BOND.

read

Tilt to

‘Mr Bond, they have a saying in

Chicago. “Once is happenstance. Twice is coinci-

dence. The third time it’s enemy action.” Miami, Sandwich and now Geneva. I

propose to wring the truth out of you.’ Gold-finger’s eyes

slid slowly past Bond’s head.

‘Oddjob. The Pressure Room.’

G o l d f i n g e r1 9 6 4

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.

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.

Modern-day King Midas, Auric Goldfinger, plans on ruining the economies of the Free World and using his own vast hoard of gold to control the planet. Bond must use all his rugged charms and brutal skills to stop Goldfinger before he brings western civilisation to its knees!

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

CLOSE SHOT - THE TIMERbetween 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 bas-kets, 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,

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.

SIERRACongratulations.

BOND

Thank you.

SIERRAMister Ramirez and his friends will

be out of business.

CLOSE ON BOND

BOND

At least they won't be using her-

oin-flavoured bananas to finance

revolutions.

SIERRADon't go back to your hotel, señor. They'll be watching you.

He looks off.BONITA angrily exits into

her dressing room.

TWO-SHOT - AT THE BAR

Bond takes a key from his pocket.

glasses crash and the crowd jumps up and screams.

SIERRAThere'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 toss-es 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.

BONDWell...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!

BONDForgive me.( touching his gun )

He walks to a hook on the

wall removing his holster.

BONITAWhy do you always wear that thing?

BONDI have a slight inferiority complex.Where was I? - Oh, yes.

( hanging his holster on the hook )( he turns to her ) BONDShocking.

TRACK IN SLIGHTLY as he embraces her. ANGLE OVER THEM. As Bond kiss-es 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 ap-proaches 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. ME-DIUM 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 side-ways to the door, then punches him twice in the stomach. Bond groans. Capungo readies anoth-er 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 back-wards.

- 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 elec-tric 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.

BONDShocking.

‘Red wine with fish. Well that

should have told me some-

thing.’

‘You may know the right

wines, but you're the one on your knees.

How does it feel old man?’

F r o m

1964W i t h L O V E

R U S S I A

GUN BARREL LOGOThe James Bond trademark which

is an IRIS moving to centre of screen circling JAMES BOND. He

fires a revolver.IRIS CUTS OUT.

FADE IN:EXT. RENAISSANCE GARDENS - NIGHT -

SERIES OF SHOTS- WIDE MOVING SHOT: Bond, dressed

in a tuxedo, walks across a bridge and down some steps as if stalking someone. He looks back.- CLOSE SHOT: The feet of another

man, wearing sweat-pants and soft shoes, walk forward.

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

ues walking.- CLOSE SHOT: The other man's feet

walk quietly up some steps.- WIDE MOVING SHOT: Bond runs

down a tree-lined path toward a statue, hears a bird coo and looks

back.- WIDE SHOT: The other man is

crossing the bridge. He is DONALD GRANT. He stops and looks in front

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

trees.- MEDIUM SHOT: Grant stops on the

bridge, looking forward, then cracks a branch of a tree.

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

thinking, then continues walking.- GRANT watches, then moves

forward and- GRANT'S FEET walk forward but

stop, pivot back and walk in a different direction.

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

cooing again, looks back, then walks forward again.

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

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

- BOND fires a revolver.

- BOND, still holding the revolver, moves behind a statue thencontinues on.- GRANT keeps looking back.- BOND walks forward glancing around anx-iously.- WIDE MOVING SHOT: Grant walks toward a foun-tain in f.g., Bond following, then Grant passes it and moves on.- BOND emerges from behind a tree, looking in Grant's direction.- WIDE ANGLE: Bond peers behind another tree then continues forward. PAN OVER to reveal Grant waiting in f.g., concealed by more trees.- CLOSE SHOT: Grant pulls a garrote from his watch.- MEDIUM MOVING SHOT: Bond turns a corner, still looking around.- FRONT ANGLE: Bond steps forward. Grant suddenly emerges from the trees behind him and whips the garrote around his neck. Bond clutches at it helplessly as Grant strangles him and they drop to the ground.Behind them, the lights of SPECTRE House go on, revealing the MEN OF THE SPECTRE PARTY, stand-ing on a terrace. The men walk forward.GRANTrises retracting the garrote into his watch. He looks up to seeMORZENYapproaching followed by the other men.GRANTstands at attention as Morzeny reaches him holding a watch.

MORZENY

Exactly one minute, fifty-two sec-

onds. That's excellent.

(to Grant)

BONDlies motionless on the ground.

Morzeny's hand reaches down and pulls a mask off his face, revealing

an UNIDENTIFIED MAN who has been disguised as Bond. TILT UP to reveal

Morzeny and Grant walking away toward the house.

CUT TO:THE MAIN TITLESA BELLY DANCER performs as the credits are projected across various parts of her body.FADE OUT.FADE IN:EXT. VENICE - ESTABLISHING SHOT - DAYLong shot of the shoreline as TWO GONDOLIERS oar past in f.g.INT. CHESS ROOM - VENICE HOTEL A scoreboard reads:

VENICE INTERNATIONAL GRANDMASTERS CHAMPIONSHIP

MATCHCzechoslovakia WHITE KRONSTEEN 11 1/2

FINALBLACK 11 1/2

Canada

MACADAMSPULL BACK to reveal KRONSTEEN ('No. 5') and MACADAMS sitting across from each other at a chess table, the 1st and 2nd UMPIRES, an ATTENDANT and SPECTATORS. Kronsteen smokes a cigarette and flicks an ash into an ash-tray.KRONSTEENmoves 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 SHOULDERMacadams looks thoughtfully at the board.

ANGLE ON THE SCOREBOARD

The Attendant moves a corresponding white piece on the scoreboard.

1ST UMPIRE

Knight takes bishop.

ATTENDANT Knight takes bishop.

EXTREME WIDE ANGLE

The spectators look on murmur-ing. A WAITER approaches the table with a tray containing two glasses.

C L O S E R

The waiter sets a glass in front of Macadams then turns to Kro-nsteen and puts a glass of wa-ter and a mat in front of him.

STILL CLOSER

Kronsteen stares at the waiter, whose hand still grips the glass. The hand backs away and Kronsteen picks up the glass and the mat. He starts to drink then looks through the glass. We hear the clock still ticking.KRONSTEEN'S POV - THE GLASS AND MATSeen 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 chess-board. Kronsteen tears up the mat.OVER KRONSTEEN'S SHOULDERMacadams moves a black chess piece and clicks the timer. ANGLE ON THE SCOREBOARD

ATTENDANT

King to rook tw

o.

1ST UMPIRE King to rook two.

The Attendant

moves a corre-

sponding black piece.

AT THE TABLEKronsteen picks up a white piece then glances at Macadams. Macad-ams 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 correspond-ing white piece.

ATTENDANT (repeating)Queen... to king four.

1ST UMPIRE

Queen to king four.

WIDE ANGLEThe spectators murmur in anticipation. MACADAMSstudies the board.KRONSTEENstares back at him, eyes unmoving. Macad-ams' hand reaches forward and touches the top of the black King.OVER KRONSTEEN'S SHOULDERMacadams tips over his king onto the table. KRONSTEENstares at him.OVER KRONSTEEN'S SHOULDERMacadams rises.

MACADAMS

My congratulations, sir. A

brilliant coup.

Macadams holds out his hand as the spectators applaud. Kronsteen rises and shakesit.

HIGH ANGLE - CRANE SHOTKronsteen releases Macadams' hand and, as we CRANE DOWN, walks away from the table. A SPECTATOR reaches out to give him a handshake but Kro-nsteen ignores him and keeps walking.DISSOLVE TO: EXT. BLOFELD'S ('NO. 1') YACHT - WIDE ANGLE - DAYThe yacht rests in a bay.EXT. BLOFELD'S CABIN - SAME TIMEA GUARD with a machine gun over his shoulder comes downstairs, Kronsteen following and looking around. The guard rings a doorbell to Blofeld's cabin. Kro-nsteen looks back and sees a SECOND ARMED GUARD coming down the stairs.INT. BLOFELD'S CABIN - SAME TIMEROSA KLEBb a c k w a r d sis looking into a desktop aquari-um. She moves 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 LAPA white cat rests in his lap and he pets it.

BLOFELD (O.S.) Except for the occasional one suchas we have here...

CLOSE SHOT - AQUARIUMThe fish swim around each other and then, in quick cuts, fight each other.

BLOFELD (O.S.)

...who lets the other two

fight while he waits... waits until

the survivor is so exhausted that he

cannot defend himself.

KLEBwatches the aquarium.

CLOSE SHOT - AQUARIUMThe fish continue to fight.

CLOSE-UP - KLEB

KLEB

I find the parallel -- amusing.

BLOFELD (O.S.)And then, like SPECTRE, he strikes.

CLOSE SHOT - BLOFELD'S CAT Blofeld handles the cat.

BLOFELD (O.S.)

Our organization did not arrange

for you to come over from the

Russians...

ANGLE ON KLEB OVER BLOFELD

BLOFELD

...just for amusement, Number Three.

(continuing)

CLOSE SHOT - CONSOLEBlofeld pushes one of four buttons

on his desk.

He tugs on a cord that extends between his toes into the water, pulling up a bottle of champagne. He touches it.

EXT. RIVER - DAYA punt glides by with a MAN and YOUNG WOMAN inside. He is piloting.MAN Great sport, this!YOUNG WOMAN What did you say?MANGreat sport, this punting!The punt continues off. TILT DOWN TO REVEAL another punt, resting on the shoreline beneath a tree. Inside are Bond and SYLVIA, embracing and kissing. An ice bucket and glasses are beside it.

BOND I couldn't agree with him more.

SYLVIA

I might even give up golf for it.

BondReally?

Bond

Not quite.

He lowers the bottle again. Sylvia notices something on his back — a scar. She runs her finger across it.

SYLVIAOoh! Souvenir from another jealous woman?

He turns back and slips an arm around her.

BOND

Yes, but I haven't turned my back

on one since. He fully embraces her and they kiss. Suddenly a BEEPER goes off. Bond

looks back, disheartened.Bond

Excuse me.

SYLVIA

What?He reaches into his coat pocket and switches off the device. WIDER ANGLEBond climbs out of the punt with his jacket, then turns back.

BOND

Give me my shirt, will you?SYLVIAWhat's going on?

( tossing it to him )

BOND

I have to make a phone call.

PAN ON BOND as he walks to his car — A classic green convertible.

SYLVIA (OS)

But we haven't eaten yet!

I'm starving!

(calling)

Bond opens the driver's door and picks up a phone while raising his shirt. BONd

Come in, Univex. James Bond here.

Over.

(into phone)

INT. MISS MONEYPENNY'S OFFICE - SAME TIMEShe sits holding her phone and with her other hand taps a cigarette against a file on her desk.

MISS MONEYPENNY He's been asking for you all

morning. Where in the world are you, James?

‘Enjoy it while it

lasts.’

‘Those are the

words I live by.’

G o l d e n E y e

1 9 9 5

1 - Ext. Top of Dam - Day

A plane does a fly-by over a dam as a security gate slides open. A man in combat black

runs across the top of the tall dam. He clips a rope to his ankle and the railing...and jumps

off the side. As he sails down, he pulls out a gun-type thing and shoots it. A wire follows

attaching in concrete and pulling the man down to....“Archangel Chemical Weapons Facility, USSR”

Cut to a laser burning through a metal wall, being shot by the man with the gunthing. We

see a blue eye, but we haven’t seen this guy’s face yet.....2 - Int. Bathroom - Day

Inside the plant, we cut to the men’s room, where we see Russians walking around.

Aboveone of the stalls...

“Man in black’s” P.O.V. - a Soviet in uniform sitting on the can, reading a newspaper

titled Pravda ("The Truth").The man in black takes the steel grate out and we see a

silhouette.Soviet’s P.O.V. - The newspaper, printed in Russian, duh.

He pulls the paper back to reveal....James Bond. Hanging upside down from a vent.

He flashes a grin.Bond: Beg your pardon, forgot to knock.

007 punches out the Soviet and slips down.3 - Int. Hallway - Same time

Bond slips un-noticed through dim halls, wielding his Walther PPK with a silencer on it.

He spots a butcher loading meat onto a cart, and he walks up to an opening where

he seessoldiers eating. As he turns away...another dark shadow

points a gun at him...

5 - Int. Gas room - Day...A room filled with nerve gas tanks.

Shadow

Where have you been? Where are

your companions?

(Russian)

BondI’m alone.

Alec Travelyan, 006, steps into the light. He's around Bond's general age and built.

Blond with cold eyes...

Alec Aren’t we all? You’re late 007.

BondI had to stop in the bathroom.

Alec

Ready to save the world again?

BondAfter you, 006.

They remove another steel grate.

AlecJames, for England.

Bond

For England, Alec.

Bond

It’s too easy.

Alec Half of everything is luck, James.

Alec turns and plugs the device into the same panel, jamming the door.

BondAnd the other half?

Alec Fate!

A red light sounds, signaling the alarm of the plant. The men run down the stairs.

AlecSet timers to six minutes!

Bond

Six minutes, check.

A few Soviets burst through a door, 006 shoots them. Bond starts to arm a little explosivetimer. A digital clock pops up...6.00. James and Alec scurry around behind the gastanks planting the timers. An ugly-looking Soviet commander, Ourumov, stands behind aplexi-glass window.

OurumovFIRE!

Soldiers fire their guns, breaking the window. 006 and 007 are still

planting thetimers.

Alec

Closing time, James! Last call!

Bond Buy me a pint!

The Soviets pour through the opening. Travelyan fires at them. Ourumov (O.S.)

I am Colonel Ourumov. Come out with

your hands above your

heads!

While planting a timer...

Bond

How original.

More Soviets pour through a door.

Bond Shut the door, Alec! There’s a draft!

No answer.

Bond

Alec?!

He looks for 006. Alec in kneeling under the gun of Ourumov. Thirty soldiers all havetheir guns pointed at Bond.

OurumovMove out! Throw down your weapon and walk towards me. Slowly.

Alec

Finish the job, James! Blow them all

to hell!

Ourumov

You have 10 seconds.

10...9...8...

Bond goes back to the detonator he just planted and sets it for 3.00.

6 - Ext. Runway - DayBond sees a small plane....

his ticket outta here. More soldiers burst through a hangar door

and what’s behind door number 2...even more pour out onto the runway.

Bond crouches behind some piping and fires, hitting a few. The gun runs out and he dashes through

the snow toward the plane. We hear Ourumov’s shouting in the backround.

Ourumov

....7...6..5...4..

Bond throws his weapon on the floor, puts his hands behind his head and approaches

Ourumov.

Ourumov ...3......2....

Alec

For England, James!

BOOM. Alec is silenced. He flops over. The Soviet soldiers fire their auto-matic rifles. Bond retreats behind the tanks again.

Ourumov

Hold your fire! You’ll blow the gas

tanks! They do. Bond recovers his gun.

Ourumov This is your last chance! Come out with your hands above your head....

Ourumov’s P.O.V. - a dark shadow moves behind a cart with tanks piled on it.

The soldiers raise their guns...

Ourumov

WAIT!

Bond moves slowly with the cart acting as a shield. Ourumov seems

amused....onesoldier

thinks he can get a shot off...and fires. Bond retreats farther behind

the cart.Ourumov

turns and shoots the guy in the face...he warned him.

OurumovYou can’t win.Bond quickly hits the “on” button to a conveyer belt leading outside. He jumps on and fires the assault rifle. The Soviets fire back, but Bond hits the grate to a storage area above their heads. More gas tanks pour out on the Soviets. And Bond tumbles down the conveyer belt onto...

7 - Int. Car/Ext. Road - DayWe shoot onto an open road with the vrroom of an engine behind us. James’ personal choice of car, a silver Astor Martin DB5, license plate BMT 216A. The DB5 swerves around a tight corner at 90 mph. Fade up title...

Ourumov

Hold your fire!

Cut to 1000 yards out: the facility is on a mountain-top. Cliffs, very high

up. Back to the action...Bond runs down the plane and drags himself

inside, fights with the pilot.Now there’s soldiers chasing Bond

on motorcycles. Both 007 and the pilot tumble out of

the plane. A motorcycle runs over the pilot, causing the bike to throw

its rider. Bondjumpson the bike and chases the

runaway plane.

Ourumov WAIT!

The plane sails off the cliff, and so does the motorcycle with 007 still on it. He fliesoff the bike and sails to the dive-bombing plane. He grabs the open door and pulls himselfinside and into the pilot’s seat. Uh-oh! The stick’s not working, not responding! Oh crap!We see Bond’s blue eyes start to panic...then just in time the plane soars upward as thechemical weapons facility explodes.

Fade up on...Title Sequence“GoldenEye” sung by Tina Turner

“Nine Years Later”

Caroline

James, is it really necessary to drive

quite so fast?!

Bond, is behind the wheel and a young woman, CaROLINE

sits beside him, visibly agitated.

BondMore often than you’d think.

Caroline

I enjoy a spirited ride as much as the

next girl...

James flashes an intoxicating grin...as the Ferrari pulls up beside him. There’s a beautiful brunette behind the wheel. James loves this... Caroline

Who’s that?

Bond The next girl.

Caroline seems to be praying. The red Ferrari brushes past the first biker, knocking himdown and the rest fall over in succession. Caroline’s had enough.

The Ferrari passes him and plays a little road rash...nearly crashing into an oncomingtractor, spinning out of the way. James is loving every minute. Caro-line is now reallypissed off...

Caroline James, stop this! Stop it! I know what you’re doing...

Bond

Really? What’s that, dear?

Caroline You’re just trying to show off the

size of your...your...

Bond

Engine?

Caroline

Ego.Bond

Here we are having a pleasant drive

in the country and you’ve got to

bring psychology into it.

Caroline Well, I was just sent out here to evaluate you.

Bond

Let’s try and put that behind us,

shall we?

The DB5 and Ferrari are still doin’ 90 around a corner when a pack of cyclists are pedaling up a hill. 007 let’s the car pass him...

Bond

Ladies first.

Caroline

James, I want you to stop this car!

James pulls the brake and the car screeches to a halt. He puts his arm

around her.

BondReally?

Caroline STOP THIS CAR AT ONCE!

Bond

As you can see, I have no problem

with female authority.

She flips open a box with two glasses and a bottle of Bollinger champagne in it. Shelooks pleased for once.

Caroline James, you’re incorrigible. What am I going to do with you?

He moves in closer....

Bond

Let’s toast your evaluation, shall

we?

They kiss...

Bond A very...throurogh...evaluation.

She giggles, they kiss and we pan up on the skyline of Monte Carlo.

a t