GUN BARREL LOGO

An animated white dot moves in from frame-left and centres on

frame-right. Iris veins surround the dot to fill the frame.

A MAN enters the dot walking from right to left, the iris

moving to centre-frame with him. He jumps to face f.g.,

pointing a gun and shooting. Red colour falls in f.g. from

the top of the frame. The iris wanders then starts to fall to

bottom-frame. The iris and man fade out and the dot gets

smaller.

IRIS CUTS OUT.

FADE IN:

EXT. RAMIREZ’ WAREHOUSE - NIGHT

In a VERY LONG SHOT, TWO GUARDS patrol past enormous oil

storage tanks. PULL BACK to reveal an outer rock wall. It

obscures the men. CRANE DOWN to reveal a harbour. A seagull

swims by in f.g.

CLOSE SHOT - THE SEAGULL

rises out of the water revealing Bond in a black diving suit.

The seagull is a decoy atop his head. Bond grips the bottom

rung of a ladder.

WIDER SHOT - BOND

tears his headgear off and tosses it behind him. It lands in

the water.

ON THE QUAY

Bond, wearing a backpack, walks to the wall and points a Very

pistol at its top.

He fires the pistol. A rope flies over the top of the wall.

A GUARD

hears a cracking sound and looks back.

A GRAPPLING HOOK

at the end of the rope snags the inside of the wall.

THE GUARD

walks forward, feeling for his gun. Suddenly Bond jumps on

him from above. TILT DOWN as they fall. Bond rises and, as

the guard attempts to rise, Bond kicks him in the face. The

guard falls onto his back.

2.

Bond jumps over his supine body and runs toward the storage

tanks.

WIDE ANGLE - THE STORAGE TANKS

The other guard walks away between two of the tanks. The

moment he leaves view, Bond runs to one of them. He stops and

kneels at a cover.

MEDIUM SHOT - BOND

feels behind the cover. A door in the side of the tank swings

open. Bond rises quickly.

INT. STORAGE TANK - SAME TIME

Bond enters, closes the door behind him and turns on the

lights.

WIDE ANGLE

There are poppy pods in f.g., a desk and numerous boxes.

DOLLY BACK and PAN on Bond as he moves to the centre of the

room.

CLOSE SHOT - BOND

looks around.

WIDE ANGLE

DOLLY IN as Bond takes off a plastic tubular belt and walks to

three drums in f.g. labeled "NITRO." He holds the belt over

the first drum.

ANGLE ON THE FIRST DRUM

Bond squeezes a white jelly from the belt onto the drum. He

moves to the next drum. He squirts more jelly onto it. Then

he takes off his backpack, sets it on a drum, opens it and

takes out a timer with wires leading to a primer.

CLOSE ON THE TIMER

Bond pivots his wrist to check his watch, which reads 12:07,

then sets the timer to 12:20. It ticks loudly. Bond looks

down.

ONE OF THE TANKS

He presses the primer into the jelly on the drum.

3.

WIDE ANGLE

PAN on Bond as he runs to the door, turns off the lights,

slips outside and closes the door.

CLOSE SHOT - THE TIMER

between two drums ticks away.

EXT. STONE WALL - SAME TIME

Bond jumps down different levels from the top of the wall to

the ground.

He pulls off his diving suit to reveal him wearing a white

tuxedo and black bow-tie. He takes a red carnation from his

back pocket, puts it in his lapel and exits.

CUT TO:

INT. EL SCORPIO CAFE - NIGHT

BONITA dances amidst a crowd at tables.

BOND

enters, passes hanging wicker baskets, takes out a cigarette

case and removes a cigarette. He looks down.

MEDIUM SHOT - BONITA

shimmies at a customer then looks up, noticing Bond.

MEDIUM SHOT - BOND

lights a cigarette lighter and holds it up to his watch.

CLOSE SHOT - BOND’S WATCH

It reads 12:19.

BOND

lowers his wrist and lights his cigarette.

INT. STORAGE TANK - SAME TIME

The timer hits 12:20.

EXT. STORAGE TANKS - SAME TIME

A huge explosion occurs.

4.

WIDER ANGLE

A fireball extends over the rock wall.

IN THE CANTINA

Bond casually lights his cigarette as the explosion continues,

glasses crash and the crowd jumps up and screams.

WIDE ANGLE

Bond walks down some steps as people run past him toward the

entrance.

ANGLE ON BONITA

She kneels without an audience as people run away.

AT THE BAR

DOLLY BACK as Bond approaches the bar past fleeing customers.

A man in a gray suit sits at the bar -- SIERRA.

SIERRA

Congratulations.

BOND

Thank you.

SIERRA

Mister Ramirez and his friends will

be out of business.

CLOSE ON BOND

BOND

At least they won’t be using

heroin-flavoured bananas to finance

revolutions.

He looks off.

BONITA

angrily exits into her dressing room.

TWO-SHOT - AT THE BAR

SIERRA

Don’t go back to your hotel, señor.

They’ll be watching you.

Bond takes a key from his pocket.

5.

SIERRA

There’s a plane leaving for Miami

in an hour.

REVERSE ANGLE - ON BOND

He fingers the key.

BOND

I’ll be on it. But, uh, first I

have some unfinished business to

attend to.

(he looks at the key)

CUT TO:

INT. BONITA’S DRESSING ROOM - NIGHT

She scrubs herself in a tub. She looks up.

ANGLE ON THE DOORWAY

Bond enters shutting the door behind him. He tosses the key

aside, takes a towel from a hook and throws it off to Bonita.

We hear water plop. Bond removes his jacket, revealing a

shoulder holster and gun. He hangs the jacket on a hook.

BOND

Well...

WIDER ANGLE

Bonita, naked but holding the towel against herself, goes to

Bond. He hugs her and they kiss. Suddenly she backs up.

BONITA

Oh!

BOND

(touching his gun)

Forgive me.

He walks to a hook on the wall removing his holster.

BONITA

Why do you always wear that thing?

BOND

(hanging his holster

on the hook)

I have a slight inferiority

complex.

(he turns to her)

Where was I? -- Oh, yes.

6.

TRACK IN SLIGHTLY as he embraces her.

ANGLE OVER THEM

As Bond kisses her, an assailant -- CAPUNGO -- approaches from

behind a wardrobe in b.g., brandishing a cosh.

FAVORING BONITA

She opens her eyes and looks at him over Bond’s shoulder.

CAPUNGO

approaches raising the cosh.

FAVORING BOND

He leans back from Bonita looking into her eyes.

BOND’S POV - BONITA’S LEFT EYE

The pupil reflects Capungo approaching with the raised cosh.

MEDIUM SHOT

Bond suddenly swings Bonita around. Capungo smashes her on

the head.

SERIES OF SHOTS

- As she drops, Bond grabs Capungo’s raised arm and brings it

down.

- Bond knees Capungo under the chin. He flies backwards.

- Capungo bounces off a settee, grabs a chair and smashes it

against Bond’s back, throwing him forwards.

- Bond falls backwards against the wardrobe. Capungo punches

him in the jaw, sending him sideways to the door, then punches

him twice in the stomach. Bond groans. Capungo readies

another punch. Bond suddenly pulls him forward.

- Bond throws Capungo over his back.

- Capungo lands on his back on the floor, then swivels to get

up.

- Bond lunges at him.

- Capungo, arms braced against a table behind him, tries to

kick Bond. Bond grabs his leg and twists it. Capungo lays a

hand across Bond’s face, pushing him back.

7.

- CLOSER: Capungo keeps pushing. Bond grabs his arm.

- Bond hurls him backwards.

- Capungo falls on his back into the tub, arms flailing.

- Bond, almost grinning, looks at him ready to strike again.

- Capungo reaches for Bond’s gun in the hanging holster.

- His hand gropes for it.

- Bond looks on in alarm.

- Capungo aims the gun at Bond.

- Bond slaps a small electric fan toward the tub.

- The fan lands in the tub at Capungo’s feet, lighting the

water red and sending sparks flying.

- Capungo’s legs, glowing red, fly into the air as he is

electrocuted.

- Bond looks on as a sizzling sound occurs off-screen.

ANGLE ON BOND

PAN on him as he walks through smoke to the tub, takes his

gun, puts it in his holster, takes his holster from the hook

and puts it on.

BOND

Shocking.

He walks to his jacket, reaches for it, then hears a female

groan and looks back.

BONITA

is on the floor trying to raise herself.

ANGLE ON BOND

as we see Bonita and Capungo’s upturned feet in f.g.

BOND

Positively shocking.

He puts on his coat and goes out the door, closing it sharply

behind him.

CUT TO:

8.

MAIN TITLE SEQUENCE

Images of Bond’s exploits are projected on a voluptuous,

bikini-clad lady as superimposed titles appear. Titles end on

black.

FADE IN:

EXT. BLUE SKY - DAY

A banner flies by that says "WELCOME TO MIAMI BEACH."

DISSOLVE TO:

WIDER ANGLE

The banner trails a small plane flying over a strip of Miami

Beach hotels. A blimp sails by in b.g.

DISSOLVE TO:

EXT. FONTAINEBLEAU HOTEL - HELICOPTER SHOT - DAY

We move in on the hotel then swing behind it and move in on

the high dive of a swimming pool. A MAN jumps off the high

dive, doing a series of somersaults.

UNDERWATER

The man splashes into the water, then a GIRL swims by. PAN

OVER to reveal we’re looking through a window on the pool

along with FELIX LEITER in a business suit. He grins and

moves on past a roller-skating rink where a BOY is spinning a

GIRL around.

EXT. HOTEL POOL - DAY

A bevy of girls sunbathe there. Felix walks past them looking

around and approaches a row of cabanas.

CLOSER ANGLE

PAN on Felix as he walks into f.g. then hears voices:

DINK (O.S.)

How’s this?

BOND (O.S.)

That’s nice. Very nice.

FELIX’ POV - A LOUNGE CHAIR

Bond lies on his stomach as DINK massages his back.

9.

DINK

Just here?

BOND

No, a little lower, darling.

MEDIUM SHOT - FELIX

FELIX

I thought I’d find you in good

hands.

BOND

looks back, breaks into a smile and starts to raise himself.

BOND

Felix!

FELIX

laughs.

WIDER

DOLLY BACK as Bond approaches Felix, followed by Dink.

BOND

Felix, how are you?

They shake hands.

BOND

Dink, meet Felix Leiter.

DINK

Hello.

BOND

Felix, say hello to Dink.

FELIX

Hi, Dink.

BOND

Dink, say good-bye to Felix.

DINK

Hmm?

BOND

Uh, man-talk.

He pivots her around and slaps her butt. She walks off.

10.

DOLLY IN as Bond feels his arm then walks into his hut, Felix

following.

FELIX

You must be slipping double-o

seven, letting the opposition get

that close to you.

Bond takes a blue terry-cloth top from a chair and puts it on.

BOND

They got a lot closer to you in

Jamaica, didn’t they? -- Well,

what’s on your mind? I’m on

holiday.

FELIX

(taking out a letter)

Not any more, you’re not. Signal

from London.

DOLLY IN as Bond takes it from him.

BOND

I might have known "M" wouldn’t

book me into the best hotel in

Miami Beach out of pure gratitude.

FELIX

He asked us to keep an eye on him

for you.

BOND

(reading the cable)

Auric Goldfinger. Sounds like a

French nail varnish.

FELIX

He’s British, but he doesn’t sound

like it. Big operator, world-wide

interests, all apparently quite

reputable. Owns one of the finest

stud farms in the States.

BOND

(zipping up his top)

What’s the tie-up with Washington?

FELIX

He’s clean as far as C.I.A.’s

concerned.

BOND

And where do I find him?

11.

Felix points off. Bond looks that way.

EXT. HOTEL BALCONY - DAY - SAME TIME

AURIC GOLDFINGER, wearing a yellow top and a hearing aid,

walks down some stairs from an upper deck. He looks off

grumpily and keeps walking.

BOND AND FELIX

FELIX

(pointing the other way)

That’s his pigeon waiting for him

now.

Bond looks off.

BOND’S POV - THE POOL

SIMMONS sits in a chair at a poolside table shuffling a deck

of cards in his hand.

FELIX

Goldfinger’s been taking him to the

cleaners every day for a week.

TRACKING SHOT - GOLDFINGER

walks past sunbathers then sees Simmons and smiles.

AT THE TABLE

Goldfinger walks up to Simmons.

GOLDFINGER

Good morning, Mister Simmons.

Ready for our little game?

SIMMONS’

Sure I’m ready. When you’re ten

grand in the hole, you’re ready for

anything.

GOLDFINGER

(pointing to Simmons’

chair)

Could I have my usual seat?

SIMMONS

(rising)

Oh, you and your suntan!

12.

BOND AND FELIX

As Bond picks up his towel:

FELIX

That Goldfinger’s a fabulous card

player.

AT THE TABLE

Goldfinger picks up a pencil and starts to write on a notepad.

GOLDFINGER

Same stakes?

SIMMONS

Let’s double it. Five dollars a

point.

Goldfinger looks up in surprise then takes a hearing-aid

amplifier from his pocket and turns up the volume.

GOLDFINGER

Did you say five?

SIMMONS

My luck’s got to change sometime.

GOLDFINGER

(returning the amplifier

to his pocket)

Okay.

He writes on the notepad. Simmons sets the deck of cards on

the table.

BOND AND FELIX

Bond now has the towel over his shoulder.

FELIX

I’ll get back to the office and

cable "M" you’re on the job.

BOND

You can fill me in on the rest at

dinner.

FELIX

Fine. I’ll call you later.

Felix walks off. Bond keeps looking at Goldfinger.

13.

AT THE TABLE

The two men hold cards. Goldfinger takes one from the deck.

Bond walks toward the table. He stops for a moment, watching,

then walks closer.

Goldfinger takes another card.

Bond looks from the men to the hotel.

Goldfinger suddenly lays his cards down.

GOLDFINGER

Four.

SIMMONS

(stunned)

So soon?

Bond keeps looking at the hotel, then back at the table.

GOLDFINGER

How many?

SIMMONS

Seven, twelve, eighteen, thirtytwo,

forty-four...

Goldfinger laughs.

Bond keeps looking at the table, then circles behind it

looking over Goldfinger’s shoulder, then walks off.

Goldfinger smiles at Simmons. Simmons shuffles the cards.

INT. HOTEL CORRIDOR - DAY

TRACK after a MAID walking down the hall. Bond rounds a

corner up ahead and walks to her.

BOND

Miss?

He takes a key hanging by a cord from her waist and, pulling

her with him, unlocks a door (number 905).

MAID

Hey, what are you...? But that’s

Mister Goldfinger’s suite!

BOND

(happily)

Yes, I know.

14.

He opens the door, starts to enter then looks back at her.

BOND

You’re very sweet.

He closes the door behind him. The maid walks away.

INT. GOLDFINGER’S SUITE - SAME TIME

PAN then DOLLY ALONGSIDE Bond as he walks through a wellappointed

reception room to a glass door to a veranda. As he

approaches the door we hear a female voice outside -- that of

JILL MASTERSON:

JILL (O.S.)

He just drew the king of clubs.

That makes his hand fifty-nine.

He’s got a diamond run, eight,

nine, ten.

Bond starts to open the door.

BOND’S POV - THE VERANDA

Jill lies face-down on a chaise lounge looking downward

through fixed binoculars and talks into a microphone attached

to an intercom.

JILL

He’s holding onto the six of

spades...

REVERSE ANGLE

Jill lies face-up as Bond looks at her through the open

doorway behind her.

JILL

(into the microphone)

... so I guess he thinks you want

it. That last draw was the eight

of hearts.

Bond approaches her.

ANGLE ON JILL

She lies face-down, still talking, unaware of Bond behind her.

JILL

He needs kings and queens.

Bond reaches down and turns off the intercom.

15.

JILL

lying face-down whirls around to face him.

JILL

Who are you?!

UPWARD ANGLE ON BOND

DOLLY IN as he approaches.

BOND

Bond. James Bond.

He looks down.

BOND’S POV - THE POOL AREA

The view from the veranda shows everything.

AT THE TABLE

Goldfinger tries raising the volume on his amplifier.

Simmons looks at his cards.

DOLLY IN on Goldfinger touching his earpiece.

Simmons looks up irritated.

SIMMONS

Come on, come on!

Goldfinger randomly throws down a card. Simmons grabs it.

SIMMONS

(happily)

Ah! That’s more like it!

ON THE VERANDA

CRANE DOWN with Bond as he sits beside Jill, who sits face-up.

BOND

What’s your name?

JILL

Jill.

BOND

Jill who?

Bond looks through the binoculars.

16.

BOND’S POV

He sees Simmons’ entire hand. Simmons sets a card down, then

Goldfinger’s hand reaches in and takes a card from the deck.

JILL (O.S.)

Jill Masterson.

BACK TO SCENE

BOND

(looking at her)

Tell me, Jill. Why does he do it?

JILL

He likes to win.

BOND

(looking through the

binoculars again)

Why do you do it?

JILL

He pays me.

BOND

(looking back at her)

Is that all he pays you for?

JILL

And for being seen with him.

BOND

Just seen?

JILL

(emphatically)

Just seen.

BOND

I’m so glad.

He looks through the binoculars again and sees Simmons setting

down another card.

BOND

You’re much too nice to be mixed up

in anything like this, you know.

He reaches down.

CLOSE SHOT - THE INTERCOM

Bond turns it on again.

17.

INTERCUT - BOND AND GOLDFINGER (THROUGH BINOCULARS)

Bond snaps his fingers against the microphone.

Goldfinger suddenly looks up, quaking from the noise.

Bond looks through the binoculars.

BOND

(into microphone)

Now hear this, Goldfinger.

Goldfinger looks up at his balcony.

BOND

Your luck has just changed.

Goldfinger keeps looking up.

BOND

I doubt very much if the Miami

Beach police would take kindly to

what you’re doing.

He grins at Jill then looks back through the binoculars.

BOND

Nod your head if you agree.

Goldfinger sits in silent fury.

BOND

Nod!

Goldfinger nods as subtly as he can.

BOND

Good. Now start losing,

Goldfinger. Shall we say, eh, ten

thousand dollars?

(looks at Jill)

No, let’s be generous. Let’s make

it fifteen thousand.

Goldfinger’s face reflects even greater anger.

JILL

(to Bond)

May I see?

Bond leans back helpfully. Jill sits up and looks through the

binoculars. Bond sniffs her hair.

18.

AT THE TABLE

Goldfinger reluctantly throws another card down, his gaze not

moving from his balcony. Simmons takes it.

SIMMONS

Well, I can see this is really my

day!

(lays his cards down)

Gin!

ON THE VERANDA

Jill smiles and leans back. Bond looks through the binoculars

again.

BOND’S POV - GOLDFINGER

has a snarling expression on his face. The binoculars tilt

down in time to see him snap his pencil in half. He jabs one

end of it into the tabletop.

ON THE VERANDA

BOND

(into microphone)

Over and out.

He looks over and switches off the intercom.

TWO-SHOT - BOND AND JILL

She looks up at him smiling.

BOND

That should keep him occupied for

some time.

SLOW DOLLY IN.

JILL

I’m beginning to like you, Mister

Bond.

BOND

(laying his arm against

her face)

No, call me James.

JILL

More than anyone I’ve met in a long

time, James.

19.

BOND

Well, what on earth are we going to

do about it?

JILL

Yes... What?

BOND

I’ll tell you at dinner.

JILL

Where?

BOND

Well, I know the best place in

town.

He pulls the couch and her head toward him and kisses her.

DISSOLVE TO:

INT. BOND’S HOTEL ROOM - NIGHT

CLOSE SHOT on the remains of a meal. PAN OVER to the bed.

First we just see Bond’s and Jill’s feet rubbing against each

other. Then, PANNING FURTHER, we see them embracing and

kissing, Bond shirtless and Jill in panties wearing his shirt.

PAN even further -- to the nightstand where a portable radio

is playing.

RADIO ANNOUNCER

Station W.E.D.S. brings you the

latest in world news. Washington.

At the White House this afternoon,

the President said he was entirely

satisfied...

Bond’s hand reaches over and switches the radio off. PAN over

to the bed and DOLLY IN as Bond wraps his arms around Jill

again.

BOND

That makes two of us.

They start to kiss.

INSERT - A TELEPHONE

rings.

ANGLE ON THE BED

Bond rolls over and answers the phone.

20.

BOND

Hello.

FELIX (over phone)

Leiter here.

BOND

Oh, Felix.

He swings his legs off the bed.

FELIX (over phone)

Well, now?

BOND

Uh, what’s that?

Jill rises behind him, puts her chin on his shoulder and rubs

a lock of her hair against her ear.

BOND

Dinner? Uh, no. Look, I’m sorry,

I can’t. Something big’s come up.

FELIX (over phone)

Right.

Bond scratches his ear and pushes the hair away.

BOND

Uh, how about breakfast?

FELIX (over phone)

Okay.

JILL

(whispering into Bond’s

ear)

Not too early.

Bond cups a hand over the phone, plants his other hand on her

face and shoves her back. PAN on her as she lands on the bed

smiling and pulls her shirt down.

FELIX (over phone)

I’ll call you around nine.

BOND (O.S.)

Yes, nine o’clock will be fine.

ANGLE ON BOND

FELIX (over phone)

So long, James.

21.

BOND

Good night, Felix.

He hangs up then looks at Jill.

CLOSE-UP - JILL

looks back at him seductively, lips parting.

BOND

smiles. PAN on him as he lays atop her, then:

BOND

(disappointed)

Oh, it’s lost its chill.

CLOSE SHOT - CHAMPAGNE BOTTLE

Bond’s hand is feeling the bottle. He picks it up. TILT UP

as he raises it.

JILL

Why, you...

BOND

It’s all right. There’s another in

the fridge.

Bond gets up. Jill rolls over to face him, grinning.

JILL

Who needs it?

WIDE ANGLE

Bond sets the bottle on a dressing table and picks up his

bathrobe.

BOND

My dear girl, there are some things

that just aren’t done...

PAN on him as he walks into the kitchen putting on the

bathrobe. A bamboo screen separates the kitchen from the

bedroom.

BOND

... such as drinking Dom Perignon

’fifty-three above a temperature of

thirty-eight degrees Fahrenheit.

That’s as bad as listening to the

Beatles without ear-muffs.

He opens the refrigerator and kneels.

22.

CLOSER ON BOND

He looks in the fridge.

BOND

Now, where is this passion juice?

A MAN’S HAND suddenly comes up into frame. He wears a black

jacket.

DOLLY IN as the hand approaches bond. Bond opens a

refrigerator drawer, finding the champagne bottle and taking

it.

The hand gives Bond a sharp karate chop on the neck, knocking

him to the floor. TILT DOWN as he falls, face-up, the bottle

rolling beside him.

ANGLE ON THE WALL

The man’s shadow appears on wood paneling on the kitchen wall.

He turns sideways. He is thickly built and sports a bowler

hat. He is ODDJOB.

WIDER ANGLE

As Bond lies unconscious in f.g., the shadow on the wall moves

away.

SLOW DISSOLVE TO:

INT. BOND’S HOTEL KITCHEN - NIGHT

Bond and the champagne bottle lie on the floor.

DOLLY BACK. Bond begins to move, regaining consciousness. He

rolls onto his side and slowly lifts himself. He braces a

hand on the stove and feels the side of his head, then starts

moving off.

ANGLE ON THE KITCHEN ENTRYWAY

Bond emerges around the bamboo screen and walks forward.

BOND

(calling)

Jill?!

He turns a corner then suddenly stops, turns on the lights and

looks off aghast.

BOND’S POV - THE BED

Jill lies face-down naked, coated in gold paint, one arm

hanging over the side of the bed -- dead.

23.

BOND

looks unmoving.

BOND’S POV - JILL

lying there.

CLOSER ON BOND

His face registers terrible concern.

WIDER ANGLE

PAN and TILT UP on Bond as he moves to the bed.

BOND’S POV - JILL’S UPPER TORSO

Her entire face and hair are painted gold. She looks oddly

serene.

BOND

sits on the bed beside her and touches her shoulder. His

expression shows he recognizes she is dead.

He picks up the phone. DOLLY IN closer.

RECEPTIONIST (on phone)

Yes, Mister Bond?

BOND

Beach seven-nine-four-three-two,

room one-one-nine...

As he waits he looks at

JILL’S LEGS

which are completely painted gold.

ANGLE ON BOND

waiting for a response. Then:

FELIX’ VOICE (over phone)

Hello?

BOND

Hello, Felix? Get over here right

away.

FELIX (over phone)

What’s up?

24.

BOND

The girl’s dead.

FELIX (over phone)

(in alarm)

Dink?

BOND

No, Masterson. Jill Masterson.

And she’s covered in paint. Gold

paint.

DISSOLVE TO:

A BLUE SKY

dotted with clouds. TILT DOWN to reveal

EXT. LONDON - DAY

Big Ben and Westminster Palace in f.g.

CUT TO:

INT. "M’S" OFFICE - DAY

Bond stands at attention in f.g., "M" in b.g. by a window

looking at him.

"M"

Gold? All over?

BOND

(nodding)

She died of skin suffocation. It’s

been known to happen to cabaret

dancers.

TRACK LEFT as "M" paces toward a bookcase.

BOND

It’s all right provided you leave a

small bare patch at the base of the

spine to allow the skin to breathe.

TRACK RIGHT as "M" paces back toward the window.

"M"

Somebody obviously didn’t.

BOND

And I know who.

"M" stops and walks up to him.

25.

"M"

This isn’t a personal vendetta,

double-o-seven. It’s an assignment

like any other. And if you can’t

treat it as such, coldly and

objectively, then double-o-eight

can replace you.

PAN on "M" as he walks behind his desk.

"M"

You’ve hardly distinguished

yourself, have you? You were

supposed to observe Mister

Goldfinger, not borrow his

girlfriend.

INTERCUT - BOND AND "M"

Bond looks patiently at "M" as "M" gives him his "medicine."

"M" (O.S.)

Instead of that, Goldfinger goes

off to Europe and it’s only by the

grace of God, your friend Leiter,

and my intervention with the

British Embassy in Washington that

you’re not in the custody of the

Miami Beach police.

BOND

Sir, I’m aware of my short-comings.

But I am prepared to continue this

assignment in the spirit you

suggest -- if I knew what it was

about... sir.

"M"

(putting on his glasses)

What do you know about gold? -- Not

paint, bullion.

BOND

I know it when I see it.

"M" picks up a piece of paper and reads it.

"M"

(without looking up)

Meet me here at seven. Black tie.

Bond looks back at "M" then turns and walks to the door. "M"

continues reading the paper.

26.

INT. MISS MONEYPENNY’S OFFICE - DAY

MISS MONEYPENNY turns from a filing cabinet with a file as

Bond emerges through the outer doorway of "M’s" office. He

closes the padded door behind him. DOLLY IN closer.

BOND

And what do you know about gold,

Moneypenny?

PAN on Bond as he walks to the hat-rack and takes his hat.

MONEYPENNY

(leaning back against

her desk)

Oh, the only gold I know about is

the kind you wear...

(holding her hand up)

... you know, third finger of your

left hand?

DOLLY IN further as Bond approaches her.

BOND

Hmm. One of these days we really

must look into that.

MISS MONEYPENNY

Well, what about tonight?

(she takes his hat)

You come round for dinner...

She tosses his hat. In an insert, it lands on the hat-rack.

MISS MONEYPENNY

... and I’ll cook you a beautiful

angel cake.

Bond, looking in surprise at the hat-rack, turns back to Miss

Moneypenny.

BOND

Nothing would give me greater

pleasure. But unfortunately, I do

have a business appointment.

She pushes him back and walks behind her desk.

MISS MONEYPENNY

That’s the flimsiest excuse you’ve

ever given me. Ah, well, some

girls have all the luck. Who is

she, James?

27.

Just then "M’s" voice comes over the intercom:

"M" (filtered)

She is me, Miss Moneypenny.

IN "M’S" OFFICE - SAME TIME

"M" stands over his intercom holding a switch down.

"M"

And kindly omit the customary byplay

with double-o-seven. He’s

dining with me and I don’t want him

to be late.

IN MISS MONEYPENNY’S OFFICE

Bond shuts off the intercom.

MISS MONEYPENNY

(surprised)

So there’s hope for me yet?

Bond kisses her cheek then walks to the hat-rack.

BOND

Moneypenny, won’t you ever believe

me?

He takes his hat and opens the door.

ANGLE ON MISS MONEYPENNY

She sits behind her desk smiling as we hear the door close.

DISSOLVE TO:

INT. BANK DINING ROOM - NIGHT

In MEDIUM CLOSE SHOT we see three men sitting at the table:

COLONEL SMITHERS at the head of the table, "M" on the left and

Bond on the right. Each has a brandy snifter in front of him

and there is a decanter in front of Smithers. "M" takes a

sip.

A servant, BRUNSKILL, walks over holding a cigar box. He

offers it to "M" who takes a cigar, then crosses behind Bond

and offers it but Bond waves him off.

At the same time we PULL BACK across the extremely long table

until we see a candelabra at each end and an end table in f.g.

28.

SMITHERS

We here at the Bank of England,

Mister Bond, are the official

depository for gold bullion, just as

Fort Knox, Kentucky is for the

United States. We know, of course,

the amounts we each hold, we know

the amounts deposited in other

banks, and we can estimate what is

being held for industrial purposes.

This enables the two governments to

establish respectively the true

value of the dollar and the pound.

Consequently, we are vitally

concerned with unauthorized

leakages.

BOND

I take it you mean...

TWO-SHOT - BOND AND SMITHERS

BOND

...smuggling.

SMITHERS

Yes.

Brunskill holds the box out to Smithers and he takes a cigar,

then hands it back so Brunskill can clip its end. Meanwhile

"M" off-screen lights his cigar and blows out a puff of smoke.

SMITHERS

Gold, gentlemen, which has been

melted down and recast, is

virtually untraceable, which makes

it, uh, unlike diamonds, ideal for

smuggling, attracting the biggest

and most ingenious criminals.

Brunskill, bowing slightly, hands Smithers the clipped cigar.

SMITHERS

Thank you, Brunskill. That will be

all.

BRUNSKILL

Thank you, sir.

Brunskill exits. Smithers picks up the decanter and hands it

to Bond.

29.

SMITHERS

Have a little more of this, uh,

rather disappointing brandy.

MEDIUM SHOT - "M"

"M"

Well, what’s the matter with it?

BOND AND SMITHERS

BOND

(looking at the decanter)

I’d say it was a thirty-year-old

fiend indifferently blended, sir...

"M"

holding his snifter, looks at Bond.

BOND

takes out the stopper and sniffs the contents.

BOND

... with an overdose of Bon Bois.

"M"

"M"

Colonel Smithers is giving the

lecture, double-o-seven.

BOND

pouring some brandy from the decanter into his glass, freezes.

THREE-SHOT

The decanter with the stopper in it now sits on the table in

front of Bond, his hand on it.

SMITHERS

Gentlemen, Mister Goldfinger has

gold bullion on deposit in Zurich,

Amsterdam, Caracas and Hong Kong,

worth twenty million pounds. Most

of it comes from this country.

Bond passes him the decanter.

BOND

Well, why move it?

Smithers passes the decanter to "M."

30.

SMITHERS

Because the price of gold varies

from country to country. If you

buy it here at thirty dollars an

ounce, you can sell it in, say,

Pakistan at a hundred and ten

dollars and triple your money...

"M"

holding the stopper in his hand, sniffs at the decanter then

looks up at Bond.

SMITHERS (O.S.)

... providing, of course, you have

the facilities for melting it down.

BOND

BOND

And has he?

THREE-SHOT

"M" puts the stopper back in the decanter and sets it down.

SMITHERS

(lowers his cigar)

Apart from being a legitimate

bullion dealer, Mister Goldfinger

poses -- eh, no, that’s not quite

fair...

CLOSE SHOT - SMITHERS

now holds the cigar at his mouth.

SMITHERS

... is, among his many other

interests, a legitimate

international jeweler. He’s, uh,

legally entitled to operate modest

metallurgical installations.

BOND

sits thinking.

31.

THREE-SHOT

SMITHERS

His British one is down in Kent.

As yet, we have failed to discover

how he transfers his gold overseas,

and Lord knows we’ve tried.

(he turns to "M")

If your department can establish

that it is done illegally, then the

Bank could institute proceedings to

recover the bulk of his holdings.

"M" looks on in agreement.

SMITHERS AND BOND

BOND

I think it’s time Mister Goldfinger

and I met -- socially, of course.

SMITHERS

I was hoping you’d say that.

Smithers rises. PAN on him as he walks off frame, leaving "M"

in f.g.

"M"

It might lead to a business talk --

Mister Goldfinger’s kind of

business.

BOND

BOND

I’ll need some sort of bait.

SMITHERS (O.S.)

I quite agree.

THREE-SHOT

TRACK with Smithers as he returns to the table holding an

object wrapped in green cloth.

SMITHERS

This is the only one we have, from

the Nazi hoard from the bottom of

Lake Toplitz in the Salzkammergut,

but there are undoubtedly others.

He sets it on the table and unwraps the covering, revealing:

32.

CLOSE SHOT - A BAR OF GOLD

SMITHERS (O.S.)

Mister Bond can make whatever use

of it he thinks fit...

THREE-SHOT

Smithers sits back in his chair.

SMITHERS

... providing he returns it, of

course. It’s worth five thousand

pounds.

He lifts his snifter.

CLOSE SHOT - THE BAR OF GOLD

gleams beautifully.

BOND

looks at it then reaches forward.

THE BAR OF GOLD

Bond’s hand touches it.

"M"

holds a hand up, stopping him.

"M"

You’ll draw it from "Q" branch with

the rest of your equipment in the

morning.

BOND

looks back at him and straightens his cuff.

BOND

But of course, sir.

"M"

grins enigmatically at Bond then raises his snifter.

DISSOLVE TO:

33.

INT. "Q" BRANCH - DAY

TWO MEN in a glass cubicle wearing gas masks face a parking

meter. One of them puts a coin into it. White gas instantly

shoots from it, filling the cubicle.

WIDER ANGLE

Bond stands outside the cubicle watching the gas expand.

DOLLY BACK as Bond walks with a hand in his pocket to a bench.

"Q" bends over the bench beside a sitting man and points to an

object he’s working on.

Bond picks up a hand grenade and looks at it.

BOND

Good morning, "Q."

"Q" immediately takes it from him and sets it down in a

container.

"Q"

Good morning, double-o-seven. This

way, please.

DOLLY WITH THEM as they walk away from the bench.

BOND

My, we are busy this morning.

TWO MEN in an alcove behind them come into view. One wears a

trench coat, the other aims a machine gun at him. Suddenly

the gunner fires at the other man. Bond and "Q" react and

look back.

CLOSER ANGLE

The gunner keeps firing. The other man looks to one side,

apparently not feeling the shots. The gunner stops shooting

and the other man pulls back his trench coat, revealing a

bullet-proof vest. He looks down at it.

WIDER ANGLE

The man lowers his hands and feels his crotch as the shooter

looks on. The man looks at the shooter then feels his crotch

again.

"Q" turns to Bond.

"Q"

It’s not perfected yet.

34.

BOND

Where’s my Bentley?

"Q"

It’s had its day, I’m afraid.

DOLLY BACK as they walk forward. A large "NO SMOKING" sign

comes into view behind them.

BOND

But it’s never let me down.

"Q"

"M’s" orders, double-o-seven.

"Q" points off. PAN OVER to reveal a gray Aston-Martin. The

license plate, white-on-black, reads "BMT 216A."

"Q" (O.S.)

You’ll be using this Aston-Martin

D.B.-Five with modifications.

TWO-SHOT

Bond and "Q" look down at the car.

"Q"

Now pay attention, please.

"Q" steps over to the car and taps the windshield.

"Q"

Windscreen, bullet-proof...

(points backwards)

... as are the side and rear

windows.

He reaches in, turning a switch on the dashboard.

"Q"

Revolving number plates, naturally.

CLOSE SHOT - THE FRONT LICENSE PLATE

It revolves to a white-on-black plate, 4711-EA-62, then a

black-on-white plate, LU-6789, then back to the original

plate.

"Q" (O.S.)

Valid all countries.

TWO-SHOT

"Q" reaches into his pocket and takes out a small silver case.

DOLLY IN on "Q" and Bond.

35.

"Q"

Here’s a nice little transmitting

device called a "Homer."

CLOSE SHOT - THE "HOMER"

"Q" (O.S.)

You prime it by pressing that back,

like this. You see?

He pulls back the outer cover and the device beeps. Then he

holds up a tiny version of the same device.

"Q"

The smaller model is now standard

field issue, to be fitted into the

heel of your shoe. Its larger

brother is magnetic.

He releases the tiny version and it sticks to the larger one.

TWO-SHOT

Bond takes the devices from "Q."

"Q"

Right. To be concealed in the car

you’re trailing while you keep out

of sight.

"Q" opens the passenger door and sits inside.

"Q"

Reception on the dashboard, here.

CLOSE SHOT - THE DASHBOARD

"Q" presses a button and a small grill on the dashboard opens

with a humming sound, revealing a green "scope."

"Q"

Audio-visual range a hundred and

fifty miles.

He turns a dial. An indicator "blip" appears in the middle of

the scope and makes a beeping sound.

BOND (O.S.)

Ingenious -- and useful, too.

TWO-SHOT

BOND

Allow a man to stop off for a quick

one on route.

36.

"Q"

(exasperated)

It has not been perfected after

years of patient research and time

for that purpose, double-o-seven.

"Q" gets out of the car and shuts the door. Bond glances at

the gadgets in his hand then leans an arm on the roof of the

car.

"Q"

And incidentally, we’d appreciate

its return, along with all your

other equipment -- intact, for

once, when you return from the

field.

BONED

Well, you’d be surprised the amount

of wear-and-tear that goes on out

there in the field. Anything else?

"Q" walks forward. DOLLY IN on Bond, looking bored.

"Q"

Well, I won’t keep you for more

than an hour or so if you give me

your undivided attention. We’ve

installed some rather interesting

modifications.

Bond signs and leans more heavily against the car.

"Q"

walks around to the driver’s side and points in through the

window.

"Q"

You see this arm here?

Bond looks in through the passenger window.

CLOSE SHOT - THE CONSOLE

"Q’s" hand reaches inside and taps the top of the console.

"Q" (O.S.)

Now open the top, and inside are

your defense mechanism controls:

"Q" opens the top, revealing numerous switches. He points to

many (but not all) of them.

37.

"Q" (O.S.)

... smoke screen, oil slick, rear

bullet-proof screen, and left and

right front-wing machine guns.

He closes the top.

BOND

looks on patiently but without much interest.

"Q" (O.S.)

Now this one I’m particularly keen

about.

Bond looks inside again.

CLOSE SHOT - THE STICK SHIFT

"Q’s" finger points to it.

"Q" (O.S.)

You see the gear lever here? Now,

if you take the top off...

(he flips the top

open, revealing a

red button)

... you’ll find a little red

button.

He closes the top again.

MEDIUM SHOT - "Q"

"Q"

Whatever you do, don’t touch it.

MEDIUM SHOT - BOND

BOND

And why not?

MEDIUM SHOT - "Q"

He holds his hands over the roof.

"Q"

Because you’ll release this section

of the roof...

(points inside again)

... and engage and then fire the

passenger ejector seat.

(throws a hand upwards)

Whoosh!

38.

MEDIUM SHOT - BOND

BOND

Ejector seat? You’re joking!

MEDIUM CLOSE SHOT - "Q"

"Q"

(miffed)

I never joke about my work, doubleo-

seven.

MEDIUM SHOT - BOND

looks back chagrined.

DISSOLVE TO:

EXT. GOLF CLUB - ESTABLISHING SHOT - DAY

A golf shop and large hotel are in b.g. GOLFERS walk past in

f.g. pulling wheeled golf carts. A gold Rolls Royce is parked

near the hotel, and beyond it Bond’s Aston-Martin.

INT. GOLF SHOP - DAY - SAME TIME

The proprietor, BLACKING, winds tape around a golf club in

f.g. Goldfinger walks in. He is dressed like his name:

brown coat over a yellow sweater, brown striped tie, brown

golfing pants and shoes, and he holds a matching brown cap.

GOLDFINGER

Ready, Blacking?

BLACKING

Yes, sir.

DOLLY BACK to reveal Bond in f.g. He wears a purple sweater

and black slacks and is looking at a rack of golf clubs.

BLACKING

(to Goldfinger)

Uh, there’s an old member dropped

by, sir. Same handicap as yours.

I wondered if you would rather play

with him?

GOLDFINGER

Where is he?

Blacking turns to Bond.

BLACKING

Uh, Mister Bond?

39.

BOND

turns to Blacking.

BOND

Yes?

BLACKING (O.S.)

This is Mister Goldfinger.

GOLDFINGER

turns and looks at Bond. He studies him a moment, then

speaks.

GOLDFINGER

How do you do?

BOND

looks back at Goldfinger.

BOND

How do you do?

GOLDFINGER

keeps looking at Bond.

BOND

keeps looking at Goldfinger.

BLACKING (O.S.)

You can go straight off. The first

tee is clear.

THREE-SHOT

DOLLY IN as Bond walks past them to the door.

BOND

Fine.

BLACKING

I’ll get Hawker to carry for you,

Mister Bond.

BOND

(turning back)

Well, that’ll be splendid.

(to Goldfinger)

Shall we make it a shilling a hole?

40.

GOLDFINGER

Um-hmm.

Bond smiles at him and walks out the door.

EXT. GOLF SHOP - SAME TIME

As Bond emerges we hear Goldfinger talking to Blacking:

GOLDFINGER (O.S.)

I’ll take some tees.

BLACKING (O.S.)

Ah, yes. Of course.

Bond suddenly looks ahead and stops.

BOND’S POV - THE GOLF COURSE

ODDJOB steps into a rigid stance right across from him. A

golf bag hangs incongruously from his shoulder.

ANGLE ON BOND

Goldfinger comes out of the shop behind him, smiling at Bond’s

concerned look.

GOLDFINGER

Oh, you must excuse Oddjob, Mister

Bond. He’s an admirable

manservant, but mute. He’s not a

very good caddy.

PAN on them as they walk past Oddjob.

GOLDFINGER

(shrugging at Oddjob)

Golf is not yet the national game

of Korea, eh?

Oddjob waits until they are some distance away then follows.

SLOW DISSOLVE TO:

EXT. GOLF COURSE - DAY

Bond stands on a putting green at his ball. He wears a black

hat and takes aim with his putter. Goldfinger’s ball is

closer to the hole than Bond’s. HAWKER stands nearby with

Bond’s golf bag.

Bond putts and sinks the ball.

41.

PAN on him as he walks to the hole, revealing Goldfinger

approaching with his putter and Oddjob standing nearby.

Goldfinger is in his sweater and wears his brown cap.

GOLDFINGER

This meeting is not a coincidence,

eh?

CLOSER ANGLE

Goldfinger and Bond stand in f.g., with Oddjob and Hawking

standing in b.g. on opposite sides. Goldfinger leans down

with his putter.

GOLDFINGER

What’s your game, Mister Bond?

INTERCUT

- Bond looks at Goldfinger.

- Goldfinger looks down taking aim.

- His putter moves back and forth at his ball.

- Bond keeps looking at him.

BOND

My game?

- Goldfinger keeps looking down.

GOLDFINGER

You didn’t come here to play golf.

- His putter keeps moving back and forth. Suddenly Bond’s

gold bar lands beside it with a thud.

- Goldfinger’s eyes widen as he looks at the bar.

- The bar glistens in the sunlight.

- Goldfinger looks back at his ball.

- His putter taps the ball, which rolls aside missing the

hole.

- Bond smirks slightly and looks at Goldfinger.

- Goldfinger looks at the gold bar again then turns aside.

42.

WIDE ANGLE

Goldfinger hands his putter to Oddjob as Bond picks up the

gold bar and gives it to Hawker.

BOND AND GOLDFINGER - TRACKING SHOT

They walk together across the green.

GOLDFINGER

The 1940 smelt from the Weigenhaler

foundry at Essen.

BOND

Part of a smelt of six hundred.

GOLDFINGER

They vanished in 1944.

BOND

When the Nazis were on the run.

GOLDFINGER

And you have access to more?

BOND

Yes, from the same source.

GOLDFINGER

Interesting.

WIDE ANGLE

They approach a teeing ground where a marker says "17."

GOLDFINGER

Two holes to go.

BOND

Yes, and all square.

Bond plants his ball on a tee.

GOLDFINGER

Then you have no objection to

increasing the stakes?

BOND

(getting into putting

position)

No. What do you have in mind?

43.

INTERCUT - GOLDFINGER AND BOND

GOLDFINGER

The bar of gold you have with you,

naturally.

BOND

(looking up)

It’s worth five thousand pounds.

GOLDFINGER

(laughing it off)

Oh, I’ll stake the cash equivalent.

BOND

Naturally.

(he looks nervously

down at his ball)

WIDE ANGLE

Bond raises his club to swing.

GOLDFINGER

(suddenly)

Strict rules of golf?

BOND

freezes in mid-stroke and lowers the club.

BOND

But of course.

GOLDFINGER

nods and sways from side to side.

WIDE ANGLE

Bond swings at the ball, striking it cleanly across the

fairway.

Goldfinger watches it go. So does Oddjob.

BOND’S POV - THE FAIRWAY

The ball sails far away then lands.

Smiling tightly, Bond crosses Goldfinger, who takes a club

from Oddjob and approaches the tee. Bond watches.

44.

Goldfinger sets his ball down and readies himself. In a

reverse angle on his legs, his club hits the ball squarely and

the ball flies into the distance.

Goldfinger watches it go. So does Bond, who steps forward

grinning.

AN AREA OF ROUGH

Goldfinger’s ball sails across an area of rough and lands near

some trees.

BOND AND GOLDFINGER

Bond looks over Goldfinger’s shoulder at the rough, Oddjob

behind them.

BOND

Oh, bad luck. You’re in the rough.

Goldfinger puts his hand on his hip then walks forward.

DISSOLVE TO:

EXT. THE AREA OF ROUGH - LONG SHOT - DAY

From left to right, Oddjob, Goldfinger, Bond and Hawker look

for the ball in the rough.

LONG SHOT - GOLDFINGER

paces near the trees, looking down. (Bond is no longer where

he was standing.)

BOND AND HAWKER

search near the beginning of the rough.

BOND

Oh, what a pity. Here it is.

They look down at a ball.

HAWKER

(picking it up)

No, it’s not. He plays a Slazenger

One.

Hawker hands Bond the ball. Bond looks at it. It is marked

"Slazenger 7."

LONG SHOT - GOLDFINGER

continues to look near the trees.

45.

BOND (O.S.)

(calling)

Strict rules of golf, Goldfinger!

Five minutes are almost up!

BOND AND HAWKER

BOND

(continuing)

A lost ball will cost you stroke

and distance!

Goldfinger keeps looking through the rough.

ODDJOB

PAN on him as he walks with a hand in his trouser pocket. He

stops walking. TILT DOWN to his legs as a ball rolls out of

his trousers onto the turf.

He raises his arm.

ODDJOB

(calling)

Aagh aagh!

GOLDFINGER

looks over and waves his club.

GOLDFINGER

Uh-huh.

He walks off.

BOND AND HAWKER

watch with concealed contempt.

Goldfinger walks past them.

GOLDFINGER

(innocently)

I’m still training him as a caddy.

Oddjob, off to the side, grins at Bond.

BOND

Successfully, too.

He and Hawker walk off.

46.

WIDE ANGLE

Goldfinger walks to Oddjob in f.g. Meanwhile Bond and Hawker

walk toward the trees in b.g., looking around.

Goldfinger looks down at "his" ball, which lays inches from

the fairway. It is marked "Slazenger 1."

GOLDFINGER

Slazenger Number One. Good.

He holds his hand out. Oddjob passes him a club.

BOND AND HAWKER

Bond stops searching and looks up at Goldfinger. Hawker walks

up.

HAWKER

If that’s his original ball, I’m

Arnold Palmer.

BOND

’Tisn’t.

HAWKER

How do you know?

BOND

I’m standing on it.

Hawker looks down. Bond raises his foot revealing the ball.

HAWKER

(laughing)

Why you crafty old...

Hawker starts to reach down.

BOND

Leave it.

Bond holds up the other ball.

HAWKER

The ball you found, sir?

BOND

Yes. Slazenger Seven.

(looking off)

Let’s have a little fun with Mister

Goldfinger.

He slips the ball into his pocket.

47.

WIDE ANGLE

Goldfinger, in f.g. with his back to us, swings his club

strongly then walks forward.

DISSOLVE TO:

LONG SHOT - AT THE 17TH HOLE

Bond’s ball lays inches from the cup, Goldfinger’s a few yards

away. Bond approaches his ball.

BOND

(to Goldfinger)

Would you like me to mark it or

knock it in?

GOLDFINGER

Um-hmm, play it.

Bond taps his ball into the cup.

Goldfinger walks up to his ball.

GOLDFINGER

This for a half.

BOND

That’s right.

Goldfinger leans over with his club. In an angle on his legs,

he hits the ball and it rolls into the cup.

Bond, hand in his pocket, looks up at him.

Goldfinger rises haughtily and grins.

Bond glances back at Hawker then, as we TILT DOWN, takes his

hand from his pocket. We glimpse the hidden ball in his hand.

He reaches into the cup and withdraws two balls. TILT BACK UP

to his face.

BOND

(to Goldfinger)

One to go. That’ll be the

clincher.

GOLDFINGER

Fine.

Bond tosses a ball to Goldfinger, who reaches out gracefully

and catches it. The foursome start walking.

48.

BOND AND HAWKER - TRACKING SHOT

HAWKER

Did you switch them, sir?

BOND

Uh-huh.

HAWKER

Then we’ve got ’em.

BOND

If he doesn’t notice the switch.

CUT TO:

EXT. 18TH HOLE - DAY

Close shot of a marker that says "18." TRACK BACK as

Goldfinger and Oddjob enter the teeing ground. Goldfinger

reaches down with his ball.

BOND AND HAWKER

approach. Hawker looks on, startled.

HAWKER

It’s your honour, sir!

BOND

(holding his hand up)

It’s all right.

GOLDFINGER

bends over and sets his ball on a tee. He rises. The ball

falls off the tee.

WIDER ANGLE

Goldfinger angles his club then notices the ball on the

ground. He reaches for it.

BOND AND HAWKER

watch in suspense.

GOLDFINGER

plants the ball on the tee again, then looks into the distance

and readies his stroke.

BOND AND HAWKER

keep watching.

49.

WIDE ANGLE

Goldfinger swings and hits the ball across the fairway.

Hawker smiles at Bond. They walk forward.

DISSOLVE TO:

EXT. CLUB HOUSE - WIDE ANGLE - DAY

The final hole. Goldfinger putts. His ball rolls into the

cup. Bond’s ball is equidistant on the other side of the

hole.

GOLDFINGER

Down in five.

BOND

(preparing to putt)

I’ll have to sink this to have the

game, right?

Bond putts. The ball curves away from the hole, just missing

it.

BOND

Yaagh! You win, Goldfinger.

GOLDFINGER

It seems I am too good for you.

Bond reaches into the cup and takes out both balls. He looks

at one.

BOND

Hmm. You play a Slazenger One,

don’t you?

Goldfinger, who has been leaning triumphantly on his club,

approaches.

GOLDFINGER

Yes. Why?

BOND

(holding Goldfinger’s

ball up)

This is a Slazenger Seven.

Goldfinger takes it. Bond holds up the other ball.

BOND

Here’s my Penfold Hearts.

Goldfinger looks in shock at the ball in his hand.

50.

BOND

You must have played the wrong ball

somewhere on the eighteenth

fairway. We are playing strict

rules, so I’m afraid you lose the

hole and the match.

Goldfinger glares up at Oddjob. Oddjob looks back without

expression.

Goldfinger hurls his ball to the ground and walks off as Bond

smiles. Hawker approaches with the flag, grinning broadly,

and plants it beside the hole.

DISSOLVE TO:

EXT. CLUBHOUSE - DAY

The gold Rolls Royce sits in f.g., beyond it Bond’s Aston-

Martin. A number of statues adorn the clubhouse façade.

PAN on Oddjob as walks to the Rolls’ trunk carrying

Goldfinger’s golf bag, revealing Bond dressed in a brown suit

looking on with his hands in his pockets. Oddjob sets the bag

in the trunk and backs away.

DOLLY IN on Bond as he approaches the trunk. He takes a Homer

from his pocket, primes it and plants it inside the trunk.

FOLLOWING ODDJOB

DOLLY BACK as he approaches again carrying a folded umbrella.

Bond gently strokes the car’s gold exterior as Oddjob sets the

umbrella in the trunk then closes an inner casing and then an

outer casing.

At the same time Goldfinger approaches from the clubhouse in

b.g. He now wears a formal brown suit and hat.

Bond backs away from the car, hands in his pockets, and faces

Goldfinger.

BOND

She’s a beauty! Phantom three

thirty-seven, isn’t she?

CLOSER ON GOLDFINGER APPROACHING

DOLLY BACK as he walks up to Bond.

GOLDFINGER

You are a clever, resourceful man,

Mister Bond.

51.

BOND

Why, thank you.

GOLDFINGER

Perhaps too clever.

HOLD ON TWO-SHOT as Goldfinger looks Bond in the eye.

GOLDFINGER

Twice our paths have crossed.

Let’s leave it at that.

PAN on Goldfinger as he opens the car’s back door.

GOLDFINGER

I should have thought our first

meeting would have convinced you.

MEDIUM SHOT - BOND

BOND

Oh, I see.

PAN on him as he walks over to Goldfinger. Goldfinger’s left

arm is linked around the window-frame, revealing a gold

wristwatch and band, a gold cufflink and a gold ring. Oddjob

stands watching on the other side of the car.

BOND

You’re worried about me not giving

you a return game.

GOLDFINGER

Both of us know perfectly well what

we are talking about, Mister Bond.

But I see that it is necessary to

remind you. Oddjob!

PAN on Oddjob as he walks past the front of the car then

stands at attention across from them.

GOLDFINGER (O.S.)

Many people have tried to involve

themselves in my affairs --

TWO-SHOT - BOND AND GOLDFINGER

GOLDFINGER

-- unsuccessfully.

Goldfinger looks off at Oddjob then touches the brim of his

hat and points into the distance.

52.

THEIR POV - A STATUE

It is a classic Greek statue of a woman.

ODDJOB

takes off his bowler hat, steps over to Bond and Goldfinger,

and flings his hat at the statue.

The hat flies through the air and crosses the statue, knocking

the head off. The head and hat land at the base of the

statue.

BOND AND GOLDFINGER

look up at Oddjob, who walks off to retrieve his hat. DOLLY

IN on Bond and Goldfinger.

BOND

Remarkable. But what does the club

secretary have to say?

GOLDFINGER.

Oh, nothing, Mister Bond. I own

the club.

Goldfinger wipes his eye, opens the car door, gets in and

lowers a tabletop.

GOLDFINGER

I assume you want the check made

out to cash.

BOND

That would be perfectly

satisfactory.

Goldfinger looks at him with a sneer.

ODDJOB

PAN on him and he returns to the car straightening his hat.

He passes behind the car to the driver’s side. Meanwhile

Goldfinger tears a check from his checkbook and hands it to

Bond.

GOLDFINGER

Goodbye, Mister Bond.

Goldfinger shuts his door as Oddjob gets in behind the wheel.

Bond plays with a ball in his hand then tosses it to Oddjob

who catches it.

BOND

Oh, uh... I believe this is yours.

53.

Oddjob glares at Bond and squeezes the ball. Bond looks on.

The ball fractures into little pieces that Oddjob flings to

the ground. Bond rocks back on his heels, suitably impressed.

THE ROLLS ROYCE

drives off. Bond turns fingering the check then walks over to

his Aston-Martin and reaches inside.

Bond’s finger presses a button on the dashboard and the grill

opens, revealing the scope. He turns a dial and the scope

glows green, shows a map of the area and blips. The blip

indicator is moving away from the center of the scope.

DISSOLVE TO:

EXT. A HOIST - CLOSE ON THE ROLLS ROYCE - DAY

The Rolls rises into the air accompanied by a mechanical

lifting noise. The front license plate reads "AU1."

WIDER ANGLE

The car is on a hoist beneath an airplane and is being raised

to the cargo hatch. PAN on a baggage handler driving by in a

cart containing four suitcases, one of which is gold-coloured.

As the cart passes under the plane, DOLLY BACK to reveal

Goldfinger and Oddjob approaching the steps to the passenger

compartment.

Goldfinger motions to Oddjob, who hands their tickets to a

STEWARDESS at the base of the steps, and the two of them walk

up the steps.

AT THE STOP OF THE STEPS

Goldfinger takes off his hat as he passes a STEWARDESS at the

top of the steps and enters the passenger compartment. Oddjob

follows keeping his hat on.

WIDE ANGLE

CRANE BACK from the plane to reveal the Aston-Martin in f.g.

and Bond behind the wheel looking at the scope, as we hear an

announcement:

AIRPORT ANNOUNCER

(over loudspeaker)

British United Air-ferries announce

the departure of their DS-400

flight to Geneva.

Suddenly a voice calls out to Bond:

54.

SECURITY OFFICER (O.S.)

Mister Bond?

Bond looks over.

REVERSE ANGLE

DOLLY BACK as the Security Officer approaches Bond.

SECURITY OFFICER

That’s all right. I’ve got you

booked out on the next flight to

Geneva, leaving in half an hour.

BOND

Oh. Thank you very much.

SECURITY OFFICER

Right, sir.

The Security Officer walks off.

BOND

looks back at the British United plane, which is starting to

taxi away.

He opens the scope on his dashboard and turns the dial. The

map alights showing the airport at the center of the screen

and the blip indicator moving away from it.

DISSOLVE TO:

EXT. SWISS COUNTRYSIDE - EXTREME LONG SHOT - DAY

TILT DOWN from towering mountains to a hilly road.

Goldfinger’s Rolls Royce drives up the road.

EXT./INT. GOLDFINGER’S CAR - SAME TIME

Oddjob drives. Goldfinger sits in back opening a newspaper.

He scratches the side of his face.

EXT. ANOTHER ROAD - LONG SHOT - DAY

Bond’s Aston-Martin drives up the road from a town in b.g.

EXT./INT. BOND’S CAR - SAME TIME

Bond is driving. He looks down at the scope.

It shows a map of Geneva. The blip indicating the Rolls is

moving up the top half of the scope.

55.

EXT. ANOTHER STRETCH OF ROAD - DAY

The Rolls drives up the road, continuing to head uphill.

IN THE BACK SEAT

Goldfinger leans back with his hat over his eyes, snoozing.

He suddenly rubs his nose then relaxes again.

IN BOND’S CAR

Bond looks down impatiently at the scope.

EXT. ROAD - SAME TIME

The Aston-Martin navigates a bend in the road. Just then a

yellow Ford Mustang rounds a corner behind it, following.

Bond look in the rearview mirror. It shows the Mustang

following. Then Bond’s expression grows more interested and

he looks back.

IN THE MUSTANG

An attractive blonde is driving -- TILLY MASTERSON -- but her

expression is grim. She honks her horn.

THE ROAD

The Mustang comes alongside the Aston-Martin.

BOND

looks over with an interested expression.

BOND’S POV

The Mustang races ahead of him.

BOND

grins.

He looks ahead again at the Mustang, which now races

perilously fast.

Bond prepares to put on more speed but catches himself and

slows down.

BOND

Discipline, double-o-seven.

(unhappily)

Discipline.

56.

EXT. THE FIRST ROAD GOLDFINGER TOOK - DAY

The Mustang heads up the road. Inside, Tilly looks forward

grimly.

IN BOND’S CAR

He looks down at the scope again. The blip indicator has

become stationary, showing no movement.

EXT. ROADSIDE FLOWER STALL - VERY HIGH ANGLE

The Rolls is stopped at the flower stall, which is manned by

five children. Goldfinger and Oddjob get out of the car.

CLOSER ANGLE

Oddjob walks up to one of the children.

EXT./INT. BOND’S CAR

He keeps driving, his expression impatient.

ANGLE ON THE ROAD

The Aston-Martin continues up the road.

EXT. FLOWER STALL - VERY HIGH ANGLE - DAY

Oddjob stands beside the Rolls as Goldfinger approaches the

children. SLOWLY ZOOM BACK to an extreme long shot revealing

a much higher road in f.g.

Bond’s car has stopped on the high road and he gets out and

looks down at Goldfinger.

GOLDFINGER

turns away from the flower stall eating an orange. Oddjob,

behind him (in a process shot), approaches the children again.

VERY HIGH ANGLE - BOND

He stands on the high road looking down at Goldfinger. SLOWLY

ZOOM BACK to an even longer shot revealing an even higher road

in f.g.

A rifle barrel comes into view, aiming below, and then Tilly,

lying prone and bracing the rifle on a boulder. She fires.

ANGLE ON BOND

The bullet strikes the pavement right in front of him. He

ducks down then lies flat behind his car.

57.

TILLY

moves away with the rifle.

GOLDFINGER’S CAR

Goldfinger gets back inside. Oddjob looks up at the hillside

and smirks, then gets behind the wheel.

The Rolls drives away from the flower stall.

ON a ROAD

Tilly’s car rounds a bend and heads downhill. Bond’s car

emerges from a side road behind her and follows.

BOND

looks ahead now with determination.

ON THE ROAD

The two cars race down the road, Bond right behind Tilly.

When they reach the flower stall, Bond passes her and speeds

ahead. Tilly follows, almost on his bumper, honking at him.

SERIES OF SHOTS - THE CHASE

- Bond looks in his rearview mirror and grins, enthused by the

chase.

- The mirror shows the Mustang following fast.

- TRUCKING SHOT: The Aston-Martin races around a bend, the

Mustang right behind it and trying to pass it.

- Tilly sounds her horn again.

- Bond, grinning more broadly, checks his rearview mirror.

- TRUCKING SHOT: The Aston-Martin starts swerving to block

the Mustang from passing. A long horn blast sounds from the

Mustang.

- Bond politely gestures to the Mustang to pass him.

- The Mustang swerves to the other side of the road.

- Bond looks over at it.

- His hand opens the console, revealing his weapon controls.

- The Aston-Martin races by with the Mustang almost beside it.

- Bond reaches down.

58.

- CLOSE SHOT - A REAR WHEEL: A hub decoration opens to reveal

cutting blades on a spindle. They extend from the wheel on a

rod.

- Tilly looks in her rearview-mirror.

- Blades from Bond’s front wheel slam into a front tire on the

Mustang.

- Tilly looks over and screams.

- Blades now retract from the Mustang’s shredded rear tire,

then slam into it again and retract again.

- Tilly’s car skids off the road; both passenger-side tires

are blown.

- She clutches the steering wheel as her car bounces to a

stop, then she strokes her face.

EXT. ROAD - DAY - SAME TIME

The Aston-Martin has stopped at the side of the road. Bond

runs out, slamming the door behind him.

TILLY’S CAR

Bond runs up to her.

BOND

Are you all right? Here, let me

help you.

He opens the driver’s door and she steps out.

BOND

You know, you’re lucky to be alive.

TILLY

No thanks to you. You should have

pulled over further.

She crosses behind the back of her car and looks at her tires.

The rear tire is completely shredded.

TILLY

Look at them!

BOND

A double blow-out! I’ve never seen

one of these before.

59.

Tilly looks over at Bond’s car. It sits innocently on the

side of the road.

TILLY

How could new tires...?

BOND

Defect of some kind, most likely.

(sits on the edge of

her trunk)

Anyway, I’m so glad that it’s only

the car and not you. You don’t

look like the sort of girl who

should be ditched.

TILLY

Never mind that. Please take me to

the nearest garage.

BOND

Certainly.

She crosses back to the driver’s side and grabs her handbag.

Bond follows.

BOND

By the way, my name Is Bond. Would

you --

TILLY

Um, as quickly as possible.

She goes to the trunk. He shuts the driver’s door. She opens

the trunk, takes out a suitcase and sets it down as he takes a

briefcase from her back seat.

TILLY

I’ll take that.

BOND

(handing it to her)

Yes, of course.

He picks up the suitcase and follows her to his car.

DISSOLVE TO:

EXT./INT. BOND’S CAR - DRIVING - DAY

Bond drives, Tilly beside him. They look at each other.

BOND

What’s your name, by the way?

60.

TILLY

Soames. Tilly Soames.

Bond glances in the rearview mirror.

CLOSE SHOT - TILLY’S CASE

sits on the back seat ledge with the initials "T.M." marked on

it.

BOND AND TILLY

BOND

Here for the hunting season? I had

a case just like that one.

She glances back.

CLOSE SHOT - HER CASE

The initials on it are very visible.

INTERCUT - BOND AND TILLY

TILLY

It’s for my ice skates.

BOND

Lovely sport. Where do you skate?

TILLY

Saint Moritz.

BOND

I didn’t know there was ice there

this time of the year.

TILLY

(suddenly points)

There’s a garage.

EXT. GARAGE - DAY - SAME TIME

Bond’s car drives in front b.g. and stops in f.g. Tilly

immediately opens her door and gets out. She walks past the

gas pumps toward the office.

TILLY

(calling)

Fraulein!

IN BOND’S CAR

He reaches down to open the scope. Meanwhile, we hear Tilly:

61.

TILLY (O.S.)

(angrily)

I’ve had an accident.

THE SCOPE

Bond turns the dial activating the scope. It alights. The

beep indicator is stationary again, near a mountainside.

Puzzled, Bond looks off as if the source is nearby, then he

looks at the scope again.

The indicator remains stationary. We hear Tilly again:

TILLY (O.S.)

How long will it take?... Thank

you. Appreciate it.

Bond looks down and turns off the scope then opens the door

and starts to step out.

EXT. CAR - BOND AND TILLY - SAME TIME

Bond emerges from the car as Tilly walks up to him.

TILLY

They say it’ll take twenty-four

hours to get new tires. There’s a

hotel nearby.

BOND

Oh, jump in. I’ll run you down.

TILLY

That won’t be necessary.

BOND

Well, I hate to leave you here

alone.

Bond reaches into the car and hands Tilly her suitcase.

TILLY

I can take care of myself.

BOND

Yes, I’m sure you can.

Bond reaches in again and hands her her briefcase.

BOND

(smiling to her)

Well, don’t forget to write.

He gets in and shuts the door, leaving her there alone.

62.

WIDER ANGLE

The Aston-Martin backs away, turns, then heads back down the

road as Tilly watches.

DISSOLVE TO:

EXT. HILLSIDE ROAD - DAY

PAN on the Aston-Martin as it rounds a bend across from a

large green hillside. A factory complex at the base of the

hillside comes into view. A sign on its main building says,

"AURIC ENTERPRISES."

The car stops across from the factory and Bond looks over at

it.

CLOSER ANGLE - THE MAIN BUILDING

is an imposing edifice.

BOND

gazes at the complex then leans forward and looks up higher.

ANGLE ON BOND’S CAR

He drives off. TILT UP to the top of the hillside.

DISSOLVE TO:

EXT. THE WOODS ABOVE THE FACTORY - DAY

Bond, with a pair of binoculars around his neck, walks down

from the crest of the hill. PAN on him till the factory below

comes into view. He sits under a tree with his back to us and

looks through the binoculars at the factory.

BOND’S POV - THE FACTORY

Goldfinger’s Rolls Royce sits in front of one of the

buildings. Two GUARDS in blue jumpsuits tied with yellow

sashes look inside it as THREE OTHER GUARDS approach.

ANGLE OVER BOND

He rests his arms on his knees.

DISSOLVE TO:

EXT. HILLSIDE - NIGHT

Bond sits on the hillside again, arms on knees, but dressed

all in black. He glances at his watch.

63.

REVERSE ANGLE

overlooking the factory. Lights show in some of the windows.

Bond starts to creep down the hill. He wears a black

backpack.

AT THE BASE OF THE HILL

Bond runs from the hillside onto a factory road, crosses it

and stops beside a brick building. He flattens his back

against it for a moment then moves on.

Just then two men in blue jumpsuits round the far corner of

the building, speaking together in Korean.

A CONCRETE BUILDING

DOLLY BACK and PAN on Bond as he passes the building. The

shadows of the other men cross it. He looks back then runs

ahead.

AT THE SIDE OF THE BUILDING

Bond rounds the corner and leans back against the building,

then glances back. The other men round the corner of the

building behind him. They are laughing.

Bond runs off, passing some metal drums and a sign on a wall

that says, in German, "EINTRITT STRENGSTENS VERBOTEN" ("entry

strictly forbidden"). He quickly finds himself in a dead-end,

blocked by another building. He looks back desperately.

ALONGSIDE THE BRICK BUILDING

The two guards continue forward.

BOND

runs back past the sign, mounts a fire-escape ladder and

starts climbing up. He stops on a ledge, then climbs up to

the next level.

ON A LEDGE

Louvers on the building’s windows provide ventilation. Bond

comes around the corner, stopping on the ledge near the

louvers. He looks down to see the two guards turn the other

way. Then he turns to the louvers and looks inside.

BOND’S POV - INSIDE THE BUILDING

Goldfinger’s Rolls is partially dismantled. WORKERS -- all of

them wearing blue jumpsuits and yellow sashes -- pass to and

from it as red smoke rises from a furnace in b.g.

64.

BOND

tilts the louvers so he can have a better view. He looks

inside again.

BOND’S POV - INT. FACTORY - SAME TIME

The Roll’s grill is in f.g. A worker removes one of the

golden headlamps, walks back and sets it down. Meanwhile two

others remove one of the golden doors, carry it back and set

it down.

At the same time, Goldfinger and LING -- a Chinese operative

in a Mao jacket -- approach from b.g.:

GOLDFINGER

Smuggling is an art, Mister Ling...

ANGLE ON OTHER WORKERS

They pour molten gold into an ingot mold.

GOLDFINGER (O.S.)

... and art requires...

Steam sounds from the melted gold, drowning out the rest of

his sentence.

GOLDFINGER (O.S.)

(continuing)

In this case, the bodywork of my

Rolls Royce is eighteen carat gold.

CLOSE SHOT - BOND

keeps looking in through the louvers, excited at his find.

INSIDE

Goldfinger escorts Ling past a dolly bearing gold ingots.

GOLDFINGER

We dismantle it here. We reduce

the gold in this special furnace,

which in turn...

(noise drowns him out)

... weighing approximately two

tons.

He raises his fist to his mouth, coughing, then leads Ling

off.

65.

GOLDFINGER

I make six trips a year to the

continent in the Rolls Royce,

Mister Ling...

OUTSIDE

Bond looks downward in satisfaction. He has solved his case.

He looks again through the louvers, then suddenly looks to the

side.

BOND’S POV - THE FACTORY ENTRANCE

Ling exits the factory then leans against a railing as

Goldfinger follows.

LING

Perhaps it would be wiser to

suspend your other activities.

GOLDFINGER

Now, Mister Ling, please assure

your principals Operation Grand

Slam will have my undivided

attention.

Goldfinger leads him down a few steps and around a corner of

the building.

GOLDFINGER

Now, there are certain matters we

must discuss...

MEDIUM SHOT - BOND

TILT UP as he rises above the louvers, looks to one side and

moves off.

DISSOLVE TO:

EXT. BRICK BUILDING - NIGHT

Bond runs along the side of the building. He stops, planting

his back again it, then darts to the bottom of the hillside.

DISSOLVE TO:

EXT. TOP OF HILLSIDE - NIGHT

Bond jumps over some barbed wired and heads into the woods.

66.

IN THE WOODS - SERIES OF SHOTS

- Bond sits on the ground and removes his backpack, looking

down at the factory. He rubs his left arm. Suddenly he hears

a TWIG SNAP and looks up.

- Someone is moving through the trees.

- Bond runs forward then dives onto his belly.

- He looks forward then lowers his head again.

- The other person continues through the trees.

- Bond lowers his head further then looks up.

- The other person stalks forward holding a rifle.

- Bond rounds the side of a tree and looks ahead.

- The other person moves further ahead, then lies down prone

and aims the rifle forward.

- Bond dives at the shooter as the rifle is cocked. He

pounces. The rifle’s barrel tilts up, snagging a wire.

IN THE FACTORY

- A red light suddenly glows on a sensor board accompanied by

a wailing sound.

- WIDER ANGLE: A Korean guard gets on a phone as another looks

at the board.

IN THE WOODS

Bond rolls over holding the shooter. Her face enters the

moonlight. It is Tilly.

TILLY

Let me go! You’re breaking my

back!

Bond recognizes her but keeps holding her.

BOND

What the hell are you doing here?

TILLY

I want to kill him.

BOND

Kill who?

67.

TILLY

Goldfinger.

BOND

Well I want him alive.

TILLY

I want him dead. He killed my

sister.

BOND

T.M. Tilly Masterson! I knew your

sister, Jill. I know what he died

to her in Miami.

TILLY

No you don’t! Let me go!

BOND

If you wanted to kill him, why did

you shoot at me?

TILLY

I didn’t! I was shooting at him!

BOND

Well, you’re a lousy shot.

A rifle fires.

BOND

But somebody else around here

isn’t. Come on!

He pulls her to her feet as a rifle fires again. They run

into the woods.

TRACKING SHOT - IN THE WOODS

Bond and Tilly run through the woods, then suddenly stop and

look ahead.

THEIR POV - A KOREAN GUARD

stands between two Mercedes Benz cars and calls out in Korean.

TWO OTHER GUARDS

in the woods hear him and turn forward.

BOND AND TILLY

PAN on them as they run to Bond’s Aston-Martin. A guard

blocks their path.

68.

BOND

Quick! Get in the car! I’ll take

care of him.

Tilly runs toward the Aston-Martin.

Bond grabs the guard from behind and smashes his head against

the first Mercedes. The guard drops to the ground. Bond

jumps forward.

SERIES OF SHOTS - THE CHASE

- ANGLE ON THE ASTON-MARTIN: Tilly is already inside. Bond

bounds into the driver’s seat and starts the engine. The

headlights go on.

- Three Korean guards run through the woods.

- The Aston-Martin takes off. PAN over as the three Koreans

arrive at the first Mercedes.

- Another three Koreans run around the front of the second

Mercedes, yelling in Korean.

- ON THE ROAD: The doors of the second Mercedes slam shut as

it takes off.

- WIDER ANGLE: It passes the first Mercedes where the other

three Koreans are lifting their comatose companion.

- ON THE ROAD: PAN on the Aston-Martin as it races by.

- PAN on the second Mercedes as it races after it.

- The first Mercedes takes off.

- Bond looks in his rearview mirror. Tilly looks back.

- PAN on the second Mercedes as it races after them. A guard

with a machine gun leans out the rear window on the driver’s

side.

- CLOSE SHOT - THE GUNMAN: He fires at the Aston-Martin.

- Tilly ducks then looks at Bond.

- Bond looks in the rearview mirror then down at the console.

- CLOSE SHOT - THE CONSOLE: Bond’s hand opens it to reveal

the defense mechanism controls.

- Bond looks in the rearview mirror again.

- CLOSE SHOT - THE CONSOLE: His finger flips a switch.

69.

- EXT. WOODS - SAME TIME: The Aston-Martin races by trailing

white smoke.

- Tilly looks at Bond and smiles in delight.

- Bond grins, knowing he’s showing his prowess.

- ON THE ROAD: Bond’s car races by, trailing darker smoke.

- The second Mercedes enters the haze.

- CLOSER: The men in the second Mercedes are dumbfounded.

- ON THE ROAD: The second Mercedes runs off the road and

crashes into a tree.

- The first Mercedes enters the haze.

- CLOSER: There are four men inside and all are dumbfounded.

The driver peers through the ha