"Exactly 1 minute 52 seconds." "That's excellent." "Check." "Knight takes bishop." "Knight takes bishop." "King to rook two." "King to rook two." "Queen to king four." "Queen to king four." "My congratulations, sir." "A brilliant coup." "Siamese fighting fish." "Fascinating creatures." "Brave, but, on the whole, stupid." "Yes, they're stupid." "Except for the occasional one, such as we have here, who lets the other two fight... while he waits." "Waits until the survivor is so exhausted that he cannot defend himself." "Then, like SPECTRE, he strikes." "I find the parallel amusing." "Our organisation did not arrange for you to come over from the Russians just for amusement, Number Three." "Come in, Kronsteen." "Sit down, Number Three, while we listen to what Number Five has devised for us." "I hope his efforts as director of planning continue to be as successful as his chess." "They will be." "As you instructed, I've planned for SPECTRE to steal from the Russians their new Lektor decoding machine." "For this we need the services of the Russian Cryptograph Section in Turkey and the help of the British Secret Service." "Neither the Russians nor the British will be aware that they are working for us." "Number Three, is your section ready to carry out the directives?" "Yes, the operation will be organised according to Kronsteen's plan." "I have selected a girl from the Russian Consulate in Istanbul." "She's capable, cooperative, and her loyalty to the state is beyond question." "You're sure she believes you're still head of operations for Soviet Intelligence?" "It's most unlikely she would know I'm now working for SPECTRE." "Moscow has kept my defection secret from everyone but the presidium." "For your sake, I hope so." "Kronsteen, you're sure this plan is foolproof?" "Yes, because I have anticipated every possible variation of countermove." "But what makes you think that M will oblige you by falling in with your plan?" "For the simple reason that this is so obviously a trap." "My reading of the British mentality is that they always treat a trap as a challenge." "And they couldn't possibly pass up the chance of getting the Lektor decoder." "They have wanted one for years." "All that you say could be true." "What else?" "SPECTRE will probably have the chance of a personal revenge for the killing of our operative Dr No, because the man the British will almost certainly use on a mission of this sort would be their agent, James Bond." "Let his death be a particularly unpleasant and humiliating one." "Good." "I'll put my plan into operation straight away." "And there will be no failure." "Hurry." "Welcome to SPECTRE Island." "I hope you had a pleasant flight." "My time is limited." "Is the man I requested ready?" " His dossier." " Good." "Donald Grant, convicted murderer." "Escaped Dartmoor Prison in 1960, recruited in Tangier in 1962." "Excellent." "Where is he now?" " At the lake." " Bring him to my office, will you?" " Take me to the lake." " Through the training area." "Grant's one of our best men." "Homicidal paranoiac, superb material." "His response to our training and indoctrination have been remarkable." "I hope our work here meets with your approval." "Training is useful, but there is no substitute for experience." "I agree." "We use live targets as well." " Call him." " Grant!" "He seems fit enough." "Have him report to me in Istanbul in 24 hours." "Corporal of State Security Tatiana Romanova." "Come in." "You know who I am?" "Colonel Klebb, head of operations for SMERSH." "I saw you once in Moscow, when I worked for the English decoding room." "Did you tell anyone you were coming here?" " No, the message..." " Yes, yes, I know." "I sent it." "Your work record is excellent." " The state is proud of you." " Thank you, Comrade Colonel." "Take off your jacket." "Turn around." "You're a fine-Iooking girl." "Sit down." "I see you trained for the ballet." "But I grew an inch over the regulation height, and so..." "And then you have had three lovers." "What is the purpose of such an intimate question?" "You're not here to ask questions." "You forget to whom you are speaking." " I was in love." " And if you were not in love?" "I suppose that would depend on the man." "Sensible answer." "This man, for instance." "I cannot tell." "Perhaps if he was kind and kulturny." "Corporal, I have selected you for a most important assignment." "Its purpose is to give false information to the enemy." "If you complete it successfully, you will be promoted." "From now on, you will do anything he says." " And if I refuse?" " Then you will not leave this room alive." " I will obey your orders." " Good." "Now, these are your instructions." "You report to me here, but the consulate security man must not know anything." " This is classified far above his level." " I will say nothing..." "If you do, you will be shot." "Come, come, my dear." "You're very fortunate to have been chosen for such a simple, delightful duty." "A real labour of love, as we say." " Great sport, this." " What did you say?" "I said it's great sport, this punting." " I couldn't agree with him more." " I may even give up golf for it." "Really?" "Not quite." "Souvenir from another jealous woman?" "Yes." "But I haven't turned my back on one since." " Excuse me." " What?" " Give me my shirt." " What's going on?" " I have to make a phone call." " But we haven't eaten yet." "I'm starving." "Come in, Univex." "James Bond here." "Over." "He's been asking for you all morning." "Where in the world are you, James?" "Well, I've just been reviewing an old case." " So I'm an old case now, am I?" " It's the office." " Tell him I'm on my way, will you?" " He is not on his way." "Sylvia, behave." "We'll do this again some other time soon." "Do what?" "Last time you said that, you went off to Jamaica." "I haven't seen you for six months." " I'll be there in an hour." " I'll tell him." "Hey." "Your old case sounds interesting, James." "Make that an hour and a half." "Now, about that lunch." "For my next miracle, I..." "It'll be a miracle if he can explain where he's been all day." "But I've never even heard of a Tatiana Romanova." " Ridiculous, isn't it?" " It's absolutely crazy." "Of course, girls do fall in love with pictures of film stars." "But not a Russian cipher clerk with a file photo of a British agent." "Unless she's mental." "No, it's some sort of trap." "Obviously it's a trap, and the bait is a cipher machine, a brand-new Lektor." "A Lektor, no less." "The CIA's been after one of those for years." "Yes, so have we." "When she contacted Kerim Bey, head of Station T in Turkey, and told him she wanted to defect, she said she'd turn it over to us." "On one condition." "That you went out to Istanbul and brought her and the machine back to England." "Here's a snapshot Kerim managed to get of her." "I don't know too much about cryptography, but a Lektor could decode their top secret signals." "The whole thing's so fantastic it just could be true." "That had occurred to me." "Besides, the Russians haven't been up to any tricks recently." "Well, really, I'm not too busy at the moment, sir." "You're booked on the 8.30 plane in the morning." "If there's any chance of us getting a Lektor, we must look into it." "Suppose when she meets me in the flesh I don't come up to expectations?" "Just see that you do." "Miss Moneypenny, ask the equipment officer to come in, please." "Q Branch has put together a smart-Iooking piece of luggage for us." "We're issuing this to all double-0 personnel." "An ordinary black leather case with 20 rounds of ammunition here and here." "Now, if you take the top off, you'll find the ammunition inside." "In the side here, a flat throwing knife." "Press that button there, and out she comes." "Inside the case, you'll find an AR7 folding sniper's rifle." ".25 calibre, with an infrared telescopic sight." "Then, if you pull out these straps, inside are 50 gold sovereigns, 25 in either side." "Now, watch very carefully." "An ordinary tin of talcum powder." "Inside, a tear-gas cartridge." "That goes in the case against the side here." "It's magnetised, so it won't fall." "Shut the case." "Normally, to open a case like that, you move the catches to the side." "If you do, the cartridge will explode in your face." "Now, to stop the cartridge exploding, turn the catches horizontally, like that." "Then, open normally." "Now you try it." " Turn the catches like that." " That's right." "And open ordinarily." " You got it?" " Yes, I think so." " Is that all, sir?" " Yes, thanks very much." "Nasty little Christmas present." "But I shouldn't need it on this assignment." "All the same, take it with you." "Good luck, 007." "Thank you, sir." ""Once more unto the breach, dear friends."" "And one plane ticket." "Lucky man." "I've never been to Istanbul." " You've never been to Istanbul?" " No." "Where the moonlight on the Bosphorus is irresistible?" "Maybe I should get you to take me there someday." "I've tried everything else." "Darling Moneypenny, you know I never even look at another woman." "Really, James?" "Let me tell you the secret of the world." "Miss Moneypenny, ask 007 to leave the photograph." "I'm sure he'll recognise the lady when he sees her." " Good luck." " Ciao." "Ciao." "Hello, London." "Your flight PA1 just landed Istanbul." "Mr Bond." " Kerim Bey sent a car for you, sir." " Fine." " Can I borrow a match?" " I use a lighter." " It's better still." " Until they go wrong." " Exactly." " I'll get the car, sir." "Kerim Bey suggested that you see him before going to the hotel." " Would that be convenient?" " Fine." "I suppose it's customary to have people tailing you in these parts." "Oh, yes." "Today it's Citroën H31854 on duty." "Bulgarians working for the Russians." "They follow us, we follow them." " It's a sort of understanding we have." " That's very friendly." "Ah, my friend, come in, come in." "Glad to see you." "Welcome to Istanbul." "Thank you for sending the car." "But it does rather tie you in with me." "You're in the Balkans now." "The game with the Russians is played differently." "For routine matters, we don't make it too difficult to keep a tab on each other." "So I gathered from your chauffeur." "He's a rather intelligent young man." "He should be." "He's my son." " Coffee?" " Medium sweet." "Two medium sweet." "He also is my son." "All my key employees are my sons." "Blood is the best security in this business." " You must have quite an establishment." " Biggest family payroll in Turkey." "Not bad for a man who used to break chains and bend bars in a circus." " But let's talk about your business." " M thinks I'm wasting my time here." "And so do I. This is an old friend of mine." " And it tells me something smells." " Maybe." "But if there's a chance of getting a Lektor..." "Now you tell me." "Where can I contact this girl?" "She said she would make her own arrangements." "You'll have to wait." "Thank you." "My friend, if you really want my advice, you should spend a few pleasant days with us here in Istanbul, then go home." " James Bond, I have a reservation." " Your room is ready." "Number 32." " 32 for Mr Bond." " Hope you enjoy your stay." "Thank you." " Will there be anything else, sir?" " Only this." "Thank you." "Thank you, sir." "Mr Bond here." "I'm afraid the room won't do." " The bed's too small." " One moment, sir." "Did you hear that?" "Tell him that's all there is." "Unless he would like the bridal suite." "I'm sorry, sir." "That's all we have available, except the bridal suite." "Well, let's have a look at it." "I may like it." "The porter will show it to you." "He will be up immediately." "Good." "Good work." "Who can the Russians suspect but the British?" "The Cold War in Istanbul will not remain cold very much longer." "Ali Kerim Bey..." "Ali Kerim Bey." "Ali Kerim Bey." "You are not glad to see me this morning?" "Overjoyed." "I no longer please you?" "Be still." "Back to the salt mines." "Careful with those papers." " Well, who won?" " I had visitors." "Limpet mine on the wall outside." "Timed to catch me at my desk." "But, by good fortune, I was relaxing on the settee for a few moments." " The girl left in hysterics." " Found your technique too violent?" "I can't understand this sudden breach of the truce." "It's unlike the Russians." "Most inconsiderate." "My visit might have something to do with it." "Let's try and find out." "Close up afterwards." "Quite a place." "The Emperor Constantine built it as a reservoir 1600 years ago." "Really?" "Here." "My daily exercise:" "At eleven in the morning and three in the afternoon." "Tie her up, will you?" "Mind your head now." "Underneath the Russian Consulate." "A present from your navy." "Our friends were turned out by the Public Works Ministry." "The story was that the heavy traffic was shaking the foundations." "By the time the place was declared safe, I had this installed." "I can see everything M said about you is right." "You know why I stay in this mad business?" "It could be that you find selling rugs a bore." "My friend, you should be a mind-reader." "Head of the table is General Vassili, director of Military Intelligence." "On his left:" "Koslovski, Chief of Security." "Opposite him:" "Benz, one of his agents." "I can't see the face of the other man, the one the general is shouting at." " He's giving him a hell of a blowing up." " It's too bad we can't hear as well as see." "Tell me." "Does our girl Romanova ever come to this room?" "Sometimes, with messages." "I can see the face of the other man now." "Krilencu." "So he's back." "Another Bulgarian they use as a killer." "Just the man for the limpet mine job." "I've had trouble with him before." "But he's stayed out of Istanbul for over a year now." "Take a look." "You should remember him." "This man kills for pleasure." "Nice face." "Just a moment." "A girl's just come in." "Probably Romanova." "She's the only one who's allowed to." "How does she look to you?" "From this angle, things are shaping up nicely." "I'd like to see her in the flesh." "Yes." " Could you get me a plan of that place?" " I wish I could." "But there must be the original drawing somewhere." "I'll get onto that." "Now, I need a little time to deal with this stinking Krilencu." "It will be better if you didn't stay at the hotel tonight." "Come." "I see now why you keep the Rolls." "One of my sons is driving it." "With two dummies in the back." "In the opposite direction." "They'll follow it for hours." "You'll like my Gypsy friends." "I use them like the Russians the Bulgars." "It's created a blood feud between them." "Hello, Krilencu." "It seems we've come on the wrong night." "Two girls in love with the same man have threatened to kill each other." "As I'm an old friend of the family, we can stay." "We're bidden to table." "I hope you are good at eating with your fingers." "Kerim Bey!" "Raki." "Filthy stuff." "Quick." "Tell our host his hospitality overwhelms me." "Thank you." "Thank you." "No matter what happens now, say and do nothing." "He's asking whether they will cease their blood feud." "The elders of the tribe will then decide who will marry the chief's son." " She's saying..." " I think I got it without the subtitles." "Thank you!" " Did you get Krilencu?" " No." "Just a minute." "Here." "Thank you." "You fought well." "I am nothing but a clumsy old man." "They're making one of the wounded Bulgars talk." "It was me they were after." "Why would they want me out of the way?" "Tomorrow we will have to find Krilencu's hide-out." "Meantime, I'll take care of this filthy stuff." "Vavra thanks you for saving his life." "You are now his son." "Thank you." "I'd like to ask him a favour." "Could he stop the girl fight?" "Your heart is too soft to be a real Gypsy." "But he lets you decide the matter." "As if I didn't have enough problems." "Vavra said for you to decide." "So decide." "They're both yours." "This might take some time." " Did you pick up the package?" " It's on the seat." "Thank you." "Twice that Krilencu has tried to kill me." "The third time he will succeed." "Unless I get him first." "And that I'll do tonight." "Not with that arm, you won't." "You'd better leave it to me." " I'm already too much in your debt." " How can a friend be in debt?" "Here." "Infrared lens." "My sons." "They will ring his doorbell." "He has a private escape hatch." "Try this for size." " Do you notice anything?" " Not yet." "She has a lovely mouth, that Anita." "Yes, I see what you mean." "Arm or no arm, I have to pull that trigger." "If you think you can." "You've got one shot, remember." "It'll have to do." "Quick." "He's coming." "Quick." "That pays many debts." "She should have kept her mouth shut." "Hello?" "Breakfast for one at nine please." "Green figs, yoghurt, coffee - very black." "Thank you." "You look surprised." "I thought you were expecting me." "So you are Tatiana Romanova?" "My friends call me Tania." "Mine call me James Bond." "Well, now that we've been properly introduced..." "Careful." "Guns upset me." "I'm sorry." "I'm a bit upset myself." "You look just like your..." "your photograph." "You're one of the most beautiful girls ever." "Thank you, but I think my mouth is too big." "No, it's the right size." "For me, that is." "Yes." " Is it here?" " What?" "The decoding machine." "Lektor." "Must we talk about it now?" "Or is it at the Russian Consulate?" "Yes." "Yes..." "I would need a plan of the place." "If you could get one, we could meet at the Saint Sophia mosque as tourists." "Why don't you ask me that later?" " Now what are you looking for?" " The scar." "You see?" "I know all about you from your file." "You do?" "Well, I hope you're not disappointed." "I will tell you... in the morning." "We are now approaching the most interesting corner of Saint Sophia." "Including these two great red porphyry columns, stolen and brought from Egypt." "In front of them, alabaster urn was brought from Bergama, a famous historical city near Smyrna." "It dates back from the Alexander the Great period." "About 1648 Sultan Murad IV brought it from Bergama." "It was used as an ablution fountain." "It contains a thousand litres of water." "Right after the ablution fountain, we are going to a highly interesting column over there, known for centuries as the Saint Sophia wishing column." "Tens of thousands of people have wished here, putting their right hand and middle finger in the hole." "I promise you - it wasn't one of my men who killed him." "He didn't die of old age." "All I know is that it saved me the job." "Once he'd seen the girl, she was compromised, and so..." "And he wasn't killed because of that." "Let's just say that Istanbul's a rough town." "Let's see how Tania's map compares with your architect's plans." "This is conference room of the Russian Consulate." "That checks." "And this here is the communication room." "That's the same." "And she says she works there with the Lektor between two and three." " How is she gonna get the machine to us?" " She'll do anything I say." "Anything." "My dear James, you're not using this." "It all sounds too easy." "We don't even know if she's telling the truth." " I intend to find out." " Where?" "In the hotel?" "No." "She won't go there again." "She says it's too dangerous." "The old game." "Give a wolf a taste, then keep him hungry." "My friend, she's got you dangling." "That doesn't matter." " All I want is that Lektor." " AII?" "Are you sure that's all you want?" "Well..." " Lovely view." " James, we must leave here now." " If that agent reports my meeting you..." " Don't worry." "He won't." "But you don't understand the danger." " James, look up." " Smile." "Another one." "Further back." " About the machine..." " That's all you are interested in." "Not me." "Business first." "I know, once you have got what you want..." "I haven't got it yet." "But, afterwards, we won't always be working on the company's time." "All right." "What do you want to know?" "Talk into this." "Answer my questions quietly, but clearly." "How large is the machine?" "Like..." "like a typewriter." " Weight?" " About ten kilos." "In a brown case." "Brown like your eyes." "Keep it technical." "Self-calibrating or manual?" "Both, with an in-built compensator." " James, couldn't we..." " Not now." "Talk into the camera." "How many keys?" " Symbol or code keys?" " Both." "There are 24 symbols and 16 code keys." "It is inserted in a slot and the message comes out in a paper roll from another slot on the other side." "The mechanism is..." "Oh, James, James, will you make love to me all the time in England?" "Day and night." "Go on about the mechanism." "Oh, yes, the mechanism." "Once, when it was being repaired, I saw the insides." "There were many perforated discs, made I think of copper, with a small light." "Dushka, tell me the truth, am I as exciting as all those Western girls?" "Once, when I was with M in Tokyo, we had an interesting experience." "Thank you, Miss Moneypenny." "That's all, that's all." "Later, later." " Those copper discs and the light..." " Oh, the light, the light." "James, come closer." "I want to whisper something." "Go on." "No, not that." "The mechanism." "Miss Moneypenny, as you're no doubt listening, perhaps you'd take this cable?" ""Merchandise appears genuine." "Stop." "Go ahead with deal." Signed, M." "Now all I have to do is to tell the girl the date." " The 13th?" " The 14th." "Visas?" "Visas?" "Thank you." "Visa, please." "Your clock, is it correct?" " Always." " Of course." "Excuse me." "You did say your clock was correct?" "Russian clocks are always..." " Is this the Lektor?" " Yes." " Take this." " It thought it was for tomorrow." " Today is the 13th, isn't it?" " It's a hell of a time to be superstitious." "Come on." "Quickly." "Keep your head down." "Back inside." "This way." "Quickly." " What's the matter?" " Benz, the Russian security man." "Come on." "Never mind." "Hurry." "Hurry." "Here's one of them." "And there's the other one." "Your passports." "The pictures do not do you justice." "I have rarely seen a handsomer couple." "Mr and Mrs David Somerset." " Your name's Caroline." " Caroline." "I like that name." "You're accompanying me on a business trip on our way home." " To our children?" " No children." " Not even one little boy?" " Nyet." "I like big families." "My whole life has been a crusade for larger families." " So I heard." "Tania?" " Yes?" "Keep the door locked." "I'll knock three times." "OK." " I'll go see the conductor." " You're sure he'll cooperate?" "We've done business before." "He'll stop the train near the frontier, where my sons will be waiting with a car." " We'll be there about six o'clock." " And the airstrip?" "20 miles." "The plane is chartered to Athens." "You'll be in London tomorrow." "We'll drink to that in London." "So, we are really on our way to England." "Yes, with a lovely two-day honeymoon before us." "Honeymoon?" "And I've nothing to wear." " Your trousseau." " Oh, James." "One moment." "Oh." "Oh, no." "James, James!" "Oh, look, look." "There." "I will wear this one in Piccadilly." "You won't." "They've just passed some new laws there." " You're nearest." " Oh, all right." "Charming." "Charming." "Let's go to the restaurant car, James, for that drink." "Surely." "Charming." "We'll continue the fashion show later." "Everything's arranged for me to stop the train." "We'll get off at the restaurant car." "Fine." "We'll meet you there at six." "Make it just a little later." "But there are complications." "One of the Russian security men, Benz, he's on the train." "But he wouldn't have had time to contact the consulate." "Just in case, I'll keep him company until it's time to get off." " Perhaps you'd like me to introduce you." " Charming." "Ticket control." "Do not be alarmed." "We will make you as comfortable as possible." "Now I'm sure Commissar Benz will have a much safer journey." "I'm not mad about his tailor, are you?" "You know, James, life in Istanbul will never be the same without you." "See you in the restaurant car." "I've had a particularly fascinating life." "Would you like to hear about it?" "You would?" " You like it?" " Yes, it does rather suit you." " I will save everything else for England." " It is four o'clock, you know." "This is not kulturny in the afternoon?" "Even on a honeymoon?" "Then I will take it off." "I think we're talking at cross purposes again." "Tania." "We'd better get dressed now." " Why?" " It's almost six." "So?" "Well, it's teatime." "We'll have it in here." " We'll have all our meals here." " Yes, that would be splendid." "But I've arranged to meet Kerim in the restaurant car." "You go alone." "I will stay here." "My dear Mrs Somerset, we're supposed to be a respectable English couple." "They would certainly have tea in the restaurant." "Now listen..." " Just do as I say, will you?" " Yes, James." "But there are some English customs that are going to be changed." "But of course, darling." "Do I look right, Mr Somerset?" "Yes..." "Mrs Somerset." "Mr Somerset." "Mr Somerset." " You are the friend of Kerim Bey?" " Yes?" "There's been a terrible accident." "Please come with me." " No tea?" " Later." "Keep the door locked." "They killed each other." " This must be kept quiet until Trieste." " It will be difficult." "I'm sure." "Kerim Bey had many influential friends." "I'm sure they also will reward you." "I will try." "What is it?" " Kerim's dead." " Dead?" "I want the truth." " James, you are hurting me." " I'll do worse if you don't tell me." "You're doing this under orders, I know." "What are they?" " I don't know what you mean." " Liar." "Even if you kill me, I can say nothing." "I did not know anything like Kerim's death would happen." "But when we get to England, I tell you." " Go on." " Oh, no." "Maybe they didn't let you in on all of it, but whatever you do know, tell me." " I know I love you, James." "I love you." " Just tell me." "I love you, I love you, it's true." "Sure." "Belgrade." "Belgrade." "Excuse me." " Can I borrow a match?" " I use a lighter." " Better still." " Until they go wrong." "My brother telephoned me." "Why did the train not stop?" "Well, I have some bad news." "Your father's dead." "Who did it?" "Tell me." "He took care of that himself." "The other man died first." "Now listen..." "I'll need help to get across the frontier between Yugoslavia and Trieste." "I want you to send a message to M in London:" "Tell him to send someone from Station Y to meet me in Zagreb." "I will." "Good." "Oh." "You'II..." "I think you'll want these." " Monsieur Somerset, le train part." " Thank you." " Captain Nash." " Bond, travelling as Somerset." "My card." " What kept you?" " I only got M's wire an hour ago." "I busted every record getting here." " What were M's orders?" " To contact you and the lady on the train." "Good." "Come this way." "Thank you." "This is my wife Caroline." "Captain Nash." "How do you do?" "I'm so pleased to meet you." " This way, Nash." "Sit down, will you?" " Thank you." " Been long in Yugoslavia?" " About three years." " Interesting work?" " Yes, sometimes." "You know how it is, old man." " You look very fit, Nash." " Yes, I try to keep in shape." "So what's our problem, sir?" "I can't risk taking this through the customs at the Yugoslav-Trieste border." "No stops till then." "We'd have to jump off." " Can you get us across?" " Any of the opposition around?" " Not in any condition to worry about." " Good." "We'll make it." "I know this territory like the back of my hand." "Do you mind if we have a bite to eat?" "I've been on the go since breakfast." "No, of course not." "We'll go to the restaurant car." "Caroline, you go with Nash." "I'll join you there in a few minutes." "Whatever you say, old man." "Excuse me." "Excuse me." "There you are, old man." "I was worried something had happened to you." " Voilà, monsieur." " Thank you." "Thank you." "I'll have the grilled sole." "And for madam." "What about you, Nash?" "Yes, that sounds very nice." "Make that three of those, will you?" " I'll have a bottle of Blanc de Blancs." " Make mine chianti." " White chianti?" " No, the red kind." "Well, enjoy your dinner, old man." "I've got the answer to our problems." "Very simple, really." "Good." "We should reach the border in about an hour." "I'm terribly sorry, Mrs Somerset." "That was clumsy of me." " Waiter." " Monsieur." " Waiter." " Tout de suite, monsieur." " Excuse me." "Merci." " You'll find Trieste quite interesting." "Of course, it's not London." " Cheerio." " Cheerio." "I don't feel very well." "My head..." " The lady's come over faint." " Bring her in here." "What is wrong with me?" " Let's go next door." " Exhaustion, I'd say." "What was it, the stuff you put in her drink?" "Chloral hydrate." "Quick, but mild." " And?" " Take it easy, 007." "My escape route's only for one." "What are you after, the girl or the Lektor?" "All right." " What is your plan?" " Explain it better on a map." "All right?" "Now, we're here, you see?" "When we reach there, there's a steep gradient." "The train slows down there." "We'll block the line, make for that main road, pick up a car." "A truck, in fact." "That must be about 20 miles from here..." "Keep still." "All right, now." "Get up on your knees." "Put your hands in your pockets." "Keep them there." "Red wine with fish." "That should have told me something." "You may know the right wines, but you're the one on your knees." "How does it feel, old man?" "Old man?" "Is that what you chaps in SMERSH call each other?" "SMERSH?" "Of course." "SPECTRE." "It wasn't a Russian show at all." "You've been playing us off against each other, haven't you?" "It was SPECTRE who killed the Russian agent in the mosque." "You?" "Kerim and the other man?" "And Nash?" "I don't mind talking." "I get a kick out of watching James Bond find out what a bloody fool he's been." "We're pros, Mr Bond." "We sweated your recognition code out of one of your men in Tokyo before he died." "I've been keeping tabs on you." "I've been your guardian angel." "Saved your life at the Gypsy camp." "Oh, yes." "I'm much obliged." "We were keeping you alive until you could get us the Lektor." "So you had me deliver it on a plate." "That's brilliant." "Go on." "I'm fascinated." "Now that we've got it, you and the girl are expendable." "Between here and Trieste." "The girl?" " Isn't she working for SPECTRE, too?" " No." "She thinks she's doing it all for Mother Russia." "She takes her orders from Colonel Klebb." "Rosa Klebb's Russian." "Head of operations for SMERSH." "Was." "Klebb works for SPECTRE now." "The girl doesn't know that." " Then why kill her?" " Orders." "That's only half of it, old man." "Here's a roll of film." "She'll have this in her handbag." "And on you, they'll find this letter." "It's from her, threatening to give the film to the press unless you marry her for helping you get the Lektor." "What film?" "Taken in the bridal suite at your hotel." "Something else the girl didn't know about." "Or you." "It must be a pretty sick collection of minds to dream up a plan like that." "Can't you see the headlines?" ""British agent murders beautiful Russian spy, then commits suicide."" "Tell me, which lunatic asylum did they get you out of?" "Don't make it tougher on yourself." "My orders are to kill you and deliver the Lektor." "How I do it is my business." " It'll be slow and painful." " How much are they paying you?" " What's it to you?" " We'll double it." "Your word of honour?" "As an English gentleman?" "The first one won't kill you." "Not the second." "Not even the third." "Not till you crawl over here and you kiss my foot." " How about a cigarette?" " Not a chance." "I'll pay for it." " What with?" " 50 gold sovereigns." " Where are they?" " Up there, in my case." "You show me." "Here you are." "What about that cigarette?" "Throw 'em down there." "Any more in the other case?" "I should imagine so." "It's standard kit." "I'll have a look." "Put your hands back in your pockets." "Keep them there." "You won't be needing this... old man." "Tania." "Wake up." "Wake up, or I'll leave you behind." "Tania, wake up or I'll leave you behind, do you hear me?" "Don't leave me." "Never leave me." "Tania, this is Nash's escape route." "You understand?" "We've got to get off here." "Take this." "Come on." "We must get to the other side of the train." "Under here." "Grant, where are you?" "Grant?" "Excuse me." "Now, don't run away." "Come on." " Come on, or I'll leave you here." " Stay here with me." "Sleep it off in there." "You'll feel better in the morning." "Come on, wake up." "Try and straddle the truck." "I'll get them away from here." "You hide under the truck." "I'd say one of their aircraft is missing." "Tania." " Here, take this, and cast the rope off." " All right." "Where's the key?" "Where's the key?" "In my coat." "In the pocket." "All right, get out." "Move." "In the boat." "Do you swim?" "Take the wheel." "This way, please." "Mind the step." "Just isn't your day, is it?" " Where are we going?" " Venice." "Take a look at that locker, will you?" "Charts, pistol, some flares." "Give me those charts." "Yes, we're here, near Istria." "We've got plenty of fuel." "With luck we should be there by morning." "Three man were found dead on the train at Trieste." "One of them was Grant." "What have you to say, Number Five?" "He was Klebb's choice." "Her people failed." "It was your plan." "They followed it implicitly." "Impossible." "It was perfect." "Except for one thing:" "They were dealing with Bond." "Who is Bond compared with Kronsteen?" "Exactly." "What have you to say to that, Number Three?" "Bond is still alive and the Lektor is not yet in our possession." "I have already negotiated with the Russians to return it to them." "We've agreed a price." "And SPECTRE always delivers what it promises." "Our whole organisation depends on our keeping those promises." "I warned you." "We do not tolerate failure, Number Three." "You know the penalty." "Yes, Number One." "Our rules are very simple." "If you fail... 12 seconds." "One day we must invent a faster-working venom." " Number Three." " Yes?" "I do not wish to tell the Russians there will be another delay." "There will be no delay, Number One." "There's still time." " Which way are we going?" " The shortest route." "Which is between those two mountains and straight along the coast." "Ahoy, Mr Bond." "Ahoy, Mr Bond." "Heave to." "Heave to." "You're trapped, Mr Bond." "You're trapped." "You cannot escape." "You cannot escape." "Prepare to fire." "We're coming through." "Pull over, SPECTRE Green." "Get out of the way!" "Give them a warning shot." "Rifle grenade, fire." "Forward machine gun, fire." "You're firing too close." "SPECTRE Red, SPECTRE Green, you're firing too close." "You're trying to stop them, not to sink them." "Here, take the wheel." "Slow down." "Slow down." "Slow down all boats." "Green, go alongside while we keep you covered." "Hands up, Mr Bond." " Without the drums we can go faster." " Hand me the Very pistol." "Keep your hands up." "We're sending a boat along to take you off." "There's a saying in England, "Where there's smoke, there's fire."" "Green, change your course." "Go astern." "All boats, throw out your ammunition." "Get rid of it, quick." "Get rid of it." "Jump." "Don't go away." "Yes." "Oh, thanks." "Tell him to wait, will you?" "And send up a porter for the luggage." "Avanti." " Permesso, signore?" " Sì, prego." "And also get me the British Consul." "Thank you." "Yes?" "Oh, Mr Maxwell, please." "James Bond." "James, we will miss the plane." "And we will..." "Hello, Paul?" "Bond here." "I wanted to thank you for everything." "Signal the office we're on our way back, will you?" "What was that?" "Here, leave that." "I'll take it." "What?" "Oh, no." "Should be routine from here on in." " Hello, what was that you were saying?" " Klebb." "James, you still there?" "Hello?" "Romanova, the door." "Romanova!" "Take this." "Horrible woman." "Yes." "She's had her kicks." "Here you are, in case you ever need it again." "Oh, yes." "All government property has to be accounted for." "But as I said before, we won't always be working on the company's time." "No." "James, behave yourself." "We are being filmed." "Oh, not again." "He was right, you know." " What is it?" " I'll show you." "Visiontext subtitles:" "Marisa Castle de Joncaire" "Hello." "I'm John Cork of the lan Fleming Foundation." "Welcome to the audio commentary for From Russia with Love." "On this commentary, we will hear from director Terence Young, actors Walter Gotell, Martine Beswick and Aliza Gur." "From the crew, we will hear from composer John Barry, editor Peter Hunt, production designer Syd Cain, sound effects editor Norman Wanstall, special effects supervisor John Stears and from Dana Broccoli, wife of producer Cubby Broccoli." "The stories reflect the personal recollections and opinions of those who provided the interviews." "Some comments have been edited for time and clarity." "They are not meant to provide the definitive history of the film." "We begin with the first true pre-title sequence of the James Bond movies." "This scene was filmed on the nights of April 16th and 17th, 1963, in the Renaissance Garden at Pinewood Studios outside of London, England, with reshoots filmed in mid-June." "Director Terence Young, in an interview recorded in the early 1970s by Steve Mori, talks about how this scene came about." "The producer, Harry Saltzman, in my mind, is a producer who is very interesting to work with because... he has some of the worst ideas I've ever listened to, but also some of the very best." "Your problem is to persuade him the bad ideas are bad and the good ideas are good." "He had the idea of killing James Bond before the credit titles started, which is a splendid idea." "He wanted to do it in a training school, like the Spartacus training school." "Having built the set, we used that for a later sequence." "I transported it completely into a garden and I shot it at night, so it looked faintly like L'Année dernière à Marienbad." "Actor Walter Gotell, whom we will shortly meet on screen, appears in seven Bond films." "For six of those films, he plays General Gogol, head of the KGB." "Here, he plays SPECTRE agent Morzeny." "He remembers shooting this scene." "The teaser was shot in the maze." "In the teaser, somebody was playing Bond, crouching about the place until he was suddenly garrotted." "And as he fell, a mask of James Bond was pulled off his face." "When the rushes were seen the next day, they found that the man the mask was torn off from looked exactly like Sean Connery, so it had to be shot again." "Just shows how stupid directors are." "I had to go back and reshoot the close-up because we got a man who looked vaguely like Sean Connery and a lot of people thought they were taking a rubber mask off Sean Connery." "So I had to shoot a man with a moustache." "Welcome to SPECTRE Island." "The pulling-off of the mask is a great moment, which lets the audience know they are entering a strange world." "According to director Terence Young, this teaser or pre-credit scene was producer Harry Saltzman's idea." "Saltzman felt it would be interesting to see James Bond killed at the opening." "This idea became somewhat of a theme in many early Bond pre-title sequences." "In Thunderball we open with a casket draped with a shroud initialled "JB", which turn out to be the initials of a SPECTRE agent." "In You Only Live Twice, Bond is killed in the bed of a Hong Kong double agent." "Or so it seems." "It is really a ruse to throw off Bond's enemies." "In Diamonds Are Forever, the device is reversed." "Bond kills the villain in the first few minutes until we later find out that it was the villain's surgically-enhanced double." "In The Man with the Golden Gun - the last film with which Harry Saltzman was involved - we once again see a false 007, as in From Russia with Love, this time in the form of a mannequin in Scaramanga's fun house." "In the original script these titles were meant to open the film, but in the editing Peter Hunt and Terence Young found they liked the idea of the teaser scene before the titles - a concept which obviously quickly developed" "into a highly anticipated part of the James Bond films." "The belly dancer, whose body serves as a screen for Robert Brownjohn's titles, is the same person who appears in the gypsy camp sequence." "She worked under the name of Leila, but her full name was Leila Guiraut." "Let's meet editor Peter Hunt - a key member of the creative team of the early 007 films - who recalls how title designer Robert Brownjohn became involved." "Brownjohn was a find of Harry's." "He was a Canadian." "Harry was a Canadian." "Brownjohn had worked all the time in commercials and things like that." "It was Harry who brought him in as something new and something brilliant and wonderful." "Brownjohn was a fun man, a nice man." "I liked him a lot." "He did Goldfinger as well." "Another key player in the success of From Russia with Love is composer John Barry, who is responsible for the thundering sensual sounds of this overture." "He talks about how he became involved in the film after arranging the James Bond theme on Dr No." "I never saw anybody on Dr No." "I only saw Noel Rogers who was United Artists Music." "I never saw anybody from the movie." "It wasn't until From Russia with Love that Noel said, "I want you to meet them."" "And that was the first time I met Cubby Broccoli, Harry Saltzman and Peter Hunt." "And though I'd had instrumental hits, I hadn't had a song hit." "I'd accompanied song hits on records, but I hadn't actually written a hit song." "They wanted a song over the opening titles and Lionel Bart had just written Oliver!" "And had a huge hit with it in the West End." "So they called Lionel Bart - and I knew Lionel - and Lionel wrote "From Russia with Love" and I arranged it for the movie and did the rest of the score." "It was a big hit with Matt singing it - Matt Monro." "This sequence takes place in Venice, but it is actually shot on a set on D Stage at Pinewood Studios." "It was filmed during the first week of shooting and features one of production designer Syd Cain's most elaborate sets, including a marble floor which features a chessboard pattern." "The day this was shot was also the first day of rehearsals for a young actress " "Aliza Gur - who plays Vida, one of the gypsy fighting women featured later." "Gur remembers her reaction to the set." "I remember walking with Lotte Lenya in the morning." "We both left the make-up room and walked on the set and the two of us went "Wow!"" "Lotte said to me, "That is one spectacular set."" "We were both sorry that we were not in that shot." "As a matter of fact, seeing that set, I was adamant to learn how to play chess." "Aliza Gur won the role of Vida after appearing in the short-lived musical Ramona in London's West End." "Harry Saltzman saw the play, liked Gur's performance and asked her to become part of the James Bond cast." "Terence Young pulled together a wonderful supporting cast for this film." "Here, he talks about two actors who turn in tremendous performances." "Rosa Klebb was an idea I had out of the blue." "We were originally thinking of using Katina Paxinou, but there was some reason we couldn't get her - she was in a play in Athens - and it didn't work." "So I had just been given, about two days earlier, a new gramophone record - a disc called "River's End", I think, and there's Lotte singing and on the outside, and I said "Why don't we try her?"" "I had to go over and see her." "She's not a young girl at all, but she's full of life and she's a marvellous character." "She said it would be terrific fun and I said, "It'll be a tough picture for you."" "But she was delighted with the idea of doing the picture." "Kronsteen" " I wanted somebody whose face would be very memorable." "Often in a picture you have a problem reminding an audience who a character is if he only makes three or four appearances." "I stumbled by accident on this Polish actor, Sheybal, and he went later into a film of Russell's - Women in Love." "He's had quite a big career since From Russia with Love." "This was his first film part - he'd been an extra before." "But he had a great face." "He looked intellectual enough to be a chess champion, and, as I said, a very distinctive face." "He also had one of the most distinctive, marvellous voices I've ever listened to." "He had a great voice." "One of the best voices I've ever..." "He only had to come on and everybody said, "Yes." "The chess player."" "This scene has a wonderful assortment of actors." "To play Blofeld, Terence Young asked Anthony Dawson - who played Professor Dent in Dr No - to sit in the chair and pet the cat." "Actor Eric Pohlmann provided the voice of Blofeld in post-production." "Both men would repeat their roles in Thunderball two years later." "Anthony Dawson worked with Terence Young on They Were Not Divided - a film that also introduced Young to Welsh actor Desmond Llewelyn, who we will meet later." "Dawson is best remembered for his role in Dr No and his performance as the shifty-eyed hired killer in Alfred Hitchcock's 3-D masterpiece, Dial M for Murder." "Austrian actor Eric Pohlmann had the perfect voice for Blofeld." "By the time of From Russia with Love, he was often being cast as portly villains." "He had become famous in Austria in the late 1930s for his stage work." "After the Nazis rose to power, Pohlmann escaped to London where he worked for the BBC's Overseas Service - a strong propaganda weapon for the Allied cause." "He can be seen in many great films of the late 1940s and '50s, including The Third Man, Mogambo, Moulin Rouge, Lust for Life, Anastasia and a number of films produced by Albert R "Cubby" Broccoli" "before he began making Bond films." "Before he began making Bond films." "Pohlmann appeared in many London theatre productions, including The Threepenny Opera, which brings us to his co-star - another performer famed for her memorable voice" " Miss Lotte Lenya." "In 1928, Lotte Lenya, then married to composer Kurt Weill, debuted as Jenny in The Threepenny Opera." "She became a sensation across Germany and her husband's royalties made the pair wealthy." "Lenya and Weill moved to New York to avoid the Nazis." "After Weill's sudden death in 1950, Lenya had a huge career singing the songs of her late husband and his collaborator, Bertolt Brecht." "For those who only know her from this film, it is hard to imagine her tremendous talent and stage presence." "She wowed audiences across the globe." "When Louis Armstrong recorded an English version of the most famous song from The Threepenny Opera - "Mack the Knife" - he added a new name to the list of victims of the title character's murderous temper " "Miss Lotte Lenya." "This sequence is a combination of lan Fleming's novel and a suggestion from Harry Saltzman." "Saltzman had seen the film Spartacus and liked the idea of the gladiator training school." "He wanted to see SPECTRE agents training in the same brutal fashion, but updated for modern times." "The result is a wonderfully macabre set by Syd Cain in the gardens of Pinewood Studios." "Sound engineer Norman Wanstall recalls how he added some reality to the sound effects in this sequence." "At the training school, you hear voices and it creates an atmosphere." "Without them it's a different effect." "That's where I could add to a scene where perhaps no one had thought of doing it before, which was something I learnt from Win Ryder, who was a great fan of this." "I learnt how he brought scenes alive just by having distant voices." "Peter Hunt and Terence Young play a trick here." "To make the camp look larger, they show this long shot of the actors walking into another section." "It is, of course, the same set filmed from a different angle." "The masseuse is played by actress-model Jan Williams, who appeared mainly in television comedies in England." "Let's turn to actor Robert Shaw, who plays Donald Grant with icy calm." "Although best known for his role as Quint in Jaws and as the mark in The Sting," "Robert Shaw made an equally big splash as a novelist and playwright." "In 1959, Shaw published The Hiding Place, which won him acclaim and opened doors for him." "Shaw's first love, though, was acting." "He grew up in tough circumstance." "His father died when Robert Shaw was only 12." "Shaw turned to writing and acting for comfort." "Theatre provided a surrogate family and he studied at the Royal Academy of Dramatic Art and joined the Royal Shakespeare Company in 1949." "Shaw made a name for himself on British television in much the same way that Sean Connery did, by appearing in short plays adapted for the BBC." "Shaw was nominated for an Academy Award for his performance in A Man for All Seasons." "He later appeared with Sean Connery in Robin and Marian before his untimely passing at age 50 in 1978." "In 1963, Shaw was asked if he preferred acting to writing." "He said he preferred the financial comforts of acting and added:" ""Let's face it." "There are more than a hundred published novelists in England who can't get up the price of a decent meal."" "Italian model and actress Daniela Bianchi faced tough competition for the role of Tatiana Romanova." "The producers, eager to repeat their success with Dr No, wanted to find a new international beauty along the lines of Ursula Andress." "Film companies would often publicise the names of actresses auditioning for a role and publicity agents for rising actresses would try to link their clients to roles which were not yet cast." "As a result, there was a flurry of press attention surrounding the casting of Tatiana Romanova." "Journalist Donald Zec even sat in on auditions in Rome, writing about auditions of actresses such as Yugoslav Sylva Koscina," "Italian actress Virna Lisi - who was deemed too thin " "Annette Stroyberg - who was deemed not thin enough " "French actress Hélêne Chanel and Eleonora Ruffo." "The producers announced three finalists." "Elga Andersen from Austria, Maria Xénia from Greece and Daniela Bianchi - former runner-up in the Miss Universe competition." "Reportedly, Sean Connery made the final choice from the three." "Bianchi had been a successful model in Rome and had done only a few Italian films before From Russia with Love." "Although she worked hard on her English skills, she - like many of the performers in the early Bond films - was revoiced." "Actress Barbara Jefford did the honours, capturing a perfect blend of Eastern European mystery and sexuality." "Let's return to editor Peter Hunt, who talks about the transition from Dr No to From Russia with Love." "Of course, on From Russia with Love we had a longer time." "I was right in at the beginning." "Once they'd got a script, I was around and talking with people" " Terence, particularly." "It's a good novel, really." "It's full of Fleming's snobbery, which people loved in those days." "It's full of the right way to live and the right way to behave and the right clothes to wear and the right food to eat and the right wines to drink." "And all of that class stuff which, obviously, was delightful to have after a number of years of war and rationing and all the problems that we had to have during our daily life of that Second World War." "Fleming wrote for the reader." "He didn't write visually, as it were, although his descriptions of places were pretty good." "Transposing any book from the book form to a shootable script is not easy." "Very few books transpose, in fact, easily." "Some of them do it better than others and Maibaum was a very good converter of this type of work." "And, of course, Richard Maibaum had written a number of Broadway plays too." "He was one of the older... younger older writers, as it were, still left in Hollywood." "And he had an enormous talent and ability for transposing things and for writing scripts and making films work." "He was like all of them - like Ben Hecht and all those wonderful old writers that turned out those wonderful films in the '40s." "They really did have a wonderful idea, a knack, a way of working and turning out those films - romantic films - and writing dialogue and writing situations." "Sean carried on the same character, but, by then, Sean knew what he was doing." "It became a lot better." "But, remember, it was the second one." "Many of these series of films just collapsed after the second one because the second was nowhere near..." "Look at all the remakes." "They're never as good as the first." "Now to Lois Maxwell, who achieved fame as Miss Moneypenny." "Now, this was the part that I didn't fancy myself playing." "Isn't she lovely?" "Lois Maxwell talks about her early career." "This particular part that Eunice played... it was so clever of Terence because they end up together and she's in the beginning of From Russia with Love." "And she's in the beginning of From Russia with Love." "I was a soldier - a Canadian soldier - when I was 16 and I came to England just before Christmas of 1943." "It was a dreadful time." "I had a wonderful teacher and he encouraged me enormously and I won verse-speaking contests and things like that." "And, in actual fact, I was recruited by the Canadian Army to join the army show as the gag girl for Wayne and Shuster - the famous Canadian comedians." "And they were in the army show." "And Robert Farnon - the famous composer and musician - he was in charge of our orchestra." "It was a large orchestra." "We travelled by train for nine months all over Canada." "In fact, we even played in Detroit and we played in Quebec for the famous Quebec Conference." "I was then, with my group, brought to England and I was here for about a year and a half, I suppose, when the headquarters..." "My unit was being sent to Italy and somehow Headquarters found out that I was not yet 18 and I should have been about 22." "So they decided to send me back to Canada and they sent me to this sort of holding hospital for Canadian women." "And I asked for weekend leave and I went to London to the Royal Academy of Dramatic Art and I told Sir Kenneth Barnes there that I didn't want to go back to Canada," "I wanted to stay and go to the Academy." "So he said to come the following Wednesday and have an audition." "That meant that I had to go AWOL from the army - that means absent without leave from the army - which put me in a very difficult situation." "However, I did that, went back the following Wednesday." "I had auditioned for him, personally, when I first met him." "There was a skit I used to do in the army show and it was called "The Bearded Lady"." "And I had a long, crinkly, false red beard and I'd sing:" "I love the bearded lady cos her whiskers tickle so" "Her whiskers make me tickle from my head down to my toe" "All this was with a sort of dance." "So at the audition, which was in the theatre at RADA," "I did a very serious piece and a poem and then a comedy piece." "Then I was just about to walk offstage when out of the darkness came Sir Kenneth's voice." "He said, "I say, my dear, would you mind doing 'The Bearded Lady'?"" "So I did "The Bearded Lady" again and I heard shrieks of laughter and went off and sat in the office near his office." "After about an hour, he came in and said," ""I am very pleased to tell you, my dear, that you are the first winner of the Lady Louis Mountbatten Scholarship at RADA."" "So that evening, as I was progressing euphorically up Oxford Street to my bedsitting room, the military police picked me up and I was in dreadful trouble." "So I asked them if I could call Sir Kenneth Barnes, and I called him and I said," ""I'm not going to be able to take the scholarship, because I've been arrested and they're going to send me back to Canada."" "And I don't know to this day what he did, but I suspect that he instantly got in touch with the Mountbattens' headquarters and told them what had happened, because it was 24 hours later that I was discharged from the Canadian Army." "One of the reasons Bond's relationship with Moneypenny works so well is the sense of playfulness the actors give the characters." "There is sexual tension between the pair, but not romantic longing." "Terence Young and Lois Maxwell avoided all the clichés of the lovesick secretary with glasses on, her hair in a bun and a pencil stuck behind her ear." "The scenes between Bond and Moneypenny are looked forward to by the fans in each 007 adventure." "A bit of trivia - the hands that were writing on the photo belonged to Terence Young." "Now James Bond is off to Istanbul." "Here, Terence Young creates echoes of Dr No with Bond's arrival in the enemy's territory." "We see the exact same order of shots from Dr No - the plane landing, the tower announcing the arrival and a reverse tracking shot of Bond in the airport terminal." "Other details are copied as well." "Bond is met by a chauffeur, watched by a mysterious figure and eventually observed by another man in a car in the airport parking lot." "But Young switches things around." "In this film, the chauffeur is a good guy - the son of Bond's ally, Kerim Bey." "In Dr No, the chauffeur was the enemy." "The man watching Bond from the car in Dr No was Quarrel, who helps Bond infiltrate Dr No's headquarters." "In this case, it is SPECTRE agent Donald Grant." "Even the figure in the background at the airport has switched from CIA agent Felix Leiter to a Bulgar working for the Soviets here." "Istanbul proved to be a tough location for the film crew - two major sequences set to film in Istanbul were eventually shot in England - but most of the members of the crew also have fond memories of the city." "Walter Gotell, who was in Istanbul to shoot the film's climactic boat chase, recalls the extent of his visit." "We went to Turkey to shoot locations." "It was a lovely time to go" " April." "And we settled down and I found myself taking a house in Yesilkoy, which is on the European side of Istanbul." "We were going to be there for about six weeks." "And after about three or four days, Cubby said," ""Sorry, we're wrapping."" ""We're not staying here." "We're going to the northwest of Scotland."" "What we found - what he found and everyone else found - was that the helicopters found it very difficult to take off and the speedboats just wouldn't go fast enough." "And if speedboats don't go fast enough you cannot "undercrank", as it's called, which is to speed the film up." "Because you cannot, with water, speed a film up." "So we packed in in Istanbul." "Now we meet Kerim Bey - a favourite character from the novel and the film." "Terence Young recalls Mexican actor Pedro Armendáriz who played Kerim Bey." "Armendáriz was a natural." "He played the Turkish military intelligence representative." "And I have to tell you en passant that he's one of the great men of my life." "I think it's one of the most tragic things that ever happened, his death, and he is a real man in every sense of the word." "It was during this picture that he learnt that he was going to die and he came to me and he said, "Amigo, I would like this to be my last picture."" ""I would like to have completed this picture." "Don't replace me."" "We were going to get another actor." "And even John Ford..." "He telephoned John Ford, who telephoned me and said," ""For Christ's sake, help him." So I said, "I intend to in any case."" ""We'll shoot round him for the rest of the picture and we'll do all his scenes first."" "Which we managed to do." "The doctors gave me three weeks to do his scenes." "It was one of those miracles." "We were shooting the gypsy camp sequence and I'd finished the last scene with Armendáriz and he was walking round shaking hands with everybody, limping very badly." "In fact, if you notice, he limps." "Not in the long shots" " I had a double because he couldn't even walk that far - but even in the close shots, he limped with great pain." "But he was a man in every sense." "And he was walking around the cast and crew shaking hands with everybody." "He got in his car and I said, "Put the camera here for the next setup", and the rain started to fall and it rained for five days." "If I hadn't had that night without rain we'd never have finished with Armendáriz." "He was a marvellous man." "A dear man." "I loved him." "Pedro Armendáriz's son, Pedro Armendáriz Jr, appeared in 1989's James Bond film, Licence to Kill, as Hector Lopez - the president of the fictional nation, Isthmus." "For three decades, Pedro Armendáriz's warm smile and strong masculine screen presence made him a favourite with many top international filmmakers." "His last and personally heroic performance in From Russia with Love would prove to be a wonderful testament to his career as an actor." "Armendáriz was born in Mexico, educated in the USA, where his family moved after the Mexican Revolution." "He returned to Mexico after the 1933 declaration of amnesty and worked for the railroad and other jobs before turning to acting in local theatre." "Soon he became Mexico's best-known leading man and a favourite of temperamental actor-director Emilio Fernández." "His acclaimed performance in María Candelaria helped propel Fernández's film to win the Palme d'Or at the first Cannes film festival in 1946." "Armendáriz worked with such great directors as John Ford and Luis Buñuel, lighting up the screen with his broad, generous grin and twinkling eyes." "He even starred opposite Roger Moore in the Lana Turner period film Diane about the life and loves of Diane Poitiers." "A bit of obscure trivia." "Part of Diane's story is set at the Château d'Anet, which was built for her by the King of France." "The real Château d'Anet would feature as a location in the James Bond film Thunderball." "Now back to Istanbul and the trials of shooting a complicated film on location." "Special effects supervisor John Stears recalls his attempt - along with Joe Fitt and Frank George - to get a crashed helicopter as a prop." "Quite a few things happened on From Russia with Love." "We went to Istanbul." "One thing I remember, we wanted a helicopter because, as you're aware, the helicopter crashes." "We did attempt to do some of that stuff in Istanbul, but Harry told us - that's Joe Fitt, Frank and myself - that he had made arrangements with the Turkish air force to go to an airfield and bring a crashed helicopter back" "that we could burn and make it look like the one we're using." "So, duly armed with a truck and cutting equipment, off we went to this air force base." "We got straight through the gate, the guard." "There was no problem." "Mentioned Harry's name - they didn't understand us, I guess." "And, eventually, we came to where the wrecked helicopters were and we got out and said, "OK." "Fine."" "So we started to dismantle this thing and put it in the back of the truck and the next thing, Joe said, "I think we've got a problem."" "I looked around and there were about 40 guys standing round us with guns pointing at us." "So I thought, "Oh-oh." "We've got a big problem here."" "We were frogmarched off into a guard room and from the guard room we were taken to a..." "I suppose it was the camp commander's office." "We were sat in chairs in front of him." "I can see it now - he's sitting there with a big eagle behind him and the Turkish flag and the American flag." "And we were asked, through an interpreter, what we were doing." "I said, "We came to pick up a helicopter."" ""We were told by Harry Saltzman that we could take a helicopter for our filming."" "They said, "Who is Mr Harry Saltzman?" I thought, "Now we've got a big problem."" "So we explained as best we could and we were getting nowhere fast." "I could see we were in trouble this time." "Then this commander said something to this guy and he went out of the room and the other guys went out of the room." "This guy hadn't said a word to us in English and he said," ""I think I can understand the problem." He spoke perfect English." "We'd been interrogated for about two hours and he starts speaking English." "He said, "I can understand your problem, but a lot of paperwork goes on here and it didn't get through from Mr Saltzman."" ""You were obviously trespassing and you were stealing an American helicopter, and we have no right to give them to anybody because they have to be destroyed."" ""But you're very lucky, because had I not been here you might have spent quite a few weeks in jail."" "So that was a close call." "Composer John Barry travelled to Istanbul under the theory that he should listen to local music." "He visited the city with the head of United Artists Music in London" " Noel Rogers." "Barry remembers the odd experiences the pair had." "Istanbul was one of the strangest towns - we're talking 30 years ago, I guess." "It was like no place I'd ever been in my life." "I'd been in the army, I'd travelled a lot." "It was supposedly to seep up the music, so Noel Rogers and I used to go round nightclubs and listen to all this..." "Talk about culture shock." "Really came away with absolutely nothing except a lot of ridiculous stories." "Then went back, talked to Lionel and he wrote "Russia with Love"." "That was it." "We used hardly anything out of that trip at all." "It was really, as far as the music was concerned, of no real use to the dramatic feeling of a James Bond movie." "We went to this..." "It was like a barn." "We were told that this gentleman appearing that night was the biggest, the hottest star in Istanbul." "So we went along to this." "And the audience was such a mixture." "You get people in evening dress..." "It was like a theatre restaurant." "It was all tables with booths and chairs." "The whole hall was this." "There would be one table with people in evening dress and another table, farmers." "Shepherds just come off the fields." "This is a really weird place." "And this guy came out with this big Turkish band... singing all these songs." "Then he went off." "Then he came back on and he'd changed." "He'd now just got his trousers on and a silk shirt." "And as he went through the whole act, finally he came on as a woman." "I'm looking at Noel - "I've never seen an act like this."" "And they were going crazy." "This audience were going out of their minds." "By the time he came on in this big pink dress at the end, they were going nuts and we were just like..." ""This is out of Kafka, this thing." "I mean, what is this?"" "And we walked out into the streets absolutely bewildered." "Never been to an event like that... either before or since." "It was totally unique." "He was like the young Elvis Presley of Turkey at that particular time." "Amazing." "We were told to go to this bar." "They said, "They have great music there."" "We went along, I think it was about 7.30 at night, and we were sat there till about 9.30-10, and we were still the only people in this place." "It was a huge old building with this huge old oak bar with this big brass rail screwed into the bar." "Noel and I said, "When does this place liven up?"" "And the guy behind the bar couldn't speak a word of English." "Finally I said, "Let's get out of here." "Nothing is happening."" "And I leant on this rail and the whole thing collapsed the whole length of the bar." "When I say 50 foot, I'm not kidding." "It was this huge hall." "This rail had been there probably 30-40 years." "The whole thing went on the floor." "About three guys came out and looked at us and looked at the bar." "I just said to Noel, "Let's go." So we said, "Night." "Thank you very much."" "We got out of the door." "They didn't come after us." "It was just so bizarre." "If you put that in a movie, people would say, "Come on!"" "It was like this... as I say, this Kafka bar." "We were quite happy when we got on the plane to fly back to London." "Actor Pedro Armendáriz was gravely ill with cancer while filming and died before completion of the film." "In shots like these, a double was used instead of Armendáriz, but Armendáriz worked diligently to complete as many shots as he could and he arranged to re-record his dialogue before he left to go back to Los Angeles where he passed away." "We're in the gypsy camp, which was slated to be filmed in Turkey near the Topkapi section of Istanbul, but it was actually shot on the back lot of Pinewood Studios, as Terence Young recalls." "It worked awfully well and, strangely enough, we had found a place like that." "I shot that eventually in the studios in England." "It was too cold, but I reconstructed completely an area like that - above Topkapi where the gypsies do hang out." "We auditioned a whole lot of girls." "In fact, we practically had eliminating contests." "We started with eight girls in training and ended up with these two because they were the best." "They were the wildest-Iooking and both of them had a very, very strongly gypsy look about them." "Martine Beswick is half Jamaican." "Aliza Gur is Israeli." "Let's put it this way - they didn't look like white Anglo-Saxon Protestants." "We had them training for about three or four weeks, and you needed to do that." "While we watch Leila perform, let's spend some time with Aliza Gur who, like Martine Beswick, achieved a certain level of fame as one of the gypsy fighting women." "Originally, the set was scheduled and, I think, partially built and also located in Istanbul, Turkey." "Harry Saltzman and Cubby Broccoli decided," ""Let's build a set in Pinewood and let's shoot it all in Pinewood."" "Aliza recalls working with stunt arranger Peter Perkins on choreographing the fight." "Peter took Martine Beswick and myself on three weeks' training." "We came to Pinewood Studios every day and rehearsed." "Interestingly enough, my mother was a prima ballerina at the Paris opera house and Peter knew and admired her work." "And she came over while we were doing From Russia with Love, which, according to Peter, made his day." "That fight, which lasted on screen less than two and a half minutes, got me more publicity, till today, and more fan mail than any leading role I ever had." "There is a big cult of fans and now I'm really glad that I listened to Peter, for once we filmed it, it was rough." "And Martine was terrific to work with." "She was just terrific." "Martine is originally from Jamaica." "When I met her, she felt that I was a baby - I was 17 - and she would protect me." "She advised me on hair, on make-up, on what to do with my hair." "She advised me on men - whom to talk to, whom not to talk to." "Once my mother arrived, she felt like she didn't have to chaperone me any more." "She sure was a great girl." "Now we hear from Aliza Gur's combatant - Jamaican actress Martine Beswick." "We were supposed to go to Turkey and we had everything ready - the visas, the passports, everything was ready." "Then they said, "We're going to shoot it on the back lot."" "We were so disappointed." "We spent about a week there on the back lot." "It sort of put me on the map, I suppose, really." "It really sort of started my career." "Then I got kind of serious about it and I realised I had to take some training." "As a matter of fact, Sean was very terrific because my voice was like... in here and he said, "I think you should go and see Cicely Berry."" ""You've got to see her." "She'll tell you how to bring your voice up."" "And I went, "Oh, thanks, Sean!" So off I went and she was great." "He put me in touch with this wonderful woman who changed my voice - completely changed my voice and my whole instrument and my acting." "She was very, very good." "So he was responsible for that, actually." "Also, Terence said, "Go and get some experience, darling." So I did." "I loved Terence, I really did." "He was just great." "He always took charge and completely took care of us and I loved that about him, I really did." "He was terribly grand and I really enjoyed being around him for that reason." "As the fight ends, an enormous battle erupts." "Terence Young does two things with this scene." "First he creates a sense of chaos in the proceedings." "The battle is messy, loud." "The gunfire comes from all directions." "But then Terence Young makes a brilliant choice." "Bond does fight, but he moves around the battle, attacking as he sees fit." "Rolling a burning wagon into two grappling men, firing an occasional shot, knocking out the unsuspecting enemy agent." "What this shows us is Bond moving above the chaos - never getting drawn into the mire." "It is a point Young makes in all of his Bond films." "007 goes for the big targets." "In Dr No, Bond rips up the girl photographer's film, but he doesn't have her arrested, even though she's in league with the villain." "In Thunderball, Bond sends an assassin to report back to SPECTRE agent Emilio Largo." "He tells the man, "The little fish I throw back into the sea."" "Here, Bond acts in much the same way." "It is not his fight." "He just helps settle it." "Now John Barry talks about this piece of music - the 007 theme." "That was a product of... leaning slightly more to the sense of fun of the Bond movies." "After Dr No and then From Russia with Love, there was a sense that adventure was fun and so I wanted to write an adventure theme that had an up feeling about it." "Because the audience caught on so quick." "Even when they went into From Russia with Love, they knew they were in for a good time." "The style had been set in Dr No." "And the audience are very quick." "The audience are sometimes ahead of the game." "So I wanted a lighter, adventuresome sound in the adventure theme... so the audience could sit and relax and they started to have fun with the adventure and they knew he was going to come out at the end of it." "So it was a little more tongue in cheek in terms of the theme than the original and we used it on throughout a lot of the Bond movies." "It was a lighter, more airy, uplifting kind of a theme." "That was the thought behind that." "It's a very military kind of..." "The secret service was a very military operation." "That's where the military thing came from, plus my own experience of the military." "It had a great driving sense too." "And then I just wrote this big, big 16-bar open melody... which was like a feel-good adventure theme with the trumpets and the horns and that staccato accompaniment." "And that's how it came out." "Director Terence Young discusses John Barry's contribution." "When we did From Russia with Love, we brought in another composer to write the theme song, "From Russia with Love"." "But John Barry... that was his first dramatic score for a whole picture and the rest is history." "John is one of the most famous musicians in the business." "He's incredibly professional, has a got tremendous smell for the type of music." "I mean, at various times I've wanted something different and he's said, "Try it this way and if you don't like it I'll do what you want."" "And, with one or two exceptions, I've always been able to say," ""I'm completely wrong and you're completely right, John."" "If I've said I want to change it he goes straight away, because he knows I'm not doing it for any ego trip or anything like that." "I think music is enormously important." "I had one of the most successful films which had one of the most successful musical scores of all time." "It was called "The Warsaw Concerto", which was made during the war." "I don't think there's a place in the world that hasn't heard that bit of music." "But John is a very gifted film musician." "In my opinion, one of the best film musicians." "He has a feeling for celluloid." "He knows where it should be and where it should not - where music should be and where it should not be." "I think he's a very, very gifted person." "I think it's one of his very best scores." "His music..." "It's a funny thing." "Very often, somebody who writes..." ""important" scoring - that the music is very heavy and all that - very often it can be distracting." "But in John's case, I'd have said nearly always... they are helpful, they add to the mood, they add to the excitement of a sequence." "They certainly did in that gypsy sequence and that battle - it was enormously effective." "It was a long stretch of music running about eight minutes." "Very, very effective." "Production designer Syd Cain created the sets for From Russia with Love." "He had worked as Ken Adam's art director on Dr No." "Here he tells a wonderful story about Harry Saltzman in Istanbul." "We were filming out in Turkey, staying in the Hilton Hotel." "And in the evening, I used to go down below and look at the shops, because I'm a teetotaller, I don't drink." "There's a jeweller's shop underneath the Hilton and I was there one evening looking for a present for my wife when a voice said, "What ya doin', Syd?" and it was Harry." "I said, "I'm looking for a present for my wife, Harry."" "In this shop there was a long glass showcase with jewellery in." "And I was down this end, which was the cheap end, and it went up in price as you went along." "Harry said, "This is where you wanna buy."" "I said, "Harry, that's your end." "I'm looking..."" "I was getting about £55 a week then." "He brought a ring and he said, "Why don't you buy that?"" "It was a beautiful ring." "It was what they call a harem ring." "It was gold and enamel with rubies." "So I said, "Harry, I could never buy that for my wife."" "Anyway, to cut a long story short," "I go back to my room, eventually, and there's this ring by my bed." "I felt terribly embarrassed." "The following morning I said to Stanley Sopel, who was the managing fella," ""Stanley, I want to see Harry." "He's embarrassed me no end."" "So I go and see Harry and he said, "I hear I've embarrassed you."" "I say, "You have, Harry."" ""It's very, very kind of you to put this ring there, but my wife would know immediately I couldn't afford that."" "He said, "Here's what we'll do."" ""You give it to your wife from me for allowing you to come on location and bring her out for a fortnight on the firm."" "And that was Harry." "She's still got the ring." "It's beautiful." "Harry was very generous." "I liked him, really." "This scene, where Bond meets Tatiana Romanova in his bed, is very similar to Fleming's novel." "Even much of the dialogue is unchanged." "But production designer Syd Cain, director of photography Ted Moore and director Terence Young created a mood of seduction by the use of gauzy curtains, soft lighting, rich, cool colours and a palpable sexual tension between the actors." "This theme of a female spy sent to seduce a man has been touched on since biblical writings about Samson - the Old Testament hero and Israelite judge who battled the Philistines." "Unfortunately, Samson was seduced by a Philistine woman, Delilah, who discovered the secret of his strength, cut his hair, and reduced him to a blind slave before he found vengeance and salvation." "In World War One, Mata Hari was famed for seducing men of power and selling their secrets - costing lives on the battlefield." "Alfred Hitchcock explored the inner life of the female spy who is asked to seduce the enemy." "He came up with a classic tale of soul erosion and salvation in Notorious, where a loose woman, played by Ingrid Bergman, marries a Nazi agent to pay for her father's sins." "In From Russia with Love, Fleming and the filmmakers offer a nice twist." "The seductress herself gets seduced." "Fleming plays with the sexuality of the task and the fantasy of strangers meeting who already know they are scripted by their governments to sleep together." "Neither Fleming nor the filmmakers allow Tatiana - or Tania, as she likes to be called - to be in on the full scope of the plot and thus she is not linked to the villains." "She is an innocent, working under penalty of death." "From the very beginning, when we see Klebb with Tatiana, the audience understands that James Bond has nothing to fear from her." "She is just a pawn." "Indeed, she serves the same structural purpose as the Lektor decoder." "Bond must bring her back to the West for there to be a satisfactory conclusion to the story." "In emotional terms, Tania is far more important than the Lektor." "She is the maiden who is tormented by Rosa Klebb's fiery-haired dragon." "Bond must do more than bed her." "He must win her over." "Let's return to James Bond's creator, lan Fleming, who visited the location in Istanbul." "Fleming had a wonderful trip and enjoyed spending time with the cast and crew." "One person he got to know was Cubby Broccoli's wife." "Dana Broccoli recalls spending time with lan Fleming in Istanbul, and a memorable dinner with Harry Saltzman on his last night in the city." "Lan was there during the filming and we were both great sightseers, so we went everywhere - into the markets and the mosques, up and down the Bosphorus." "We had a great time." "It was lan's last night in Istanbul and he was very tired." "He really wanted to stay in the hotel with us and have dinner, but we were giving this company dinner at a restaurant just outside the hotel and we talked lan into coming along." "He said, "I hope it's a quiet place." We said, "I'm sure it will be."" "When we got there, there were belly dancers all over the place and a German wedding going on at the next table." "And Harry had this wonderful thing of ordering food for everybody and if he didn't like what he got, everybody's order went back." "So lan was there and food was coming in from every angle, and he held his head and he said, "Cubby, I don't want any of this food."" ""I'm tired and this is noisy and it's..."" "So Cubby said, "That's all right, lan." "What would you like to eat?"" "He said, "I want a Spanish omelette." Cubby said, "I'll see if I can arrange that."" "He took the next half-hour trying to describe a Spanish omelette to the waiter." "Editor Peter Hunt's skills are quite evident in this scene." "Hunt worked with the first three actors to play James Bond." "He edited the first five Bond films and was second unit director on You Only Live Twice." "He then directed George Lazenby's sole Bond film," "On Her Majesty's Secret Service." "After On Her Majesty's Secret Service," "Hunt went on to direct Roger Moore in the television series, The Persuaders!" "And then in Gold and Shout at the Devil - two films he made in the 1970s." "He directed two films with Lee Marvin - Shout at the Devil and Death Hunt." "He worked with Terence Young again on The Jigsaw Man in the mid-1980s and then returned to editing for the Michael Cimino thriller, Desperate Hours." "Editor Peter Hunt talks about the elements which make this sequence a success." "The sound was the sound of the mosque... you know?" "That whole commentary of the guide, who was going round behind the whole scene - moving around - that was actual, it was real." "John Mitchell was the sound man and he shot it in the mosque like that and it was wonderful." "Of course, what contributed greatly to it was the music." "John Barry's music behind that was remarkable and worked so well." "A wonderful instance of what a film musician can do for a scene." "Legendary composer John Barry had been a band leader for a number of years with the group, the John Barry Seven." "From Russia with Love was one of his early film scores." "Here he discusses how he shaped the music." "The actual content of the music was not based on the Turkish scale - that chromatic scale." "It was based on Western musical structure." "And it was purely the instrumentation that gave it the slightly exotic kind of feel of Istanbul." "The finger cymbals and the cymbaloms and things like that." "It was really like salt and pepper." "It was like the dressing - the condiments of the orchestra." "The orchestra was a full-blooded traditional English symphony orchestra, with these colours added to it that gave it that Turkish feeling." "But it really was no more than that." "Norman Wanstall helped create the other end of the spectrum of sounds." "Although sound is recorded on location," "Wanstall was responsible for replacing most location sounds with sound effects." "He talks about the difference between From Russia with Love and Dr No." "The thing about moving on to Russia with Love was that I wasn't questioned so often because recording theatres are very expensive and people were saying to me, "We don't have the money" - this is Dr No " ""You're spending time creating all these sounds." "We don't have the money."" ""So can you cool it?" "Can you stop doing it?"" "That was frustrating because I knew it was the best way to approach the picture - to get important sounds created early on." "As we moved on to Russia with Love, we were established." "We'd made our reputations." "We were trusted that we weren't wasting money and that we were trying to make Bond films as dramatic as we possibly could." "I went on to Russia feeling a lot more confident that I wasn't going to be questioned as to whether we had to watch the pennies." "It wasn't a big budget picture but I don't seem to remember that I had so many times when I felt I wanted to go and spend people's money." "What did happen with the films was that you could go to the production manager and ask for the most outrageous facilities and they never questioned it." "This material in Istanbul comes from the fertile imagination of the filmmaking team." "In Fleming's novel, Bond sleeps with Tatiana, then the pair leave the next morning on the Orient Express." "The filmmakers have Bond and Tatiana together, then separate them." "They only meet furtively in public places, which serves two purposes." "First, the audience wants them together, and creating obstacles to that end makes the audience even more eager." "Second, in Fleming's novel, Tatiana decides to defect from the outset." "The suspense is based on whether she will succeed." "Richard Maibaum creates more suspense by having Kerim Bey constantly question Tatiana's true motivation." "And Tatiana herself is torn between her fear of Klebb and her interest in Bond." "This dramatic separation presents an opportunity to the filmmakers to utilise the scenic locations in Istanbul by creating sequences in the St Sophia mosque, this scene on the Bosphorus ferry and the stealing of the Lektor decoder from the bowels of the Russian Embassy." "Each of these scenes allows the opportunity for the filmmakers not only to create suspense and dramatic tension, but also to give the audience a look at the more exotic parts of Istanbul." "Terence Young has also taken great care to make certain that Sean Connery looks as attractive as any other element in the film." "Connery was outfitted with eight suits, two topcoats, and a full evening suit for the opening sequence - all tailored by Anthony Sinclair of Savile Row." "In 1963, these hand-tailored items cost over $2,000." "Connery's bespoke shirts were produced by Turnbull  Asser at a cost of $30 each." "At the time of this recording, the Savile Row suits would cost over $20,000 and the shirts $200 apiece." "Such is the price of elegance." "James Bond is now about to steal the Lektor decoder from the Soviet Embassy." "In the novel, Bond is not required to do anything to get the decoder." "Tania delivers it to him." "The filmmakers return to "St George versus the dragon", so that Bond rescues Tania." "The pair escape through the tunnels, which enabled the filmmakers to recreate one of the most vivid moments from Fleming's novel." "In chapter 16 of the novel From Russia with Love," "Kerim Bey shows Bond how he uses the tunnels of the city's 80 underground cisterns to get beneath the Russian Embassy where Kerim has a periscope installed." "The scene is recreated in the film, but the element which makes the reader's skin crawl - the rats - is saved for Bond and Tania's escape with the Lektor." "In the novel, as Bond and Kerim approach the Russian Embassy, they force thousands of rats up the tunnel ahead and then when they reach the alcove beneath the embassy, they watch the rats swarm back down the tunnel by the thousands." "It is one of lan Fleming's more vivid passages." "The filmmakers used the explosion beneath the embassy as the motivation for the rats to swarm in the movie, but creating the effect proved more complicated than the filmmakers could have possibly imagined - as Syd Cain remembers." "We weren't allowed to use real wild rats in England, so I got white rats and we covered them in cocoa - darkened them down with cocoa." "But the heat of the lamps made them very lethargic and they just used to sit and lick this cocoa off." "So we had brown-and-white rats, which wasn't quite the thing." "So I went to Spain and found a warehouse and we were allowed there to use real rats from the sewerage." "Horrible things - all moth-eaten." "Huge things." "So I built a glass cage for the camera crew, obviously, to be behind, and the rat-catchers..." "We blocked as many holes as we could to stop them escaping." "And I built the set in the warehouse." "The rat-catcher let about 200 rats free and they came pouring round." "That was all right for take one." "Then they wanted a take two." "We got our shot and then they all escaped." "It was mayhem." "I can't tell you." "Cubby was the first one up the steps." "He was up some steps first." "He beat me by a short head." "And we were hanging on to everything with these bloody great rats chasing us." "So that was quite an exciting sequence, actually." "Even catching the rats proved to be an adventure." "First, Syd Cain offered a London dock worker ten shillings for each rat he could catch." "Soon, British health authorities stepped in and confiscated the wild rats." "As Syd Cain relates, the white rats proved unworkable and the filmmakers decided to shoot the scene in Spain." "They hired one Pedro Vidal to supply the rats." "Mr Vidal went to the Madrid sanitation department - as he related in interviews during the film's release." "Sanitation workers placed 15-gallon wine casks in the Madrid sewers." "They would bait the casks and each morning huge sewer rats would be found inside, unable to climb up the slick glass walls." "Publicity materials bragged that the rats were "ferocious and disease-ridden and sometimes they were growing as large as house cats."" "Eventually, more than 500 wild rats were captured." "In 1963, Vidal talked about his task." "He said "I have never done a job I hated more." "Rats give me the creeps."" "One of the big problems in Istanbul can be seen in this shot - the huge crowds." "Terence Young talks about the challenge of shooting when the film crew becomes a tourist attraction." "We were shooting in the main square and we had 12,000 people." "There were 400 policemen, including 60 on horses, trying to control the crowds." "The only way we were able to shoot, to get them away from the camera, was we faked another sequence with two stunt men climbing out of an eighth-storey window on a rope while they were being filmed." "While everybody watched them, we got on with our picture." "If you're quick, you can glimpse Harry Saltzman's wife, Jackie, in the window just in front of Robert Shaw." "We are aboard the Orient Express - one of the great trains of Europe." "In its heyday, the Orient Express travelled 1400 miles from Istanbul to Belgrade, Yugoslavia, Venice, Milan, Lucerne and Paris." "The train was immortalised by Graham Greene in his 1932 novel Orient Express and by Agatha Christie in her 1934 classic mystery, Murder in the Calais Coach, which was later renamed Murder on the Orient Express." "Sean Connery also starred in the film version of the Agatha Christie novel." "The Orient Express itself connected Paris and Istanbul from 1883 to 1977 when the line was closed due to declining business." "Eventually, the old coaches were restored and refitted and the trains were reintroduced as the Venice-Simplon Orient Express - open to the tourist trade as a first-class rail travel adventure with formal black-tie dinners and service from London or Paris to Venice." "These interiors were recreated on sound stages at Pinewood Studios by Syd Cain." "Cain recalls going to France to examine the train itself." "I went to France to copy the inside of the real thing and I was drawing away and measuring and the bloody train started to move off and I was in it." "I had to go miles up the track before I could get back again." "That's how we did it." "I thought it looked quite good." "I was quite pleased with it." "The original one was a bit tatty for filming." "We painted it slightly better, touched it up a bit, added a bit of glamour." "Syd Cain is one of the great English production designers, although that is a title he never fully embraced." "He was in the air force during World War Two, but his plane crashed in Rhodesia and Cain suffered a broken back and two broken legs." "Cain recovered from those injuries and was then promptly struck by lightning." "He was assigned to ground duty where he was first introduced to the film industry." "I was in charge of flying control in Tangmere in England in 1944... after my accident and so forth, and a couple of chaps came from the film industry." "They wanted to photograph the inside of flying control - they were making a film." "I said, "No way can you take a photograph but I'll do you a quick plan and elevation."" "They said, "Can you?" I said, "Yeah." "That's what I used to do before the war."" "So I knocked out this quick plan and elevation for them and I got interested in the film business." "I didn't realise they had draughtsmen in the film business." "When I gave them this, they said - thinking I was going to be in the RAF forever " ""When you come out of the RAF, come and see us."" "And two weeks later I got my medical discharge." "So I thought about this film business thing and I went to Ealing and I saw a chap called Hal Mason." "He gave me a list of studio managers... and one of them happened to be a friend of mine from school days." "Albert Fennell, who was a big producer." "He's dead now, unfortunately." "Anyway, to cut a long story short, I got in touch with Albert and he said, "What are you doing?" I said, "Nothing." "I'm looking for work."" "He said, "Come and join us." Not asking me what I did." "The only thing I could do was draw." "So I came into the art department." "And that's it... 1944." "And from then on, I was draughtsman, tea boy, then I became chief draughtsman and assistant art director and I rose to the dizzy heights of art director, eventually, and production designer." "That's how it all happened." "Cain went on to work with many of the great directors." "He worked with Stanley Kubrick on Lolita, François Truffaut on Fahrenheit 451 and Alfred Hitchcock on Frenzy." "When Peter Hunt came to direct On Her Majesty's Secret Service, he chose Syd Cain to do the production design and then worked with Cain on the Roger Moore films, Gold and Shout at the Devil." "Hunt discusses Syd Cain's work." "He was a very good production designer." "Different personality to Ken Adam." "Ken Adam is a flamboyant and grand type of production designer, but Syd Cain is a quiet, methodical worker with a very good imagination and a very good concept of the film problems." "He's got a sense of humour, a dry wit." "Production designer means that he designs not only all the sets, but the costumes and the colour - it incorporates the whole thing." "In From Russia with Love, the story is the most important thing." "You don't have to balance it with a lot of fantastic sets or incredible... production values." "It needed very good, practical..." "A train, the nicest part of Istanbul, the nicest part of all the towns that you went along." "So you didn't require great big fantastic sets for it." "Back to Syd Cain." "To be quite serious, I work in conjunction with the costume designer." "I say, "What is she going to wear?"" "If she's going to wear green, I don't do a green background." "I mean, any art director can paint the set red and people see it and say, "What a lovely set."" "They don't remember who was in it, which I think is wrong." "You must design the set to give you an atmosphere for the characters." "They come first." "I say to my friends, "Did you remember such and such a set?"" "And they say, "Yeah, it's great." And I say, "What were the colours of the set?"" "They get embarrassed because they can't remember and I say, "That's fine."" ""If you don't remember, it's not outstanding."" "So that's how I arrived at the various colours." "I've got what they call a cold eye." "A lot of my colours, funnily enough, are cold." "Blues and greens and yellows and things like that." "I enjoyed working with Terence." "I thought he was terrific." "I thought, actually, he was Bond." "He's very elegant and had all the Bond characteristics and I think he put this into the original Bond, to be quite honest." "And great to work with, Terence." "Always ready to accept any ideas." "He used to say, "If it's a good idea, it's my name on the credits, which I want remembered..." "later."" "I liked Cubby." "Everybody liked Cubby, I guess." "When we did Dr No..." "I was the art director." "I wasn't the production designer - that was Ken Adam." "But I was the art director and I did the locations." "When it came to the credits, dear old whatshisname left my name off the credits accidentally." "Cubby said, "It's going to cost us a lot of money to change all the credits", so I said, "Don't bother."" "So he gave me a gold pen - a solid gold pen - in lieu of a credit." "That was Cubby." "He was Aries, wasn't he?" "Same as me." "He was Aries." "So we got on well." "We are in one of the most dramatically interesting points in any James Bond film." "Here, note how director Young lets this confrontation unfold on the actors' faces." "Young lets the actors play out their emotions." "Connery reveals Bond's barely controlled anger in layers." "Faux patience." "Bitterness." "And an ultimate explosion of violence." "Daniela Bianchi plays Tania's fear and confusion with conviction." "It is a risky scene to let the two leads fight this viciously this late in the film, but the violence, the dread, and the resignation of Bond that he can neither trust Tania nor get rid of her" "makes the scene palpably real." "For the viewer, there is a sense of risk to the relationship between Bond and Tania that, despite the chemistry between them, they may not end up together." "Director Young handles the dramatics with skill and the performances pay off for him, as he has a great visual moment coming up which acts as punctuation." "Note that all of what the audience is seeing has been laid out clearly by the filmmakers." "At the beginning, Kronsteen revealed all to Blofeld and the audience, outlining SPECTRE's plans step by step." "We know who killed the Russian in the mosque, who killed the Bulgar following Bond and who killed Kerim Bey." "Terence Young has held nothing back and thus creates the maximum dramatic suspense." "The audience knows why everything up until now has happened." "We just don't know what is going to happen next." "Now we see Terence Young's chilling punctuation to the previous scene - the cool, calm Donald Grant shadowing Bond." "007's every move is watched, studied and virtually choreographed by Grant, who now stalks the real Bond as he stalked the impostor Bond in the opening." "The visual also serves another purpose." "It explains that the conflict between Bond and Tania is manufactured by Grant." "It reminds the viewer that they are really allies against SPECTRE." "Now to dubbing editor Norman Wanstall, who talks about the sound effects." "As in practically all train sequences in movies - and the audience very rarely realise it - invariably it's a built set." "A lot of the stuff in Russia with Love was a built set." "The soundtracks were from sound effects libraries and it's quite tricky to get plenty of variation." "It's very easy to become monotonous when you're doing train sounds." "I remember this was one of the facilities we had on the dubbing desk, where they could produce sound that I could never do in the editing room." "The problem is that you're travelling in one part of the train, but you move outside the carriage and you know that the sound would change." "So do you find another soundtrack, exactly the same speed with a rattle that sounds different?" "But Gordon McCallum said, "No." "Give me the same track all the way through."" ""Cue where we cut to the outside and to the inside and I will swing in my facilities and we'll change the nature of the sound."" "And that was a tremendous help to me." "I battled to think how I could get the difference between the inside and outside." "I don't mean the inside and outside of the train." "I mean the inside of the carriage and the inside of the corridor." "What he did was he just swung in top or took out the bass as we went across and produced a constant flow of rattle." "Wanstall's first visit to a film set was during the shooting of Hell Below Zero, which was produced by Cubby Broccoli." "We're going back a lot of years now, but the film industry in Britain was a studio system." "People joined a studio like any other company and you stayed." "You would have a contract for about three years." "I knew a lady who was the mother of a very close school friend of mine and she showed us round the studio for one day." "I was only 14 and we saw pictures of stars all round the walls and all the girls were dressed very cool and the whole thing was magic." "We went on a set to..." "Actually, it was the set of Hell Below Zero, but we didn't realise that at the time." "I remember going into this vast stage which was pitch black and in the far corner you could see this very tiny bead of light." "We crept towards it and the nearer you got you realised it was actually a replica of the cabin of a ship." "There was no way a lay person would believe that it wasn't a real cabin." "But as soon as we crept round the back it was all full of scaffold poles and timber and plywood." "And us kids realised that movie-making is just magic - it's all make-believe." "We were completely and utterly captivated by the whole atmosphere." "And when I finished my national service," "I thought, "Wouldn't it be wonderful to be part of that, to be in a movie studio and take part in some way?"" "So I contacted this lady and she remembered me and she said, "Come and talk and I'll tell you what the chances are."" "But I always imagined I was going to be on a set." "I always imagined I'd be a cameraman or sit in a chair with my name on the back." "When they put me into an editing room, I wasn't too sure that's what I had in mind." "I really didn't know what the editor was doing." "Very few people do understand what an editor does." "Most people think that an editor cuts the bad bits out." "They don't realise that you have to build a film from all the different shots." "But as I realised what we were doing, I became really engrossed and totally overcome by the whole job." "They put me under contract for three years and when the contract was over," "I had a chance to go with probably the most famous soundtrack editor we've ever had in this country - a man called Winston Ryder." "He was freelance whereas most people were permanently employed." "He worked on Lawrence of Arabia and Bridge on the River Kwai." "The biggest movies were his." "And I had a chance to be his assistant on the sound side." "So rather than renew the contract, I went with him and I did three films with him and they were all very large ones and I learnt a lot from him." "I suppose that was the basis of my knowledge for the future." "So when I had a chance to..." "When I had a break," "I had to fall back on all I'd learnt from him." "He was a good teacher." "A few bits of trivia about what we've just seen." "The man Grant escorts into the men's room and murders is played by Bill Hill - the production manager of From Russia with Love." "Sirkeci Station in Istanbul doubles for both Zagreb station and Sofia station and the scenes were shot on May 1st, 1963." "Note that Robert Shaw's character, Donald Grant, does not speak in the film until he's aboard the Orient Express." "Editor Peter Hunt recalls Robert Shaw and building the tension surrounding this meeting." "I knew Robert Shaw when we used to bring him down to play opposite actresses for tests and things like that." "Robert Shaw and I go back right to the early training days of what was called Group Three, in those days." "He was a stage man, of course." "He was a theatre actor." "And great." "He was a great piece of casting for From Russia with Love." "He really was." "He and Lotte Lenya were very good." "I used to coach him with his dialogue on From Russia with Love." "Only to listen to him." "He needed somebody to listen to him." "In fact, it was my idea - which happened after we'd shot the scenes, when I'd seen it and got it together - that we didn't hear his voice and that he spoke imitating another spy... on the train." "You see him talk and I put lots of train noise over it, so there was a good reason why you never heard it." "And the steam came out from underneath the train." "So it meant that the first time you actually heard him was when he got together with Bond." "You never heard him in the training centre when she whacks him in the stomach." "He never says anything." "Peter Hunt discusses his background in the film industry." "I grew up in London - in the East End of London - and I went to what is called an English grammar school at Brentwood." "I was always very keen on cinema and what have you." "Various members of my family were connected with the theatre in London." "And an uncle of mine, who was actually my mother's cousin or second cousin - we called him an uncle - was a cameraman." "At one time he was here in California and was a cameraman with MGM." "And he had a laboratory and a documentary company in London, which I used to like to get into when I was on school holidays." "I liked him and used to talk to him and that was really how my professional interest came about in the cinema." "I adored the cinema as a kid anyway." "I was never allowed to see as many films as I wanted to see." "So when the war came, which was in 1939 - 3rd September, 1939... chaos really reigned in England, to a certain extent." "Kids were evacuated because we all thought we were going to be bombed." "I decided I didn't want to go anywhere and I started to do work with this uncle of mine, who was then contracted to make a number of "instructional" films." "Instructional films about applying first-aid bandages and things to do with the war effort." "And from there, of course, I eventually graduated into... the cutting rooms on feature films." "I got my first editing job due to two producers who were making a very good film, I thought, a wonderful story." "Having been an assistant in the cutting room and gone through the whole rigmarole of learning my craft... these two producers eventually came..." "But during the course of the film they fell out with one another and through a series of shrewd, cunning... cunning... diplomatic moves on my part," "I became the editor of the film." "I was able to contain one producer in his capacity and what he wanted on the film and also the American producer in his capacity and what he wanted on the film." "They ended up by not talking to each other, so neither knew what I was doing." "They only knew what I was doing for them, which made the film end up completely the same for both of them." "That's how I got my first break." "Now back to this classic scene - one of the best confrontations between Bond and a villain." "Terence Young sustains the audience's interest with only two characters in a confined space." "It works because of the groundwork laid since the opening sequence." "The filmmakers have taken care to keep the tension high and the suspense real and it pays off." "Here Bond finds out that he has been played as a puppet by SPECTRE and that Tania is not his enemy." "In the novel, Grant actually tries to kill Bond with a gun hidden inside a copy of War and Peace." "When Grant fires, the bullet hits Bond's metal cigarette case in his breast pocket, rather than his heart." "Here, Grant has taken away Bond's cigarette case." "The filmmakers also replace Fleming's gun in a book with a gadget developed during World War Two - a garrotte wire hidden in a watch." "The character of Donald Grant is so well realised that he was virtually recreated in the Brian De Palma film Blow Out by actor John Lithgow." "With a straight face, De Palma has Lithgow dye his hair white, pull on a black glove before killing and murder his victims with a garrotte in his watch." "The credit for this goes largely to Terence Young." "His work with the actors and Richard Maibaum creates a scene filled with every bit of the tension of Fleming's novel." "Yet Young's scene is different - the setting is the same but the plot is more complex." "The interplay has been reworked from the novel to make the film feel fresh and new." "The success of this part of the film goes beyond any attempt to make it interesting for Fleming's readers." "It goes to the cinematic world of James Bond, which Terence Young had such a strong hand in creating." "Young, with Cubby Broccoli and Harry Saltzman, developed James Bond into a character that reflected the stylish elegance of Fleming's evocative prose." "James Bond's style was the key." "With Fleming's characters and stories," "Terence Young fleshed out the cinematic 007 with all the human details." "From the way he walked to how he kissed, to how he held a gun." "To capture the particularly English elegance of the character," "Young looked to himself as a person who knew style from the inside out." "Sound editor Norman Wanstall remembers Terence Young and how he approached James Bond." "A lot of people used to say that Terence Young was James Bond." "He was directing himself because he was the public school man with the blazer - upright and good-Iooking and obviously had had a fairly affluent past." "The image of James Bond as in the book seemed to fit Terence." "He was fairly cavalier too." "He didn't seem to get uptight." "Simple as that." "I thought he was very right for the part, as they say." "Countless actors and crew saw Terence Young as a James Bond figure." "He was adventurous, stylish, handsome, refined, with a charming dry wit." "He was also a film director with an eye for action, an ear for dialogue and a wonderful ability to communicate and collaborate with his film crews." "Special effects supervisor John Stears recalls." "Terence Young, the first director - he was a phenomenal character." "He would just actually get into your mind what he was thinking." "I mean, you'd do things for Terence without thinking." "You'd just do it because you knew that was what was necessary." "In fact, there's very few directors after Terence Young that I've had that feeling that I knew I was doing what he wanted." "But Terence had that ability." "He would tell everybody exactly what he wanted, the sort of sound effects he wanted." "With costume and wardrobe, he knew exactly what he wanted." "There was no halfway and you knew you'd done it right." "Norman Wanstall discusses the collaborative nature of work on the early Bond films and how that contrasts to the individual responsibilities of each department head." "Generally speaking, every expert on a film crew is paid to do the job that they're meant to be good at." "That's why we have all the tedious credits - because those people are experts in their field." "So even though making movies is without doubt a team job, everyone is expected to do their best in their department." "So if you're a soundtrack editor, your job is to produce what you feel is the very best you can for any particular moment." "If you're in any doubt, there's always people to consult." "You can always call the director in and say," ""How do you feel about this?" And they would be pleased to contribute." "But, generally, movies don't work like that." "Everyone is working in their own little cubbyhole - the musician's off doing his stuff, the sound effects editor is doing his, the editor's doing his - and you hope that when they all come together, everything will work." "In a case like that, I would know what I'm supposed to produce and when we reach the dubbing theatre, we would decide whether it was working, or if the director had a particular viewpoint, then we would listen and try and adjust it." "The director is the king." "Now Terence Young discusses one of the most famous fights in film history." "I did most of it myself - I used to be a boxer." "And I was, I suppose, the equivalent of an all-American football player." "I played rugby football - international football." "I worked it out with a different stunt man - it wasn't Bob Simmons." "And originally I worked it out with the two doubles and I had the artists sitting by on the set watching." "When they said, "Let us do that", I said, "No, you'll get hurt and you won't do it as well as the stunt men."" "So after I'd said that three or four times and I'd shot two or three takes with the other artists," "I had them where I wanted them." "They said, "We'll do it" and they did." "There's only one shot doubled in the whole of that fight." "I shot the sequence in two days - that's very quick because it lasts six minutes." "I couldn't get too far away from the actors as I was shooting inside a compartment." "We went from one rail compartment into the other one, where the woman was sleeping." "And, as I said, you had to be close, they had to be on top of you, and I think that added enormously to the effectiveness of this scene." "It made it even more violent - the close contact all the time." "The film was so violent, if I hadn't had the ending to it the censors would have clipped it." "Peter Hunt recalls how work progressed on the train fight sequence as production continued." "The train fight was really cinematic, but we had the advantage... of shooting it over a period of time." "I mean, the basis was shot with Terence and a couple of cameras, then we put that together." "And it was a small set, so it was easy to keep." "It was kept without any expense." "I would put it all together and then we would develop shots - extra things that would make it more exciting." "This would all come about little by little, then we'd do that - spend a morning on doing that." "The main part was, of course, scripted and done, but the thing that turned it into a really exciting fight were the extra pieces that we could put in over a period of perhaps a week, maybe two weeks," "with odd days shooting extra inserts, extra pieces, extra jaw socks, fighting, all the various things." "It all managed through editing it like that and building it in the cutting rooms, as films should be made - as Charlie Chaplin made his films..." "Terence would, wherever he could, leave out a close-up or something that he knew he had to have in a sequence, and say," ""It's all right, dear boy." "We'll do that later on."" "Then when it was all together, he'd have the opportunity..." ""But we desperately need this close-up." "We always knew we needed it."" "At the same time, he would say, "Do you need some more shots?"" ""Shouldn't we put in this here?"" "When they were scheduling the close-up which had to be done desperately, he would manage to get extra shots and extra pieces." "He was quite clever about that sort of way of shooting." "We're coming to two sequences added to the film to create an action climax." "In the novel, Bond drags Tania off the Orient Express at Dijon, France, without incident." "The filmmakers wanted a more explosive climax and writer Richard Maibaum devised two sequences." "The first is an attack by SPECTRE henchmen in a helicopter, which both Maibaum and Young admitted was inspired by the famed crop-duster sequence in North by Northwest." "It has some clever twists on Hitchcock's classic - becoming a top game of strategy between Bond and the SPECTRE agents." "The second sequence, where Bond and Tania are chased across the Gulf of Venice in boats, was inspired by a scene in a script by Richard Maibaum in a film directed by Terence Young called The Red Beret," "and produced by Cubby Broccoli." "The scene has Alan Ladd trapped in a minefield." "A bazooka is fired and it skips across the ground, setting off many of the mines, creating a series of explosions." "With the mines detonated, the good guys have a way to escape from the trap." "Notice the clever visual coming up where Bond literally gives his maiden a bed of roses to sleep upon." "Now back to Peter Hunt, who discusses how the different styles of Hitchcock and Young allow them to look at similar material and arrive at totally different creative results." "Hitchcock worked everything out - he was an art director and he storyboarded everything for himself beforehand." "So he knew how it was going to work and in doing so, he limited the editing of it so that it would work just as he had storyboarded it." "That way you can't do what I do." "All he's going to do is shoot what he wants and that's it." "The helicopter chase in From Russia with Love was different in so far as it was a conglomeration of a number of shots which had to be got under several conditions and... a creativity about editing it." "Terence used to work from the moment - the situation as it was at the time - and would deliver you a great deal of material which was covering the story sequence." "So you had to make it work." "You had to work at it." "You had to look at it and try and make out how the situations could be developed with the material that he gave you." "He knew that he often did it that way and it pleased him to do it that way - it worked for his personality - but it did make it hard work." "It did make it an effort on your part to make it work in a way that he thought that it should go." "We had such a relationship and a rapport and I liked him so much that he never upset me at any time." "Whatever outrageous things I did with his material, he never said, "Oh, that's not how I wanted it" as some directors would do." "He always encouraged one." "He was always full of "Yeah, that's great." "Let's do this."" "And that is how we would develop certain sequences and make them even better." "To blow up a helicopter, John Stears built a radio-controlled miniature." "Stears refers to radio-control as RC." "The helicopter you saw in the film was a miniature, obviously." "I think it was the first time that had been attempted." "It was about six feet long and you had a little commercial petrol engine inside it." "RC was not really... to a state at the time that you could depend on it totally, but it was partially rcd." "What I did actually, I put negative instance on the rotor, but it had an aerofoil section so it stabilised itself and actually lifted." "And the tail rotor I trimmed to hold it in a stable condition laterally." "What we did, because we had to feed the pyros to it..." "I wouldn't trust the radio at the time to do it with radio-controlled explosions " "I did feed a cable down through the main rotor and then another one under the tail rotor." "That was purely to take the electrical current for the explosion." "The thing, virtually, was flying itself and those two wires were for the pyros, basically." "That was the first time a model helicopter had been used like that." "That was a shot which we did one lunchtime." "Terence Young said, "Can we shoot the helicopter?" "It's a lovely sky, John."" "I said, "Sure." "Let's do it now." He said, "Fine."" "So off we went and we did it, and that's the result." "When the helicopter does crash in the film, Bond utters the line," ""I'd say one of their aircraft is missing."" "The line is an in-joke, provided by production designer Syd Cain." "The war drama, One of Our Aircraft Is Missing, was the movie which brought Cain into the film industry." "For Sean Connery, From Russia with Love was a turning point." "He moved from being the little-known star of Dr No to a leading man with real presence." "Dana Broccoli remembers Connery's anxiousness to make his mark in other non-Bond films." "Sean was anxious to do other films and although he had a contract to do a non-Bond film with Harry and Cubby," "Cubby decided, since he was unhappy, to let him out of that part of the contract." "Then he asked Sean what he would really like." "He said, "I'd like to work with Hitchcock."" "So Cubby picked up the phone and spoke to Hitchcock and he said, "I'd be delighted to use him."" "And he did make a film with Hitchcock." "Connery's film with Hitchcock - the psychological drama Marnie - was not well received by critics at the time of its release, but has since become regarded by many as a classic." "Now we return to Blofeld on his yacht." "Notice in this shot the back of Blofeld's head in the right corner where actor Anthony Dawson's black hair can be seen." "This was the last time Blofeld would sport hair until 1971's Diamonds Are Forever when actor Charles Gray took over the role." "We are about to witness the death of Kronsteen, played expertly by Polish-born actor Vladek Sheybal." "Sheybal was in his teens when Poland was invaded by the Nazis." "He worked with the Resistance and was imprisoned, escaping twice." "In 1951 Sheybal won the national acting prize in Poland and then emigrated to England to study film production." "His papers did not allow him to pursue acting work and he was forced to take menial jobs." "The Oxford Dramatic Society asked him to mount productions for them and Sheybal became a fixture in drama circles, renowned as a teacher and performer." "Sheybal did not want the role in From Russia with Love - he later claimed that he did not like the script or the part - but he was friends with Sean Connery's wife, Diane Cilento, and Connery had suggested him for Kronsteen, so Sheybal relented." "He would later claim that From Russia with Love "would change my whole life"." "Vladek Sheybal went on to play many roles in spy films of the '60s and '70s, including a comic turn in the 1967 James Bond spoof, Casino Royale." "He passed away in 1992 in his adopted home of England." "Now back to Norman Wanstall, who discusses the difficulties of finding just the right sound for the boats." "The sound mixer who went on location with the crew was determined that he would bring back ample tracks of those marine craft." "He became one of the crew, and they dressed him up in a cap and a sweater and he is in front of one of the boats - he was recording." "But when we ran them, to my horror," "I realised that these boats were so refined, so highly tuned, that they sounded more like vacuum cleaners." "I knew that Bond films would not accept such a sound." "They had to roar." "We had to feel that these were turbo-charged roaring monsters." "And it just so happened that he recorded one of these going off from the harbour, and it started up with a tremendous roar and you had the exhaust as it drove away." "That track was what I dreamed about - the sound I heard these boats making - and that became the basis of the whole scene." "The boat chase proved to be one of the most difficult scenes to shoot in any Bond film." "First, the crew tried to shoot it near Istanbul." "They were plagued by weather delays, choppy seas and notoriously slow boats, which made the resulting footage look tame." "Finally, a camera boat sank on the Bosphorus and the producers decided to shoot the sequence in Scotland." "Yet bad luck followed the crew." "Ten days were allotted for the locations, but when Terence Young and assistant art director Michael White were involved in a helicopter crash, the crew slipped five days behind schedule - not because of injuries but because they had to wait on a new helicopter." "Weather also proved to be a problem, particularly for the final explosion, as Walter Gotell remembers." "Believe it or not, we took a week to be able to shoot this, due to Cubby Broccoli's determination to get the wind from the right direction." "Nothing else to be shot - we'd shot it all - and, literally, played chess at Cubby Broccoli's expense... and his utter grit, guts and determination to get the right ending for his film." "We are now in the paddock tank at Pinewood Studios where all the post-explosion fire was staged." "Despite controlled conditions, the fire and explosions got out of hand, as Walter Gotell recalls." "It was nevertheless a hell of an experience because my eyelids were burnt off because I insisted on doing it myself." "They offered me a stunt man but I said, "What for?"" "It was, to my mind, one of the best endings to a Bond film." "A careful listener will recall that this music was originally heard at the climax of the first Bond film, Dr No." "This final boat explosion was one of the final shots filmed." "The blast was so large that, according to an Eon Productions press release, it rattled dishes in the studio commissary." "The same press release announced that the fire seriously burned three stunt men." "We are now on a stage at Pinewood Studios where Lotte Lenya solidifies her position as one of the great Bond villains." "Lenya did not appear in many films." "She performed in the 1930 German version of Threepenny Opera and did not return in front of movie cameras until 1961 in The Roman Spring of Mrs Stone, where she played the decadent woman who manages a stable of gigolos." "She was nominated for an Academy Award for the role." "In 1963, she took on the role of Rosa Klebb in From Russia with Love." "According to biographer Donald Spoto, she weighed just over 100 pounds at the time and the costumers built her clothes with padding." "The New York Post reported that she balked at the idea, saying that she could play the part so that she would not look weak or small." "Her last film was Semi-Tough, where she gives Burt Reynolds a sadistic massage." "Lotte Lenya passed away in 1981." "Despite her fame as a singer and stage performer, and even the celebrity of the Academy Award nomination, she often remarked that it was the Bond film that people remembered best." "She was remembered with fondness by the cast and crew." "In the novel, this scene takes place in the Ritz Hotel in Paris." "It is Klebb's suite and she awaits Bond with a gun built into a telephone and poison-tip knitting needles." "Bond pins her to the wall with a chair, but as Klebb is being taken away by the French agents," "Klebb kicks him with her poison-tip shoe." "As the novel closes, Bond collapses to the floor." "Critics have speculated that Fleming intended to kill Bond with that scene, but by the time From Russia with Love was published," "Fleming had already written the first draft of Dr No." "Far from trying to kill Bond off," "Fleming followed in the footsteps of authors such as Sir Arthur Conan Doyle, creating a cliffhanger ending." "From Russia with Love premiered at the London Pavilion cinema on October 10th, 1963." "Lan Fleming held a party afterwards where he served beluga caviar." "The premiere proved to be a thundering success, filled with glamour." "Actress Aliza Gur recalls the event." "The London premiere of From Russia with Love..." "Wow!" "First of all, they had a poster on Piccadilly Circus that was about six storeys high of myself and Martine Beswick with Sean." "I have never seen myself so big." "And I remember driving around and around Piccadilly Circus looking at that poster and going "Wow!"" "I have been to so many premieres, but never have I seen that much of a crowd." "We were lucky." "From Russia with Love came after Dr No and Dr No was a sensation." "Sean Connery, Ursula - gorgeous Ursula." "And we were lucky to be right after them." "And there was, amazingly enough, already a huge cult of Bond lovers." "That premiere, from Leicester Square to Piccadilly Circus took one hour for the limo to make its way through." "You can walk it in two minutes." "It was a fabulous premiere, fabulous." "And to see the picture and hear the applause during the picture..." "I knew." "I walked out and I said, "Wow!" This picture will stay forever."" "And it did." "It really did." "Now a final comment from director Terence Young." "From Russia with Love is, in my opinion, the best of all the Bond pictures." "It sounds arrogant but I'm sure it's true." "We had just the right enough money - we had $2 million - and I had everything I wanted." "We hope you've enjoyed this audio commentary." "We'd like to thank all the actors and crew members who provided interviews and those who conducted the interviews and helped us document these stories." "Particularly we want to thank Steve Mori, who provided us with his interview with Terence Young." "This commentary was produced by David Naylor and Bruce Scivally." "I'm John Cork of the lan Fleming Foundation." "This is the end of the From Russia with Love audio commentary." "Visiontext Subtitles:" "Sue Whitfield" "EN" "(gunshot)" "(cocks gun)" "Agh!" "(orders shouted in the distance)" "Exactly 1 minute 52 seconds." "That's excellent." "Check." "Knight takes bishop." "Knight takes bishop." "King to rook two." "King to rook two." "Queen to king four." "Queen to king four." "My congratulations, sir." "A brilliant coup." "Siamese fighting fish." "Fascinating creatures." "Brave, but, on the whole, stupid." "Yes, they're stupid." "Except for the occasional one, such as we have here, who lets the other two fight... while he waits." "Waits until the survivor is so exhausted that he cannot defend himself." "Then, like SPECTRE, he strikes." "I find the parallel amusing." "Our organisation did not arrange for you to come over from the Russians just for amusement, Number Three." "Come in, Kronsteen." "Sit down, Number Three, while we listen to what Number Five has devised for us." "I hope his efforts as director of planning continue to be as successful as his chess." "They will be." "As you instructed, I've planned for SPECTRE to steal from the Russians their new Lektor decoding machine." "For this we need the services of the Russian Cryptograph Section in Turkey and the help of the British Secret Service." "Neither the Russians nor the British will be aware that they are working for us." "Number Three, is your section ready to carry out the directives?" "Yes, the operation will be organised according to Kronsteen's plan." "I have selected a girl from the Russian Consulate in Istanbul." "She's capable, cooperative, and her loyalty to the state is beyond question." "You're sure she believes you're still head of operations for Soviet Intelligence?" "It's most unlikely she would know I'm now working for SPECTRE." "Moscow has kept my defection secret from everyone but the presidium." "For your sake, I hope so." "Kronsteen, you're sure this plan is foolproof?" "Yes, because I have anticipated every possible variation of countermove." "But what makes you think that M will oblige you by falling in with your plan?" "For the simple reason that this is so obviously a trap." "My reading of the British mentality is that they always treat a trap as a challenge." "And they couldn't possibly pass up the chance of getting the Lektor decoder." "They have wanted one for years." "All that you say could be true." "What else?" "SPECTRE will probably have the chance of a personal revenge for the killing of our operative Dr No, because the man the British will almost certainly use on a mission of this sort would be their agent, James Bond." "Let his death be a particularly unpleasant and humiliating one." "Good." "I'll put my plan into operation straight away." "And there will be no failure." "(helicopter overhead)" "Hurry." "Welcome to SPECTRE Island." "I hope you had a pleasant flight." "My time is limited." "Is the man I requested ready?" " His dossier." " Good." "Donald Grant, convicted murderer." "Escaped Dartmoor Prison in 1960, recruited in Tangier in 1962." "Excellent." "Where is he now?" " At the lake." " Bring him to my office, will you?" " Take me to the lake." " Through the training area." "Grant's one of our best men." "Homicidal paranoiac, superb material." "His response to our training and indoctrination have been remarkable." "(gunfire)" "I hope our work here meets with your approval." "Training is useful, but there is no substitute for experience." "I agree." "We use live targets as well." " Call him." " Grant!" "He seems fit enough." "Have him report to me in Istanbul in 24 hours." "(speak Russian)" "(speak Turkish)" "Corporal of State Security Tatiana Romanova." "Come in." "You know who I am?" "Colonel Klebb, head of operations for SMERSH." "I saw you once in Moscow, when I worked for the English decoding room." "Did you tell anyone you were coming here?" " No, the message..." " Yes, yes, I know." "I sent it." "Your work record is excellent." " The state is proud of you." " Thank you, Comrade Colonel." "Take off your jacket." "Turn around." "You're a fine-Iooking girl." "Sit down." "I see you trained for the ballet." "But I grew an inch over the regulation height, and so..." "And then you have had three lovers." "What is the purpose of such an intimate question?" "You're not here to ask questions." "You forget to whom you are speaking." " I was in love." " And if you were not in love?" "I suppose that would depend on the man." "Sensible answer." "This man, for instance." "I cannot tell." "Perhaps if he was kind and kulturny." "Corporal, I have selected you for a most important assignment." "Its purpose is to give false information to the enemy." "If you complete it successfully, you will be promoted." "From now on, you will do anything he says." " And if I refuse?" " Then you will not leave this room alive." " I will obey your orders." " Good." "Now, these are your instructions." "You report to me here, but the consulate security man must not know anything." " This is classified far above his level." " I will say nothing..." "If you do, you will be shot." "Come, come, my dear." "You're very fortunate to have been chosen for such a simple, delightful duty." "A real labour of love, as we say." "(# "From Russia With Love" on radio)" " Great sport, this." " What did you say?" "I said it's great sport, this punting." " I couldn't agree with him more." " I may even give up golf for it." "Really?" "Not quite." "Souvenir from another jealous woman?" "Yes." "But I haven't turned my back on one since." "(beeping)" " Excuse me." " What?" " Give me my shirt." " What's going on?" " I have to make a phone call." " But we haven't eaten yet." "I'm starving." "Come in, Univex." "James Bond here." "Over." "He's been asking for you all morning." "Where in the world are you, James?" "Well, I've just been reviewing an old case." " So I'm an old case now, am I?" " It's the office." " Tell him I'm on my way, will you?" " He is not on his way." "Sylvia, behave." "We'll do this again some other time soon." "Do what?" "Last time you said that, you went off to Jamaica." "I haven't seen you for six months." " I'll be there in an hour." " I'll tell him." "Hey." "Your old case sounds interesting, James." "Make that an hour and a half." "Now, about that lunch." "For my next miracle, I..." "It'll be a miracle if he can explain where he's been all day." "But I've never even heard of a Tatiana Romanova." " Ridiculous, isn't it?" " It's absolutely crazy." "Of course, girls do fall in love with pictures of film stars." "But not a Russian cipher clerk with a file photo of a British agent." "Unless she's mental." "No, it's some sort of trap." "Obviously it's a trap, and the bait is a cipher machine, a brand-new Lektor." "A Lektor, no less." "The CIA's been after one of those for years." "Yes, so have we." "When she contacted Kerim Bey, head of Station T in Turkey, and told him she wanted to defect, she said she'd turn it over to us." "On one condition." "That you went out to Istanbul and brought her and the machine back to England." "Here's a snapshot Kerim managed to get of her." "I don't know too much about cryptography, but a Lektor could decode their top secret signals." "The whole thing's so fantastic it just could be true." "That had occurred to me." "Besides, the Russians haven't been up to any tricks recently." "Well, really, I'm not too busy at the moment, sir." "You're booked on the 8.30 plane in the morning." "If there's any chance of us getting a Lektor, we must look into it." "Suppose when she meets me in the flesh I don't come up to expectations?" "Just see that you do." "Miss Moneypenny, ask the equipment officer to come in, please." "Q Branch has put together a smart-Iooking piece of luggage for us." "We're issuing this to all double-0 personnel." "An ordinary black leather case with 20 rounds of ammunition here and here." "Now, if you take the top off, you'll find the ammunition inside." "In the side here, a flat throwing knife." "Press that button there, and out she comes." "Inside the case, you'll find an AR7 folding sniper's rifle." ".25 calibre, with an infrared telescopic sight." "Then, if you pull out these straps, inside are 50 gold sovereigns, 25 in either side." "Now, watch very carefully." "An ordinary tin of talcum powder." "Inside, a tear-gas cartridge." "That goes in the case against the side here." "It's magnetised, so it won't fall." "Shut the case." "Normally, to open a case like that, you move the catches to the side." "If you do, the cartridge will explode in your face." "Now, to stop the cartridge exploding, turn the catches horizontally, like that." "Then, open normally." "Now you try it." " Turn the catches like that." " That's right." "And open ordinarily." " You got it?" " Yes, I think so." " Is that all, sir?" " Yes, thanks very much." "Nasty little Christmas present." "But I shouldn't need it on this assignment." "All the same, take it with you." "Good luck, 007." "Thank you, sir." ""Once more unto the breach, dear friends."" "And one plane ticket." "Lucky man." "I've never been to Istanbul." " You've never been to Istanbul?" " No." "Where the moonlight on the Bosphorus is irresistible?" "Maybe I should get you to take me there someday." "I've tried everything else." "Darling Moneypenny, you know I never even look at another woman." "Really, James?" "Let me tell you the secret of the world." "(buzzing)" "Miss Moneypenny, ask 007 to leave the photograph." "I'm sure he'll recognise the lady when he sees her." " Good luck." " Ciao." "Ciao." "Hello, London." "Your flight PA1 just landed Istanbul." "Mr Bond." " Kerim Bey sent a car for you, sir." " Fine." " Can I borrow a match?" " I use a lighter." " It's better still." " Until they go wrong." " Exactly." " I'll get the car, sir." "Kerim Bey suggested that you see him before going to the hotel." " Would that be convenient?" " Fine." "I suppose it's customary to have people tailing you in these parts." "Oh, yes." "Today it's Citroën H31854 on duty." "Bulgarians working for the Russians." "They follow us, we follow them." " It's a sort of understanding we have." " That's very friendly." "Ah, my friend, come in, come in." "Glad to see you." "Welcome to Istanbul." "Thank you for sending the car." "But it does rather tie you in with me." "You're in the Balkans now." "The game with the Russians is played differently." "For routine matters, we don't make it too difficult to keep a tab on each other." "So I gathered from your chauffeur." "He's a rather intelligent young man." "He should be." "He's my son." " Coffee?" " Medium sweet." "Two medium sweet." "He also is my son." "All my key employees are my sons." "Blood is the best security in this business." " You must have quite an establishment." " Biggest family payroll in Turkey." "Not bad for a man who used to break chains and bend bars in a circus." " But let's talk about your business." " M thinks I'm wasting my time here." "And so do I. This is an old friend of mine." " And it tells me something smells." " Maybe." "But if there's a chance of getting a Lektor..." "Now you tell me." "Where can I contact this girl?" "She said she would make her own arrangements." "You'll have to wait." "Thank you." "My friend, if you really want my advice, you should spend a few pleasant days with us here in Istanbul, then go home." " James Bond, I have a reservation." " Your room is ready." "Number 32." " 32 for Mr Bond." " Hope you enjoy your stay." "Thank you." "(porter clears throat)" " Will there be anything else, sir?" " Only this." "Thank you." "Thank you, sir." "Mr Bond here." "I'm afraid the room won't do." " The bed's too small." " One moment, sir." "Did you hear that?" "Tell him that's all there is." "Unless he would like the bridal suite." "I'm sorry, sir." "That's all we have available, except the bridal suite." "Well, let's have a look at it." "I may like it." "The porter will show it to you." "He will be up immediately." "Good." "Good work." "Who can the Russians suspect but the British?" "The Cold War in Istanbul will not remain cold very much longer." "Ali Kerim Bey..." " Ali Kerim Bey." " Mm." "Ali Kerim Bey." "You are not glad to see me this morning?" "Overjoyed." "I no longer please you?" "Be still." "Back to the salt mines." "Careful with those papers." " Well, who won?" " I had visitors." "Limpet mine on the wall outside." "Timed to catch me at my desk." "But, by good fortune, I was relaxing on the settee for a few moments." " The girl left in hysterics." " Found your technique too violent?" "I can't understand this sudden breach of the truce." "It's unlike the Russians." "Most inconsiderate." "My visit might have something to do with it." "Let's try and find out." "Close up afterwards." "Quite a place." "The Emperor Constantine built it as a reservoir 1600 years ago." "Really?" "Here." "My daily exercise:" "At eleven in the morning and three in the afternoon." "Tie her up, will you?" "Mind your head now." "Underneath the Russian Consulate." "A present from your navy." "Our friends were turned out by the Public Works Ministry." "The story was that the heavy traffic was shaking the foundations." "By the time the place was declared safe, I had this installed." "I can see everything M said about you is right." "You know why I stay in this mad business?" "It could be that you find selling rugs a bore." "My friend, you should be a mind-reader." "Head of the table is General Vassili, director of Military Intelligence." "On his left:" "Koslovski, Chief of Security." "Opposite him:" "Benz, one of his agents." "I can't see the face of the other man, the one the general is shouting at." " He's giving him a hell of a blowing up." " It's too bad we can't hear as well as see." "Tell me." "Does our girl Romanova ever come to this room?" "Sometimes, with messages." "I can see the face of the other man now." "Krilencu." "So he's back." "Another Bulgarian they use as a killer." "Just the man for the limpet mine job." "I've had trouble with him before." "But he's stayed out of Istanbul for over a year now." "Take a look." "You should remember him." "This man kills for pleasure." "Nice face." "Just a moment." "A girl's just come in." "Probably Romanova." "She's the only one who's allowed to." "How does she look to you?" "From this angle, things are shaping up nicely." "I'd like to see her in the flesh." "Yes." " Could you get me a plan of that place?" " I wish I could." "But there must be the original drawing somewhere." "I'll get onto that." "Now, I need a little time to deal with this stinking Krilencu." "It will be better if you didn't stay at the hotel tonight." "Come." "I see now why you keep the Rolls." "One of my sons is driving it." "With two dummies in the back." "In the opposite direction." "They'll follow it for hours." "You'll like my Gypsy friends." "I use them like the Russians the Bulgars." "It's created a blood feud between them." "(music)" "Hello, Krilencu." "(speaks Russian)" "(man addresses Kerim Bey)" "It seems we've come on the wrong night." "Two girls in love with the same man have threatened to kill each other." "As I'm an old friend of the family, we can stay." "We're bidden to table." "I hope you are good at eating with your fingers." "Kerim Bey!" "Raki." "Filthy stuff." "Quick." "Tell our host his hospitality overwhelms me." "Thank you." "Thank you." "No matter what happens now, say and do nothing." "(man makes announcement)" "He's asking whether they will cease their blood feud." "The elders of the tribe will then decide who will marry the chief's son." " She's saying..." " I think I got it without the subtitles." "(gunshots)" "Thank you!" " Did you get Krilencu?" " No." "Just a minute." "Here." "Thank you." "You fought well." "I am nothing but a clumsy old man." "(man screams)" "They're making one of the wounded Bulgars talk." "(man addresses Kerim Bey)" "It was me they were after." "Why would they want me out of the way?" "Tomorrow we will have to find Krilencu's hide-out." " Meantime, I'll take care of this filthy stuff." " (man speaks to Bond)" "Vavra thanks you for saving his life." "You are now his son." "Thank you." "I'd like to ask him a favour." "Could he stop the girl fight?" "Your heart is too soft to be a real Gypsy." "But he lets you decide the matter." "As if I didn't have enough problems." "Vavra said for you to decide." "So decide." "They're both yours." "This might take some time." " Did you pick up the package?" " It's on the seat." "Thank you." "Twice that Krilencu has tried to kill me." "The third time he will succeed." "Unless I get him first." "And that I'll do tonight." "Not with that arm, you won't." "You'd better leave it to me." " I'm already too much in your debt." " How can a friend be in debt?" "Here." "Infrared lens." "Shh." "(footsteps)" "My sons." "They will ring his doorbell." "He has a private escape hatch." "Try this for size." " Do you notice anything?" " Not yet." "She has a lovely mouth, that Anita." "Yes, I see what you mean." "Arm or no arm, I have to pull that trigger." "If you think you can." "You've got one shot, remember." "It'll have to do." "Quick." "He's coming." "Quick." "Aah!" "That pays many debts." "She should have kept her mouth shut." "Hello?" "Breakfast for one at nine please." "Green figs, yoghurt, coffee - very black." "Thank you." "(sniffs)" "(creaking)" "(creaking)" "You look surprised." "I thought you were expecting me." "So you are Tatiana Romanova?" "My friends call me Tania." "Mine call me James Bond." "Well, now that we've been properly introduced..." "Careful." "Guns upset me." "I'm sorry." "I'm a bit upset myself." "You look just like your..." "your photograph." "You're one of the most beautiful girls ever." "Thank you, but I think my mouth is too big." "No, it's the right size." "For me, that is." "Yes." " Is it here?" " What?" "The decoding machine." "Lektor." "Must we talk about it now?" "Or is it at the Russian Consulate?" "Yes." "Yes..." "I would need a plan of the place." "If you could get one, we could meet at the Saint Sophia mosque as tourists." "Why don't you ask me that later?" " Now what are you looking for?" " The scar." "You see?" "I know all about you from your file." "You do?" "Well, I hope you're not disappointed." "I will tell you... in the morning." "We are now approaching the most interesting corner of Saint Sophia." "Including these two great red porphyry columns, stolen and brought from Egypt." "In front of them, alabaster urn was brought from Bergama, a famous historical city near Smyrna." "It dates back from the Alexander the Great period." "About 1648 Sultan Murad IV brought it from Bergama." "It was used as an ablution fountain." "It contains a thousand litres of water." "Right after the ablution fountain, we are going to a highly interesting column over there, known for centuries as the Saint Sophia wishing column." "Tens of thousands of people have wished here, putting their right hand and middle finger in the hole." "I promise you - it wasn't one of my men who killed him." "He didn't die of old age." "All I know is that it saved me the job." "Once he'd seen the girl, she was compromised, and so..." "And he wasn't killed because of that." "Let's just say that Istanbul's a rough town." "Let's see how Tania's map compares with your architect's plans." "This is conference room of the Russian Consulate." "That checks." "And this here is the communication room." "That's the same." "And she says she works there with the Lektor between two and three." " How is she gonna get the machine to us?" " She'll do anything I say." "Anything." "My dear James, you're not using this." "It all sounds too easy." "We don't even know if she's telling the truth." " I intend to find out." " Where?" "In the hotel?" "No." "She won't go there again." "She says it's too dangerous." "The old game." "Give a wolf a taste, then keep him hungry." "My friend, she's got you dangling." "That doesn't matter." " All I want is that Lektor." " AII?" "Are you sure that's all you want?" "Well..." " Lovely view." " James, we must leave here now." " If that agent reports my meeting you..." " Don't worry." "He won't." "But you don't understand the danger." " James, look up." " Smile." "Another one." "Further back." " About the machine..." " That's all you are interested in." "Not me." "Business first." "I know, once you have got what you want..." "I haven't got it yet." "But, afterwards, we won't always be working on the company's time." "All right." "What do you want to know?" "Talk into this." "Answer my questions quietly, but clearly." "How large is the machine?" "Like..." "like a typewriter." " Weight?" " About ten kilos." "In a brown case." "Brown like your eyes." "Keep it technical." "Self-calibrating or manual?" "Both, with an in-built compensator." " James, couldn't we..." " Not now." "Talk into the camera." "How many keys?" " Symbol or code keys?" " Both." "There are 24 symbols and 16 code keys." "It is inserted in a slot and the message comes out in a paper roll from another slot on the other side." "The mechanism is..." "Oh, James, James, will you make love to me all the time in England?" "Day and night." "Go on about the mechanism." "Oh, yes, the mechanism." "Once, when it was being repaired, I saw the insides." "There were many perforated discs, made I think of copper, with a small light." "Dushka, tell me the truth, am I as exciting as all those Western girls?" "Once, when I was with M in Tokyo, we had an interesting experience." "Thank you, Miss Moneypenny." "That's all, that's all." "Later, later." " Those copper discs and the light..." " Oh, the light, the light." "James, come closer." "I want to whisper something." "Go on." "No, not that." "The mechanism." "(M) Miss Moneypenny, as you're no doubt listening, perhaps you'd take this cable?" ""Merchandise appears genuine." "Stop." "Go ahead with deal." Signed, M." "Now all I have to do is to tell the girl the date." " The 13th?" " The 14th." "Visas?" "Visas?" "Thank you." "Visa, please." "Your clock, is it correct?" " Always." " Of course." "Excuse me." "You did say your clock was correct?" "Russian clocks are always..." " Is this the Lektor?" " Yes." "(coughs)" " Take this." " It thought it was for tomorrow." " Today is the 13th, isn't it?" " It's a hell of a time to be superstitious." "Come on." "Quickly." "(sirens)" "Keep your head down." "Argh!" "Back inside." "This way." "Quickly." " What's the matter?" " Benz, the Russian security man." "Come on." "Never mind." "Hurry." "Hurry." "(speak Russian)" "Here's one of them." "And there's the other one." "Your passports." "The pictures do not do you justice." "I have rarely seen a handsomer couple." "Mr and Mrs David Somerset." " Your name's Caroline." " Caroline." "I like that name." "You're accompanying me on a business trip on our way home." " To our children?" " No children." " Not even one little boy?" " Nyet." "I like big families." "My whole life has been a crusade for larger families." " So I heard." "Tania?" " Yes?" "Keep the door locked." "I'll knock three times." "OK." " I'll go see the conductor." " You're sure he'll cooperate?" "We've done business before." "He'll stop the train near the frontier, where my sons will be waiting with a car." " We'll be there about six o'clock." " And the airstrip?" "20 miles." "The plane is chartered to Athens." "You'll be in London tomorrow." "We'll drink to that in London." "So, we are really on our way to England." "Yes, with a lovely two-day honeymoon before us." "Honeymoon?" "And I've nothing to wear." " Your trousseau." " Oh, James." "One moment." "Oh." "Oh, no." "James, James!" "Oh, look, look." "There." "(hums)" "I will wear this one in Piccadilly." "You won't." "They've just passed some new laws there." " You're nearest." " Oh, all right." "Charming." "Charming." "Let's go to the restaurant car, James, for that drink." "Surely." "Charming." "We'll continue the fashion show later." "Everything's arranged for me to stop the train." "We'll get off at the restaurant car." "Fine." "We'll meet you there at six." "Make it just a little later." "But there are complications." "One of the Russian security men, Benz, he's on the train." "But he wouldn't have had time to contact the consulate." "Just in case, I'll keep him company until it's time to get off." " Perhaps you'd like me to introduce you." " Charming." "(knock)" "Ticket control." "Do not be alarmed." "We will make you as comfortable as possible." "Now I'm sure Commissar Benz will have a much safer journey." "I'm not mad about his tailor, are you?" "You know, James, life in Istanbul will never be the same without you." "See you in the restaurant car." "I've had a particularly fascinating life." "Would you like to hear about it?" "You would?" "(knocking)" " You like it?" " Yes, it does rather suit you." " I will save everything else for England." " It is four o'clock, you know." "This is not kulturny in the afternoon?" "Even on a honeymoon?" "Then I will take it off." "I think we're talking at cross purposes again." " Tania." " Mm-hm?" "We'd better get dressed now." " Why?" " It's almost six." "So?" "Well, it's teatime." "We'll have it in here." " We'll have all our meals here." " Yes, that would be splendid." "But I've arranged to meet Kerim in the restaurant car." "You go alone." "I will stay here." "My dear Mrs Somerset, we're supposed to be a respectable English couple." "They would certainly have tea in the restaurant." "Now listen..." " Just do as I say, will you?" " Yes, James." "But there are some English customs that are going to be changed." "But of course, darling." "Do I look right, Mr Somerset?" "Yes..." " Mrs Somerset." " (in Russian) How pretty." "Mr Somerset." "Mr Somerset." " You are the friend of Kerim Bey?" " Yes?" "There's been a terrible accident." "Please come with me." " No tea?" " Later." "Keep the door locked." "They killed each other." " This must be kept quiet until Trieste." " It will be difficult." "I'm sure." "Kerim Bey had many influential friends." "I'm sure they also will reward you." "I will try." "(knocking)" "What is it?" " Kerim's dead." " Dead?" "I want the truth." " James, you are hurting me." " I'll do worse if you don't tell me." "You're doing this under orders, I know." "What are they?" " I don't know what you mean." " Liar." "Even if you kill me, I can say nothing." "I did not know anything like Kerim's death would happen." "But when we get to England, I tell you." " Go on." " Oh, no." "Maybe they didn't let you in on all of it, but whatever you do know, tell me." " I know I love you, James." "I love you." " Just tell me." "I love you, I love you, it's true." "Sure." "Belgrade." "Belgrade." "Excuse me." " Can I borrow a match?" " I use a lighter." " Better still." " Until they go wrong." "My brother telephoned me." "Why did the train not stop?" "Well, I have some bad news." "Your father's dead." "Who did it?" "Tell me." "He took care of that himself." "The other man died first." "Now listen..." "I'll need help to get across the frontier between Yugoslavia and Trieste." "I want you to send a message to M in London:" "Tell him to send someone from Station Y to meet me in Zagreb." "I will." "Good." "Oh." "You'II..." "I think you'll want these." " Monsieur Somerset, le train part." " Thank you." " Captain Nash." " Bond, travelling as Somerset." "My card." " What kept you?" " I only got M's wire an hour ago." "I busted every record getting here." " What were M's orders?" " To contact you and the lady on the train." "Good." "Come this way." "Thank you." "(knocking)" "This is my wife Caroline." "Captain Nash." "How do you do?" "I'm so pleased to meet you." " This way, Nash." "Sit down, will you?" " Thank you." " Been long in Yugoslavia?" " About three years." " Interesting work?" " Yes, sometimes." "You know how it is, old man." " You look very fit, Nash." " Yes, I try to keep in shape." "So what's our problem, sir?" "I can't risk taking this through the customs at the Yugoslav-Trieste border." "No stops till then." "We'd have to jump off." " Can you get us across?" " Any of the opposition around?" " Not in any condition to worry about." " Good." "We'll make it." "I know this territory like the back of my hand." "Do you mind if we have a bite to eat?" "I've been on the go since breakfast." "No, of course not." "We'll go to the restaurant car." "Caroline, you go with Nash." "I'll join you there in a few minutes." "Whatever you say, old man." "Excuse me." "Excuse me." "There you are, old man." "I was worried something had happened to you." " Voilà, monsieur." " Thank you." "Thank you." "I'll have the grilled sole." "And for madam." "What about you, Nash?" "Yes, that sounds very nice." "Make that three of those, will you?" " I'll have a bottle of Blanc de Blancs." " Make mine chianti." " White chianti?" " No, the red kind." "Well, enjoy your dinner, old man." "I've got the answer to our problems." "Very simple, really." "Good." "We should reach the border in about an hour." "I'm terribly sorry, Mrs Somerset." "That was clumsy of me." " Waiter." " Monsieur." " Waiter." " Tout de suite, monsieur." " Excuse me." "Merci." " You'll find Trieste quite interesting." "Of course, it's not London." " Cheerio." " Cheerio." "I don't feel very well." "My head..." " The lady's come over faint." " Bring her in here." "What is wrong with me?" " Let's go next door." " Exhaustion, I'd say." "What was it, the stuff you put in her drink?" "Chloral hydrate." "Quick, but mild." " And?" " Take it easy, 007." "My escape route's only for one." "What are you after, the girl or the Lektor?" "All right." " What is your plan?" " Explain it better on a map." "All right?" "Now, we're here, you see?" "When we reach there, there's a steep gradient." "The train slows down there." "We'll block the line, make for that main road, pick up a car." "A truck, in fact." "That must be about 20 miles from here..." "Keep still." "All right, now." "Get up on your knees." "Put your hands in your pockets." "Keep them there." "Red wine with fish." "That should have told me something." "You may know the right wines, but you're the one on your knees." "How does it feel, old man?" "Old man?" "Is that what you chaps in SMERSH call each other?" "SMERSH?" "Of course." "SPECTRE." "It wasn't a Russian show at all." "You've been playing us off against each other, haven't you?" "It was SPECTRE who killed the Russian agent in the mosque." " You?" " Mm-hm." " Kerim and the other man?" " Mm-hm." "And Nash?" "I don't mind talking." "I get a kick out of watching James Bond find out what a bloody fool he's been." "We're pros, Mr Bond." "We sweated your recognition code out of one of your men in Tokyo before he died." "I've been keeping tabs on you." "I've been your guardian angel." "Saved your life at the Gypsy camp." "Oh, yes." "I'm much obliged." "We were keeping you alive until you could get us the Lektor." "So you had me deliver it on a plate." "That's brilliant." "Go on." "I'm fascinated." "Now that we've got it, you and the girl are expendable." "Between here and Trieste." "The girl?" " Isn't she working for SPECTRE, too?" " No." "She thinks she's doing it all for Mother Russia." "She takes her orders from Colonel Klebb." "Rosa Klebb's Russian." "Head of operations for SMERSH." "Was." "Klebb works for SPECTRE now." "The girl doesn't know that." " Then why kill her?" " Orders." "That's only half of it, old man." "Here's a roll of film." "She'll have this in her handbag." "And on you, they'll find this letter." "It's from her, threatening to give the film to the press unless you marry her for helping you get the Lektor." "What film?" "Taken in the bridal suite at your hotel." "Something else the girl didn't know about." "Or you." "It must be a pretty sick collection of minds to dream up a plan like that." "Can't you see the headlines?" ""British agent murders beautiful Russian spy, then commits suicide."" "Tell me, which lunatic asylum did they get you out of?" "Don't make it tougher on yourself." "My orders are to kill you and deliver the Lektor." "How I do it is my business." " It'll be slow and painful." " How much are they paying you?" " What's it to you?" " We'll double it." "Your word of honour?" "As an English gentleman?" "The first one won't kill you." "Not the second." "Not even the third." "Not till you crawl over here and you kiss my foot." " How about a cigarette?" " Not a chance." "I'll pay for it." " What with?" " 50 gold sovereigns." " Where are they?" " Up there, in my case." "You show me." "Here you are." "What about that cigarette?" "Throw 'em down there." "Any more in the other case?" "I should imagine so." "It's standard kit." "I'll have a look." "Put your hands back in your pockets." "Keep them there." "You won't be needing this... old man." "Tania." "Wake up." "Wake up, or I'll leave you behind." "Tania, wake up or I'll leave you behind, do you hear me?" "Don't leave me." "Never leave me." "Tania, this is Nash's escape route." "You understand?" "We've got to get off here." "Take this." "Come on." "We must get to the other side of the train." "Under here." "(whistles)" "Grant, where are you?" "Grant?" "Excuse me." "Now, don't run away." "Come on." " Come on, or I'll leave you here." " Stay here with me." "Sleep it off in there." "You'll feel better in the morning." "Come on, wake up." "Try and straddle the truck." "I'll get them away from here." "You hide under the truck." "I'd say one of their aircraft is missing." "Tania." " Here, take this, and cast the rope off." " All right." "Where's the key?" "Where's the key?" "In my coat." "In the pocket." "All right, get out." "Move." "In the boat." "Do you swim?" "Take the wheel." "This way, please." "Mind the step." "Just isn't your day, is it?" " Where are we going?" " Venice." "Take a look at that locker, will you?" "Charts, pistol, some flares." "Give me those charts." "Yes, we're here, near Istria." "We've got plenty of fuel." "With luck we should be there by morning." "Three man were found dead on the train at Trieste." "One of them was Grant." "What have you to say, Number Five?" "He was Klebb's choice." "Her people failed." "It was your plan." "They followed it implicitly." "Impossible." "It was perfect." "Except for one thing:" "They were dealing with Bond." "Who is Bond compared with Kronsteen?" "Exactly." "What have you to say to that, Number Three?" "Bond is still alive and the Lektor is not yet in our possession." "I have already negotiated with the Russians to return it to them." "We've agreed a price." "And SPECTRE always delivers what it promises." "Our whole organisation depends on our keeping those promises." "I warned you." "We do not tolerate failure, Number Three." "You know the penalty." "Yes, Number One." "Our rules are very simple." "If you fail... 12 seconds." "One day we must invent a faster-working venom." " Number Three." " Yes?" "I do not wish to tell the Russians there will be another delay." "There will be no delay, Number One." "There's still time." " Which way are we going?" " The shortest route." "Which is between those two mountains and straight along the coast." "Ahoy, Mr Bond." "Ahoy, Mr Bond." "Heave to." "Heave to." "You're trapped, Mr Bond." "You're trapped." "You cannot escape." "You cannot escape." "Prepare to fire." "We're coming through." "Pull over, SPECTRE Green." "Get out of the way!" "Give them a warning shot." "Rifle grenade, fire." "Forward machine gun, fire." "You're firing too close." "SPECTRE Red, SPECTRE Green, you're firing too close." "You're trying to stop them, not to sink them." "Here, take the wheel." "Slow down." "Slow down." "Slow down all boats." "Green, go alongside while we keep you covered." "Hands up, Mr Bond." " Without the drums we can go faster." " Hand me the Very pistol." "Keep your hands up." "We're sending a boat along to take you off." "There's a saying in England, "Where there's smoke, there's fire."" "Green, change your course." "Go astern." "All boats, throw out your ammunition." "Get rid of it, quick." "Get rid of it." "Jump." "(phone)" "Don't go away." "Yes." "Oh, thanks." "Tell him to wait, will you?" "And send up a porter for the luggage." "Avanti." " Permesso, signore?" " Sì, prego." "And also get me the British Consul." "Thank you." "(phone)" "Yes?" "Oh, Mr Maxwell, please." "James Bond." "James, we will miss the plane." "And we will..." "Hello, Paul?" "Bond here." "I wanted to thank you for everything." "Signal the office we're on our way back, will you?" "What was that?" "Here, leave that." "I'll take it." "What?" "Oh, no." "Should be routine from here on in." " Hello, what was that you were saying?" " Klebb." "James, you still there?" "Hello?" "Romanova, the door." "Romanova!" "Take this." "Horrible woman." "Yes." "She's had her kicks." "# From Russia with love" "# I'd fly to you..." "Here you are." "In case you ever need it again." "Oh, yes." "All government property has to be accounted for." "But as I said before, we won't always work on the company's time, will we?" "No." "# I've travelled the world..." "James, behave yourself." "We are being filmed." "Oh, not again." "# ... return" "# From Russia with love" "He was right, you know." " What is it?" " I'll show you." "# ... faces" "# And smile for a moment" "# But, oh" "# You haunted me so" "# Still my tongue-tied" "# Young pride would not let my love" "# For you show" "# In case you'd say no" "# To Russia I flew" "# But there and then" "# I suddenly knew" "# You'd care again" "# My running around" "# Is proof" "# I'd fly to you" "# From Russia" "# With love" "Visiontext subtitles:" "Marisa Castle de Joncaire" "ENHOH"