

TILT DOWN on Krilencu’s falling body. It lands with a CRUNCH.

BOND AND KERIM

KERIM

(handing him the rifle)

That pays many debts.

Kerim walks off.

BOND

She should have kept her mouth

shut.

WIDE ANGLE - THE STREET

Bond and Kerim walk off around the corner.

DISSOLVE TO:

INT. LOUNGE OF BOND’S BRIDAL SUITE - NIGHT

Bond enters the darkened room, turns on the lights and looks

around. He walks to a table where his briefcase rests, sets

his folded rifle on it and tosses down his key.

DOLLY BACK as he slips off his shoes, picks up the briefcase

and rifle, walks to a couch and sits. A set of French doors

behind him is open, revealing a balcony, but he doesn’t

notice.

He sets down the briefcase, opens it, places the rifle inside

and closes it. Then he rises, removes his jacket and holster,

and picks up a telephone.

68.

BOND

(into phone)

Hello?... Uh, breakfast for one at

nine, please... Green figs,

yogourt, coffee very black... Thank

you.

He sets down the phone, removes his tie and walks to the

bathroom door, then turns and looks back. He sniffs, but

ignores it and turns back to the door unbuttoning his shirt.

IN THE BATHROOM

The door opens. Bond enters removing his shirt and turns on

the lights. The tosses his shirt aside and turns the tap on

the bathtub. Steaming water comes out.

He removes his socks, then DOLLY IN as he removes his pants.

Suddenly he hears a soft noise. He glances around then

finishes removing his pants. He hears a