Goldfinger – 1964

Goldfinger

Goldfinger2

Goldfinger3

NT. LASER ROOM – NIGHT

Bond lies in darkness on his back on a metal table. He comes  to. DOLLY BACK as he struggles to rise. He finds his arms and legs are tied to the table. The lights come on with a swooshing sound. Bond looks to one side.

GOLDFINGER (O.S.) Good evening, double-o-seven.

Bond looks the other way.

WIDE ANGLE – THE LASER ROOM

The table is in the middle of the room. A laser gun is aimed just behind Bond’s head.

Beyond him, stairs lead up to a control room. Goldfinger walks down the stairs, wearing a gold dinner jacket, a shirt with gold buttons and a black bow-tie. Behind him are LING, KISCH, MELLINGER and THREE GUARDS.

BOND My name is James Bond.

GOLDFINGER (slipping his hands into his pockets) And members of your curious profession are few in number.

CLOSER ANGLE

Goldfinger approaches the table.

GOLDFINGER You have been recognized – let’s say by one of your opposite numbers, who is also licensed to kill. — Oh, that interesting car of yours!

PAN on Goldfinger as he moves to the right. The laser gun comes into view. Goldfinger wipes his eye and laughs.

GOLDFINGER I, too, have a new toy, but considerably more practical.

BOND glances up at the laser gun.

GOLDFINGER (O.S.) You are looking at an industrial laser…

BOND’S POV – THE LASER GUN

GOLDFINGER (O.S.) … which emits an extraordinary light, not to be found in nature.

GOLDFINGER looks down at him and paces back past the table.

GOLDFINGER It can project a spot on the moon — or, at closer range, cut through solid metal. I will show you.

Goldfinger turns and snaps his fingers at the control room.

Delsing flips a switch as Kisch, Ling and Wong look on.

The barrel of the laser gun moves down Bond’s torso. He raises himself onto his elbows and looks at it.

TILT UP to show its blue coils gleaming as it keeps moving downwards.

LONG SHOT – THE LASER ROOM

The barrel of the laser gun comes to rest, aiming between Bond’s legs. Suddenly the laser light goes on, gleaming red.

Bond looks down at it.

The laser beam starts cutting the outer edge of the tabletop, which is gold-coloured.

Goldfinger looks down smiling.

Bond looks down not smiling.

The laser beam continues burning through the table-top.

INTERCUT – BOND AND GOLDFINGER

GOLDFINGER (pointing to the tabletop) This is gold, Mister Bond. All my life I’ve been in love with its colour, its brilliance, its divine heaviness.

Bond looks up at Goldfinger then down at his legs.

The laser beam keeps cutting through the table-top, moving toward Bond’s crotch.

GOLDFINGER I welcome any enterprise which will increase my stock, which is considerable.

Bond looks at Goldfinger then down at his crotch again.

The laser beam keeps cutting through the tabletop.

BOND I think you’ve made your point,  Goldfinger. Thank you for the demonstration.

GOLDFINGER (studying the beam) Choose your next witticism carefully, Mister Bond. It may be your last.

The laser beam continues cutting upwards. Bond looks at it then up at Goldfinger.

GOLDFINGER The purpose of our two previous encounters is now very clear to me. I do not intend to be distracted by another. Good-night, Mister Bond.

Goldfinger turns away.

Bond looks from Goldfinger to a spot between his legs. The laser beam keeps cutting upwards toward his crotch.

WIDE SHOT

Bond lies in f.g. on the table as Goldfinger starts walking up the steps to the control booth, his left hand in his pocket.

BOND Do you expect me to talk?

GOLDFINGER stops on the steps and looks down, both hands in his pockets.

GOLDFINGER No, Mister Bond. I expect you to die!

INTERCUT BOND AND GOLDFINGER

Bond looks up at him.

Goldfinger continues up the steps.

GOLDFINGER There is nothing you can talk to me about that I don’t already know.

Bond looks at the laser beam. It keeps cutting through the tabletop. Bond tries to think of something to say.

IN THE CONTROL BOOTH

Goldfinger talks animatedly to Ling. Kisch and Delsing look on.

BOND looks down at the laser beam. It keeps cutting upwards toward his crotch. He turns sideways.

BOND (calling) You’re forgetting one thing!

Goldfinger and Ling turn to look at him.

BOND If I fail to report, doubleoeight replaces me!

GOLDFINGER I trust he will be more successful!

Goldfinger touches Ling’s arm and they turn away.

Bond looks down at the laser beam again. It keeps cutting toward his crotch.

BOND Well, he knows what I know!

Goldfinger looks back.

GOLDFINGER You know nothing, Mister Bond!

BOND Operation Grand Slam, for instance

GOLDFINGER AND LING

Ling freezes and looks at Bond but Goldfinger keeps his cool.

He watches Bond and the laser beam about to slice into him.

Goldfinger steps forward smirking as Ling looks imploringly at him.

Bond looks up at Goldfinger. The laser beam keeps cutting.

Bond looks at Goldfinger again.

Goldfinger stands consulting with Ling and Kisch.

Bond looks again at the tabletop. The beam keeps cutting.

Goldfinger continues consulting with the others.

Bond looks down at the beam. It is almost at his crotch.

Bond looks up.

WIDE ANGLE

Bond in f.g. again, Goldfinger beyond in the control room.

Goldfinger turns to Bond.

GOLDFINGER Two words you may have overheard which cannot possibly have any significance to you or anyone in your organization.

As Goldfinger talks, Bond looks in exasperation at the approaching laser beam. It slices easily through the metal.

Goldfinger steps forward smugly.

BOND Can you afford to take that chance?

Goldfinger hesitates. Bond looks over at him, then back at the table. The beam keeps cutting.

Bond looks at Goldfinger again. Goldfinger smiles, relenting.

He turns back and snaps his fingers (soundlessly) at his assistants.

EXTREME LONG SHOT

The laser beam switches off as Kisch walks down the steps from the control room.

BOND looks up at the laser gun then down at his legs.

GOLDFINGER You are quite right, Mister Bond. You are worth more to me alive.

WIDE ANGLE

As Bond lies in f.g. and Goldfinger looks on, Kisch approaches the table.

Bond looks up at Kisch, then Goldfinger, then Kisch. Kisch raises a large pistol and points it at Bond’s chest.

Goldfinger looks on smugly as Kisch aims.

Kisch fires the pistol; it makes a thumping sound. Bond’s head lowers to the tabletop.

Goldfinger looks on with even greater smugness.

LONG SHOT

We see the entire tableau Bond unconscious, Kisch beside him and Goldfinger looking on.

FADE OUT

http://www.universalexports.net/scripts/goldfinger.pdf

Informazioni su Marco Vignolo Gargini

Marco Vignolo Gargini, nato a Lucca il 4 luglio 1964, laureato in Filosofia (indirizzo estetico) presso l’Università degli Studi di Pisa. Lavora dal 1986 in qualità di attore e regista in rappresentazioni di vario genere: teatro, spettacoli multimediali, opere radiofoniche, letture in pubblico. Consulente filosofico e operatore culturale, ha scritto numerose opere di narrativa tra cui i romanzi "Bela Lugosi è morto", Fazi editore 2000 e "Il sorriso di Atlantide", Prospettiva editrice 2003, i saggi "Oscar Wilde – Il critico artista", Prospettiva editrice 2007 e "Calciodangolo", Prospettiva editrice 2013, nel 2014 ha pubblicato insieme ad Andrea Giannasi "La Guerra a Lucca. 8 settembre 1943 - 5 settembre 1944", per i tipi di Tra le righe libri, nel 2016 è uscito il suo "Paragrafo 175- La memoria corta del 27 gennaio", per i tipi di Tra le righe libri; è traduttore di oltre una trentina di testi da autori come Poe, Rimbaud, Shakespeare, Wilde. Nel 2005 il suo articolo "Le poète de sept ans" è stato incluso nel 2° numero interamente dedicato a Arthur Rimbaud sulla rivista Cahiers de littérature française, nata dalla collaborazione tra il Centre de recherche sur la littérature français du XIX siècle della Università della Sorbona di Parigi e l’Università di Bergamo. È stato Presidente dell’Associazione Culturale “Cesare Viviani” di Lucca. Molte sue opere sono presenti sul sito www.romanzieri.com. Il suo blog è https://marteau7927.wordpress.com/ ****************** Marco Vignolo Gargini, born in Lucca July 4, 1964, with a degree in Philosophy (Aesthetic) at the University of Pisa. He works since 1986 as an actor and director in representations of various kinds: theater, multimedia shows, radio plays, readings in public. Philosophical counselor and cultural worker, has written numerous works of fiction, including the novels "Bela Lugosi è morto", Fazi Editore 2000 and "Il sorriso di Atlantide," Prospettiva editrice 2003, essays "Oscar Wilde - Il critico artista," Prospettiva editrice in 2007 and "Calciodangolo" Prospettiva editrice in 2013, in 2014 he published together with Andrea Giannasi "La guerra a Lucca. September 8, 1943 - September 5, 1944," for the types of Tra le righe libri, in 2016 he published "Paragrafo 175 - La memoria corta del 27 gennaio", for the types of Tra le righe libri; He's translator of more than thirty texts by authors such as Poe, Rimbaud, Shakespeare, Wilde. In 2005 his article "The poète de sept ans" was included in the 2nd issue entirely dedicated to Arthur Rimbaud in the journal "Cahiers de littérature française II", a collaboration between the Centre de recherche sur la littérature français du XIX siècle the Sorbonne University Paris and the University of Bergamo. He was President of the Cultural Association "Cesare Viviani" of Lucca. Many of his works are on the site www.romanzieri.com. His blog is https://marteau7927.wordpress.com/
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