Based on the novel by
Ian Fleming

[Note: Passages in brackets appear in thecutting 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 andcontinues 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, pausesthinking, then continues walking.

-

GRANT watches, then moves forward and

-

GRANT'S FEET walk forward but stop, pivot back and walk in adifferent 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 thencontinues 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'sdirection.

-

WIDE ANGLE: Bond peers behind another tree then continuesforward. 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 lookingaround.

-

FRONT ANGLE: Bond steps forward. Grant suddenly emergesfrom the trees behind him and whips the garrote around hisneck. Bond clutches at it helplessly as Grant strangles himand 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 downand pulls a mask off his face, revealing an UNIDENTIFIED MANwho has been disguised as Bond. TILT UP to reveal Morzeny andGrant 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 sittingacross 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 thescoreboard. 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 glassand 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 SHOULDERMacadams studies the chessboard.ANGLE ON THE SCOREBOARDThe 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 ahandshake 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 adoorbell 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 suchas we have here...

CLOSE SHOT - AQUARIUM

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

BLOFELD (O.S.)...who lets the other two fightwhile 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 arrangefor you to come over from theRussians...

ANGLE ON KLEB OVER BLOFELD BLOFELD (continuing)...just for amusement, Number

Three. CLOSE SHOT - CONSOLE Blofeld pushes one of four buttons on his desk.

[END OF REEL 1. START REEL 2.]

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 soobviously a trap.

(he starts to put thecigarette into hismouth then lowers it)

My reading of the British mentality is that they always treat a trap asa challenge. And in any case, theycouldn't possibly pass up even theslightest chance of getting theirhands on a Lektor decoder. Theyhave 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 - GRANTNaked but for shorts, he lies face-down on a towel on grass. He glances up.

A FEMALE MASSEUSEin a skirt approaches.GRANTcloses his eyes.MEDIUM SHOT - GRANT AND MASSEUSEShe sets a bag down then turns away and unbuttons and removes

her shirt, revealing large breasts in a bra. She pulls downher skirt, revealing shorts, and turns toward Grant.She kneels, picks up a container of ointment then looks up.A HELICOPTERhovers overhead.MEDIUM SHOTThe masseuse massages Grant's back.THE HELICOPTERlands 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 greathonour. I hope you had a pleasantflight.

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 backsaway 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 wheremen fire at targets. Other men in judo garb break cinderblocks in f.g. In another gallery, a man fires a flamethrower at a running man. Two men fight with knives. In yetanother gallery, men practice judo.

MORZENY
I hope our work here meets with
your approval?

KLEB Training is useful, but there is nosubstitute for experience.

MORZENY I agree. We use live targets aswell.

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 toface 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 puncheshim hard in the stomach. He barely flinches.

14.

KLEB He seems fit enough. Have him report to me in Istanbul in twenty-four hours.

Kleb immediately turns and walks off, Morzeny and Rhodafollowing.

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 comewith 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 thepiece 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 stopsbehind 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 TatianaRomanova.

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 operationsfor -- for SMERSH. I saw you oncein 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, whocontinues 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 arespeaking! [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 herskirt is raised revealing her knee.

Kleb walks to her holding a photograph, hands it to her thensits 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 waskind 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 mostimportant assignment. Its purposeis to give false information to the enemy. If you complete itsuccessfully 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 roomalive.

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.

KLEBGood. Now these are your instructions. You report to mehere.

TANIA
Yes.

KLEB But the Consulate security man mustnot 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 thewhip hard againstthe chair, then softens)

Come, come, my dear.
(she strokes Tania's

shoulder)You are very fortunate to have beenchosen 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 arebeside 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 thewater, 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 jealouswoman?

He turns back and slips an arm around her.

BOND Yes, but I haven't turned my backon 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 acigarette against a file on her desk.

MISS MONEYPENNY He's been asking for you all morning. Where in the world are you, James?

[END OF REEL 2. START REEL 3.]

MEDIUM SHOT - BOND

He is in his shirt now, buttoning it.

BOND Well, I've just been reviewing anold 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, willyou?

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 buttoninghis shirt)

SYLVIA Do what? The last time you saidthat you went off to Jamaica.

(she undoes one ofhis 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 herhands together. Bond passes her and raises the convertible top. DOLLY IN till it conceals him and Sylvia and the screengoes 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 andholding 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 thedoor.

BOND
For my next miracle, I...

'M' comes into view. Bond stops cold. The others just lookat him. Chagrined, Bond gently leans against the door to shutit 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 officeholding a briefcase and waiting. Bond closes a padded doorbehind 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 closedthe 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 witha 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, andthe 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 looksat the photo andcatches himself)

...true.

INSERT - THE PHOTO

shows Tania standing at a railing aboard a ship with one handraised 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 theflesh, I don't come up toexpectations?

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 EquipmentOfficer to come in, please.

(he releases the switch)Q Branch has put together a smartlooking 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'.