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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.
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.
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.
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, seņor. They'll be watching you.
Bond takes a key from his pocket.
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.
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.
- 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:
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.
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.
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?
Felix points off. Bond
looks that way.
[END OF REEL 1. START REEL 2.]
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!
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.
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, thirty-two, 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.
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
well-appointed 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.
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.
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.
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.
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.
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.
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.
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.
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.
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?
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.
"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.
[END OF REEL 2. START REEL 3.]
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?
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 by-play 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.
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.
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."
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.
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:
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:
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.
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.
"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.
"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?
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