OCTOPUS Sy REVISED 8/19/82. REV: 6/8/82 1 OUTSIDE AIR BASE - DAY 1 HALF TRACK PERSONNEL CARRIER, filled with PARATROOPERS, approaches rapidly on a road lined with palm trees. Others trot briskly beside it. Twenty yards behind the carrier, following it, an open JEEP pulls a HORSE BOX. In B.G. SENTRIES patrol a SECURITY FENCE. As the carrier moves out of scene the jeep and horse box reach F.G. MILITARY POLICEMAN 2 Directing traffic, In B.G. the carrier stops at the AIR BASE GATES. Beyond them A PLANE is taking off. The policeman waves on jeep and horse box which pass hia. REAR END OF A HORSE is visible above the tailboard. JEEP 3 JAMES BOND behind the wheel. He wears a tweed hacking jacket over a turtleneck sweater, tan riding breeches, butcher boots, riding gloves, and a horsey cloth cheese- cutter cap. BOND'S POV THROU # WINDSHIELD 4 GUARDS at GATES admit carrier. CAMERA PANS LEFT TO SHOW JUMPING in progress. Smart CROWD OF SPECTATORS applaud as MOUNTED HORSEMAN on course in B.G. takes several fences. CLOSE ON LATIN VIP 8 Recognisable by his fatigue cap, beard, and cigar. AIDES behind him more formally dressed. Standing next to him is BIANCA, a young brunette beauty wearing a broad- brimmed natural straw hat and a form clinging strapless black sheath slit on the side. She glances 0.3. BIANCA'S POV 6 JEEP and HORSE BOX turn in among other parked boxes. BIANCA 7 Turning TOWARD CAMERA and leaving crowd. OTHER HORSE BOXES 8 JEEP and BOX stop between them. BOND gets out carrying a briefcase. He walks AWAY FROM CAMERA closer to rear of boxes, glances about, sets down case, removes cap. REVERSE - CLOSE ON BOND'S HANDS 9 Pulling cheesecutter cap off hidden Latin American OFFICEP's cap. ANGLE #IDENS as he puts it on and places riding cap in briefcase. He takes off hacking jacket, turns it inside10 ql 13 14 REV: 6/8/82 2 Continued 9 out, converting it into OFFICER'S TUNIC, replete with insignia, several rows of medal ribbons and leather belt with holstered revolver attached. He puts on tunic, buttons it up, buckles belt, then pulls away neck of sweater. Shirt collar revealed with neatly made tie and colonel insignia on collar wings. He picks up briefcase as BIANCA appears behind him between boxes and walks toward him. CLOSER ON BOND 210 As she stops beside him. : BIANCA (worried) They've scheduled a flight for the plane this afternoon. Security is on full alert. BOND I'll have to go ahead anyway. Stay with the jeep. He hands her the keys. She quickly pins an ID tag on his lapel and kisses him on the cheek. BIANCA Be careful, James. INSERT ID TAG i Photo of BOND above lettering: COL. LUIS BOND AND BIANCA She walks away from him PAST CAMERA as he goes in the opposite direction and turns out of scene behind box. JEEP 13 BIANCA gets into it and looks toward AIR BASE GATES. BOND emerges from bebind boxes and heads briskly towards then. GUARD AT GATE 14 Saluting as BOND reaches him. BOND returns salute and proceeds through gate. ATR BASE INSIDE FANGAR 15 COLUM OF PARATROOPERS, at the double, move TOWARD Cal IN B.G, is a partially screened and partially tarped PL. surrounded by electronic equipment. Paratroopers troz through scene. CAMERA IN CLOSER ON PLANE. © A TECHNICIAN works on nose cone.16 a7 18 19 20 aa 22 23 24 REV: 6/8/82 3 GENERAL ACTIVITY IN HANGAR - TECHNICIANS, MECHANIC, ETC. 16 Working on planes. Doors at both ends of hangar are open. BOND approaches GROUP OF OFFICERS. GUARDS nearby. He indicates ID TAG. Officer glances at it, nods. BOND walks past him. LONG SHOT - SPY PLANE 17 BOND walking toward it. LATIN AMERICAN OFFICER, BOND LOOK ALIKE 18 Appearing from behind CRATED ENGINE. His uniform is identical to Bond's. CAMERA IS ON HIS ID TAG: COL. LUIS TORO. LOOK-ALIKE'S POV 19 As BOND reaches screen in front of SPY PLANE and goes behind it. SPY PLANE - TECHNICIAN 20 Operating electronic equipment around plane. BOND approaches behind him. As technician turns toward him BOND knocks him senseless with a fast rignt hook, catches him deftly as he slumps, lowers him gently to the floor and drags him behind equipment. BOND 21 Opening BRIEFCASE, CaMERA IN CLOSE revealing contents: THERMITE EXPLOSIVE DEVICE. BOND'S HANDS remove it. SPY PLANE 22 BOND places device against fuselage where it holds magnetically. He reaches toward detonator to set it, hears a shout, spins around, finds himself covered by BOND LOOK-ALIKE with drawn revolver. NEW ANGLE - BOND AND TORO 23 OFFICERS leading DETACPMENTS OF PARATROOPERS, some with machine pistols, are coverging toward them. BOND, vastly outgunned, wisely allows look-alike to disarm him. BOND eyes him wryly. BOND You remind me of someone, Colonel. PARATROOPEPS surround them. OUTSIDE AIR BASE - BIANCA 2s Seated in JEEP, She looks 0.S.25 26 27 28 29 30 31 32 33 34 36 HER POV 25 THE MILITARY LORRY emerges through GATES. BOND, guarded by TWO PARATROOPERS pointing rifles at him sits with them in the back. OFFICER in lorry cab with DRIVER. BIANCA IN JEEP 26 LORRY passes her. She turns onto ROAD, follows lorry. BIANCA'S POV 27 BOND and PARATROOPERS in back of lorry. . BOND 28 Aware of BIANCA in JEEP bebind him. HIGH ANGLE 29 PAST BOND AND PARATROOPERS as BIANCA drives closer. CLOSE UP - BOND 30 Looking toward 0.S., PARATROOPERS. BOND'S POV an D RINGS on their PARACHUTE HARNESS. BACK OF LORRY 32 BOND and PARATROOPERS as BIANCA draws alongside in close B.G. She throws PARATROOPERS 2 xiss. They laugn, throw kisses back. CLOSE UP - BOND 33 Tensing. BACK OF LORRY 34 BOND leaps forward at PARATROOPERS. BOND'S HANDS 38 Grabbing D RINGS, one with each hand. BOND AND PARATROOPERS 36 Yanking D RINGS, pulling PARATROOPERS off balance. PARATROOPERS: Dragged backward as slipstream catches parachutes when they start to open. They drop rifle, struggle with chute lines.38 39 40 41 42 43 44 45 46 LONG SHOT CHUTES open and billow out behind LORRY. Pulled out of the back the PARATROOPERS become airborne. CANEKA PANS THEM AWAY as they are dragged jarringly alcrg road when chutes begin collapsing. BACK OF LORRY AND JEEP BOND grabs rifle and leaps into jeep beside BIANCA. BOND They got carried away. BIANCA starts to pass lorry. BIANCA Waving invitingly at OFFICER in LORRY CAB with DRIVER, He responds good-naturedly. JEEP Pulling away from LORRY, BOND shoots out LORRY's front tyres. LORRY Swerving off ROAD, jouncing crazily over rough terrain, piling up against base of palm tree. JEEP Disappearing around curve in ROAD. WRECK! LORRY Bruised OFFICER shouts excitedly into RADIO PHONE AIR BASE GATES PERSONNEL CARRIERS, flanked by MOTORCYCLISTS, roar out filled with TROOPS, JEEP = BOND AND SIANCA Driving along ROAD. BOND Time to go. Gracias, querida. They kiss. BIANCA See you in Miami. He climbs out of car. 38 ag 40 41 42 4a 44 45 4647 48 ag 50 31 82 33 34 86 SIDE ANGLE ~ JEEP - BOND Climbing onto TOWBAR. CLOSE ON BOND Releasing TOWBAR, JEEP AND BOX Separating, BIANCA Waving as JEEP and BOX pull AWAY FROM CAMERA. BOND Waving back from door of BOX, LONG SHOT HORSE BOX rolls to a stop. CAMERA ZOOMS PAST SIDE OF BOX TO FAST PURSUING CARRIERS in distance. SIDE ANGLE - BACK OF HORSE BOX TAILBOARD drops down, CAMERA IN CLOSER as REAR END OF DUMMY HORSE whips up to clear back of box. CARRIERS Closer. SIDE ANGLE - Ba 5 OF BOX BEDE JET, 12’ long, 12' wingspread, w: out and down tailboard, ZS NOW UP, Roses HORSE BOX BEDE'S WINGS come down, In B.G, CARRIERS visible, closing fast, BEDE accelerates towards them. BEDE ~ BOND IN COCKPIT Looking through WINDSHIELD. BOND'S POY CARRIERS and CYCLISTS roaring toward hi LOSE ON OF YC, Registering consternation, 47 48 49 50 53 3460 61 62 63 6a 65 66 67 68 HIS POV 60 BEDE taking off and screaming directly toward him. LEAD CARRIER 61 DRIVER beside OFFICER panics, abruptly pulls over, crashing into MOTORCYCLISTS alongside. DRIVER OF SECOND CARRIER jams on brakes but skids into side of lead carrier, turning it over. TROOPS tumble out. BEDE 62 Roaring past and just above WRECKED CARRIERS and tossed around SOLDIERS. CARRIER 63 Lying on its side. SOLDIER WITH BLOWPIPE MISSILE LAUNCHER appears around it. HIS Pov 64 BEDE climbing away from him. MISSILE LAUNCHER 6s Firing toward receding BEDE, (Note: Possible alternative: RAPIER surface to air missile fired from battery after walkie-talkie call from officer) BEDE IN FLIGHT 66 BOND looks back. HIS POV 67 MISSILE streaking toward hin. BEDE WITH MISSILE FOLLOWING IT 68 As BOND takes evasive action, JET climbs, dives, banks, etc., without losing missile. AERIAL SHOT 69 SHOOTING DOWN AT JET AND MISSIL jet heads toward MESS COUNTRY. MESA COUNTRY 70 BEDE takes tight turns through ravines between mesas as BOND attempts to elude missile or cause it to crash against cliffs.7 12 73 14 73 16 17 18 80 REV: 6/8/82 BOND IN COCKPIT Looking back. HIS Pov Missile still om his tail and closing. BEDE Climbing out of ravine and banking. BOND IN COCKPIT Looking down, then grinning. HIS POY THE HANGAR, doors open, below. BEDE Diving toward HANGAR. INSIDE HANGAR SKOOTING OUT THROUGH OPEN DOORS as BEDE followed by MISSILE approaches them. SPY PLANE in B.G. COLONEL TORO standing beside it. GUARDS, TECHNICIANS, PARATROOPERS, © scatter. Some start to close dcors. BEDE Roaring into HANGAR. BOND IN COCKPIT Looking grimly through windshield. HIS Pov SPY PLANE. TORO beside it. DOORS beyond starting to close. BEDE Passing SPY PLANE with only inches to spare. AFTER J CLOSE UP - BOND Face drawn, tense. OUTSIDE REAR HANGAR DOORS - BED Roaring out just before doors close. CAMERA Pays screaming toward doors still closing. 1 a4 7 76 717 79 80 aL ag84 85 86 87 38 89 90 90a 92 92 93 35- 100 REV: 6/8/82 8 INSIDE HANGAR MISSILE streaks in. TORO Standing beside SPY PLANE, horrified. HIS Pov MISSILE approaching EFFECT MISSILE hits SPY PLANE. EXPLOSION OBLITERATES SCENE, BEDE Climbing away from HANGAR. BOND IN COCKPIT Looking down, registering satisfaction. HIS Pov HANGAR exploding, burning, ete. SPECTATORS at show jumping reacting to column of smoke from hangar. LONG SHOT - BEDE OVER OPEN coUNTRY It speeds awa » gradually slows down. BOND IN COCKPIT Looking at instrument panel. FUEL GAUGE Registering almost empty. BEDE Losing altitude. OMIT 84 85 86 387 33 89 30 904 92 93 94101 103 REV: 6/8/82 10 PETROL STATION IN F.G 101 In 8.G, BEDE comes down over BARRIER OF FRONTIER POST KIOSK, barely clearing it, then taxies uncertainly to PETROL PUMPS and stops. ‘ATTENDANT appears around them, dumbfounded. BOND 102 Pushing up cockpit hood, smiling. BOND Fill her up. ATTENDANT, shaking his head, moves disbelievingly toward pump. MAIN TITLES WEST BERLIN - DUSK 103 CAMERA TRACKS IN ALONG BROAD PAVED APPROACH TOWARD WEST GERMAN SECTION OF WALL. — Floodlit BRANDENBERG GATE visible beyond it. CAMERA HOLDS AT WALL IN CLOSE ON PLACARD. It reads: ACHTUNG! SIE VERLASSEN YOU ARE LEAVI WEST BERLIN CAMERA PANS TO THE RIGHT OVER TOP OF WALL, Passing NO MAN'S LAND. Across it is EAST GERMAN SECTION OF WALL, also floodlit, and guarded by VOPOS in OBSERVATION 16) Buildings of East Berlin visible beyond. PAN ENDS AT TREES. Faint circus usic.104 108 106 108 11a. at LONG SHOT ~ CAMERA SHOOTING THROUGH TREES AND OVER 104 WALL SILHOUETTE OF A CIRCUS TENT in near distance, Faint calliope circus music. Music suddenly crescendos as CAMERA ZOOMS INTO EAST BERLIN TO TENT, Laughter and applause from within it indicate performance is in progress. PARKING AREA ADJACENT TO TENT 105 Glimpsed intermittently is a DIM PIGURE running behind a line of vehicles, Pursuing him, in front of vehicles, is ANOTHER FIGURE. STREET ALONG PARKING AREA 106 BUILDINGS on other side of street. VOPO POST with armed VOPOS halfway down it, DIM FIGURE turns into street, starts AWAY FROM CAMERA, sees Vopo Post, stops, and disappears into alley between buildings. WOODS BEHIND BUILDINGS 107 DIM FIGURE runs into woods, Approaching footsteps. A moment later FIGURE pursuing him appears and follows into woods. Woops 108 SOUND OF DRAGGING FOOTSTEPS, DIM FIGURE stumbles out of thicket, panting. He rests against a tree, CAMERA MOVES IN TO HIM, We now see he is a clown with a grotesquely painted face, red bulb of a nose, orange wig, bowler hat, checkered vest,, baggy pants py coat with balloons attached to it, CAMERA SOV CLOSE ON HIS HAND. He is tightly clutching some kind of small oval-shaped metal object. NEW ANGLE - CLOWN 109 He puts object in coat pocket and darts off aga: CAMERA YOVES WITH HIM THROUGH TREES, HOLDS as his coat catches on a branch, Disentangling himself he brushes against a tree, exploding one of the balloons, and freezes, HIS _PURSUFR aS 1210 Listening. He also appears to >e a circus performer. He is in his early thirties, with a broad not unattractive Slavic face, and wears a loose Russian blouse bell sleeves and cossack pants tuck 0 boots. Around his waist is a belt of throwing knives, He draws one of them cLowN it Peering through brush.132 113 aia ris 116 it 118 119 120 21 HIS POV 112 MAN WITH KNIFE twenty yards away from him. CLOW’ 113 Turning around and moving away along narrow path between trees as silently as he can. Suddenly MAN WITH KNIFE, apparently the one he has been fleeing from, springs out onto path directly ahead of him. CLOWN, startled, stops in his tracks, and stares at him, baffled. Then, recovering, he ducks away from knife thrust, leaps, catches assailant's wrist, and knees him in the groin. OTHER MAN WITH KNIFE (TWIN 1) ala Wincing as though feeling his identical twin's pain. CLOWN 115 Grappling with TWIN 2, breaking away. CAMERA ANGLES HIM ACROSS SMALL CLEARING. TWIN 1 appears at clearing edge, knife raised. He throws it. Knife hits clown's arm and spins away. CLOWN groans, and staggers out of clearing. TWINS 116 Side by side now, both with knives, run across clearing and follow clown. CLOWN a7 Gasping, clutching wounded arm, he stumbles away through thickets. ‘TWINS 18 Pursuing, leaping nimbly through bushes. PATH MERGING FROM WOODS 119 CLOWN comes out onto it and stumbles TOWARD CAMERA. REVERSE - CAMERA SHOOTING FROM BEHIND HIM 120 CABINS on right side of PATH, RIVERBANK on the left. Spanning river is a WEIR (SPILLWAY)patrolled by armed VOPOS. CLOWN 12a Completely exhausted he staggers to side of CAST and leans against it. A KNIF£ THUDS into side o7 cabin, inches from his head. CAMERA PANS TO TWINS coming towards him.123 124 12s 126 127 128 129 130 REV: 6/8/82 3 CLOWN CAMERA MOVES KITH ILIM as ho goes toward WEIR. TWINS. visible overtaking him. as CLOWN reaches top of sloping river bank, TWIN } throws knife. It hits clown in the back between his shoulders. RIVERBANK CLOWN pitches forward and falls down it into the water. THINS Reaching riverbank. OMITTED WEIR As the current carries CLOWN under span and between concrete pillars supporting it. TWINS ON CONCRETE PLATFORM Looking 0.3. THEIR POV Between PILLARS. CLOWN, apparently dead, being carried away by the current on the other side of the weir, His clown's coat, ballooning out, keeps him afloat. TWINS VOPOS above and beyond them on SPAN OF WEIR. 9 TWIN whisper, turn, scramble from platform co riverbank, scurry up it and cut of scene. EAST BERLIN - IMP) BUILDIN - NIGHT MUSIC from within with formally dressed GUESTS arriving for reception at brightly lit main entraace. CAMERA MOVES IN CLOSE ON PILLARED GATE POST, PLAGL: identifies BRITISH EuBAssy. m ANGLE ~ MAIN EN CAMERA SHOOTING FROM LAND: SOEND of beavy gasping, then a moan. CAMERA, lurching, weaving, is now someone moving labouredly toward FRENCH DOORS ja building wing. : 122 123 124 125 126 127 128 129 130132 133 134 134A 135 136 137 REV: 6/8/82 a4 INSIDE EMBASSY ANTE-R0OM 132 CAMERA CLOSE ON AMBASSADOR'S REFLECTION IN MIRROR as he straightens Order on shirtfront. ANGLE WIDENS when he turns for approval to HIS WIFE who smiles and adjusts his white tie. 0O.S. MUSIC AND CONVERSATION HUM, suddenly louder as door opens and ATTACHE enters, then stands beside it. AMBASSADOR offers arm to his wife, She takes it. They start toward the door to greet guests. She stops suddenly, her eyes widening apprehensively. She gasps. HER POV ACROSS ROOM 133 FRENCH DOORS. Pressed against it outside is the ghascly face of THECLOWN. ZOOM TO GLASS DOOR which smashes as he falls through it, still drenched and bloody, into the room, GROUP 134 AMBASSADOR, WIFE, and ATTACFE, stunned and horrified, Stare down at CLOWN lying with one arm outflung toward them. CAMERA IN CLOSE ON HIS FAND. As he dies it opens and a glittering FABERGE EGG rolls out. | CAMERA PANS WITH IT until it comes to rest against the Ambassador's foot. LONDON = DAY 1344 Establishing STOCK SHOT OF MI6 BUILDING. OMITTED 135 M'S OUTER OFFICE 136 Door opens and BOND enters, hat in one hand, small bouquet of flowers in the other. He is about to toss hat on peg of rack when he stops in surprise at the sight of a willowly, unusually beautiful young girl seated behind Moneypenny's desk. BOND (awed) Moneypenny, you get more beautiful every day! MONEYPENNY'S VOICE I'm over here. CAMERA PANS TO MONEYPEN} ‘NY closing filing cabinet. GROUP 137 MONEYPENNY eyes him knowingly. MONEYBENNY That's Miss Penelope Smallbone, ay new assistant.137 REV: 6/8/82 1s Continued 137 BOND (a bit lamely) What can I say? Except that she's as attractive and charming as - as - MONEYPENNY (sweetly) As I used to be? You're really doing great. BOND Moneypenny, you know there's never been or will be anyone but you. MONEYPENNY So you've told me. (indicating bouquet) Are those for M? BOND grins, starts to hand her bouquet, stops, divides it, gives half to MONEYPENNY and offers the other half to SMALLBONE who, somewhat startled, hesitates about accepting it. MONEYPENNY Take it, dear, It's all you'll ever get from him. SMALLBONE (rising, taking flowers) Thank you, Commander Bond. BOND How'd you know me? SMALLBONE Miss Moneypenny described you. MONEY PENNY (tongue in cheek) Tn nauseating detail. BOND I have to hear this. (eo Smallbone) What did she say about me? Mtg VOICE (over intercom) Stop fishing for comp. Double-0-Sev MONEYBENNY I said to leave the intercom open if she wanted to get rid of you. BOND belatedly cosses hat on rack peg and goes into M's of: MONEYPENNY looks after him and sighs. Bebind her S¥ALLRO) is sighing. a bit on her awn,138 REV: 6/8/82 16 M'S OFFICE - M MINISTER FANNING . 138 as BOND enters. Fanning is a scholarly looking slightly pudgy man in his late thirties. | SOTHEBY CATALOGUE and the FABERGE EGG lie on M's desk. M Good morning, Double-0-Seven. I think you know Jim Fanning, our art expert -~ BOND and FANNING nod and shake hands. BOND nods to Minister. M hands BOND egg. M Do you know what this is? BOND Looks like a Faberge egg sir. One of the jewelled eggs made as an Easter gift for the Russian Royal family by Carl Faberge. Priceless things, very rare. M Top marks, Double-0-Seven. BOND (modest ly) Thank you, sir. u (orushingly) Except it's a fake. (he points to the photo of the egg in the Sotheby's catalogue) There's the real thing. Being sold at Sotheby's this afternoon. FANNING I've been monitoring their sales. This is the fourth egg to appear at auction this year, It's from none of the usual sources. Anonymous seller, numbered Swiss bank account. I'd say it's a Bussian. Gindicating egg) Now this turos up, a sear 5 forgery. MINTSTE (to Fanning I think Commander Sond should accompany you to the sale this afternoon.338 139 140 Continued . REV: 6/8/79 FANNING My pleasure. I could use an extra pair of eyes. (to Bond) We'll try to spot the seller. They usually come out of curiosity, sometimes to bid the price up. M Thank you, Fanning. FANNING exits, M picks up MINISTER If it's the Russians it could be an effort to raise currency for covert operations abroad or for payoffs. Hither way we'd better find out what they're up to. a file, hands it to BOND. u Eyes only, Double-O-Seven. Operation Trove. You'll be re- placing Double-O-Nine. He turned up dead in East Germany with == (indicating egg) e+ that in bis & INSERT FILE BOND opening it, taking out photograph of 009, dead in clown costume. M = BOND looking at ints" photo, BOND A clown? uw Double-O-Nine was workiag under cover. we're enquiring about circuses, carnivals and fancy dress balls in the area that aight. MINISTER I'm afraid there isn't mich to go on. BOND We have one lead, sir. He picks up catslogue. 13s141 142 INSERT catalogue page. BOND reads printed words. 14r BOND “The property of a lady". MOSCOW - INSIDE WAR ROOM 142 ELEVEN TOP MILITARY AND INTELLIGENCE BIGWIGS are seated around a semi-circular table positioned on a tiled circle with the hammer and sickle emblem inlaid at the centre. In B.G. on a slightly lower level is a map of the world filling the entire wall. Rightangled to it on one wall is a panel depicting a globe with a hagmer and sickle imprinted on it enclosed by beribboned sheaves of wheat and a Pussian star above it. Directly across from it on the other wall is an enormous portrait of Lenin. GENERAL GOGOL sits at right end of the table. GENERAL ORLOV at the left. ORLOV is an impressive man in his early forties made confident by years of command. Both he and GOGOL, whom we know, wear uniforms, So do one or two of the Others. Seated near GOGOL, taking notes, is his secr RUBELVITCH, 25, She is cool, efficient and athletic. A red phone by her side. tary; CHAIRMAN (elderly soft voice) The next subject on the agenda is the continuing mutual disarmament talks with NATO. I assume you have all read General Gogol’s report. It seems very thorough. He nodsto GOGOL. CAMERA MOVES IN ON HIM. GOGOL, Thank you, Comrade Chairman, 1 believe I expressed the opinion of those present that adoption of NATO proposals would not compromise our defensive position - ORLOV'S VOICE Comrade Chairman ~~ CAMERA PANS TO HIM, CHAIRMAN near Ain. CHAIRMAN (recognising him) General Orlov. ORLOV (bluntly) General Gogol is pre uous, He speaks for himself -- and others who cling to tinid, curdated, un- realistic policies, Must I remind you the committee of our overwnelming superiority over NATO forces before we give it away ?142 143 144 145 19 Continued 142 He rises, picks up small remote control unit, activates it. FULL SHOT ~ GROUP 1A Lights dim, then the circular floor section with the semi- circular table on it revolves 90 degrees to face wall to the right, ORLOV walks toward it, presses lever on r.c.u. A section of the wall slides up revealing AN ELECTRONIC TRANSPARENCY MAP OF WESTERN EUROPE, EAST GERMANY, CTEER WARSAW PACT COUNTRIES, As he speaks lights go on to indicate positions of forces he mentions. ORLOV In East Germany, under my direct command, I have 31 divisions including 11 rank divisions and another five in Czechoslavakia. CLOSER ANGLE - ORLOV aT MAP 144 His voice becomes staccato. ORLOV In support on the Russian Western border are 60 divisions, including 22 tanks. In all, a 10’to 1 advantage. American and West German forces at most can field only ten armoured divisions. The British maintain only @ token force. TRANSPARENCY MAP 145 ORLOV'S VOICE We have played out a variety of attack strategies on the new Kutuzov computer and find that a lightning thrust by 10 armoured divisions from the north westward and by five more through Czechoslavakia, Attack proceeds, red lines of thrust appearing along Several ironts, then spreading into a network branch into finer and finer lines like the arterial system in a living body, ORLOV'S VOIC! == leads to total victory in five days against any possible defence \ scenario, The branches join up and inte: Cermay is cover ine until all West cd by red lights up to the Rhine,446 1st 138 GROUP ~ FEATURING GOGOL Standing up. coGoL, ‘This is absolute madness, We know where it will end. CAMERA PANS HIM TOWARD ORLOV who takes a few steps to meet him wich map behind them, GoGoL, NATO will counterattack with nuclear weapons. CAMERA CLOSER ON HIM AND ORLOV as they face eaca other. ORLOV Never! The West is decadent and divided, It has no stomach to risk our atomic resrisals, all through Europe daily aemonstrations demand their unilateral auclear disarmament . GocoL. I see no reason to risk var to Satisfy your personal paranoia and thirst for conquest. We gust turn our energies to pressing domestic problems. The two men remain defiantly vis-a-vis for a moment, W ANGLE ~ CHAIRMAN 147 GOGOL and ORLOV beyond hin, He stands up. CHAIRMAN Comrades!! Sit down, both of you! GOGOL turns away from ORLOV who remains as he was for another moment. Then he operates remote control unit. CAMERA PANS TO MAP as lights all flash off. ‘Section of wall descends before it, Room lights go up. SEMI-CIRCULAR TABLE 148 Returaing to original ros: reseat themselves nn. GOGOL, then ORLOY, CHAIEUAY World socialism will be achieved peaceably, Cur military role is strictly defensive, Is that clear, General Orlov?14g 149 130 152 21 Continued 148 oRLOV (ieily) Yes, Comrade Chairman. ANGLE on RUBELVITCH as red phone beside her 149 shes, She answers and makes a note which she takes to ORLOV. In the B,G, the meeting continues. CHATRMAN Comrade Gogol, would you continue. GOGOL ‘Thank you Comrade chairman, Now turning to the specifics of my report. You will note some areas ef concern about parity in the development of anti-missile defences. CLOSE ON ORLOV and RUBELVITCH as ORLOV glances at note. ORLOV Tell him I will be there as quickly as possible. RUBELVITCH returns to the phone. KREMLIN EXTERIOR DAY 150 ORLOV crosses the Kremlin courtyard through a mixture of soldiers, office workers and tourists. CLOSER ANGLE - ORLOV 38a TWO GUARDS AT DOOR salute as ORLOV enters impressive doorway, Sign reads in Russian and English "National Art Repository” NOT OPEN TO PUBLIC. KREMLIN - NATIONAL ART TRE. URES REPOSITORY 152 Extensive vault. Arches on both sides, running back to steps leading down, support the low ceiling. In F.G, LENKIN, an agitatedly concerned curator paces up and down before a@ nearoy table covered with jewelled objets d'art. TWIN 1 ally against a glass case watening LENIN venind him in the chamber, visible through ‘the arch nearest him is an open safe and shel ets Zilled with numerous abjets d'art, CAMERA MOVES 1 In a tray divided inta compartments are six Faberge eggs. 4 seventh compa is conspicuously empty. i OOTSTEPS echo over scene.1s¢ 136 REV: 6/8/82 22 LENKIN 153 He turns, looks toward steps. TWIN 1 joins him and looks in the game direction. HIS POV 154 ORLOV, in uniform, comes down steps. oRLoV 155 CAMERA PANS HIM walking toward LENKIN. As he passes chambers beyond arches we see in them innumerable stacked painting, statuary, in bronze and marble, vases, clocks, rolled and hanging tapestries, ornate old state coaches, etc. Cases and crates are stacked about in the area bet- ween arches. ORLOV 186 reaching LENKIN and TWIN 1. LENKIN (anxious) Terrible news, Comrade General. The reproduction was stolen in transit. ORLOV looks sharply at TWIN 1. TWIN 1 The thief was dealt with but the egg was lost in the river. LENKIN (to Twin 1) Your incompetence will destroy us all. ORLOV We'll have a replacement made. LENKIN There's no time, Comrade General. I've just been informed of an unscheduled inventory in two days! (distraughtly) They'll discover it's missing! ORLOV (sharply) Control yourself, Lenk: tell our people ia London we xust have the genuine egg back. (glancing at watch) I bope I reach them in ti rea156 157 158 ise 6/8/82 23 Continued 156 LENKIN Thank you, General, thank you! But hurry! ORLOV turns on his heel. TRACKING SHOT THROUGH REPOSITORY 187 ORLOV with TWIN 1 at his heels. ORLOV Clow voice) Lenkin's mental health concerns me. When his work for us is completed find him a suitable Sanitorium -- in Siberia -~ TWIN 1 Certainly, Comrade General. They walk on. LONDON IN SOTHEBY'S MAIN AUCTION ROOM = DAY 158 About 100 persons of various nationalities, bidders and spectators. 40 PROSPECTIVE BUYERS sit on the outside of three rectangular tables arranged in a horseshoe. At the nSt the wall opposite the main entrance is ER behind a podium. On his right are TWO ASSISTANTS, one to take telephone bids, the other to keep track of reserves and written bids. On the AUCTION: left is a BOOKKEEPER who records sales. Behind and above the AUCTIONEER is a display to register bids in equivalent values of various currencies. Between the top of the horseshoe and the entrance is seating for spectators and other bidders. About half the seats are filled. Eight magnificent diverse chandeliers hang from the ceiling. Antique furniture for future sales is stacked against the walls, large impressive paintings exhibited above them. The auction is in progress. AUCTIONEER 159 Jewelled necklace with matching ea: held by PORTER beside hin. ngs on velvet pillow AUCTIONEER One hundred and twen pounds. One forty? then? thousand 1 done (raps gavel on podium) Sold to Busoni, The next lot is number 148.159 160- 161 162 163- 169 1634 170 am < REV: 6/8/32 Continued PORTER moves out of scene as SECOND PORTER with EGG on velvet pillow approaches podium, AUCTIONEER An imperial Easter Egg by Carl Faberge, chaised in gold and set with rose diamonds and emeralds PORTER starts taking it to various prospective buyers. They examine it with jeweller's loups. OMITTED BOND AND FANNING Seated side by side, BOND AUCTIONEER (V.0.) How much should it z+ and containing a model fetch? in gold and diamonds of Czar Alexander's state FANNING coach -- a superb example Two hundred and fifty of Faberge's work -- to three hundred thousand pounds. More would be crazy, OMITTED AUCTIONEER Consulting catalogue. AUCTIONEER Property oY a lady -- BOND AND FANNING BOND glances around. BOND AUCTIONEER (V.0.) Quite a few ladies I have several bids here. here. I have one hundred and fifty thousand to open -. FANNING one hundred and fifty She wouldn't have to Sixty -~ seventy -- eighty be here in person. -- one hundred and eighty Could be represe! against you, sir -- two by a proxy. hundred BOND sees something of interest. HIS POV MAGDA, a strikingly beautiful Swedish girl in her middle 159 160- 161 162 163- 169 1694 170 a7. &171 172 173 iz4 74a 1748 REV: ' a] Continued 171. twenties, fashionably dressed, entering from outer gallery. She glantes about, sees wno she is looking for, and hurries toward him. BOND AND FANNING 172 BOND (appreciatively) Now there's a lady. FANNING Keep to the business in hand, James. MAGDA 173 Stopping beside KAMAL, a striking figure, immaculately dressed in western clothes. In his early forties, darkly handsome and self~possessed, his body is lithe but athletic. Arms folded he appears completely d interested. (Note: AUCTIONZER'S V.O. announcing rising bids to three hundred thousand during next few scenes). BOND ita watching KAMAL and MAGDA. HIS Pov 14a She is whispering to KAMAL something evidently of urgent import. KAMAL AND MAGDA 21738 He is momentarily disturbed by what MAGDA is telling him. AUCTIONEER (V.0.) hundred thousand -~ and twenty, CLOSE ON DE KUYPER AT DEALER'S TABLE Impressive Dutchman examining egg through jewe AUCTIONEER Are you bidding, sir? (¥.0.) DE KUYPER replaces egg on pillow held by PORTER and shakes his head, KAMAL 475 AUCTIONEER (.0.) AL) done then at three hundred thousand pounds?17s 176 ait 178 179 180 181 182 REV: 6/8/°. 26 Continued 178 KAMAL raises his catalogue. AUCTIONEER (V.0.) Three hundred and twenty. New bidder, Three-forty? OMITTED 176 BOND AND FANNING 1iT Indicating KAMAL. FANNING Interesting. AUCTIONEER (V.0.) snot, Three forty os saxty © > clgnty <= four nundred FANNING in the centre. Any more? Kamal Khan. Usually a seller, Marginal quality from dubious sources. OMITTED 178 KAMAL, ize With catalogue raised. AUCTIO: (¥.0.) Your bid, sir, four hundred thousand. BOND AND FANNING 280 PANNING That should do it, Kamal's gone over the top. AUCTIONEER at AUCTIONEER Four hundred thousand. Any advance? (acknowledges bid in front) Four twenty-five, new bidder. Thank you, sir. CLOSE ON FANNING 182 AUCTIONEER has looked directly ac him, ANGLE WIDENS as he turns to BOND and sees nim with his finger raised. gulps. es182 183 1s4 185 186 REV: 6/8/.. 27 Continued 182 FANNING (under his breath) Are you mad? BOND (calmly) Let's see how badly he wants it. KAMAL AND MAGDA 183 He glances at her, nettled. AUCTIONEER (V.0.) Four hundred and fifty? KAMAL raises catalogue. BOND AND FANNING 184 AUCTIONEER (V.0.) Four-fifty in the centre. Four seventy-five? BOND lifts finger as FANNING holds his head. PORTER with egg on pillow near him. BOND beckons to him. PORTER approaches, KAMAL, 185 Raising catalogue as spectators begin reacting audibly. AUCTIONEER The bid is four hundred and fifty. Four seventy-five? BOND 186 Taking egg from PORTER. He examines it, takes out hand- kerchief, polishes it. AUCTIONEER (V.0.) Against you, sir. Any advance on four fifty? BOND gives egg back to PORTER and lifts finger. AUCTIONEER (V.0.) I have four seventy-five. OMITTED 1831g0 1904 191 192 1g 2 REV: $/8/52 KAMAL Concealing his anger. AUCTIONEER (V.0.) Five hundred thousand? KAMAL glances speculatively toward BOND 0.S. then slowly raises catalogue. Spectators buzz excitedly. AUCTIONEER Looking toward SOND enquiringly. AUCTIONEER I have half a million pounds. Any more? All through? BOND Long pause as FANNING mops his brow. SOND slowly shakes his head. Audible spectator response. AUCTIONEER Looking toward KAMAL. He raps gavel. AUCTIONEER Yours, sir -- five bundred thousand pounds -- Auction continues in 3.G, BOND AND FANNIN Near collapse. FANNING You could have been stuck. BOND I doubt it. He had to buy. PANNING But why? BOND That's what I intend to find our. OMITTED EXT SOTHEBY'S 80ND . Standing among PEOPLE FROM AUCTION discussing it. 4 private limousine is parked at kerb. GOBINDA a tali 28 190 1904 191 192 193 a198 196 REV; c/et22 29 Continued 195 imposing sikh in Indian suit and turban, stands impassive- ly beside it. MAGDA emerges from entrance and passes BOND aS she walks towards limousine, GOBINDA opens door for her. MAGDA turns back and looks at BOND. She appears both interested and amused. She gets into car. KAMAL exits from building. He passes BOND, deliberately ignor- ing him, then joins MAGDA in the limousine. GOBINDA gets behind wheel and drives car out of scene, BOND 196 Stepping out to kerb and nodding to ZEC, MI6 undercover man, who is in driver seat of taxi parked across street. ZEC drives cab after limousine. M'S OFFICE Mf AND BOND 197 BOND is on the carpet. M Most irregular, Double-0-Seven. You had no business bidding for the egg. What would you have done if you got it? BOND Claimed it was a fake and not paid. M (staring at him) Not pay? BOND takes the egg from his pocket. BOND Here's the original, sir. I switched it with the fake during the auction. M (horrified) Good god! What happens when the buyer discovers that? BOND Any legitimate buyer would I don't think Kamal will I might use it to smoxe Zec tailed him to the airpor he took a plane to Dehii. w Follow him there. I'll alert Sadruddin, our man in Station 1,197 ise 200 201 203 Near launch. REV: 6/8/62 Continued ast M (Cont) to keep him under surveillance. Book yourselZ on the next flight out. BOND holds up Air India ticket. BOND I have 55 minutes to make the flight, sir. He starts toward door. M Oh, Bona ~~ (after Bond turns back) Sign a chit for that egg before you leave. it's government Property now. BOND Of course, sir. He exits. Flicker of a smile on M's lips. He starts to light pipe. EXT. INDIA ARCADE IN F.G. DAY 198 Seen through arches a distant HELICOPTER flies left to right where it passes ON THE LAKE (PICHOLA) LAUNCH 199 Heading TOWARD CAMERA. In B.G. HELICOPTER, on floats, rising from the surface, Beyond are island palaces and further away hills sloping up from the far shore. CLOSER ON LAUNCH BOND 200 Among PASSE’ NGERS. He wears well-cut tropical suit. CHANNEL 201 Between PERCODAS on stone jetties. LAUNCH goes between them. CAMERA ANGLES AFTER IT TOWARD GEAT ALONG LA! FRONT OF INDIAN CITY (Udaipur). CROCODILE 202 GHAT INDIAN WOMEN EN MASSE Washing clothes at water's edge. Further up on broad steps others spread them out to dry.204 205 207 208 209 210 2 REV: 6/8/82 31 LAUNCH 204 Now alongside GHAT. BOATMEN tie up as PORTERS, GUIDES, PEDDLERS, etc,, gather around disembarking PASSENGERS, including BOND. BOND 205 Carrying briefcase. PORTER takes luggage. CAMERA PANS HIM UP GHAT through washday activity. FLAGSTONED AREA ABOVE GHAT 30ND 206 Looking around at crowd of PEDESTRIANS, TOURISTS, VENDORS, WATER SELLERS with gourds. CHILDREN, POLICEMEN, etc. CAMERA TRACKS WITH EOND. OVER SCENE'COMES SOUND OF PIPE PLAYING JAMES BOND THEME, CAMERA HOLDS as he stops. HIS POY 207 Barefoot SNAKE CHARMER in native dress sits cross-legged on mat, playing pipe as HOODED COBRA sways before him. BOND 208 walks to SNAKE CHARMER and drops a coin on his mat. INSERT 209 50p coin on mat. BOND (¥,0.) Do you take English money? SNAKE CHARMER 210 stops playing and hands coin back. SNAKE CHARMER Only gold sovereigns. He puts snake into basket and closes hinged lid. He stands up. BOND AND SNAKE CHARMER aur They move towards triple archway leading to main street, Speaking in lowered voices as they walk through the crowd. SNAKE CHARMER Welcome to India, Commander Bond. I'm Sadruddin, Special Expedivor, Universal Exports. BOND Call me James.ann 212 213 2134 21d REV: Continued ail SADRUDDIN Fine, I've booked you into the Shianivas Hotel. Your luggage went ahead. I have a taxi waiting. They pass another SNAKE CHARMER playing a pipe in B.G. INSERT 212 SADRUDDIN's basket lid is pushing up as snake reacts to music. BOND AND SADRUDDIN 213 BOND What about Kamal Khan? SADRUDDIN Exiled Afghan prince. Sportsman. Polo, cricket, tennis, I play a bit myself. SNAKE slithe: s out of basket. SADRUDDIN has difficulty containing it. SADRUDDIN This was the wrong cover. I hate snakes. He ccaxes it back into basket. SADRUDDIN Kamal lives like a Maharajah. That's his place. He points 0.3. LONG SHOT MONSOON PALACE 2138 Visible in far distance across the lake on billtop. An imposing complex more fortress than palace. BOND AND SADRUDDIN ais Continuing toward triple arches. BOND Where does his money come from. SADRUDDIN Claims he's an international art dealer.214 214A 2143 B32 33 Continued 214 Snake out of basket again. SADRUDDIN This is impossible. He stuffs snake into basket and gives it to OTHER SNAKE CHARMER. Snake immediately crawls out and joins the other one. Both snakes sway obediently to pipe. BOND AND SADRUDDIN aida Going through arch. BOND Anything else you can tell me? SADRUDDIN We think he has political ambitions. Very cozy with the Russians. OTHER SIDE OF ARCHES THREE WHEELED TAXI 2148 Waiting there with DRIVER. BOND Where can I see him? SADRUDDIN No problem. He plays backgammon almost every afternoon at the hotel casino. As a guest you are automatically a member. BOND gets into taxi. BOND See you there later. SAaDRUDDIN (grinning) I'll get into something less casual. BOND smiles. Taxi drives off down street away from arches. OMITTED 235 HOTEL PATIO. DAY 226 BOND passing large tiled area around pool. GUESTS, inclu- ding beautiful WOMEN in bikiais, sit aad lie around on deck chairs and mats. A few swim languidly in poci.216 217 218 219 REV: 6/8/82 34 Continued 216 Others at tables under umbrellas. WAITERS serve drinks and snacks from a bar in corner. BOND reaches outdoor reception desk. MANAGER cones around it to welcome him. MANAGER Mr Bond? This way, please. We leads him toward hotel lobby. Curvaceous GIRL in sari emerges from it and passes them. MANAGER I hope you will have a pleasant stay. BOND : (looking after girl) I'm sure I will -- He goes into lobby. HOTEL BEDROOM 217 Attractive young Indian female ASSISTANT MANAGER opens door for BOND. ASST. MGR. Your luggage is unpacked, sir. (smiling invitingly) If I can be of further assistance -- (suggestively) Anything at all -- BOND Perhaps later. She undulates out, closing door behind her. He takes off jacket, tosses it on chair, checks for possible bugs behind picture, crosses to telephone on small tavle near window, unscrews phone, glances at coils, etc., screws phone back on, then notices something outside window through open French doors. He walxs through them out onto balcoay. BOND ON BALCONY 218 Looking down. HIS Pov Road below balcony, a wail, and beyond it AT LAK beautiful traditional LAKE BARGE (Octopussy's) entirely by BEAUTIFUL GIRLS including GWENDOLINE, Powerful one, and MIDGE, pert and tiny. They are loading ” supplies. A flag depicting AN OCTOPUS flies from a mast.2198 2198 219C 219D 220 221 222 223 224 REV: e/g" 75 BOND 2198 Registering surprised interest, HIS POV 2198 MAGDA is now visible among the other GIRLS as she moves across deck toward gangplank, BOND CAMERA SHOOTING FROM BEHIND HIM 219¢ IT ZOOMS IN ON MAGDA as she comes ashore. Beyond her OCTOPUSSY'S PALACE is visible on the lake in the distance. BOND ON BALCONY 219D Continuing to look after MAGDA, then turning thoughtfully away from window. SHIANIVAS CLUB DAY 220 Ornately furnished and appointed room with several BACK- GAMMON PLAYERS at separate tables. Fashionably dressed ONLOOKERS. Small bar along one wall. KAMAL AND MAJOR CLIVE GROUP AROUND THEM 221 Watching them play. GOBINDA, arms crossed, in B.G. SADRUDDIN near kibitzers. He wears a blue blazer, crossed tennis rackets emblem on breast pocket. CLIVE, white hair and moustache, is an elderly retired army officer. CLOSER ON KAMAL AND CLIVE 222 As they play, CLIVE tensely, KAMAL very confidently. ENTRANCE FROM LOBBY BOND 223 Entering, smartly dressed in white jacket. CAMERA TRACKS HIM TO GROUP AROUND KAMAL AND CLIVE, HOLDS as he reaches SADRUDDIN. They converse in low tones. BOND How's he doing? SADRUDDIN Amazing luck. The Major's no novice but Kamal's taken 200,000 rupees off hin. They watch game. KAMAL AND CLIVE : 224 Moving quickly, picking up his dice confidently.224 225 226 229 Continued 224 CLIVE You'll have a job beating that -- KAMAL (after studying board) I feel lucky, Fancy a double? 20,000 rupees? He pushes doubling cube across table to CLIVE who smiles. CLIVE Of course. KAMAL is holding dice cup. INSERT 225 Barely perceptible sleight of hand palming dice he bas been using and dropping loaded ones into cup. KAMAL AND GROUP 226 He shakes dice cup and rolls dice. Double six. CLIVE Damn! Always a double six when you need it! KAMAL (picking up dice) It just isn't your night, Major. BOND AND SADRUDDIN 227 SOND glances at him. Did he spot sleight of hand? He sees someone 0. HIS POV MaGDa 228 Chickly dressed sitting at bar. BOND CAMERA TRACKS HIM TOWARD HER 229 KAMAL*S VOICE Another game, Wajor, same stakes? CLIVE'S VOICE I'll have another go. Your luck has to run out sometime, CAMERA HOLDS as BOND reaches MAGDA at BAR. She has almost finished long drink in front of her, BOND May I join you?229 230- 233 234 2348 2348 Continued She turns to him, trying to place him. BOND Sotheby's, half-a-million pounds. MAGDA The man at the auction. You have a good memory for faces. BOND (looking her over) +++ and figures. MAGDA This can't be a coincidence. BOND Definitely not. Can I buy you another drink? MaGDA No, thank you. BOND Some other time perhaps? 229 She shrugs, rises. CAMERA TRACKS WITH HER TO GROUP AROUND KAMAL AND CLIVE playing another game. CAMERA HOLDS as she stops and stands behind KAMAL. OMITTED KAMAL AND CLIVE AT BACKGAMMON BOARD CLIVE bears off four men. He has four left. One on six points. KAMAL has six men on board. CLIVE leans back confidently. SADRUDDIN As BOND joins him. SADRUDDIN (whispering to him) Looks like the Major's got hin. KAMAL AND CLIVE GROUP Including SOND and SADRUDDIN. KAMAL Way don't we make it interesting, Major? A double to 100,000 rupees? 230- 233 234 2342348 g 236 2378 238 REV: 6/8/82 38 Continued 2348 Buzz from onlookers as he places cube in front of CLIVE, who hesitates, CLIVE (shaking his head) Tean't accept. Not with your luck. You win, He stands up. BOND (to Kamal) I'd have accepted that double. Murmur from onlookers, KAMAL turns to BOND, aware of him for the first time and recognises him. BOND AND KAMAL 235 With MAGDA behind him. He gazes at BOND, maintaining his sang froid. KAMAL Then why don't you take over the Major's position, Mr BOND Bond, James Bond. I'd be glad to. KAMAL 100,000 rupees then. BOND nods, KAMAL picks up dice cup. OMITTED 236 INSERT 237 Barely perceptible sleight of hand again with dice, BOND 2374 Watching. Has he spotted it yer? KaMaL 238 Throwing dice. Murmur from onlookers, KAMAL, Double six. He bears off four men, only two men are now lef: on bis ne point. ANGLE WIDENS TO INCLUDE BOND. cod238 Continued 238 KAMAL It was not such a good double to accept after all, was it? BOND looks at board, then takes doubling cube and puts in front of KAMAL. BOND Double? KAMAL (amazed, smiling) Of course. You can only win with a double six, The stake is 200,000 rupees. Can you cover the bet? 2384 CLOSER ON BOND AND KAMAL, 2383 BOND takes genuine Faberge EGG out of jacket pocket and places it on the table. KAMAL's eyes narrow. BOND I think you will agree this is ample security. KAMAL (quietly) Play, Mr Bond. You'll need a great deal of luck to get out of this, He reaches for his own dice but BOND's hand covers them first. BOND Player's privilege then -- so I'll use your lucky dice. He puts KAMAL's dice into his cup as KAMAL conceals his chagrin. BOND shakes dice cup, rolls dice. 2388 0: INSERT DICE 2388 They fall double six, 238C BOND AND KAMAL — ONLOOXERS Buzz of excited comment from them. BOND (feigning surprise) Double si nagine that. 200,000 rupees, wasn't it?238C 238D 239 2398 240 241 Continued 238¢ He puts egg back in jacket pocket while KAMAL supresses his rage. He takes cheque book out of inner pocket. GOBINDA produces a pen. KAMAL hurriedly writes a cheque. BOND I prefer cash. KAMAL glowers at him, hands cheque to CASINO ATTENDANT. KAMAL Get it cashed for him. ATTENDANT takes cheque, exits scene, KAMAL turns back to BOND. KAMAL Spend the money quickly, Mr Bond. BOND I intend to, Kamal Khan. KAMAL strides out of scene, followed by MAGDA and GOBINDA. CASINO FOYER CASHIER'S CAGE 238D CASHIER is giving BOND wads of rupees, He fills all pockets with them, including inner ones. OUTSIDE HOTEL 229 CAMERA SHOOTING THROUGH GOSINDA THREE HEEL! TOWARD BOND AND SADRUDDIN getting into SADRUDDIN T WHEELER, BOND in back, SADRUDDIN behind wheel. He drives out of Scene, INSIDE GOBINDA THREE WHEELER GOBINDA 2394 Sitting in back loading sawn-oft double barrelled shozgun. Next tohim is a burly scarred GOON 1, DRIVER 1 in front, follows BOND and SADRUDDIN THREE WHEELER. SIDE STREET SADRUDDIN THREE WHEELER 240 GOBINDA's behind it, IN SADRUDDIN THREE VHEELER © SaDRUDDIN anD BOND Looking back, drawing revolver. BOND We're being tailed. SADRUDDIN No problem. This is a company car. st241 243 244 245 24a REV: 5/ a1 Continued 241 He flips on supercharger. 242 SADRUDDIN car easily pulling away from GOBINDA's, appar- ently losing it. WILLY JEEP, with DRIVER 2, and GOONS 2, 3 and 4, suddenly roars out of another side street, pulls over and sideswipes SADRUDDIN THREE WHEELER. SADRUDDIN regains control of wheel. TRACKING SHOT SADRUDDIN THREE WHEELER AND JEEP 243. Continuing down street side by side. GOON 2 leaps forward toward BOND with § BLADED KNIFE and stabs at him while hanging on to three wheeler with one hand. SOND eludes thrusts but loses gun. GOON 2 strikes again, this time apparently stabbing him in the heart. CLOSER BOND AND GOON 2 244 Amazingly BOND remains upright. GOON 2, dumbfounded, stares at him. BOND takes advantage of his momentary confusion to kick him in the gut. GOON 2 doubles up. BOND bits him in the chin with his knes, knocking him into street. CLOSER ON BoND 245 Pulling open jacket. Point of blade has cut through nis breast pocket and embedded itself in a wad of bills fi ing inner pocket of jacket, He pulls knife out, throws knife ills away. SADRUDDIN 2 Driving with one arm and trying to Zend off GOON 3, who is attacking him with scythe-like knife. GOON 2 is half on three wheeler and half on jeep. SADRUDDIN reaches down, comes up with tennis racquet. They exchange swings and thrusts. THREE WHEELER AND JEEP CAMERA STILL TRACKING 287 As they swerve precariously, SADRUDDIN: . 248 Trying Sesperavely to centrol car with one hand while he eludes GOON 3's knife and swinging racquet, strings sow unravelling, CAMERA IN CLOSER as be makes a tremendous Qverhand smash on GOON 3's head, Frame of racquet cones down ovary it to around his neck, SADRUDDIN shoves hard, releasing racquet handle, aad sends GOON 3 flying back- wards off cars which are still side by side.2488 248B 248C 2480 2485 2486 248H 2481 2a8d REV: 6/8/62 42 SADRUDDIN 2488 Looking forward. HIS Pov 2485 Back of CAMEL CART, loaded with lumber, is in front of cars, blocking the way. SADRUDDIN 248 Shouting back to BOND. SADRUDDIN Hang on! HIGH ANGLE SHOT 2480 SADRUDDIN drives THREE WHEELER toward CAMEL CART, runs it up inclined bed of cart which acts as a ramp. Three wheeler jumps over DRIVER OF CART AND CAMEL IN FRONT OF IT, then continues along side street. Meanwhile JEP has swerved to avoid camel cart but space is too narrow to pass it. Jeep, with DRIVER 2 and GOON 4 piles up against side of building, spilling them out. SIDE STREET SADRUDDIN THREE WHEELER 248E Continuing on, FURTHER BACK GOBINDA THREE WHEELER 2 5 DRIVER manages to get it through between CAMEL CART and wall, then passes wrecked jeep. STREET ELEPHANTS 248G Blocking the way. SADRUDDIN THREE WHEELER slows down. cos: NDA THREE WHEELER 248 Closing on SADRUDDIN's, GOBINDA levels sawn-off shotgun. REAR OF SADRUDDIN'S THREE WHEELER 24st BOND (shouting to Sadruddin) Duck! SADRUDDIN ducks down and BOND jumps off just before GOBINDA gets off shot which blows upholstery apart on seat where ne had been. BOND 2 He hits ground, rolls, comes up running. In 3.G. SADRUDDIN turns his car off into alley. 30ND cuns into SQUARE.4 25: 25) 25) 25: 9 1 2 3 4 REV: 6/2 square 249 A BAZAAR area. BOND moves past VENDORS, PEDESTR patronizing stalls, TOURISTS, NATIVES - festively dressed observing the Festival of Holi. GIRLS 250 One drapes floral chain on BOND, others laugh. He looks back. HIS POV GROUP 251 Looking for him. It includes GOON 1 and DRIVERS } and 2. They are closing on him. BAZAAR CROWD AROUND GROUP OF FAKIRS 252 Watching them perform. They include one running barefoot on narrow lane of hot coals, another juggling flan torches, a third swallowing a sword, and a fourth lying barebacked on a bed of nails. WOMAN near one end of bed of coals stands beside pot of hot oil cooking Samosas. BOND, trying to lose himself in crowd, runs straight into GOON’4. “BOND turns pushes through crowd away from him, GOON 4 follows. FAKIR JUGGLING FLAMING TORCHES BOND 283 GOON 4 almost on him with vicious looking spiked cosh. BOND catches one of the torches, turns and thrusts it directly at pursuer's face. GOON 4 leaps back before torch touches him. BOND throws torch back to FAKIR and moves away, GOON 4 points after him as DRIVERS 1 and 2 reach him. GOON 4 AND DRIVERS 1 AND 2 254 Pushing through crowd following BOND. BOND 255 Looking back at them is suddenly seized from behind by GOON 1 who clamps strangle hold around his neck. SOND struggles to break hold. CAMERA ANGLES TO FAKIR LYING ON BED OF NAILS. He sees scuffle, gets gingerly off nails, BOND reaches back, gets hands behind GOON's neck (old life-saving swim break) and flips over his head. GOON 1 lands splat!! on bed of nails with BOND on top of him and then front somersaulting off and over him to land on his feet. During action spectators scatter. cor DA Across square from BOND. Reacts to scuffle. Sees SOND and single-mindedly moves toward him shoving people out of his way. =257 258 259 260 261 262 263 264- 265 266 REV: G/"/39 34 NEW ANGLE BOND DRIVER 1 attacks aim with knife. BOND eludes thrust. DRIVER 1 moves toward him, knife poised. BOND backs away, finds himself next to SWORD SWALLOWER with sword down his throat. He deftly pulls it out. As DRIVER 1 moves in for the kill, BOND whacks him hard op vh2 back of his head with the flat side of the sword. DRIVER 1 sprawls forward. BOND hands sword back to open-mouthed sword swallower, BOND (hurriedly) You better put this back yourself -~ GOBINDA Pushes his way toward BOND. PEANUT VENDOR's cart blocks way. He lifts it on to one side and shoves it aside, He continues on his way, BOND CAMERA TRACKS HIM. In 8.G. barefoot FAKIR runs over lane of red hot coals. CAMERA HOLDS as BOND stops abruptly. HIS POV GOBINDA, DRIVER 2 and GOON 4 still fit advancing toward him. LANE OF HOT COALS BOND He jumps across it, lands beside WOMAN FOOD VENDOR near end of lane. She is frying samosas in POT OF HOT OIL. REVERSE ANGLE GOBINDA AND OTHERS Reaching lane of hot coals. BOND on other side. He kicks over brazier toward them. Pot of hot oil lands on hot coals. EFFECT INSTANT FLAMES LEAP UP between BOND and PURSUERS, Smoke billows up. GOBINDA aad OTHERS are drives back. OMITTED BOND IN SMOKE Eluding PURSUERS. He emerges from smoke. 287 258 259 260 261 262 263 264~ 268 266266 267 268 269 270- 282 283 284 286 Continued 266 SADRUDDIN'S VOICE Over here! CAMERA PANS TO SADRUDDIN in 3 WHEELER, engine running, at street leading out of square. BOND races into scene and jumps in car. CAMERA PANS BACK TO GOBINDA AND OTHERS resuming pursuit. STREET SADRUDDIN 3 WHEELER BOND 267 It encounters heavy PEDESTRIAN TRAFFIC with MANY CHILDREN playing in the street. BOND looks back as SADRUDDIN has to slow down. HIS POV GOBINDA AND OTHERS 268 GOBINDA and the nose is dented oy unhurt. He strides to TAXI DRIVER, pulls him out from behind wheel, boots him out of scene, climbs into front as OTHERS get in back, and drives TOWARD CAMERA. STREET SADRUDDIN 3 WHEELER 269 Moving very slowly among PEDESTRIANS. TAXI gaining on it because GOBINDA drives directly at PEDESTRIANS to make them scurry away. 270- OMITTED 32 BoxD 283 Looking for escape route, suddenly remembers money. He takes out wads of money and standing in rear of 3 WHEELER, throws money he won at casino high in the air behind him. STREET 284 PEDESTRIANS and CHILDREN scramble for money. OTHER PEOPLE run out from doorways, etc., creating traffic jam. BOND 285 Looking back at crowd. BOND (wryly) Inflation can't be all bad -- GOBINDA AND OTHERS IN TAXI 286 Stopped by jam before them. They get out of taxi and push their way through crowd. Money floats by, carried by wind.287 2878 2878 287 289 290 291 292 292- REV: 6.3/8 3 SADRUDDIN 3 WHEELER CROWD in front of it thinning, it heads toward entrance to alleyway. GOBINDA AND OTHERS Emerging from crowd. GOBINDA POV SADRUDDIN 3 WHEELER Turning into alley. GOBINDA AND OTHERS Running toward it. ALLEYWAY 3 WHEELER BOND reacts as SADRUDDIN drives directly at CINEMA POSTER ON WALL OF BUILDING, Poster features horrific fiery DRAGON. Small door beside poster. LITTLE MAN sits on stool beside it with brush and pail. POSTER 3 WHEELER rips through it. INSIDE BUILDING GARAGE AREA 3 WHEELER stops. LARGE CORRUGATED IRON DOOR drops behind it. OMITTED GOBINDA FOLLOWED BY OTHERS Runs into ALLEY. No 3 wheeler, LITTLE MAN is replacing poster with another. DRAGON NOW HAS TONGUE OUT GOBINDA looks about, puzzled. OMITTED INSIDE BUILDING BOND Looking through tiny peephole in small door EIS POV GOBINDA and OTHERS walking away. BOND Grinning, turning to SADRUDD: 287 2878 2878 287C 288 289 290 291 292 292 296 2963 298298 299~ 300 301 Continued 298 BOND It pays to advertise. SADRUDDIN leads him through door in garage wall. 299- OMITTED 300 Q'S WORKSHOP (Samod Room) 301 Set up in capacious once magnificent room in an old palace, now housing Universal Exports complex. BOND and SADRUDDIN enter. Q, supervising activity, turns towards them. BOND How are you, Q? Q (heatedly) Most unhappy, thanks to you, double-0-Seven! How can’ I Maintain the quality of ay work, sent out on a day's notice, no proper facilities. CAMERA TRACKS HIM AND BOND TOWARDS TECHNICIANS working on gadgets for possible use in India. CAMERA HOLDS as they stop beside a COILED ROPE with YOUNG INDI. Standing beside it. M steps on foot pedal. Hissing sound. Rope inflates and stands up. Young Indian Starts shinnying up it. Rope suddeniy deflates wich bissing sound, YOUNG INDIAN sprawls on his face, BOND Having a problem keeping it up, Q? 7 Q Clamely) Experimental model, They walk past a free standing DOORWAY, which opens our- ward against a small return wall. The’ door is ornate, traditionally Indian, and clad in brass plates with spikes at various places. A full sized SUMAN DUMMY stands before the door on a "welcome" mat. 4 white-coated CIAN Stands to one side holding a fishing rod and lice.304 REV: 13.8,.22 47a Q'S WORKSHOP (Samod Room) 301 As SADRUDDIN and BOND enter capacious once magnificent room in an old palace, now housing Universal Exports complex. Q, supervising activity, turns towards them. BOND How are you, 0? a (heatediy) Most unhappy, thanks to you, Double-O-Seven! How can I maintain the quality of my work, sent out om a day's notice, no proper facilities. CAMERA TRACKS HIM AND BOND TOWARDS TECHNICIANS working on gadgets to possibly use in India. CAMERA HOLDS as they stop beside a COILED ROPE with YOUNG INDIAN standing beside it. O steps on foot pedal. Hissing sound. Rope inflates and stands up. Young Indian starts shinnying up it. Rope suddenly deflates with hissing scund. YOUNG INDIAN sprawis on his face. BOND Having a problem keeping it up, Q? o Clamely) Experimental model. ‘They walk past a free standing DOORWAY, which opens outward against a small return wail. The door is ornate, traditionally Indian, with spiked brass plates at various places. HUMAN DUMMY stands before the door on a “welcome mat. A white-coated TECHNICIAN stands to one side holding a fishing rod and line.301 302 303 204 305 306 REV: 13/8/82 Continued 301 TECHNICIAN uses the hook at end of fishing line <5 @ingerly raise knocker. He lets it fall. ANOTHER ANGLE 302 Explosion as the door flies open crushing dummy against wall. Door closes. DUMMY is flattened against wail several holes where spikes have entered it. Dummy's boots left standing on welcome mat. BOND AND Q 303 BOND Smashing, Q! Q I find your constant attempts at humour most tiresome, Double- O-Seven. Come along. | I have a few things for you. They move to Q's work table covered with gadgets, some still in work, ete. BOND Is the homing device ready? He takes EGG out of his pocket and places it on table. OMITTED 304 a 305 He takes top off EGG, CAMERA IN VERY CLOSE, revealing tiny jewelled coach inside it. O's band picks up miniscule bug with tweezers, QS (Y.0.) Integrated cireuit, not only a homing device but an extremely delicate microphone as well. Wand places bug inside coach, puts top back on egg, picks up pen. @ AND BowD 306 As he pockets egg. @ hands him a pen.REV: 13/8/82 49 306 Continued 306 Q Ordinary fountain pen. Twist top and ... A drop from the pen falls into metal ashtray on desk and burns a hole in it, Q sss @ highly concentrated mixture of nitric and hydrochloric acid. Dissolves all metals. BOND (taking pen) For poison pen letters? BOND notices nearby a TECHNICIAN adjusting a T.V. CAMERA. WRISTWATCH T.V. on MODEL ARM. ° \ Now pay attention, Double-0- Seven. Pull the top off the pen... Does so then partly extracts wire attached to earpiece. ° +++ With this earpiece you can listen in on the dug. (putting top back on pe: over earpiece) The homing device in the bug is compatible with the standard issue radio directional finder in your watch. BOND "activates" finder, 307 INSERT BOND'S WATCH 307 Bleeping sound as directional finder needle shows location of egg. 308 Q AND BOND 308 Turas to T.V, ATCH and locks at screen. 308A INSERT test pattern on screen. 30883088 308C 309 REV: = 13/8/82 BOND 3088 Pans T.V. camera off test pattern. BOND AND Q 308C Looking at T.V. screen, It zooms in to cleavage of well-endowed FEMALE INDIAN TECHNICIAN. BOND Perfect image, Q. ° Really, Double~0-Seven, I have no time for these adolescent antics. Get along Ihave to sort out this HOTEL PATIO - NIGHT 309 GUESTS, many in evening clothes, sit at tables. Lanterns add a festive touch to the scene, NATIVE TRIO play traditional Indian msic in B. CAMERA IN ON BOND as he comes in from the left and looks around. MAITRE D approaches him. MAITRE D Your table, Mr Bond? BOND I didn't reserve one, MAITRE D Your guest is waiting, sir. This way if you please. CAMERA TRACKS THEM TO MAGDA seated alone at a table, champagne ready in ice bucket. She has changed into an elegant sari. She smiles engagingly up at him, her eyes vivacious, gestures for him to sit down an nods to Maitre D. | Bond seats himself opposite her as Maitre D pours champagne and leaves. BOND I'm so glad you changed your mind. MAGDA Are you? BOND Kamal's other representatives are a bit heavy handed. Has he a propostion for me? a302 310 31. REV: 13/8/82 BL Continued 309 In B.G. GIRL PHOTOGRAPHER snaps photo of another couple. MAGDA He suggests a trade. The egg for your life. BOND I heard the price of eggs was going up, but isn't that a bit bigh? GIRL PHOTOGRAPHER snaps picture of Bond and Magda. MAGDA (to her) Charge it to Room 27. GIRL PHOTOGRAPHER I'll leave it at the desk. She exits. maGDa You don't mind. BOND Not at all. Do you really want the photograph? MACDA For my scrap book. She gazes at him invitingly. MAGDA I collect memories. BOND Then let's get on with making a few, He rises, holds out his hand. She takes it, rises. They walk out of scene together. BOND'S HOTEL BEDROOM ~ NIGHT 310 A CHAIR, Bond's clothes lie haphazardly with jacket hung over back, End of Magda's sari across seat. CAMERA follows trail of sari to edge of Bond's bed and up to BOND and “AGDa, . DELETED 312312 313 313A a14 318 “REV: 13/8/82 50 CLOSER ON BOND AND MAGDA 312 Post ‘coitus. MAGDA smoking in bed. BOND gets up and pours the last of the champagne into a glass. Boxn Dead. Better get another. MAGDA Don't bother, We'll make it a loving cup. He sits next to her on the bed. She turns on her stomach and stubs out her cigarette in an ashtray on a table on the other side of the bed. BOND'S FOV 313 ‘The sheet coves down her back as she stretches, revea a tattoo of a small octopus high on her left buttock. CAMERA COMES IN CLOSER on it. BoND 3138 Indicating tattoo, BOND What's that? She turns back to see what BOND is looking at. MAGDA That's my littie Cetepusey. She turas back and pulls the sheet over her breasts. She moves closer to BOND and takes a sip from the glass. She puts the glass down on the bedside table next to him. MAGDA Let's get back to cakiag memories. She Kisses him and thep lie back on the b: embrace. in a paseionate EXT. ROAD BELOW BOND'S BEDROOM ~ NEAR DAWN 314 up and parks on roadway KAMAL’ s Rolls Royce slowly drives OBINDA gets cut and looks with Lights switched off. COB up at bedroom window. BOND'S BEDROOM ~ NEAR DAWN 348 BOND in bed, opening his eyes slightly. ANGLE WIDENS,315 316 317 318 319 320 REV: 13/8/82 53 Continued 315 He sees the tail end of Magda's sari snake across the bed. His eyes follow it to MAGDA winding her sari around her. ANOTHER ANGLE 316 BOND “wakes up". BOND Good morning. MAGDA I didn't want to wake you. He rises, puts on a robe as he comes to her. Behind MAGDA is a LARGE MIRROR, MAGDA But since you're up we can say a proper goodbye. She kisses him. MIRROR 317 Reflection of BOND and MAGDA. BOND's eyes watching in the mirror. MAGDA's hand expertly slips GG out of Bond's jacket hanging over the back of the chair, BOND AND MAGDA 318 She breaks off the kiss and turns toward the balcony. MAGDA I hate to go, He follows her onto the balcony, BALCONY - DANN 319 She stands facing over the rail. MAGDA 4 beautiful sunrise. BOND puts his arms around her shoulders. INSERT 320 MAGDA'S HANDS tie the end of her sari to the top rail of the balcony,REV: 13/8/82 sa 920A BOND AND MAGDA 322 323 324 325 427 She turns back to him. MAGDA, IT don't know how to say goodbye, BOND Actions speak louder than words. MAGDA That's so true. She turns her head, gives him a peck on the cheek and flips forward over the top rail. SEOOTING UP AT BALCONY As sari unravels and she slides down it. BOND over balcony, watching her. ROAD - MACDA Reaching it. She is now in a bikini, holding the egg in her hand. ROAD - KAMAL'S ROLLS ROYCE Waiting there, He sits bebind wheel, MAGDA climbs in beside bim. BALCONY = BOND Looking down at ROLLS driving away. He goes back into room. ROOM ~ BOND hing broadly. GOBINDA suddenly appears behind him. coldcocks BOND with a terrific chop to the back of his neck. . UDAIPUR LAKE - CCTOPUSSY BARGE CREWED BY WOMEN - Day 3208 321 322 323 324 325 326 327 BARGE approaches Floating Palace Quay. MAN stands on deck.328 329 330 331 REV: 13/8/82 344, CLOSER ON HIM 328 It is KAMAL. OCTOPUSSY GUARDS on walls. Other await arrival on quayside. RLS QUAYSIDE - BARGE 329 It docks. Oars up. KAMAL disembarks and is escorted inside by GIRLS. INTERIOR COURTYARD - KAMAL AND GIRLS 330 Walking through INTERIOR GARDEN COURTYARD with long reflecting pool. The GIRLS lead KAMAL to a DOORWAY. He enters alone. INT. OCTOPUSSY'S PRIVATE ROOMS 331 KAMAL enters large suite of rooms. The main room is divided by wall about waist high with a series of FISH TANKS above. The centre tank is filled with BLUE RINGED OCTOPUSES. Other tanks contain EXOTIC FISH. On the side opposite the entrance is a door to Octopussy's bedroom. KAMAL enters. OCTOPUSSY feeds the fish and octopuses. She is a tall, willowy woman wearing a robe with an Octopus motif on it. We do not see her face during the scene. KaMAL comes to her and takes the FABERGE EGG from his pocket. KAMAL We have recovered the egg. PAUSE. No reaction from OCTOPUSSY. KAMAL Aren't you pleased? Octopussy Iam not pleased it was stolen from us, nor that the thief knows enough about us to bring it here. AMAL I have him at the fort. He Will tell me all he knows ev: octopussy Who is he?REV: 13/8/82 348 331 Continued 331 KAMAL An Englishman, Ris name is James Bond, QCTOPUSSY remains motionless for a moment. The name evidently means something to her. octopussy (after a beat) Bring him here. KAMAL He's dangerous. Let me dispose of hin. ocTopussy No. KAMAL As you say. But I think it's a mistake. octopussy (coldly) I will think for us, Kamal.+ She turns her back, dismissing him. He controls his anger, turns away from her, exits. She resumes feeding fish, THE OCTOPUSES react swiftly, devouring a morsel of food she drops into their tai332 333 334 REV: 13/8/82 55 LONG SHOT ~ MONSOON PALACE - DAY 332 KAMAL'S ROLLS is approaching inner gate. INNER GATE 333 Gate and walls are manned by a rough lot of AFGHAN TRIBESMEN, still loyal to Kamal. INT. BOND'S ROOM ~ MONSOON PALACE 334 BOND, lying on cot, wearing the terry cloth robe, hears BLEEPING SOUND, aad groggily awakes. He shakes his head to clear it, realises bleeping comes from wrist watch Q gave him. He looks about, orientating himself, rises unsteadily, focuses on watch.335 336 337 338 339 340 REV: 6/8/82 36 INSERT 335 HOMER NEEDLE (the second hand) indicates direction egg is approaching from. BOND 336 He goes to BARRED WINDOW, looks out. HIS POV WALLED COURTYARD BELOW 337 TRIBESMEN at GATE admitting Kamal Rolls. He parks, gets out. BOND'S ROOM 338 BOND crosses from window to door, tries it, finds it locked from outside. He looks around Toom, opens closet, sees his clothes hung neatiy in it SOUND OF KEY in door lock. He quickly switches off homer blee Door opens. GOBINDA and HOUSESOY, carrying Bond's freshiy pressed black jacket and black trousers, enter. BOND (sardonically) I can't complain about the valet service, GOBINDA (tonelessly) Dinner. Eight o'clock. HOUSEBOY hangs jacket and trousers in closet, then follows GOBINDA out.” SOUND of door being locked. CORRIDOR NIGHT 339 GOBINDA escorts BOND, wearing black jacket, to door of dining room. He gestures for BOND to énter. DINING ROOM 340 Elegantly furnished. BOND enters, followed by GOBINDA. KAMAL and MAGDA sit at opposite ends of the table. There is a seat for 3OND between them. GOBINDA pzods BOND forward, then closes the door and stands by it, folded arms. KAMAL Good evening, Mr Bond. ‘ell rested? believe you and Miss Magda have net. BOND It was a pleasure. MAGDA (overly formal) 7 You're too kind. %340 REV: 6/8/82 57 Continued 340 KAMAL indicates chair. BOND sits down, BUTLER places appetiser before him. KAMAL 1 hope you don't mind if we start, The soufflé can't wait, BOND Why am I here? © You have the egg. KAMAL Yes, but not all the answers. BOND I don't feel much like talking. KAMAL Don't worry, You will. BUTLER removes plates. BOND Thumb screws and hot coals? KAMAL Hardly, We're much more sophisticated than that. BOND Sodium penthatol? KAMAL A bit crude. Very unreliable. I prefer curare with an effective psychedelic compound. Guaranteed results. BOND But with permanent brain damage. KAMAL An unfortunate side effect. BUTLER arrives with salver and silver cover KAMAL Ah, one of our specialities -- KAMAL =- stuffed sheep's head.340 gal 942 343 344 6/8/82 58 Continued 340 BoND 1 seem to have lost my appetite == Hy watches BUTLER serve KAMAL who falls to with relish. BOND glances 2t MAGDA, She responds with an almost imperceptible rueful shrug. CORRIDOR MAGDA AND BOND 341 As she leads him toward his room at end of corridor. There it turns right and runs past other rooms with a staircase beyond them. Following them are GOBINDA and TWO ARMED TRIBESMEN. Sefore they reach BOND's room MAGDA stops outside hers: and opens it. MAGDA Well, I'11 say goodnight -- BOND (wryly hopeful) I could come in for a night cap -~ Before she can reply GOBINDA and TRIBESMEN flank BOND, BOND Perhaps some other time-~ HAGDA goes into her room and closes the door. GOBINDA and TRIBESMEN accompany BOND to the door of his room, just beyond Magda's. He gees in. GOBINDA locks door. One of the tribesmen sits down cross-legzed opposite it, lays his rifle across his knees. GOBINDA and other tribesmen move out of scene. BOND'S ROOM =—- NIGHT 342 BOND at the window using Q'S ACID DISPENSER PEN. Two bars are already removed. He takes out a third, then climbs out. OUTSIDE ON LEDGE 343 BOXD inches his way around the corner of the building. He passes MAGDS'S BEDROCM, where she is undressing. After an appreciative peek, he continues on. Suddeniy powerzul lights iiluminate the area. BOND freezes. SELOW BOND 345 At the centre is a circle with a denoting helicopter landing pad. SOUND of an approaching helicopter. 345 Directly below him KAMAL and GOBINDA walx out on to PAD.a6 347 348 3488 349 350 351 353 354 336 REV: 6/8/82 39 OND 346 Making his way to the next window, a set of French doors which open into MAGDA's sitting room. He looks in. It is dark but the door into MAGDA's bedroom is open. MAGDA walking into her bathroom (adjacent bedroom) in B.G. OMITTED a7 HELICOPTER 348 Landing below BOND. BOND 348 Looking down. HIS Pov 349 TSO BODYGUARDS, hands on guns in holsters under jackets, emerge from plane, They glance quickly about, then gegture toward plane door, coast is clear. ORLOV, in uniform, gets out and shakes hands with KAMAL. They go into TOWER ENTRANCE followed by GOBINDA. a OMITTED 350 BOXD 351 He goes through French doors, MAGDA'S SITTING ROOM 352 BOND stealthily crosses to corridor door, opens it a crack, looks into corridor. OMITTED 353 HIS POV GUARD IN CORRIDOR 354 His back to BOND, BEDROOM © MAGDA. 385 Coming out of bathroom ia robe, She picks up HAIRDRYER from dresser, goes back into bathroom. CORRIDOR 356 BOND tiptoes out of MAGDA's room, silently closes door behind Aim, He turns on HOMER in watch and follows direction to stairwell, STAIRCASE BOND. Starting down, then stopping.REV: 6/8/82 60 357A HIS Pov Below him, KAMAL, ORLOV and GOBINDA enter STAIRWELL and descend toward basement. 357B BOND ANGLE WIDENS as he descends towards basement. 357C BASEMENT DOORWAY TO WORKSHOP KAMAL, GOBINDA, ORLOV enter, BOND comes out of stairwell behind them. 357D INSERT WATCH HOMER indicating egg in direction of workshop. 358 BASENENT WORKSHOP 3878 387C 357D 358 KAMAL, ORLOV, GOBINDA enter what appears to be an extensive Jeweller's ATELIER with all the necessary equipment, mach TWO CRAFTSMEN in brown and white striped uniforms Stand beside a LARGE METAL CANISTER they have just completed filling with presses, kilns, moulds, tools, supply cabinets, etc, inery, important pieces of glittering antique jewellery, coronets, tiaras, decorations, brooches, pendants, bracelets, earring, individual gems, etc, FABERGE EGG lies on table near canister. 358 BOND Takes pen out of pocket, removes top. CAMERA IN CLOSE on puts it into his ear, He listens to ORLOV and PLUG as t KAMAL over earpiece. 360 WORKSHOP KAMAL indicates canister. KAMAL There they are, General Orlov. Each piece duplicated according to Lenkin's specifications. ORLOV (after cursory examination) Have it put on the helicopter. KAMAL gestures to CRAFTSMi and carry it to door. GO! who place top on CANISTER ‘DA follows. oRLov | Can they be trusted? KAMAL (significantly) I can assure you of their silence. 359 360360 361 362 3624 3620 363 368 REV: 5/8/82 61 Cont inued 360 ORLOV Good, No one must be allowed to jeopardise our plan. Your hopes for political power depend on it, BOND 361 Listening. HIS Pov 362 CRAFTSMEN carrying CANISTER, followed by GOBINDA, enter corridor, BOND squeezes behind small return wall out of Sight. CRAFTSMEN and GOBINDA pass him and proceed upstairs. BOND 362a Still listening. HELICOPTER PAD TWO CRAFTSMEN 3623 They turn CANISTER over to ORLOV MEN who take it aboard HELICOPTER. CRAFTSMEN move out of scene. GOBINDA follows them. BOND 362¢ Listening. NORSROOM KAMAL AND ORLOV 363 ORLOV I wanted to personally brief you on the operation. Precise timing will be essential. 364~ OMITTED 386 BOND 387 Reacting to sudden interference on earplug. taps it. MaGD3'3 SaTEROOM She is using hairdryer. BOND Closer to WORKROOM DOOR He takes it out 368 369370 am. 372 373 374 375 REV: 6/8/82 62 WORKROOM KAMAL AND ORLOV 370 ‘ORLOV Everything has been arranged at my end — MAGDA IN BATHACOM 371 Turning off dryer. BOND NEAR WORKSHOP DOOR 372 Indicating interference has stopped. Plug is back in his ear. WORKROOM © KAMAL AND BOND 373 KAMAL I have briefed Octopussy. I only need to tell her the exact date. ORLOV One week from today in Karl Marxstadt -- BOND 374 Indicating he has heard. He hears approaching footsteps squeezes behind small return wall out of sight, GOBLNDA passes him and goes into workshop. WORKSHOP = KAMAL GOBINDA ORLOV KAMAL, (to Gobiada) Everything taken care of? GOBINDA As you ordered, Excellence. oRLov (picking up egg) So you recovered it, KAMAL From an accomplice of the thief, He will be eliminated, es egg on table. ORLOY Do it av once! There must ve no further security breach (indicating egg, drawing gun) This fake has caused enough trouble -—375 376 377 378 380 381 382 3824 3828 . REV: 6/8/82 G Continued 375 He smashes egg with butt of revolver. KAMAL winces, quickly hides his chagrin. ORLOV holsters gun, turns away to leave. ORLOV I must go. KAMAL looks down at smashed egg. OMITTED 376 HIS Pov 377 Smashed egg with BUG visible in shattered coach. KAMAL, 378 Quickly slipping bug and egg into his pocket just before ORLOV turns back to him from door. ORLOV Accompany me to the plane. KAMAL Certainly, General Orlov! They walk toward door. BOND BASEMENT CORRIDOR 379 Quickly moving away to next door, opening it, going COLD STORAGE RCOM BOND 380 Place is dark. SIDES OF LAMB hang from hooks. He peeks out into corridor, HAND falls against his shoulder, Startling him. ANGLE WIDENS. The CRAPTSMEN, dead, are also hanging from hocks. BOND backs away, then turns back to look into corridor, through crack in door. HIS POV KAMAL AND ORLOV 381 Passing door of cold storage room. GOBINDA following then. CLOSE ON BOND IN COLD STORAGE ROOM 382 His expression indicates he has recognized ORLOV. GoBINDA 3828 Pauses and moves back to door of cold storage room. Door is open a crack. pushes it open wider, INT. COLD STORAGE ROOM 382 It is dark except for the light GOBINDA'S SHADOW on floor. om the doorway.chee 383 384 385 386 387 388 389 KV 6/8/82 64 cud e ON GOULNIA 382C After a long look he steps into the hall, closes the door firmly and follows the others to stairway. OMITTED 3a3 COURTYARD 384 ORLOV boards it, helicopter takes off, CAMERA PANS TO GOBINDA AND KAMAL, KAMAL waves after plane, then turns to GOBINDA, He shows him smashed egg and bug. KAMAL, Get Bond. GOBINDA hurries out. BOND'S ROOM — GOBINDA 385 Bursting in, followed by TRIBESWEN. He looks around, gees Sawn off bars, rushes out. CORRIDOR GOBINDA 386 Passing door of MAGDA'S ROOM. It opens slightly. She peeks our, looks after GOBINDA. KAMAL'S STUDY KAMAL 387 Lavishly furnished spacious room with Indian décor mixed with more practical western style desk and filing cabsnets. Sports trophies, gun racks, mounted animal heads, ste, Large glass picture window overlooking courtyard and country side beyond. KAMAL is brooding at window. CGOBINDA rushes in. GOBINDA ‘Phe Englishman has escaped! KAMAL He won't get very far, We'll track him. Get the me: GOBINDA hurries our. BASEMENT CORRIDOR 388 BOND leeks out deer of COLD STORAGE ROOM, sees someone coming, ducks back. CORRIDOR TWO TRIBESWEN CARRYING 385 Approaching door of COLD STORAGEaoe 391 393 394 395 396 397 398 6/8/82 65 COLD STORAGE ROOM —-TRIDESMEN 390 They take down bodies, begin wrapping them in the shrouds. CAMERA ANGLE WIDENS. " BOND is hanging on to side of lamb hanging from hook, his feet off the floor, KAMAL'S STUDY KAMAL 391 He has changed into bush jacket, jodphurs, ete., and he-is examining an elephant gun taken from rack. GOBINDA hurries in, GOBINDA The men are here, Excellence. KaMAL points to gun rack. GOBINDA gets one. They exit quickly. COLD STORAGE ROOM 392 Bodies now wrapped in shrouds on butcher table. TWO TRIBESMEN carry one out. BOND steps out from behind side of lamb, comes to table, lifts corner of shrouds, revealing face of dead CRAFTSMAN. ENTRANCE PALACE KAMAL AND GOBINDA 393 Passing where TRIBESMEN are, putting body in jeep and then leave scene to return for the other body. ASSEMBLY AREA HUNT PARTY 394 Assembling, Elephants with howdahs, mahouts, beaters, guides, etc. COLD STORAGE ROOM 395 TRIBESMEN return, pick up BOND in shroud and carry him out. ASSEMBLY AREA KAMAL AND GOBINDA 396 Joining group. ENTRANCE PALACE JEEP 397 TRIBESNEN arrive with BOND'S SHROUDED BODY, put it in jeep with the other, get in jeep and drive out of scene. KAMAL AND GOBLNDA 398 Getting on kneeling elephant as jeep with TRIBESMEN and SHROUDZD BODIES drive past then. KAMAL AND GOBINDA IN HOWDAH ON ELEPHANT 399 Consulting may. PAN UP to gateway. JEEP emerges.100~ 406 407 408 409 420 4104 4108 4i2 313+ 418 41g REV: 6/8/82 66 OMLYTED GATEWAY MONSOON PALACE IN B.G. JEEP on path, gateway in B.G. It pulls up to ravine leading to jungle. VULTURES. TWO TRIBESMEN get out. They pick up one corpse, swing it back and forth and heave it into ravine, They return to jeep and take second body to ravine, CLOSE UP-ON TRIBESMEN SWINGING CORPSE Hand shoots out, hitting one of tribesmen. He screams. BOND bursts out of shroud and heaves other tribesman off into ravine. The first tribesman, shouting, ruas off toward KAMAL and others, BOND Following path down into jungle. OMITTED KaMaL On elephant, turns at sound of shouting tribesman, ANOTHER ANGLE TRIBESMAN pointing to BOND scrambling down ravine. KAMAL raises rifle and fires. GOBINDA and others also fire. BOND Running through jungle. Bullets rip foliage near nin. He disappears into undergrowth. KAMAL AND GOBINDA ON ELEPHANTS TRIBESMEN Pursuing BOND. OMITTED BOND Running past jungle temples into jungle undergrowth. @ stops for a moment, looks around. Silence. Cautiously he moves forward into a Clearing. Seeping clese to trees, he walks near edge. SOUND OF BEATEAS coming from opposite side of cleari: He ducks back inte cover, HIS POV A line of BEATERS step into clearing and steadily walk towards BOND. 400- 406 407 408 409 410 4104 4108 aut 412 413- 418 419 420422 423 424 425 426 427 428 429 430 REV: 6/8/82 67 BOND 421 Running back through trees away from beaters. JUNGLE TEMPLE © KAMAL AND GOBINDA ON ELEPRANTS 422 NATIVE TRACKERS standing on base of elephant's trunk, all searching for BOND. BOND 423 Moving through undergrowth, He climbs up bank. at top he ducks down. HIS Pov 424 Another line of BEATERS moving towards him from the other direction. BOND 425 Moving away in a new direction. OMITTED 426 427 On elephants, One line of BEATERS approaches on their flank. SMALL OPEN AREA BOND 428 He pauses to catch ais breath, then slowly turns at sound of rustling in brush. DISTANT SOUND of BEATERS. He picks up gnarled branch and approaches noise. He peers over brush. Suddenly a TIGER jumps at him. BOND throws himself flac, face down, ANOTHER ANGLE 429 TIGER, in centre of clearing, locking at BOND. They stare at one another for a beat, then the tiger turns and runs off. BOND (lifting his head) Nice kitty -- BEAT! becomes louder. He scrambles to his feet, KAMAL AND GOBINDA 430 Watching a crese beaters an their flanks.aaL 432 433 434 435 436 437 438 439 430 REV: 6/8/82 88 NoND 431 Moving through light cover. He pauses to peek through bush, sees BEATERS moving toward him. He backs away. turns to run through jungle. ANOTHER ANGLE 432 BOND runs smack into giant spider's web which wraps around his face, arms and trunk, Twenty MONKEY SPIDERS cover him. He thrashes around in the undergrowth trying to brush them off him. KAMAL AND GOBINDA 433 React to commotion in underbrush ahead. TRACKERS and MAHOUTS use clicking sounds to move elephants up to underbrush. BOND 434 Brushing off last of spiders and wed. He turns to see elephants closing, He moves deeper into undergrowth and trees. KAMAL AND ELEPHANTS BEATERS 435 Closed in on brush where BOND is hidden. MAHOUT pushes on base of elephant's ear with foot and calls to elephant, ‘The trunk wraps around large sapling and rips it out by the roots. ANOTHER ELEPHANT is pushing down a tree with its forehead. BOND 436 In undergrowth, He scampers out of way as tree falls. ELEPHANTS 437 Ripping out trees by roots, tearing out underbrush, they are slowly approaching the cornered Bond. BOND 438 Elephants closing in around him. GOBINDA's elephant crashes through undergrowth. BOND rolls out of way. KAMAL 439 Holds his hand up for silence. All elephants stop. TRACKERS and OTHERS look and listen for BOND in the silence. Gos. NDA IN HOWDAH 440 Searching bush. CaMZR4 PANS down side of elephanz BOND lying within hands reach of elephant's side.441 442 443 444 445 446 447 449 450 REV: 6/8/82 69 HIS Pov 4g) The buckle of GOUINDA's howdan unbuckles strap. rap. NOND renches up, GoBINDa 442 Looking for BOND. Suddenly below him, BOND runs out from underneath his elephant and runs out into clearing. GOBINDA whips rifle around for shot and turns around in howdah. This upsets balance of howdah. GOBINDA fires a wild shot at BOND as howdah slips off back of elephant and crashes into undergrowth taking GOBINDA with it. GOBINDA 443 Scrambling clear as MAHOUT is pitched to the ground. CAMERA CLOSER on him sprawled there. OMITTED . 444 HIS POV 445 His scream over ELEPHANT'S FOOT smashing down INTO CAMERA. BOND 446 Running into jungle. KAMAL 447 Firing and shouting. ANOTHER ANGLE 448 KaMAL'S ELEPHANT crashing through bushes to GOBINDA, who is picked up by elephants and scrambles into KaMaL's howdah . BOND 449 Running through jungle. KAMAL AND GOBINDA In howdah on elephant tracking SOND. BEATERS in a line on either side, Order more confused than before. BOND Breaking through cover coming to bank of marshy river, Ye looks around, spots hanging vine, pulls on see if it is strong enough for nis weagat. KaMAL, GOBINDA AND OTHERS 452 Tracking SOND.453 454 455 456 4st 459 460 6/8/82 70 BOND 433 On limb of tree, clutching vine, He swings out over marshy river like Tarzan. At the end of the arch he lets go. He falls short of bank and lands in marsh, then proceeds down river, BOND 456 Sinking up to his waist as he slowly continues down river, JUNGLE DAY 455 Quiet. Peacock flies into shot from ground with a piercing shriek. CAMERA PANS to ELEPHANTS approaching, Preceded by BEATERS. JUNGLE RIVER KAMAL GOBINDA OTHERS 436 Halted at river where BOND crossed. TRACKER, on one knee on opposite bank studying the ground. #e rises, points down river, KAMAL'S ELEPHANT steps into river and moves downstream, BOND 457 Struggling through marsh up to his chest. He moves to firmer ground. His shirt is open and he has leeches on bis chest. He burns one off with lighter, KAMAL GOBINDA OTHERS 458 Continuing through marsh. BOND 459 Reaching edge of lake. He hears CHUG! CHUG! sound of single piston river boat engine to his right. HIS Pov 460 TOURIST BOAT approaching, filled with group of american tourists, "LAKE TOURS DAY EXCURSIONS" painted on side of doa! Gold fringed banner hangs from side of boat “CINCINATTI MOOSE ~ LODGE 183", TOURISTS wave and take photos as boat comes alongside hin. TOURISTS IN BOAT 451 Lock over edge at BOND. TOURIST You're not with our group, are you? BOND No, I'm on the economy cour.REV: 6/8/82 71/72 461 Continued 461 They pull him on board and boat moves off. 462 BOND 462 Exhaustedly supporting himself on rail near TOURIST who Sees something on bank. TOURIST Hey, look at that! He snaps pictures as BOND looks. 463 © OMITTED 463 464 BOND'S POV 464 KAMAL, GOBINDA AND OTHERS on ELEPHANTS standing at edge of lake watching TOURISTS, TOURIST (V.0.) A real live Maharajahee on a tiger hunt! 465 BOND 465 Near collapse. BOND (wanly) I hear it's grear,sport-~- 466 © CLOSE ON KAMAL AND GOBINDA 466 They are not pleased. Sut cannot attack SOND with all the tourists present. $87 gurars 467- 30g OMITTED 504504A 5048 REV: 12/8/82 INSIDE Q'S 808 HOP © SADRUDDIN = Day 804A Passing Q and TECHNICIANS at work as he crosses toward ALCOVE. ALCOVE BOND BEAUTIFUL INDIAN MASSEUSE 5048 Massaging him on table. SADRUDDIN enters, SADRUDDI That should put you back in shape. BOND (sitting up, putting large towel around himself) Thank you, my dear, You have an exquisite touch. MASSEUSE giggles, exits. SADRUDDIN takes ou towels himself. notes. BO: SADRUDDIN (consulting notes) That tattoo on the girl used to be the sign of an old secret order of female bandits and smugglers. It represents a blue-ringed octo: BOND (ever The Expert) Genus hapolochaena -- produces a venom invariably fatal i The ornamental barge ia was flying thar sign. seconds, he lake SADRUDD IN Yes, it belongs to a fabulously wealthy woman who lives on the floating palace. BOND Who is she? sapRuppin No one knows her real name, but they call her Getapussy BoxD The name I heard at Kamal's, SaDRUDDIN She lives on the island with a lot of deautiful girls. No men allowed,504B 505 »:506 307 508 509 510 sil 512 REV: 13/8/82 14 Continued 504B BOND I think I'11 call on her -- He rises. OCTOPUSSY'S Lak] PALACE NIGET 505 CAMERA SHOOTING TOWARD IT from lake. CLOSER 506 FEMALE GUARDS, tall, slender, athletic girls in Octopussy garb, patrol the shore and the QUAY. They carry weapons we later learn are tranquilizer guns. NEAR ISLAND SHORE CPCCCPILE $07 Moving toward it. CROCODILE 508 Nosing in among reeds along shore. REVERSE ANGLE 509 CROCODILE'S JAWS open widely. BOND, in black trousers, black turtleneck, and recce jacket, crawl$ out from inside crocodile. He pulls it further into reeds. OCTOPUSSY GUARD 510 Near reeds. She turns, listens, satisfies herself sound was merely wavelets slapping against the reeds, turns awa moves out of scene. BOND'S HEAD comes up over top of reeds. He looks after GIRL then moves off in opposite direction. TRACKING SHOT BOND Sit Moving stealtaily past and then along COLONNADE to a COVERED WALK beside TWO STOREY BUILDING. THROUGH ARCHE WALK he can see into beautifully landscaped GaPD: around a multi-level POOL. CAMERA HIS POV THROUGH ARCE An apparently nude voman (CCT in the pool away fren 5 costumed alike, are waiting Zor her AS she emerges, her back still to 3 about ner. | Then, accompanied walks toward entrance to the and goes in. cdS124 313 5134 5198 s13¢ REV: 13/8/82 75 BOND 512A He continues along COVERED WALK, hugging the wall, toward the door through which he saw Octopussy go. A GUARD walks Past it, BOND slips in. OCTOPUSSY'S DRESSING ROOM —_OcTOPUSSY 513, Standing with her BACK TO CAMERA, powdering herself. CAMERA PANS TO BOND as he silently opens door behind her. HIS Pov ocTopUSsY 5138 Without turning, octopussy Good evening, Mr Bond. INSERT SMALL CLOSED CIRCUIT TV SCREENS ON VANITY TABLE $195 Screens show GARDEN PATI, CORRIDOR OUTSIDE HER QUARTERS, and BOND standing in doorvay of her dressing room. ™ ocToPUSsY $13C She slips on robe and turns to him. For the first time we see she is an incredibly beautiful woman in her early thirties, ocTopussy T wondered when you would arrive, BOND (impressed by her beauty) So you are the mysterious Octopussy, ocTopuss? And you are the famous Double-O-Seven, licensed to kill. (coolly) Am I to be your target for tonight? BOND Possibly. But I'd much rather hear about jewellery smugling, and why one of our men was killed in East Berlin, octopussy (sharply) I know nothing about that! Giandicating door to sitting room) Can I offer you a driak? He follows her into sitting room.514 REV: 12/8/82 76 SITTING ROOM OCTOPUSSY AND BOND $14 Exquisivtely furnished and appointed, filled with South East Asian objets d'art, statuettes, small Indian paintings, masks, glass enclosed cases with carved pieces of ivory and jade etc. She crosses to cabinet, opens it, revealing small but fully equipped bar. BOND joins her. ocTopussY Martini, shaken not stirred? She starts to mix drinks. BOND You seem to know a lot about me. OCTOPUSSY This is not the first time our paths have crossed. Do you remember Major Dexter Smythe? BOND Yes, I'm familiar with that case, OcTOPUSSY You were sent out to arrest him, weren't you? BOND Afver a brilliant m career Smythe was detached to our secret service to recover a cache of Chinese gold they seized in North Korea, He and his native guide disappeared and the gold was never found. ocTopussy And twenty years later you were sent after him, BOND The guide's cody had been found with a bullet from Smythe's service revolver still in his skull, I tracked him to Ceylon, i d gave to get his affairs in order before takin him baca. ocropussy He committed suicide sather than face the disgrace of a court martial.514 REV: 13/8/82 7 Continued, 514 BOND You're very well informed about hin Finished shaking drinks and pouring them, she hands him a glass and picks one up for herself. ocTopussy To Major Dexter Smythe -~ my father -- She drinks. After a beat so does he. ocTopussy I boped fate would bring us together some day. BOND To avenge him? ocTopussy No. To thank you for giving him an honorable alternative. Someone approaches from the courtyard. OCTOPUSSY indicates BOND should sit in a high backed chair facing away from the door and hidden from view, GWENDOLINE enters. He does, putting his hand inside nis jacket near Shoulder holster. GWENDOLID Kamal Khan to see you, octopussy Send him in, GWENDOLINE steps back and KAMAL ruskes in. KAMAL Bond has escaped. ocTopussy While you were trying to kill him, contrary to my orders, KAMAL But he's dangerou, OcTOPUSSY I will take care of Mr Bond in my cwn way, He is-my guest now. BOND rises, revealing himself to kREV: 13/8/82 78 $14 Continued 514 BOND An old friend of the family, you might say. KAMAL, stunned, stares at BOND, then at OCTOPUSS KAMAL (recovering his aplomb) I didn't realise. ocTopussy Leave us, Kamal. I will send for you in due time. KAMAL (smooth exterior) AS you wish, my dear, «to Bond) Enjoy your stay. He exits. $15 OUTSIDE SITTING ROOM DOOR KaMaL 515 His face suddenly murderous. $16 SITTING ROOM OCTOPUSSY AND BOND 516 GWENDOLINE remains near door. BOND picks up framed Photograph and studies it. $17 INSERT PHOTOGRAPH $17 SMYTHE holding A octopus. $17A OCTOPUSSY AND BOND 517A She joins him, looks at photo. BOND I'd heard your father devoted the last years of life to marine research. octopussy He became a iead on octopi. pet name for She sets photo down, turns back to ccTopussy Mr Bord, smuggling :s no concern of the secret service, I'v violated no British laws. You areS174 522 REV: 13/8/83 Continued 3174 Octopussy (Cont) free to leave, but I would much Prefer if you'were my guest for a few days, BOND (glancing at Gwendoline now joined by Midge) I'd like thar. octopussy Midge will show you to your room, Goodnight. BOND Goodnight, He is escorted out by MIDGE. OCTOPUSSY turns to GNENDOLIN! a ocTopussy Extend Mr Bond every courtesy -- but double the guard on his quarters, GWENDOLINE exits. CAMERA IN CLOSE ON OCTOPUSSY. We see she is beset by conflicting emotions. OMITTED 218- UDAIPUR SIDE STREET Day, 321 proach DOORWAY. A SNALL SOY plays with KAMAL and GOB go through it, KAMAL and GOBINDA a YO-YO besice it INSIDE SQUALID CAFE 522 KAMAL reflects his disdain for the place and remains near entrance, GOBINDA walks to a wooden table in tne reas Seated at it is MAN in MUFTI, a sinister savage figure with an elaborately woven beard and bizarr: TWO MUGGERS stand behind him, also w a small stairway leads to a hali-landing direc: The table. ANOTHER MUGGER stands on it, holding a large steel-bladed YO-YO attached to a steel wire, GOBINDA AND UCP’ Speaking, too away to KAMAL, he Joias ther beckons sit :524 525 5254 3258 525¢ "5238p REV: 13/8/82 80 Continued 523 MUFTI The island is heavily guarded, KAMAL throws a bag of gold coins on table. MUPTI hefts it, KAMAL and GOBINDA look up. THEIR POY 324 MUGGER on landing holding metal youyo. MUFTI AND KAMAL 525 MUFTI No one wants to make an enemy of the women, KAMAL throws another bag of gold coins on the table. smiles, a tooth is missing. Suddenly MUGGER throws the yo-yo down between MUFTI and Kana The metal teeth whirl through the air as the yo-yo hovers inches off the table. KAMAL is startled. The yo-yo snaps back up. KAMAL recovers, places a photo of BOND ia the centre of the table, taken in the courtyard of the hotel KAMAL, The Woman must not be harmed. MUFTI takes the bags and nods, ANOTHER ANGLE S254 The yo-yo crashes down cutting the photograph in halz and shearing through the table before swinging back to MUGCER. LARESIDE JETTY DAY 5288 The jetty has fallen inte disrepair, FISHERMAN, in English dress, stands beside it, casting into the lake. OCTOBUSSY's PALACE is visible in the distance, CLOSE ON FISHERMAN 525 We see it is Q. ro binoculars n fishing hamper, OCTOPUSSY'S PALACE GARDEN PATIO BOND AND cCTOP uss 6 Strolling past activity of GIRLS, some meditating, others reading, playing oriental instruments, some gracefully exercising, almost like ballet giris.’ Unobtrusively an eye on BOND and OCTOPUSSY are several GUARDS.525D 13/878 aL Continued 525D BOND (gesturing around) How did you accomplish all this? octopussy When father's gold ran out the people in Hong Kong who had disposed of it for him offered me 2 commission to smuggle a consignment of diamonds. 1 discovered I had a talent for it. BOND So you went into business for yourself. ocTOPUSSY Yes, but I needed an organisation so I revived the old Octopus cult. BOND (looking about at girls) Where did you recruit ail these lovely young ladies? octopussy There are many of them, a Southeast Asia, dropouts = looking for a guru, spiritual disciplines, who knows what. I train them, give them a purpose. A sisterhood and a way of life. BOND +++ of crime, ocToPUSSY ++ Of business, I have diversified into shipping, hotels, carnivals and circuses. CAMERA CLOSE ON BOND 525E As the implication of the word "circus" strikes him. JETTY Q NT SADRUDDIN, dressed as a native fisherman SADRUDDIN Is he still there?525F 525G 5258 526 REV: 13/8/82 82 Continued Double-O-Seven on an island populated exclusively by women? We may have quite a wait, I'll spell you at micniznt ~. He hands SADRUDDIN fishing pole, exits, OCTOPUSSY'S PALACE SITTING ROOM BOND NIGHT He is examining statuette on desk, sees brochure, INSERT BROCHURE Announcing performance of Octopussy’s circus at Karl Marxstadt and the date. BOND He hears OCTOPUSSY approaching trom bedroom, hastily puts brochure in his pocket, She enters, accompanied by GIRL GUARD. octopussy (to guard) You may go. Girl exits. OCTOPUSSY indicates settee. ocropussy Sit down, please, James. (atter he does) I must leave tomorrow. BOND A business trip? octorussy Iwill be gone a week. When I return we'll discuss the future, BOND I can't promise I'll still be here. octopussy We're two of a kind, James, There are vast rewards for of your talents willing to risks. . BOND I'm not for hire. S25F 5256 325K 526526 527 5278 REV: 13/8/82 383 Continued 526 ocTopussy (rebuffed, ironically) Aman of principle. With a price on bis head in more than ene country. Naturally you do it for Queen and country. She turns away from him, walks to bedroom door and then turns back. ocTopussY (angrily) I have no country! I have no price on my head! TI don't have to apologise for what I am to you -- a paid assassin -~ She storms out. Before she can close the door he catches it and follows her through. OCTOPUSSY'S BEDROOM 327 A large two-level room, opulently furnished. The inlaid ivory headboard of a large bed is positioned against one damasked wall. A stairway leads up to a horse-shoe shaped gallery, As BOND enters, slamming door behind him. OCTOPUSSY, eyes blazing, turas to face him. He strides to her, grasps her arms roughly, pulls her toward him. She struggles but he puts one hand behind her head, forces At toward him, and kisses her hard on the lips. She tries to turn her head aw: n suddenly ressonds, returns his kiss passiona’ After a moment she breaks away from him, ocTOPussY No wee BOND (drawing her to him again) We are two of a kind. She resists again for a few seconds then lets him pull her down beside him on the bed, ocropussy go around James JETTY NIGHT 3278 SADAUDDIN sits leaning back agains: jetty post. His arms are folded, He hears 0.8, APPROAC! BING FOOTSTEPS, looks up.REV: 13/8/82 a4 527B HIS POV 3278 GOBINDA and MUGGERS 2 and 3 with strangling cords and small axe advancing towards him. 527¢ SADRUDDIN s27c He stands up, fumbling revolver out from inside his shirt. CAMERA PANS UP, LOSING HIM, TO MUGGER 1 with steel YO-YO Standing directly above him on the jetty. MUGGER flicks wrist and yo-yo's whirling circular blade hums down on wire, out of scene. $27D TREES NEAR JETTY SILHOUETTED AGAINST NIGHT SKY $27D FLOCK OF CORMORANT BIRDS, screeching, rise out of the trees, drowning out Sadruddin's 0.8. scream. $27E OCTOPUSSY'S BEDROOM © BOND AND OCTOPUSSY 527E Asleep, their arms around one another. He wakes up abruptly. Inexplicably troubled, he gently disengaged bimself. ie sits up, takes watch off night stand, glances at it and straps it on. $27F LOW ANGLE © CCTOPUSSY'S PALACE S27F Wreaths of reeds float mysteriously on the water. 528 OCTOPUSSY'S PALACE —-NIGET $28 GIRL GUARDS patrol the walls. $29 MUGGER 1'S ARM 528 Thrusting YO-YO cuz of reeds near base of wall. He wades in through reeds to it. TNO OTHER MUCGERS appear in reeds behind him. 411 are dressed in cowls with slits for their eyes and loin cloths. $30 TOP OF WALL —-OCTOPUSSY GtaRD 530 She hears sound, looks over wall. MUGGER 2 looms up behind her, throws cord around her neck and turas his back to her, arches her over his back and silently strangies her. 530A BASE OF WALL = TNO MUGGERS. 5304 Silently catching GUARD'S BODY as NUCGER ©. They Sush her in among reeds, They move iike wraiths, eerily swiit end silenc.532 333 534 . REV: 13/8/83 85 INSIDE PALACE CORRIDOR AND STAIRCASE $32 MUGGER 1 with YO-YO on stairs motions TWO OTHERS toward door of Octopussy's room further down corridor, OCTOPUSSY'S BEDROOM BOND 533 Now fully dressed standing at window looking out over lake. A hand touches Bis shoulder. ANOTHER ANGLE 534 It is OCTOPUSSY. They kiss, move back to the bed. CAMERA PANS UP TO BALCONY, “MUGGER with YO-YO looking over edge.WEVE 1/8/42 KS INSIDE PALACE CORRIDOR AND STAIRCASE 332 MUGGER 1 with YO-YO on stairs motions TWO OTHERS toward door of Octopussy's room further down corridor, QCTOPUSSY'S BEDROOM BOND 533 Now fully dressed standing at window looking out over lake. A hand touches his shoulder. ANOTHER ANGLE 534 It is OCTOPUSSY. They kiss, move back to the bed. CAMERA PANS UP TO BALCONY, MUGGER with YO-YO looking over edge. CLOSE ON MUGGER 1'S HAND 5348 Holding YO-YO. Beads of lake water glisten on it. CLOSE ON SOND 535 As he and OCTOPUSSY embrace on the bed. A single drop of water falls on the back of his neck. He turns and looks up. RIS Pov 336 MUGGER 1 visible leaning over balcony railing with YO-YO poised. He flicks wrist. BOND AND OCTOPUSSY 337 He rolls her off the bed, then rolls of YO-YO whizzes down, cuts through bed a ivory headboard. ANGLE WIDENS as MUG: back. dalek — 538- OMITTED 339 TRO OTHER MUGGERS 340 Rushing in from sitting room. One has strangler cord, the other a small two-headed axe, They jump BOND as he tries to rise. In 3.G. OCTOPUSSY struggles to untangle nersel the bed sheet. BOND grapples with MUGGER 3 with axe. knock over the end table, Revolver in holster slides ur bed. BOND throws MCGGER 3 into MUGGER 2, both crash into cupboard. BOND Turning at whirling sound. at BOND.543 544 345 349 550 552 553 555- 358 359 566 REV: 19/8/82 35a OMITTED 343 BOND 544 Ducks yo-yo which crashes into chest and swings back at BOND, who dives out of way, YO-YO destroys table before being snapped up again. OMITTED Paras MUGGERS 550 Jumping BOND again.. OCTOPUSSY hits MUGGER 2 with water carafe, stunning him. BOND knocks MUGGER 3 across room. BOND evades YO-YO again as it destroys more furniture in the room, Before MUGGER 1 can snap it up YO-YO wedges itself in post supporting balcony. BOND 331 Grabs wire connecting yo-yo to MUGGER and pulls hard, MUGGER 1 crashes through balustrade and falls to floor. BOND wraps wire around MUGGER 1's neck and throttles him. OMITTED 352 ANOTHER ANGLE 583 MUGGER 2 throws strangler cord around BOND's neck, turns and levers BOND over his back the way he strangled the guard. CLOSE oN BOND 534 Ia trouble as cord strangles him, pulls up nis legs and pushes off wall with bis feet, somersaulting over top of MUGGER 2 and twisting free of cord, He staggers NUGGER 2 with an upper cut. OMITTED Be BOND Grabs the exhausted OCTOPUSSY and pulls her into sitting room, bolting door. SITTING ROOM TOPUSSY (breathiess) I'll get the guards,560 5604 $608 360C 360D S61 362 5624 363 363A, 3638 3630 REV: 19/8/82 8sB Continued 560 Before she can move axe smashes through door. 4 second chop and MUGGER 3 forces his way into sitting room, menacing BOND with axe. BOND retreats past Octopi tank. ocTopussy 5608 On opposite side of tank, she sees FOND pass it. Blue- ringed octopi disturbed.’ As MUGGER 3 starts past tank OCTOPUSSY pushes it over. MUGGER 3 5608 Falls to the floor as tank hits him. Tank smashed. Octopi cover him. He screams as Octopi sting him. ocTopussY s60c She runs out of room, MUGGER 1 s60D Enters room, yo-yo attached to fist and jumps BOND. They erash through shuttered window and fall outside onto walkway. WALKWAY ON WALL ABOVE LAKE BOND AND MUGGER 1 561 Attacking him with yo-yo fist. BELOW WALL AT WATER'S EDGE 562 Disturbed by struggle above, CROCODILE slices from reeds into water, SITTING ROOM © -MUGGER 2 3628 Rushes in, sees BOND and MUGGER 1 outside on wall fighting. Be draws DAGGER and runs out to stab BOND. WALKWAY 563 MUGGER 2 about to plunge dagger into BOND's back. He suddenly staggers. MUGGER 2's neck with tranqu. SITTING ROOM WINDOW 3633 CCTOPUSSY with GUARD who aas juss BOND AND MUGGER 1 Struggling on wall. CAMERA PANS DOW? and eyes just above surface of the watREV: 19/8/82 asc 364 WALKWAY ON WALL — OCTOPUSSY AND GUARDS 564 Running toward BOND and MUGGER 1 fighting in B, BOND tackles him. Soth topple off wall into water. 365 IN THE WATER 365 BOND and MUGGER 1 come up for air, NUGGER struggling with heavy yo-yo trying not to sink. MUGGER 1 seizes BOND by the hair and tries to drag him under. Behind him CROCODILE JAWS snap up at MUGGER 1 and drag him down, BOND turns, dives. 566 OMITTED 566 367 WALKWAY ON WALL OCTOPUSSY GUARDS 367 Looking down toward water. S674 THEIR POV 367A Swirling black water, The occasional SLAP OF a CROCODILE'S TAIL. BOND is gone. 368 CLOSE ON oCcTOPUSSY 868 Horrified. She turns away, struggles to control ker emotions. 369 NEAR JETTY = -Q. NIGHT 569 “CROCODILE” noses into shore. JAWS open. BOND inside. Qhelgs him out. BOND looking around) Where's Sadrudé Q, unable to speak, indicates 0.5, CAMERA TR THEM TO SADRUDDIN'S BODY lying partially i just under the jetty, 370 OMITTED 371 CLOSER ON SOND AND Q Sadruddin's body below CANERA LINE. They look down at ity BOND is momentarily stricken, BOND (auskaly) No more problezs, Q He was alive when i found BOND Could he speak?$71 373 REV: 19/8/82 asp Continued All he said was Kamal's men -- BOND takes brochure out of his pocket. BOND Where's Karlmarx Stadt? Q East Germany. BOND (grimly) Signal M to meet me in Berlin. Q nods. SOUND OF CORMORANTS comes over scene. WEST BERLIN - DAY CAR driving past LANDMARKS near CHECKPOINT CHARLEY. IN CAR Mand BOND in back. KARL, West German MI6é subagent, M We've verified the Octopussy circus was in East Berlin when we lost 009. Karimarx Stadt is further east. (shaking his head) Why would General Orlov participate in a jewellery caper? BOND I haven't worked it out yet, sir. But I'm sure it involves more than jewellery. M hands him manila envelope. M Here's the I.D, you'll need, Charles Morton, manuzacturer's representative from Leeds, visiting furn. factories in Eas: Gera Letters of intr credentials. Sarl w 2 yout KaRL German accent) (heavy No problem. 371 372 $73 driving.$73 874 875 876 877 578 379 Continued 373 M I'll leave you here. Take care, BOND I promise to wear my overshoes, sir. KARL stops car. M gets out. NEAR CHECK POINT CHARLEY IN B.G. 574 M watches car drive toward vehicle approach to Check Point Charley. Pan to sign "YOU ARE NOW LEAVING WEST BERLIN repeated in German. KARLMARX STADT - INSIDE CIRCUS TENT - NIGHT 575 CLOWN'S FACE, made up like 009's. Face moves away revealing SPANGLED GIRL ASSISTANTS IN RING setting in motion a revolving board on which TWIN 2 is spreadeagled, holding on to handgrips, while ANOTHER GIRL ASSISTANT }Lindfolds TWIN 1. OUTSIDE CIRCUS TENT $78 KARL drives up and lets BOND out, He gives BOND thumbs up signal then drives out of scene. BOND walks toward tent entrance. IN RING ST? TWIN ACT progressing. 4s board whirls TWIN 1 throws half a dozen knives at 2, just missing his brothers limbs. Revolving board slows down. NEAR RING AMONG SPECTATORS 378 BOND watching act as he looks for seat. HIS POV TWINS 379 2 jumps off board, snatches knife from it and throws it end over end at 1, still blind-folded, who catches it in midair. BURST OF APPLAUSE. Twins, side by side, bow and run of BOND sitting down in aisle seat. BLARE OF TRUMPETS. 530 BOND'S POY cLox NS wheeling in GIANT CANNON. RINGMA: ER accompany t: BOND glancing about.583 584 585 586 387 588 HIS Pov 333 MAGDA moving down aisle toward him, with OCELOT on leash. She wears tuxedo-like costume as she picks spectats-s pockets and then returns watches, pens, wallets, e° ., accompanied by laughter. RING 534 FPANCISGO THE FEARLESS, small, wiry, moustachioed, enters, bowling. RINGMASTER Meine Damen und Herren! Francisco, the Fearless! APPLAUSE. CLOWNS stagger in with ladder. 585 BOXD 586 MAGDA moving closer to him, FAT MAN passes her in aisle, looking for seat. FAT MAN passes her. BOND rises, slips in front of him, interposing him between MAGDA and himself, He and FAT MAN exit scene, passing CAMERA. RING a7 CLOWNS work at RATCHET to elevate CANNON BARREL, OTHERS place ladder against cannon mouth. FRANCISCO climbs up it and gets into barrel. BON! Now standing at foot of aisle further away. CAMERA ANGLES FROM BEHIND HIM TOWARD RING. TRUMPETS. ROLL OF DRGYS, SUD ENCE. CLOWNS put fingers in their ears. canyon 389 Firing. Tremendous puff of smoke. CAMERA FOLLOWS FRANCISCO as he is shot out of cannon and into NET, BOND 390 SPECTATORS applauding vociferously, He turns away, RING 491 out of net an¢ carry him around mitts crowd, s seated alone in ONNER'S BOX, KAMAL ris: follows him unobtrusively. a594 595 397 398 8og- 624 1S/R/R2 8g BOND'S Pov 593 KAMAL stops at exit. OCTOPUSSY joins him. She wears Slack suit and black cashmere coat, She and KAMAL exit. SOND follows them out. MOSCOW ~ INSIDE ERI MLIN ART REPOSITORY VAULTS - NIGHT 594 LENKIN replacing genuine jewellery with fake. GOGOL enters with BORCHOI, impressive art expert. LENKIN, Sensing disaster, looks apprehensive. GocoL, You know, Comrade Borchoi, curator of the Hermitage, of course. He has just arrived from Leningrad. BORCHOI picks up fake ROMANOFF STAR diamond, examines it with loup, places it on the floor, grinds it to pieces with bis heel. LENKIN collapses, drops into chair, covers his face with his hands. 'GCGOL gestures 0.8. TWO HARD-FACED, BURLY KGB musclemen enter and approach LENKIN, KARLMARK STADT RAILWAY STATION 595 Tent is coming down. PAN TO PARKING LOT. Orlov's private car with ORLOV and DRIVER exits parking lot on to roadway. Car proceeds across level crossing and pulls up near passenger platform. ROUSTABOUTS 596 BOND, wearing jacket like the others, works among them loading OCTOPUSSY TRAIN. He looks 0.8. RIS POV OCTOPUSSY, EAMAL, TWIN 2 and GOBINDA on passenger platzorm, Standing near BOXCAR (jewellery) which is isolated from the rest of the train. ORLOV exits car, passes GOBINDA who goes to help driver with canister in boot. ORLOV Salutes OCTOPUSSY and KAMAL. Throughout OCTOPUSSY seens coldly businesslike and unsmiling BOND 598 Watebing as he continues to load train with roustabouts. STOPUSSY, KAMAL, TWIN 2 AND ORLOV 539 in jewellery boxcar. 600- 624625 626 627 628 629 630 631 ea1a REV: 19/8/82 39 INSIDE JEWELLERY BOXCAR ON SIDING — GROUP 625 With GIANT CANNON in B.G., PROPS, COSTUMES, TRUNKS, ETC. The canister has been opened. It is filled with magnificent pieces of jewellery. OCTOPUSSY inspects a few through jeweller's loup, including ROMONOFF STAR DIAMOND. ORLOV The Romanoff Star Satisfied OCTOPUSSY puts it back in canister and nods to KAMAL. ORLOV gestures to TWIN 2. GOBINDA helps TW. put canister into empty BALLAST BOX OF GIANT CANNON. TWIN 2 picks up welding equipment to seal plate over side of ballast box. BOND 626 Ducking out of sight between jewellery boxcar and passenger platform, INSIDE JEWELLERY BOXCAR GROUP 627 TWIN 2 completes welding plate over ballast box and locks wooden cover in place over it. ORLOV (to Twin 2, for Octopussy's benefit) Stay here with the jewellery while they switch the car to the main track, He leaves with OCTOPUSSY and KAMAL. BOND 628 Next to platform, sees OCTOPUSSY and OTHERS exit jewellery boxcar above him. He ducks underneath it. OCTOPUSSY, KAMAL, ORLOV AND DRIVER ON PLATFORM 629 Watch LUG push jewellery boxcar off toward tunnel. BOND 630 Under jewellery boxcar as LUG starts to move it. He desperately looks around for placetohide, then reaches up and grabs hold of under carriage as ca? moves, carryi him with it. JEWELLERY BOXCAR 631 Approaching TY: aNcz. OCTOPUSSY, ORLOV AND KAMAL. aia Crossing yard to Octopussy's private railway car and entering.633 623 634 636 637 638 6384 6388 638c REV: OMITTED BoxD 19/8 /a2 90 632 633 Under jewellery car as it enters tunnel. He twists his head around to see where they are going. TUNNEL LUG 634 Pushing jewellery car and proceeding towards centre of tunnel. "Ahead on a parallel track is an identical box car with men Working around it. Welding torches spark in the darkness. The jewellery car pulls alongside the other boxear (bomb boxcar). BOND 635 Dropping off from under carriage as jewellery car comes to a hal. He scrambles up against tunnel wall. OMLTTED 636 JEWELLERY BOXCAR GOBINDA 637 He exits and crosses to Bomb boxcar, BOND crosses after him at the opposite end of the jewellery car. OMITTED 638 BOMB BOXCAR WORKMAN, KAMP AND TWIN 1 6388 Working under high intensity lights. Side of Bomb boxcar is open, The interior is identical in every respect to the jewellery boxcar with giant cannon, etc. GoBINDA arrives. BOND 6388 In darkness crossing tracks. He hides in dead man's hold from where he has a good view of the Bomb boxcar BOMB BOXCAR KAMP 638C Russian scientist in white coat, and other TECH install BOMB in base of cannon, TWIN GOBINDA steps up into car. EAM Good. Listes closely, We have ang time to lose, (indicating bomb) del S$-70, 100 tons the effects are indistinguishable from the american ‘tedium yield’ bomb.638D 638E 641 esta REV: 19/8/82 91 BOND 638D Grimly registering "so that's it”. BOMB BOXCAR GROUP 638E KAMP picks up polished metal cylinder with digital clock face on one end. KAMP The detonator. It is pre-set for four hours. To activate, insert and twist half-a-turn clockwise. Be at least twenty miles away by the time it goes of: TWIN 1 AND GOBINDA nod. y OMITTED 639 OCTOPUSSY'S VATE CAR OCTOPUSSY ORLOV KAMAL 640 pouring champagne into his glass, The others hold filled glasses. He toasts Octopussy. oRLOV To our charming master mind The plan is perfect. KAMAL The jewellery should net us three hundred million in Zurich. ocropussy We still must cross the border. They drink. oRLCY Excellent. (looking at watch) I must go, There is ouch to do before we meet in Switzerland. Au revoir, dear lady. Good luck. He salutes smartly and departs. BOM BOXCAR 641 WORKMAN closes down side of car as LUG is hitched up. BOND ing Boxcar6418 64ic 642 643 644~ 645 645A ease ease 646 647 REV: 19/8/82 92/93 BOMB BOXCAR 6418 Pulled toward tumnel entrance by lug. BOND'S POV é4ic Passing him, os side of Bomb Boxcar is avenue poster reading “Next Performance U.S, Airforce Base, Feldstadt, West Germany". RAILWAY YARD ORLOV PRIVATE CAR DRIVER O&LOV. 642 Gets into car DRIVER closes door, gets behind wheel, drives out of scene, ORLOV PRIVATE CAR 643 Crossing level crossing and entering parking lot. Wheels cross over one way grid. ror 644 owrTTED 643 TUNNEL © BOND 6458 Avoiding WORKWAN, KAMP and OTHERS. He crosses to jewellery boxcar. Flashes’of welding torch attract his attention. He climbs up on end of car. OCTOPUSSY'S TRAIN LUG e4sB Pushing Bonb Boxear to end of train with a bump, OCTOPUSSY'S PRIVATE Cak 645 OCTOPUSSY, seated pensively at window, looks up as she reacts to the bump. KAMAL smiles, She turns back to window, TUNNEL 80ND 648 Looking through jewellery car window. 18 pov 647 TWIN 2 working with oxvacervlene torch, He has removed plate across side of ballast box, He takes out jewellery Canister, starts working with torch to unseal ity648 649 650 654 635 sa ORLOV'S CAR 838 Passing LUG returning toward TUNNEL, CAR contiaues on. INSIDE JEWELLERY BOXCAR a9 BOND, gun drawn, climbs silently into it. TWIN 2 with now open'canister, ‘lifts out tray. He hears BOND behind h but does not visibly react, Instead he picks up PO™, STAR diamond and glances at it. HIS POV 630 BOND'S REFLECTION in facet of diamond. BOND AND TWIN 2 651 BOND moves slowly toward his back. TWIN puts down gem, picks up torch, adjusts nozzle, then whirls round to face BOND, simultaneously sending long jet of flame toward his gunhand. 50ND leaps back, out heat forces him to drop gus He backs away, @ludes another jet of flame, ducks behind heavy trunk ows knife at BOND who dives behind BASE. OF GIANT Cc. TWIN rounds base. GIANT CANNON - BARREL ELEVATED, 45 DEGREE ANGLE 63 BOND, facing TWIN, backs away as twin advances, second knife poised. BOND times next duck to elude knife which barely misses his head. TWIN snatches third knife from belt. Again BOND ducks in time. He glances up at barrel as TWIN draws still another knife, crouches, darts away under barrel, falls back to cannon base 4s TWIN, knife raised again, starts under barrel followhis quarry BOND releases RATCHET ON CaNXo CONTROL. ca NS BARREL 6 Crashing down on TWIN 2's head, killing him. BOMB BOXCAR - TWIN 1 635 Suddenly clasping his head in sympathetic psychic reaction to brother's fate. LUG appreach:: @ JEWELLERY BOXCAR. DRIVER sounds HCOTER BOND now wears Twin's picks up his gun,puts Stinetive circus jack side his jacket.657 658 659 660 661 662 663 664 REV: 19/8/82 95 TUNNEL - LUG DRIVER 657 Seeing BOND, He waves, BOND returns wave, govs cack into car, Lug reaches car, starts pushing it toward far end of tunnel. ROAD ABOVE FAR END OF TUNNEL 658 ORLOV'S CAR parked there. CHAUFFEUR stands beside it. STEPS LEADING DOWN FROM ROAD TO TUNNEL EXIT 659 ORLOV descending to it, TWO ARMED MEN are waiting there for jewellery boxcar, ORLOV joins them. INSIDE JEWELLERY BOXCAR 660 While it is being pushed. BOND looks out door. EIS POV 661 ORLOV and MEN waiting at tunnel exit. INSIDE JEWELLERY BOXCAR 662 BOND hastily stuffs Twin's body into cannon barrel. He replaces canister lid, looks about, spots his gun on floor, picks it up. TUNNEL EXIT 663 LUG pushes boxcar out. ORLOV and MEN walk to car and board it. INSIDE JEWELLERY BOXCAR GROUP 664 BOND is turned away to cannon base, fussing with oxyacetylene torch. ORLOV gestures toward canister. ORLOV Put it in the boot of the car. MEN pick up canister, BOND sees STAR on floor, surreptitiously pushes it toward him with ais foot, then picks it up. Men carry canister of? car, ORLOV turns to BOND. Leave that, Let's go. Let's stay ORLOV, surprised, stares at bin.REV: 19/8 /g2 36 664 Continued 664 BOND + . Sit on that box, General Orlov. Hands on your knees. ORLOV obeys. ORLOV Who are you? BOND British Secret Service, licensed to kill, and this time I'll enjoy it. ORLOV realises BOND is on his own. ORLOV Not for long. You are in an extremely dangerous position. What do you want? BOND Let's not play games. 1 saw the bomb. What are you and Kamal up to? ORLOV You should be more concerned about getting out of here alive, BOND Im worried about what happens Af that bomb goes off on a U.S. airforce base. Do you want to start a nuclear war? ORLOV Only a lunatic wants that. BOND pauses while he thinks, 665- 7 6as- 657 OMITTED 867 688 ORLOV’ CAR ON ROAD ABOVE TUNNEL EXIT 688 TWO MEN have put JEWELLERY CANISTER into boot. They close it and turs to descend to rail road track. 869 «JEWELLERY CAR BOND AND ORLOV, 852 BOND (slowly) Your aan in the tunnel s: bomb was identical to an American one.REV: 19/8/82 87 669 Continued 669 ORLOV, sits quietly, carefully watching BOND. BOND That's it! You're trying to stage a nuclear accident. ORLOV Inventive, but purely speculative, - BOND The hell it is! Get up! ORLOV glances out of window and sees TWO OF HIS MEN coming down hill outside towards him. He stays seated. oRLov (stalling) Assuming you are correct, what possible military advantage would be gained? BOND An American nuclear accident in Europe would cause unilateral disar- mament. Europeans would say ‘Yanks go home and take your bombs with you’. ORLOV A plausible scenario, BoxD NATO disarms itself, but you keep your military superiority, ORLOV Far more desirable than letting a handful of old men in Moscow bargain it away in disarmament talks, BOND So it's your own personal plot to kill thousands of innocent peopie, Get up!! BOND grabs pulis hin to his orev You have nownere to gc. BOND We're going = in. You're wrong stop that t670 671 672 673 674 675 REV: 19/8/82 98 STATION 670 TRAIN pulling away from station. INT, JEWELLERY BOXCAR BOND AND ORLOV 671 TRAIN WHISTLE 0.S. ORLOV smiles, ORLOV You are too late, BOND turns him around, pushing him forward towards door. BOND You can stop it at the border OUTSIDE JEWELLERY BOXCAR 72 TWO MEN coming back for ORLOV. One looks through door, sees ORLOV with BOND holding gua on him, draws revolver and aims at BOND through door. INSIDE BOXCAR 673 BOND reacts as ORLOV glances towards man behind BOND. He turns to see ORLOV MAN at door and fires first. MAN fails away from door. ORLOV bolts out of other door. BOND follows him out as SECOND ORLOV MAN climbs into boxcar through front door, OUTSIDE BOXCAR ra BOND sees ORLOV running into tunnel toward LUG WITH DRIVER. He fires after him, missing in the semi-darkness, then whirls and shoots at SECOND OFLOV MAN who appears in rear door levelling carbine at BOND who whirls around and drops to one knee, Bullet whistles above SOND's head as he fires at SECOND ORLOV MAN, knocking him back into boxcar. BOND'S POV 675 ORLOV getting on LUG as LUG DRIVER fires sub-nachine gun toward BOND.676 677 678 680 681 682 683 685 99 BOND He fires twice more into tunnel, then falls back along side of boxcar. As he reaches front end of boxcar bullets hit around him. He looks up. HIS Pov ORLOV'S CHAUFFEUR firing machine pistol, is coming down steps from ROAD ABOVE TUNNEL EXIT where Orlov's car is parked. BOND IN F.G. Firing his last shot. CHAUFFEUR, hit, tumbles down steps. BOND runs toward chauffeur's body at foot of steps, jumps over it, and runs up steps. ROAD ABOVE TUNNEL EXIT BOND He gets into ORLOV'S CAR, finds keys in ignition, starts motor, drives away. ORLOV on LUG as DRIVER takes it back toward tunnel entrance. ORLOV'S CAR As BOND drives it on descending curve away from tunnel exit area. TUNNEL ENTRANCE LUG SOLDIERS Emerging with ORLOV. He gestures to SOLDIERS to accompany him. ORLOV'S CAR Continuing along road to another curve into RR YARD. BOND'S POV ORLOV accompanied by SOLDIERS rushing out from between cars. Soldiers open fire at Bond. CLOSE ON SOND IN ORLOV CaR He ducks down, sy Bullets hit car. ngs wheel hard over to his right. YARD SHED in 83.G. BOND puts ca: side drift and hits stacked BARRELS with side of car sending them rolling toward ORLOV and SOLDIERS. 677 678 879 680 681 682 683 684687 688 639 690- 693 694 695 696 REV: 19/8/82 100 ORLOV AND SOLDIERS 687 He manages to jump clear. Soldiers are either flattened by barrels or Scattered, BARRIER AT REAR OF CAR PARK 688 AS BOND crashes ORLOV'S CAR through it into car park. GUARDS near barrier scatter, Several fire at car. Bullets hit on or around it. CLOSE ON BOND IN CAR 689 Looking through windscreen. Bits of wood from barrier falling away in F.G. He is desperately looking for a way out of car park. 390- DELETED 393 CAMERA SHOOTING ACROSS FRONT PART OF CAR PARK TOWARD 694 ENTRANCE AND EXIT. ARMY LORRY skids around corner and blocks EXIT. SOLDIERS jump out of LORRY and fire at BOND approaching them. HIGH ANGLE ENTRANCE AND EXIT AREA 695 ORLOV'S CAR beads for EXIT as SOLDIERS continue firing. Bullets hit car and around it. BOND swerves to miss an ARMY TRUCK and heads for IN gap which is partiall, blocked by another car entering lot. CLOSER - ANGLE ORLOV'S CaR 696 As BOND tries to squeeze past incoming car at speed, going up kerb in middle of island between ENTRANCE and EXIT, throwing his car onto TWO WHEELS and passing incoming car on thea,697 698 699 700 TOL 702 703 704 706 201 CLOSE On roofs of the two cars grazing each other. ORLOV'S CAR Coming TOWARD CAMERA as it drops back onto four wheels. Other car in B.G. ONE WAY GRID at ENTRANCE in F.c. SIDE ANGLE CLOSE ON ORLOV CAR HEELS AS they pass over one way GRID, ripping tyres to pieces. CLOSE ON BOND Fighting wheel, managing to swing car to his le? WIDE ANGLE ORLOV'S CAR Spinning toward LEVEL CROSST: » sparks flying rims as bullets hit around them. In 3.G. NOT! LORRY carrying troops is approaching from level crossing. It blocks ORLOV CAR from passing it. CLOSE ON WHEELS OF ORLOV CaR Sparks flying, tyres shredded. BOND IN ORLOV CaR Puts it in sidedrift, wheels spinni: WIDER ANGLE ORLOV CAR Skidding toward track. CLOSE ON RAILS As CAR WHEELS smash into interlock with rails, still spinning and emitting sparks and smoke. WIDER ANGLE ORLOV Car CAMERA ANGLING AFTER IT, as it speeds away on the same track Octcpussy train left on. SSING. ORLOV and SOLDIERS reach iz. ORLOV gets opLov Follow that car! DRIVER nods, turns car around, drives car off on road beside tracks. 697 698 699 700 ToL 702 703 704 706708 709 710 mn 712 714 715 7154 7158 716- 117 718 719 724 REV: 19/8/82 102 COUNTRYSIDE CIRCUS TRAIN 708 Proceeding west. INT. SIGNAL KIOSX SIGNAL MAN 709 Looking 0.S. HIS Pov 710 CIRCUS TRAIN approaching. SIGNAL MAN ma Throwing switch. CIRCUS TRAIN 712 Switching onto track beside the one it was on. SIGNAL Mal 713 He throws switch back to original position. Then registers horror, HIS Pov 714 As ORLOV'S CaR and BOND pass him, now on track parallel to the one train is on. ORLOV'S CAR - BOND 715 Closing on CIRCUS TRAIN. INSERT 7153 BOND's Zinger pushes sun roof button. BOND 7158 Sets cruise control aad gets out through sun roof, 716- OMITTED te ORLOV'S CAR 718 BOND in sun roof hatch onto top of car. Looks up at sound of engine whistle. 719 Collision S nits car he leaps off OF BOMB BOXCAR, grabs bandhold and Aangs on. EXPRESS TRAIN 721 Knocking CRLOV'S CAR off track, then continu722 723 724 726 728 730 731 ORLOV'S CAR 722 Hurtling over BANK OF RIVER running under rail road bridge CAMERA ANGLES AFTER CAR with boot lid sprung and jewellery showering from burst canister toward fishermen along river bank. FISHERMEN ON BANK 723 Dumbfounded, pelted by jewellery. CIRCUS TRAIN - BOMB BOXCAR - BOND 724 St{1l hanging on to handhold. He finds footing and climbs on top of car. TOP OF SOMB BOXCAR - 20ND 725 Spotting slightly open AIR VENT. He crawls to it, looks cautiously down. HIS Pov 726 TWIN 1 throwing knives at target beside front door, about thirty feet away. He moves forward toward target to retrieve knives, GIANT CANNON, props, trunks, costumes, etc. are visible. INSIDE BOMB BOXCAR 727 BOND opens hatch enough to get through it, hangs moment to the edge, lowers himself to a foot or to above pile of costumes, then drops on it behind others hanging from a rack of casters. ROAD BESIDE RR TRACKS - COMMAND CAR 728 ORLOV seated beside DRIVER as car continues following returns with knives to where he threw them from and resumes practising. BOND 730 He takes empty revolver out of y the ba! moves along behind cost barrel ra:sed, intending to clobber THIN 1. coor, I E BONE BOXCAR BOND freezes behind costume rack. opens it and admits GOBINDA.. 104 731 Continued GOBINDA Kamal Khan says stay here u: we have crossed the border, TWIN nods, locks door. 732 BOND 732 Hiding behind costume rack. 733 AT RIVERSIDE - HELICOPTER 733 Blades turning. GOGOL is examining ORLOV'S CAR which has been brought to bank. HEAD VOPO The licence plate is General Orlov's. He gestures to VOPO who shows Gogol capful of jewellery. HEAD VOPO We have recovered this. GOGOL Where is General Orlov now? HEAD VOPO He was last reported in a commandeered staf car on Bahn Drei driving toward the border, GocoL, He must be stopped before he reaches it .. HEAD VOPO talks into radio telephone. 734 CIRCUS TRAIN 734 Continuing towards border, pass and out of scene. ORLO as it passes over brides. g underneath bridge, VER in COMMAND CAR 735 INST takes off, tS TRAIN CAMERA SHOO ous! ON OF CCTOPUSSY PRIY CAR. OCTOPUSSY an¢ MAGDA ars compiling dccuments to Se presented at border sosz,739 740 741 742 743 746 108 ROAD BESIDE TRACKS - ORLOV'S CAR 738 Still following train, FRONTIER POST - CIRCUS TRAIN 739 Approaching VOPOS at barrier. Beyond it is "no can‘s land", about twenty yards wide, and then another barrier with WEST GERMAN POLICE manning it. TRAIN stops at first barrier. VOPOS swing aboard it. OCTOPUSSY PRIVATE CAR 740 VOPOS enter, collect documents from CCTOPUSSY COMMAND CAR 74d ORLOV again urging on DRIVER. INSIDE BOMB BOXCAR - VOPOS GOBINDA admitting them. They check their documents then proceed to search, looking into cannon and inspecting a few Props. CLOSER ON COSTUME RACK - VOPO 743 Pulling costumes aside. No Bond. VOPO moves away. CAMERA CES IN CLOSE ON GORILLA'S SUIT. GORILLA'S EYES move. INSIDE BOMB BOXCAR 744 VOPOS leave. CIRCUS TRAIN - BARRIER GOING UP 743 TRAIN starts to move off toward WEST GERMAN barrier. COMMAND CAR - ORLOV AND DRIVER 746 As TRAIN stops at West German barrier car skids to a stop at East German one. ORLOV jumps out and starts toward it, vopos 747 With ORLOY in B,G, at barrier, He pushes by t ORLOV i must get to that train. He runs across "no man's land” toward train which is being waved on by WEST GERMAN GUARDS, Barrier goes up. ng. GOGOL steps out and shouts to 748748 149 750 731 733 106 Continued 748 GocoL, Stop him. voPos, 749 Levelling rifles at ORLOV beyond them. TRAIN 750 Starting past raised West German barrier. ORLOV reaches last car, the bomb boxcar, and reaches up toward rear platform. voros 731 Firing. GOGOL running up zo VOPOS. 782 GocoL, Stop! I want bim alive. ORLOV 753 Hanging on to railing of rear platform as buliets riddle his back. He falls back onto tracks. Train pulls away beyond h GOGOL walks through barrier, AIDE follows him into 784 "no man's land’. NO MAN'S LAND ~ ORLOV 785 Dying. In 8.G. WEST GERy., @ their barrier, watchin GOGOL and AIDE reach ORLOV locks down at him. GocoL (to his aide) A comuen thief. A disgrace to the uniform --- ORLOV (gasping) Yes -- but tomorrow 1 will be -~ a hero of the Soviet Union ~~ (final irony) A dead one --756 757 758 759 107 CIRCUS TRAIN Proceeding into West Germany. INSIDE BOMB BOXCAR - KAMAL, GOBINDA, TWIN 1 787 They are standing beside the ballast box in the base of the GIANT CANNON, Lid of box is up, exposing time- of bomb (with digital read-out). KAMAL It is now 11:45. The performance begins at 3 CLOSE ON BOND 138 In GORILLA SUIT hiding behind costume rack. KAMAL 'S VOICE Allowing for delays set the bomb to detonate at 3:45 --- INSERT TIMER-DETONATOR 759 GOBINDA'S HAND setting 3:45, then twists clockwise. Read-out immediately starts indicating hours, minutes, seconds remaining until 3:45. KAMAL'S VOICE (over the above) We must leave the base by GOBINDA shuts lid and locks it. INSIDE BOMB BOXCAR - GROUP 760 KAMAL walks toward door. KAMAL I take it none of you wil be late. He exits, TIN locks door behind him, then rejoins GOBINDA to lower lid of ballast box, etc. BEHIND - COSTUME RACK, BOND IN GORILLA SUIT 761 He brushes against costume on rack. Hanger strikes one next to it. GOBINDA 742 Hearicg He looks toward 1S POV 783 GORILLA FEET rod. FEET MOVE. tole below bottoms of704 765 766 768 774 108 GoBINDA 764 We picks up wicked looking prop, LARGE SCIMETER and moves silently around it, the weapon raised. NEW ANGLE - GOBINDA 765 "GORILLA" appears to be behind rack. Actually it is hanging from costumer. GOBINDA swings scimeter, Decapitated GORILLA MEAD rolls on floor. Simultaneously GOBINDA hears BOND climbing out of vent-hatch above. He looks up, catches glimpse of BOND disappearing through it. INSIDE BOMB BOXCAR 766 GOBINDA rushes to door, opens it, exits into space between cars. TOP OF BOMB BOXCAR (HELICOPTER SHOT) BOND 767 The train is moving at high speed as he leaps from bomb boxcar onto top of CAR before it and then makes his wa’ forward maintaining his balance with great difficulty. DINING CAR "768 A FEW CIRCUS PERSONNEL eating. GOBINDA hurries forward along aisle, passing them. MAGDA is among diners. BOND 769 Jumping onto TOP OF DINING CAR from car behind it and proceeding forward. At front end he leaps onto TOP OF QCTOPUSSY'S PRIVATE CAR, crawls to edge of top to see coast is glear for him to get into OBSERVATION PLATFORI BIS POV THROLGH OBSERVATION PLATFORM WINDOW IN DOOR 770 On platform he can see but not hear GOBINDA obviously Alerting KAMAL about intruder on train. OND 771 He gets back on car top, crawls to opposite edge and lets himself down side of car, SIDE OF CAR ~ CAMERA TRACKING WITH BOND Moving along below windows, raising up slightly to look through them. CAMERA HOLDS as he reaches window throug! which be can see OCTOPUSSY. AIS POV OCTOPUSSY lying on massage table while GNENDOL of her girls, massages ner,Tra 775 276 780 109 OUTSIDE WINDOW 714 WONR holds on with one hand, raps window pane with the other, then ducks down abruptly just before 0.S. Sa0T shatters window, showering him with glass. INSIDE PRIVATE CAR - OCTOPUSSY 778 Startled, looks toward KAMAL standing in doorway, nolding revolver, KAMAL runs past her and GWENDOLINE to window. He leans out, HIS POV - BOND 776 Moving towards front of car along the side. KAMAL MT Firing at BOND. BOND Clambering up onto top of car. INSIDE PRIVATE CAR - OCTOPUSSY, KAMAL, GWENDOLIN! KaMalL leaving window. OCTOPUSSY sits up as GWENDOLI wraps large towel around her. OCTOPUSSY What's happening? KAMAL (hurrying toward door) Aman -~ outside the window --— ocTopussy Did you recognize him? KAMAL (at door) No. MAGDA runs in. KaMaL, Stay here with them ~-- He hurries our, OBSERVATION PLATFORM ~ GOBINDA 780 As KaMaL joins him th private car and dint into dining car,781 783 784 785 786 110 BOND - ON TOP OF SWAYING DINING CAR 781 Moving unsteadily back toward end of car. CAMERA SHOOTING FROM IN FRONT OF HIM REVEALS LOW FLYING BRIDGE looming up. It looks as though SOND will be knocked off car. Just before it does he sees it and throws himself down onto car top. TRAIN goes under bridge. INSIDE FREIGHT CAR - KAMAL 782 Running through it to BOMB BOXCAR. He raps on door. TWIN 1 opens it. TOP OF DINING CAR - BOND 783 Reaching end of car. as he leaps across gap toward FREIGHT CAR, GOBINDA, lying in wait there between cars, reaches up and grasps BOND by the ankle. BETW S 20ND 784 Falling onto coupling, straddling it. GOBINDA positions him- self to hack at BOND with scimeter. BOND twists desperately to avoid razor sharp blade, and slips under the car. BOND 785 His feet scraping rail ties, his crotch close to wheel bogie. GOBINDA 786 Moving to hack at SOND'S HANDS as he carriage, Scimeter hits bogie with s' changes hand-hold. angs on to unde: ower of sparks just Getting out from under car and climbing up to the top. TOP OF CaR - BOND 788 Getting to his feet, balancing himself as train roars on. GOBINDA, climbing up opposite side of car, gets onto top. Scimeter poised ae closes on BOND. BOND 7a9 Backing away from GOBIN nd BOND we see A menacing him <1 appea. imbing onto TWIN (shouting) Mischa?791 792 793 794 795 796 798 TOP OF CAR - BOND Turning, seeing TWIN. CLOSE ON TWIN 792 Recognizing BOND, drawing knife. ANGLE WIDENS. GOBINDA swings scimeter at him but misses as BOND gracpi=: v!ch TWIN. They roll over together as GOBINDA follows looking for a chance to finish BOND off with scimeter. NEW ANGLE - BOND AND TWIN 793 Rolling toward edge of car top with GOBINDA following, scimeter raised. FREIGHT CAR - CAMERA SHOOTING ALONGSIDE AND TRACKING 794 As BOND and TWIN roll off top of car and fall toward tracks. CAMERA HOLDS as they separate in midair and roll apart when they land beside tracks. TRAIN pulls away from them as it continues on into B.G. BOND 795 Stunned, momentarily motionless. Beyond, twenty feet away, TWIN is also stunned, TWIN struggles onto one knee, draws knife, raises arm to throw it. REVERSE ON BOND 796 As KNIFE embeds itself into railroad tie, an inch head. He struggles to his feet, staggers toward B.G. TREES 797 BOND reaches them, followed by TWIN. They ‘move further in among trees. woop SHED AMONG TREES 798 BOND reaches it, apparently cornered by advancing TWIN with knife poised. ‘He turns to face TWIN, his back against door of shed. TWIN stops, ten feet away from him and throws knife, It hits sleeve of jacket, pinning it to door. In rapid succession TWIN throws three more knives, each just missing BOND but pinning him more helplessly again door. TWIN, with remaining two knives, one in each hand, then advances slowly on BOND. CLOSER ON 3OND AND TWIN When they are face to face TWIN stops and poises knives to finish him off.799 300 Bor 112 Continued 799 TWIN For my brother As he lunges forward BOND throws his weight against the door which opens, swinging inward, TWIN, unable to recover his balance falis forward through door. INSIDE SHED 800 TWIN sprawls at BOND's feet. Aas he tries to rise BOND pulls out knife that pinned sleeve and stabs him with downward thrust. TWIN falls back, CAMERA IN ON BOND'S FACE as he looks down at 0.5. body. BOND For Double-o-nine U.S, AIRFORCE BASE - DRUM MAJORETTE gor Twirling baton, ANGLE WIDENS TO SHOW HER leading gaudily uniformed BAND blaring out The Stars and Stripes Forever, They are juniors of the American service community and carry a banner: YOUNG COLIMBIANS, USAF FELDSTADT. FULL SHOT - BAND AND SPECTATOFS 802 Many of them children with their parents applauding CIRCUS PARADE inside base, THE BIG TOP is already up in 8.G. surrounded by circus vehicles, mobile dres. rooms, caravans etc. CIRCUS PEOPLE move around among them, In the parade are OCTOPUSSY'S GIRLS, includin: MAGDA, MIDGE and GWENDOLINE, and FRANCISCO, THE FEARLESS, posturing on a float carrying the GIANT CANNON. ng INSERT - TINER DETONATOR 802 Inside ballast box, Faint glow from digital read-out. The time is 2:17. AIRSTRIP - PLANE TaXIING in B.G, hangars, barracks, 304 other planes, exec and service buildings, etc. HIGHWAY THROUGH UNINHABITED COUNTRYSIDE - 30ND 805 Emerging from woods. Then running to shoulder of highwa! to thumb ride from approaching car. It whizzes by. He looks at wrist watch, INSERT - WATCH 80s He starts walking along highway. Another car c ignoring h Car filled with TEENAGERS slows down as though to pick him up, Instead it accelerates past accompanied by a chorus of Jeers.808 809 810 gi. 812 813 816 113 AIR BASE - INSIDE BIG TENT ~ ROUSTABOUTS 808 Preparing for performance. Setting up trapezes, high wires etc. ACROBATS limbering up, Other PERFORMERS checking gear. OCTOPUSSY walks among them supervising activities. CAMERA TRACKS KER TO CANVAS TUNNEL ENTRANCE. HER Pov 809 ROUSTABOLTS br NT CANNON into CANVAS TUNNEL. KAMAL and GOBINDA observing. KAMAL sees her. CANVAS TUNNEL ENTRANCE - OCTOPUSSY 810 As KAMAL joins her. KAMAL Gobinda will remain with it. She nods, they move out of scene, away from canvas tunnel entrance. HIGHWAY - VOLKSN AGEN git Driving leisurely. REAR WINDOW 812 Through it we see BOND seated in back. In front are a stout couple, BUBIE driving while his wife SCHATZL stuffs them both with goodies from a picnic basket on her lap. INSIDE VOLKSWAGi 812 BOND leans forward. BOND Schnell, bitte, sct SCHATZL, her mouth full of liverwurst, responds by handing him a jellied pigs foot. He looks desperately at his watch INSERT WATCH alt 315 INSIDE BIG TOP AUDIENCE arriving, taking seats, In . MAGDA dees pick pocket routine. CLOWN with her returning filched articles.817 818 819 8198 3198 819¢ 8190 319F 820~ 329 830 REV: 19/8/82 ria/1is SMALL TOWN - VOLKSWAGEN aiT Reaching it, then turning into SQUARE (or main street) CLOCK TOWER 818 Hands read 2.56 VOLKSWAGEN 819 Stopping. BUBIE squeezes himself out. BOND pushes by him, waving off offer of half a strudel from SCHATZL, and hurries to telephone booth. SMALL TOWN STREET BOOTH BOND. 8194 Hurries towards booth. Car parks in front of booth, woman gets out and enters dooth before BOND can reach it. INT. TE 3198 Woman inserts coins and starts animated conversation. BOND arrives and raps impatiently on glass. WOMAN ignores him and continues conversation. He raps glass again and pulls at door. She jams door with foot, gives BOND a dirty look and continues talking. BOND 819¢ Turns desperately away, He sees car parked at curb. INT, BOOTH WOMAN 8 6 Talking. Halts conversation and gapes. ER POY 8195 BOND in her car driving off, WOMAN S19F Rushes out of booth looking after BOND. 820~ OMITTED 829 BOND IN CaR 830 Looking back831 832 833 834 835 836 837 838 839 116 EIS P.O.v. 831 WOMAN hails passing MOTORCYCLE COP who stops beside her. She points after BOND while pouring out grievance. BOND IN CAR 832 Driving away. CAMERA PANS UP TO CLOCK TOWER. Hands indicate it is now 3:05, VILLAGE OUTSKIRTS - BOND IN CAR 833 Passing WEST GERMAN POLICE SQUAD CAR beside highway. It takes off after him, siren blowing. BOND IN CAR 834 Looking back. HIS P.O.V. 835 SQUAD CAR behind him, followed by MOTORCYCLIST. INSIDE BIG TOP - OWNER'S BOX 836 OCTOPUSSY and KAMAL with COMMANDING GENERAL and AIDES as CIRCUS PERFORMANCE begins with EQUESTRIAN ACT. GIRLS standing on white horses trotting in circle. CLOSER ON GENERAL, OCTOPUSSY AND KAMAL 827 Glancing at his watch. He rises. KaMAL Excuse me, General, but I have travel arrangements to make. Enjoy the show, AIDE I'm sure the General will get a big blast out of it. KAMAL (straight faced) I know he won't be disappointed, He leaves. HIGHWAY - BOND'S CaR 835, Reaching convergence with SQUAD CAR grazes ANOTHER co: Both go off road, then get bacs on. MOTORCYCLE COP. : AIR FORCE GATE - MP POST, SERG! DAIMLER passes him, leaving base, GOBINDA is dr. KAMAL sits beside fim.840 843 344 845 846 al7 BOND IN CAR followed by MOTORCYCLE COP AND SQUAD CARS 840 Looking ahead. HIS POV ROADSIDE AUTOBAEN SIGN with arrow readinj gaa USAT PELDSTADT + IN BIG TENT - HIGH WIRE ACT 842 In B.G, GENERAL, with OCTOPUSSY and AIDES, watches appreciatively. HIGHWAY ~ DAIMLER WITH KAMAL AND GOBINDA 843 Approaching curve. BOND IN CAR 844 Looking back toward pursuers. DAIMLER 845 Rounding curve, narrowly avoiding collision with BOND'S CAR, INSIDE DAIMLER 846 GOBINDA turns to KAMAL. GOBINDA That was Bond! KaMaL Good. Let him keep going. He'll be late and we'll be rid of him, too. Daimler continues on. INSIDE BIG TOP 847 TUMBLING ACT IN PROGRESS. ow} ER'S BOX - OCTOPUSSY AND GENERAL. 848 YAGDA stands behind him. MAGDA General, how long would I get in the brig if I stole your wa GENERAL (laughing) About two years, MAGDA That long? Then I'd better return it. hands him back his wallet. All laugh.449 B51 352 853 854 . 118 BOND'S CAR 849 Approaching large sign: USAF FELDSTADT over BASE GATEWAY. 0.8. SOUND OF APPROACHING SIRENS GATEWAY MP POST SERGEANT 850 He holds up his hand as BOND slows down and stops. SERGEANT Where's your circus pass? BOND (shouting) How do I reach the Base Commander? The General? I've got to get to him! SERGEANT'S POV asi As SIRENS get louder, MOTORCYCLE and SQUAD CaRS rapidly approaching behind BOND'S CAR. SERGEANT 952 Drawing his revolver. SERGEANT Get out with your hands up! BOND steps on the gas. Car brushes past him. SERGEANT fires several times into air. OTHER MPs emerge fror POST, MOTORCYCLIST and SQUAD CARS reach gate. SERGE waves them through. MOTORCYCLIST stops beside SERGZA) Other vehicles continue on out of scene pursuing SCXD. BOND'S CAR 853 Approaching PARKED VEHICLES beside BIG TOP. Caravans, trailers, lorries, pantechnicon, etc. MP GATE POST ~ SERGEANT 834 Entering. He grabs phone. SERGEANT Captain, some nut went through here in’a stolen car. fants the base commander. He's wearing a red shirt .., SIRENS still audible but not so loud. BOND'S CaR 3 PARKED VEHICLES and BIG TOP in B.G. LORRY suddenly pulls across in front of him. Car side swipes lorry and skids into CARAVAN, SOND gets out of car and disarrears ar i855 856 857 858 859 860 B61 863 Continued 855, caravan. SQUAD CARS and MOTOPCYCIF reach it. TWO JEEPS with MPs join them. Men leave vehicles and start searching for Bond. PUBLIC ENTRANCE TO BIG TOP 856 BOND moves toward it, then freezes as he sees MORE MPs in jeep stop beside entrance. He turns, heads towards MOBILE DRESSING ROOM. SEVERAL CLOWNS EMERGE and pass him on the way toward tent, He ducks into dressiag room. MPs pass it. MPs AND COPS 857 Looking into and under vehicles. INSIDE BIG TOP - PYRAMID ACT IN PROGRESS 858 GWENDOLINE holding up six other girls. IN CANVAS TUNNEL - CLOWNS 8 Assembling beside GIANT CANNON. INSERT - TIMER DETONATOR - TIME 3:38 860 OUTSIDE MOBILE DRESSING ROOM - MP AND COP B61 Approach. BOND emerges dressed as a clown: checkered vest, baggy pants, floppy coat, enormous shoes. Somewhat crudely he has slapped white greasepaint on kis face, painted clown lips, put on bulbous red nose, orange % and a bowler hat. MP Anybody else in there? BOND shakes his head, hurries toward big top in 8.G. COP glances into dressing room, sees something, goes in, Teappears holding TWIN'S RED SHIRT. MP talks into his walkie-talkie. Mp Subject is dressed like a clown!! He and cop run in direction BOND went. IN BIG TOP - RING 862 CLOWNS rositioning GIANT Cal OUTSIDE Cal RES He has walkie-talkie to his ear, BOND passes him, goes into tunnel.364 865 866 867 868 369 970 71 872 874 120 IN BIG TOP 864 CLOWNS putting up net. OUTSIDE CANVAS TUNNEL - MP AND COP 865 Who found red shirt, beckoning to MP there, run into tunnel. MP follows them, RING - GIANT CANNON 866 In F.G. BOND appears in canvas tunnel entrance. He starts toward cannon, then hears running feet behind him and looks back over shoulder. HIS POV 367 MPs and COP coming toward him through tunnel. BOND 368 Looking around. HIS Pov 369 CAMERA MOVES IN VARIOUS DIRECTIONS as he sees other MPs and COPS, singly and in pairs, looking for him. CAMERA HOLDS ON GENERAL, OCTOPUSSY, AIDES in OWNER'S BOX with MAGDA behind it. BOND 870 Starting toward OWNER's BOX. RINGMASTER art Entering ring with FRANCISCO. Drum roll. Trumpet fanfare. BOND 872 Continuing toward owner's box with MPs and COP benind him. SPECTATORS become aware of chase, begin murmuring. Is it part of the shox? RINGMASTER'S VOICE Ladies and Gentlemen, Francisco the Fearless. BOND, the big shoes making him run clumsily, nears owner's box CLOWNS IN F.G $73 Putting up ladder to cannon mouth. BOND in 8.G. as FRANCISCO mounts ladder and climbs into cannon barrel. OWNER'S BOX - GENERAL, OCTOPUSSY, AIDES, MAGDA ara As BOND reaches them. at874 875 876 rT 42h Continued ara BOND (breathlessly) General .,, there's a bomb in that cannon ... GENERAL (chuckling) Sure. Where else would a bomb be? (to Aide) Great clown bit ... BOND I'm not a clown, sir... I'm a British agent. He sweeps off bowler and wig, pulls off comic nose, wipes off most of white grease paint, SPECTATORS in B.G. murmur more loudly. ocToPussy 875 Staring at BOND. BOND AND GROUP 876 MPs and COPS closer. BOND (desperately) It's set to explode at 3:45 ... (glancing at watch) Exactly minety seconds from now ... (turning to Octopussy) Kamal and Orlov double-crossed you ... they took the jewellery off the train .., I saw it. Will this convince you? He shows her ROMANOFF STAP diamond. She looks at it. AIDE (to General) The man is drunk or crazy, General!! Just before MPs and COP real CAMERA TRACKING WITK RIN, runs to FIRE CONTROL PAIL, ete. hangin, on TENT POLE, where CAMERA HOLDS, SOND grabs axe. CAM TRACKS WITH AIM AGAIN as he runs out into RING where RINGMASTER, about to give signal to fire cannon, sees and hesitates. MPs AND COP NEAR OWNER'S BOX iT Running toward BOND, OTHER MPs join them.878 879 880 sal 882 883 884 885 886 887 388 122 IN RING 878 As BOND begins hacking with axe at LID OVER DALLAST BOX IN BASE OF CANNON. INSERT: TIMER-DETONATOR VIBRATING. Time is now 3:44 879 30 seconds left. OWNER'S BOX - GROUP 980 MAGDA joining OCTOPUSSY. MAGDA (under her breath) He'll blow the caper ... CAMERA IN CLOSE ON OCTOPUSSY'S FACE registering conflicting emotions. IN RING - MPs AND COPS a1 Surrounding BOND. They grab him, wrestle axe away. He struggles to free himself. OWNER'S BOX B82 GENERAL and AIDE start toward ring, OCTOPUSSY and MAGDA follow, SPECTATORS 383 Reacting loudly to commotion in ring. GROUP AT Ca’ as BOND still struggling with MPs. GENERAL and OCTOPUSSY reach cannon. CAMERA CLOSER ON OCTOPUSSY 885 + For an nstead she fires As she snatches revolver from MP's holst. instant we think she might shoot BOND. at LOCK ON BALLAST BOX LID. CLOSE ON BaLLAST BOX LID 886 As it falls open, Exposing BOMB CASING and TIMER-DETONATOR with digital readout. NSERT READ-OUT 887 Indicating time is 3:44, with ten seconds left before explosion. GROUP ~ FEATURING GENERAL ass Staring at readout, shocked,888 889 391 392 293 394 Continued 888 GENERAL My god! He turns to MPs and COP restraining BOND. GENERAL Let him go ... He holds up his arms to silence crowd. BOND 389 As 0.8, CROWD NOISE subsides completely he reaches for timer-detonator, struggles briefly to free it, twists it a half turn and pulls it out. INSERT - TIMER-INDICATOR 890 IN BOND'S HAND. Digital readout goes to zero. Rod in base of timer-detonator fired by selonoid action projects harmlessly into air. GROUP AROUND CANNON BASE 391 Momentarily frozen. MOUTH OF CANNON 892 FRANCISCO sticks his head out of it. FRANCISCO Now? He looks around bewilderedly. GROUP AROUND CANNON 893 Featuring GENERAL, BOND AND OCTOPUSSY. GENERAL takes mike from RINGMASTER. GENERAL (into mike) Everything is all right, folks! octopussy Among GROUP AT CANNON. GENERAL'S VOICE (coming over her) You and your families are safe now === OCTOPUSSY appears stunned, then regains control of herself, and comes to a resolute decision.394 895 896 397 898 899 124 Continued 394 GENERAL'S VOICE Please leave the tent in an orderly manner OCTOPUSSY hands revolver to MP who is beside her, and walks determinedly out of scene toward exit. GENERAL AND BOND 895 GENERAL turns to BOND as SPECTATORS begin leaving in BAG. GENERAL That Was close. You were great. BOND (wanly) Just clowning around, General. General grins. SPECTATORS 896 Moving toward exits. GENERAL aot Taking BOND'S ARM. GENERAL, I'd appreciate your joining me in my office for a debriefing session ... BOND Yes, sir ... later He locks around for OCTOPUSSY. ANGLE WIDENS as he realises she has left group. HIS Pov 898 OCTOPUSSY moving into SPECTATORS crowded around exit, BOND agg CAMERA TRACKS WITH HIM TOWARD EXIT, people push past him on their way out. he has lost her in the crowd. le Stops there as @ looks around,00 gor 902 125 INDIA FULL SHOT = MONSOON PALACE —- BEFORE DANN 300 TRIBESMEN with rifles, silhouetted against the sky, patrol battlements and tops of walls, SIX GUARDS AT MAIN GATE 901 Around a fire, excitedly watching the sensual undulations of a veiled BELLY DANCER (MAGDA) accompanied by girls playing drum, flute and tambourine. CAMERA PANS UP TO XAMAL'S PENTHOUSE on top of TOWER surrounded on three sides by a TERRACE. INSIDE PENTHOUSE — KAMAL'S STUDY 902 Lavishly furnished spacious room with Indian decor mixed with more practical Western style desk and filing cabinets, etc. Behind desk hangs a ceremonial Afghan curved sword. KAMAL is standing at an open safe which has obviously been already almost emptied. He brings sheaf of documents, etc. to fireplace, throws them in with orhers already burning. There is a large glass picture window in the side of the room not terraced. It overlooks courtyard and hillside beyond it. GOBINDA enters, GOBINDA The plane is fueled. KAMAL We'll take off when it's light. GOBINDA Yes, Excellence. KAMAL Are the gold certificates and the bank books on board. GOBINDA All as you commanded. Kamal goes back to safe, takes out stack of metal plates, puts them on desk. KAMAL We'll take these too, Dollars ~~ pounds -~ francs -- marks -- CAMERA IN CLOSE. © Plates are for printing counterfeit 903 paper money. ANGLE WIDENS AGAIN KaMaL T can always print my-own, (faint 0.8. flute and tambourine sound) What is that? GOBINDA crosses to window, looks out,904 905 906 907 908 909 910 aut HIS POV ~ LONG SHOT NEAR MAIN GATE 204 GIRLS and BELLY DANCER surrounded by TRIBESMEN. CLOSER ON BELLY DANCER (MAGDA) as her gyrations become 905 more provocative. KAMAL'S STUDY KAMAL AND GOBINDA 206 Turning away from window. GOBINDA Girls selling themselves. KAMAL (going back to safe) Good. it will keep the men occupied. I don't want them to see me leave -— He takes packets of letters out of safe. KAMAL Saleable indiscretions -- (smugly) I've provided for the future rather sensibly - He puts packets with engraving plates. OUTSIDE WALLS TRIBESMEN AROUND FIRE 307 Increasingly excited as BELLY DANCER's gyrations become more frenetic. Veil lifts as she swirls. We catch glimpses of her face. We see for the first time it is Magda. NEAR HER 908 TWO SISTERS dressed identically shyly react to PAIR OF TRIBESEWENS' amorous advances. BASE OF FORTRESS WALL — OCTOPUSSY 809 Moving silently, hugging wall. Behind her are G and WIDGE carrying SPRINGBOARD. They stop. TOP OF WALL == SENTRY 910 Moving away from above them. GUARDS visible below at inner gate. ocTopussy DG git VENDOLINE MIDGE stands on board, coiled rope around waist. GWENDOLINE jumps on the otherend, propelling WIDGE up to top of wall.912 913 914 915 916 918 ous 920 az. 122 OCTOPUSSY AND GWENDOLINE BELOW MIDGE uncoils rope from around her waist and lowers it. GWENDOLINE holds end of rope while OCTOPUSSY climbs up it to join MIDGE. GWENDOLINE CAMERA TRACKS HER ALONG BASE OF WALL, HOLDS as she stops and looks ahead. HER POV SIX WORE CCTOPUSSY GIRLS, in single file, hugging wall, are coming towards her carrying a bag full of fibre-glass pole sections. GROUP GIRLS AND GWENDOLINE Forming HUMAN PYRAMID with GWENDOLINE as base. TOP OF WALL One by one, GIRLS get on it. All movements are executed swiftly and silently, almost ballet-like. GIRLS flatten down and against parapet as SENTRY approaches, OCTOPUSSY and MIDGE loom up bebind him, CCTOPUSSY karate chops back of his neck, He falls. She and MIDGE pick him up and throw him over wall. GWENDOLINE AT BOTTOM OF WALL Catvhing unconscious SENTRY. She lowers him gently to the ground. GUARDS AT INWER GATE Restless. BOTTOM OF WALL, GW NDOLINE Straightens up in time to catch ANOTHER knocked out sentry. Rope comes down from top of wall. GWENDOLINE attaches it to BAG WITH POLES other Octopussy girl brought with them, Second rope drops, climbs up out ef shot. 0! MIDGE aND 0” EA GIRLS ON TOP OF WALL Pulling bag of poles up. CCTOPUSSY, silhouetted against sky, waves scart, Ma ~ MAGDA «Ga Undulating madly, looking up toward TOP OF WALL. HER POV CCTOPUSSY waving scarf egain 13 914 15 916 92233 24 926 927 928 929 330 931 128 MAIN GATE AROUND FIRE MAGDA, GIRLS, TRIFESMEN 923 MAGDA ends dance with whirling finish. Excited TRIBESMEN applaud, throw coins. MWAGDA whips off bolas waist band and clubbers nearest TRIBESMAN. DRUM GIRL 924 Cold cocks TRIBESMAN bent to kiss flute GIRL next to her with kettle type drum stick. PAIR OF TRIBESMEN AND TWO SISTERS 925 Spin apart, revealing they were dressed in a single sari, ensnaring the T#O TRIBESNEN who are cold cocked by DRUMMER. MAGDA AND GIRLS 926 ALL TRIBES palace. N hors de combat. MAGDA leads GIRLS towards INSIDE COURTYARD MIDGE WITH TWO OTHER OCTOPUSSY GUARDS 927 Letting themselves down into courtyard where they swiftly and silently surprise and overcome T#0 TRIBESMEN on their way to relieve MEN at inner gate. TOP OF WALL OCTOPUSSY 928 And other GIRLS proceed toward inner gate. INNER GATE - GUARDS 929 Surprised as OCTOPUSSY and GIRLS swoop down on ropes. GUARDS struggle but are quickly and silently overcome, OCTOPUSSY opens gate. MAGDA and OCTOPUSSIES in black leotards and bolas enter. BASE OF TOWER 930 GWENDOLINE and MIDGE assemble fibre-glass pipes into thirty-five foot pole as used in circus act. They erect it on GWENDOLINE's head and shoulders. OCTOPUSSY arrives as MIDGE starts to climb up pole, OCTOPUSSY halts her. ocTopussy I'll do that. LOW ANGLE OCTOPUSSY 932 Shinnying herself up pole and then disappearing as she climbs over terrace railing ON TERRACE OCTOPUSSY 932 She draws revolver, goes towards door in arched doorway leading to KAMAL's room. She sees KAMAL and GOBINDA insid129 933 INSIDE KAMAL'S STUDY 933 KAMAL continuing to burn documents. KAMAL. Are the horses saddled? GOBINDA Yes, Fxcellence. KAMAL I will join you there in a few minutes. GOBINDA exits. : 934 GALLERY OVERLOOKING STAIRWELL 934 As GOBINDA comes out of KAMAL's room and starts down staircase, TRIBESMEN GUARDS ON LANDING. 935 INT, KAMAL'S STUDY KAMAL 935 Standing at the des! in hand, behind him. + OCTOPUSSY enters silently, gun ocToPussy (low but steady voice) Do you think you can escape me? KAMAL, Escape you? Why? (indicating satchel) Iwas bringing you this -- I have anew plan for us ~- ocToPussY (sardonically) Like your pian at Feldstadt? KAMAL Orlov betrayed us. I swear I knew nothing about the bomb, After all we are partners, friends. octopussy Whatever we were -- I've come to end it -- permanently -- KAMAL Wait -- (dumping contents of satchel on desk, sitting down) Look ~~ we can make millions.936 937 938 939 940 gar 130 INTERIOR TOWER STAIR WELL FIRST FLOOR LANDING 936 GOBINDA sees fibre-glass pole outside window as he passes by, he crosses to it and looks down. RIS POV 937 GWENDOLINE and MIDGE below waiting. Beyond OCTOPUSSY GIRLS move silently across courtyard. GOBINDA turns to GUARD at landing. 938 GOBINDA Wake the guard! GUARD exits quickly. DELETED 939 IN KAMAL'S ROOM KAMAL AND OCTOPUSSY 940 Plates, letters, documents, etc. on desk. KAMAL Believe me, the best is yet to come -- I would never do anything to hurt you -~ ocToPUssY Liar, You left me to be killed along with thousands of innocent people, stand up! KAMAL realizes the jig is up. He manages 2 last shred of dignity and slowly rises to his feet. as she steadies gun to fire, TEE DOOR OF THE ROOM is crashed open by GOBINDA and TWO GUARDS. Distracted, OCTOPUSSY turns and KAMAL knocks gun from her grasp with plates, She reels back. She snatches Afghan ceremonial sword off the wall and holds them off with it. GOBINDA draws a knife. Rawal, Get her, She's our ticket our of here. LONG SHOT PALACE EOT ATR BALLOON eat Passes over wall,aaa 243 aaa 245 946 947 348 aan BASKET OF BALLOON BOND AND Q 942 Operating gas burner. BOND watching OCTOPUSSIES fighting TRIBESMEN in inner courtyard through 7.V. camera. INNER COURTYARD OCTOPUSSY GIRLS including GWENDOLINE, 943 MIDGE and MAGDA fighting, TUMBLER OCTOPUSSIES en masse attack TRIBESMEN rushing out of tower door, knocking them ass over tea kettie. BASKET OF BALLOON BOND AND @ aaa Q They don't seem to be doing too . badly. BOND pans camera to terrace as OCTOPUSSY backs out on to it holding off GUARDS and GOBINDA. BoND There's cne in trouble. My God, it's Octopussy. Q I'll take us down. BOND takes rope. BOND Too late for that. Get us close. BOND goes over side of basket climbing down rope. TERRACE - OCTOPUSSY 943 Overcome by TRIBESMEN and GOBINDA. She is dragged inside. INT. KAMAL'S ROOM - KAMAL 946 OCTOPUSSY dragged in by GOBINDA and OTHERS. KAMAL (gloating) Take her to the plane. BOND 947 Hanging on rope from BALLOON as Q canceuvres it toward terrace. He swings back and forth, then lets go and flies through the air, feet first, into and througn LARGE PICTURE WISDOM KAMA ‘s sTUDY . 938 as BOND lands in a shower of glass on a leather sofa he sits up he sees GOSINDA and KAMAL manhandling CCTOPUSSY out the door. ONE GUARD follows them out, the other levels948 oy 950 951 51a 952 955 954 855 S530 956 132 Continued 948 rifle at BOND who rolls off sofa and comes up with his* Walther in his hand. He fires first. GUARD falls back, hit. UOND scrambles to his feet and runs out door, GOBINDA, GUARD 949 STAURWELL, KAMAL AN Forcing OCTOPUSSY along with them as they descend. KAMAL looks back, HIS P.O.V. 950 BOND approaching head of stairwell. KAMAL, 951 rifle, indicating BOND iring at BOND. em out of scene. BOND Gesturing to GUARD with automati is behind them. GUARD runs past and GOBINDA drag OCTOPUSSY with _ Shoots WARD as he arrives at landing. GUARDS 51a run into stairwell firing up at BOND. He fires but is forced to duck back, pinned down, BOND 952 Takes automatic rifle from fallen guard, Mounts bannister and slides down blasting away. Two guards fal! the rest scatter off into the corridors. One guard left at bottom of stair, Bond's rifle jams as he slides towards end of bannister at ground floor level, | BOND hits last guard full force with both feet in chest as he flies off end of bannister, knocking guard senseless. GROUND FLOOR TOWER - BOND 953 Looks around for Octopussy, Doesn't know which way she went. Looks out doorway to inner courtyard. DELETED COURTYARD TRIBESMEN have surrendered. | OQCTOPUSSIES round them up. BOND $358 Hears beeping sound. Looks at T.V, wristwatch, 935 TLV, Screen, Overhead shot of » GOBINDA and OCTOPUSSY exiting through sige door of Palace, BASKET OF BALLON = q 956 Operating T.V. camera,987 958 959- 960 961 962 963 964 985 366 367 133 EXTERIOR PALACE SIDE ENTRANCE WAMAL and GOBINDA holding OCTOPUSSY run to horseline. BOND Looking up from watch face to back wall. No doorway. Head down to basement. DELETED BASEMENT - BOND Finds side door and heads out, EXT. PALACE - SIDE ENTRANCE - BOND Emerging from basement. HIS P.O.Y. HORSELINES as KAMAL, GOBINDA and OCTOPUSSY reach Eight or nine horses tethered to rail, some saddled. CLOSER ON KAMAL, GOBINDA AND OCTOPUSSY She tries to fight her way from them. GOBINDA knocks her 987 959- 960 961 962 963 964 out. He swiftly ties her hands with a strangler's cord he had with him. He and KAMAL sling unconscious OCTOPUSSY over cropper of horse. COBINDA mounts it. KAMAL mounts horse beside it. They ride furiously out of scene TRACKING SHOT BOND Running to horseline. He jumps on saddled horse and gallops out of scene. IN COURTYARD OCTOPUSSIES Rounding up last of TRIBESNEN. CAMERA ANGLE WIDENS TO INCLUDE ONE playing dead who snatches up submachine gun, OCTOPUSSIES including MAGDA, MIDGE, and GWENDOLINE, hear him cocking gun, turn and freeze. Before he can fire BALLOON crashes'on top of him. 2 Struggling to get out. GWENDOLINE pulls him out, stands him up, throws her brawny arms around him, and gives b a kiss: BASKET ON SID Q I say! Let's have no more of that. SOODED AREA Kanal, GOBINDA and OCTOPUSSY chased by BOND. 965 966369 970 971 972 973 974 975 976 977 978 979 980 gal 134 ‘AIR STRIP KAMAL and GOBINDA, OCTOPUSSY still over ‘cropper toward KAMAL's two engine prop plane. WOODED AREA BOND rides furiously between trees. CAMERA TRACKS WITH HIM out of trees to edge of air strip. PLANE KAMAL and GOBINDA, carrying OCTOPUSSY, board plane. AIR STRIP BOND rides toward plane. PLANE KAMAL IN COCKPIT Revving engines. BOND Closer on plane which starts taxi-ing away. IN PLANE KAMAL at controls. OCTOPUSSY and GOBINDA behind him. She starts to revive, tries to undo knot, | KAMAL looks back. HIS P.O.V. BOND on horse, overtaking plane. HIS P.O.V. TAILPLANE of aircraft. CLOSE ON SOND Preparing to leap. TAILPLANE AND BOND Leaping from berse onto it. PLANE Taking off with BOND hanging onto tailplane along behind hin. BOND Ground recedes below as he clings to tail. 969 atl gra 973 978982 983 984 985 986 987 988 989 390 991 992 993 994 135 COCKPIT KAMAL reacts to weight on tailplane, He looks back. HIS P.O.V. BOND on tailplane, looking toward him. COCKPIT KAMAL gestures for GOBINDA to belt up. Behind them OCTOPUSSY sits up and looks around dazedly, trying to orientate herself. BOND Moving forward along side of fuselage. He looks through port. HIS ?.0.V. OCTOPUSSY, still groggy, seeing him. INSERT STICK Pushed forward and over to start dive-roll. BOND Reaching back to grab tailplane again. PLANE Rolling upside down. CABIN OCTOPUSSY thrown across it. BOND Hanging on to tail plane with arms and legs. PLANE Coming out of roll. COCKPIT KAMAL pushes stick forward PLANE Diving. KaMaL AND GOBINDA Reacting to G force. 982 983 984 985 986 987 988 989 990 gg1 992 99s 995996 997 998 999 1000 1001 1002 1003 1004 1005 1006 1007 1008 1008 boxn 136 Desperately managing to hang on, his legs straddled STICK Pulled back to bring plane out of dive. BOND'S P.0.V. As plane pulls out of dive. KAMAL AND GOBINDA As plane goes up. PLANE Climbing up into loop. BOND Hanging on. PLANE Looping. KAMAL Then leveling off. Looking back. HIS P.0.Y. No BOND. KAMAL AND GOBLNDA KAMAL smiles smugly, then reacts sharply. STARBOARD ENGINE COWLING BOND, lying on wing, has raised service cover, and is pulling out ignition wires. KAMAL Alarmed he operates stick to bank. Behind him OCTOPUSSY is thrown off balance a, PLANE Banking zooming, then leveling ofi. 30% ing on, working away with dagger <= CocKPIT KAMAL AND GOBINDA KAMAL He'll kill us all. get hin! is still hoid- ag to disaole e! Go out and 996 997 398 999 1900 1002 1002 1003 1004 1005 1006 1007 1008 1o0e137 1009 Continued 1009 GOBINDA Out there! (hastily) Yes, Excellence. GOBINDA heads to rear of plane. 1010 PL ve 1010 Dipping, as engine stops. 1011 CABIN 1ol1 GOBINDA moves toward door. | OCTOPUSSY unexpectedly butts him on the side of his neck, He backhands ker hard. She falls against fuselage. He jettisons door. 1012 EXT, PLANE tore GOBINDA gets out, knife in mouth, and maxes his way forward along fuselage. 1013 BOND 1013 On opposite side of fuselage edges aft. 1014 PLANE 1014 CAMERA SHOOTING OVER GOBINDA'S SHOULDER. Knife in hand he moves aft toward BOND who grips BASE OF AERIAL. 1015 TOP OF FUSELAGE 2015 BOND, holding base, pulls himself onto top. GOBINDA crawls on and advances toward him as BOND grasps aerial. 1016 SIDE ANGLE PLANE 1018 GOBINDA crawling closer toward BOND hanging on to aerial. 1017 CLOSER 1017 GOBINDA slashes at BOND's hands. 30ND, slips further back, bending aerial. GOBINDA, grinning, and Still closer, makes lunging stab at him. BOND lets go aerial. 1018 CLOSE Oo} GosINDa 1018 AS aerial whips back and hits him in the face. 1019 PLANE : iors GOBINDA fal grou off plane, screams as he plummets toward1020 1021 1022 1023 1024 1025 1026 1027 1028 1029 1030 1031 1032 CABIN 138 KAMAL, reacting, as he sees GOBINDA falling. PLANE BOND, back on tailplane, kicks at aelerons. KAMAL Struggling with controls as plane loses altitude. PLANE Coming down, BOXD On fuselage, looking forward HIS P.O.Y. Beyond nose of plane is FDGE OF 4 PRECIPICE. BOND Crawling forward toward open door. IN CABIN Behind KAMAL she has loosened cord around BOND comes into cabin through doorway. PLANE wrists. Touching down, bouncing toward edge of precipice. KAMAL Reacting apprehensively, Behind him BOND OCTOPUSSY'S wrists. FUSELAGE gets cord off CAMERA SHOOTING THROUGH DOORWAY. OND, holding OCTOPUSSY, looking toward it. WIDER ANGLE BOND throws himself and OCTOPUSSY clear. Gi ND They hit it with BOND still holding her. and over together. They roll over 1020 1021 1022 1023 1024 1025 1026 1027 1028 1029 1030 10321033 1034 1035 1036 1037 20374 1938 1038a 1039 1040 1040 1681 1042 1os4 139 PLANE 1033 Skidding toward precipice edge. BOND AND OCTOPUSSY 1034 Roll toward brink of precipice. CABIN 1035 KAMAL fighting controls. PLANE 1036 Passing over precipice edge. EDGE OF PRECIPICE BOND AND OCTOPUSSY 1037 As she rolls off edge. BOND desperately catches her wrist, CLOSER BOND 10372 Grasping OCTOPUSSY's wrist as she hangs down cliff face. PLANE . 10382 Curving away downward towards ground. INTERIOR COCKPIT KAMAL 1038 Frantically trying to regain control. Ground comes up, filling screen, KAMAL throws hands up to protect his face. BOND 1033 Hanging on to OCTOPUSSY. BOND 1040 OCTOPUSSY below bim. HIS POV 1040 Far down in deep B.G, PLANE EXPLODES, BOND 1041 Hanging on to OCTOPUSSY desperately. CLOSE ON BOND'S HAND 1082 Gripping OCTOPUSSY'S WRIST. WIDER SHOT 1033 reach ledge. CLOSE Ui Octopussy Loss Looking up as 30ND swings her.1045 1046 1047 1048 1049 1050 REV: 13/8/82 140 CLOSE UP = BOND Straining to hang on to her. OVER SHOULDER SHOT BOND Swinging her toward ledge. LOW ANGLE OF ocTopussy As her feet find ledge. OVER SHOULDER SHOT BOND He pulls her up over ledge. In B.C, we glimpse the smoking wreckage of Kamal's plane. BOND AND OCTOPUSSY At precipice edge. Utterly exhausted he manages a thin grin, BOND (faintly) I knew you were a swinger -- He collapses. She cradles his head and kisses him. INT. M'S OFFICE Mf AND MINISTER Listening to GOGOL in mufti. GocoL, My government categorically denies the incident ever Occurred. However, we request that Commander Bond’ return one of our most historic Rational treasures - the Romanov Star = MINISTER In the interests of Anglo-Soviet relations I'm sure that can be arranged, Where is Commander Bond? M Unfortunately, because of his injuries he still is not fit enough to travel - 1048 1046 1047 1048 1049REV: = 13/8/82 141 1051 OCTOPUSSY'BARGE CAMERA CLOSE 1051 ff hanes from a necklace around her throat. ANGLE WIDENS. dhe 18 Kissing BOND wao is lying on a luxurious large divan in a curtained canopy in the stern. He hase plaster Stet yetyhts right arm, a sling on bis let, a bandage on his hand, and one leg'up in traction. ocTopussy (murmuring) What a pity you're in such a weakened condition -— BOND 2 (grinning) . No problem = Startlingly the cast on his arm falls apart, Ke takes off the sling, puts his arms around her, draws ner down to sim® 1052 STERN OF BARGE 1052 \ OCTOPUSSY'S VOICE Oh, James! Over the stern and into the water comes the halves of the eusty—the sling, the bandage and lastly the traction contraption,