TV Cream concludes its countdown of the 50 greatest moments from the James Bond films…

• Read numbers 0050-0041

• Read numbers 0040-0031

• Read numbers 0030-0021

• Read numbers 0020-0011

0010: Bond listens to a performance of a Bond theme

Great that they managed to get Linda McCartney to appear in person. (Live and Let Die, 1973)

009: Bond meets a smart Alec

The only people who should ever call attention to Bond’s life outside MI6 are those who would have reason to have read up on him (agent XXX, Tiffany Case, Robbie Coltrane) or secret service staff who have been petitioned in person by outraged chefs and humiliated tailors. 007′s treacherous ex-colleague Alec Trevelyan (Sean Bean) falls into the second category when he delivers a brilliantly bitchy prediction of Bond’s funeral: “A small memorial service, with only Moneypenny and a few tearful restauranteurs in attendance.” (Goldeneye, 1995)

008: A pigeon does a double-take in time to a Viennese polka while Bond drives through St Mark’s Square in a motorised gondola

What do you mean it’s not in the book? (Moonraker, 1979)

007: “…close, but no cigar!”

“James!” exclaims the best Moneypenny of them all, as 007 walks into her office. “Have you brought me a souvenir from your trip? Chocolates? An engagement ring?” Bond sidles over to her desk. “I thought you might enjoy one of these,” he declares, producing what can only be described as a tumescent metal tube. “How romantic,” observes Moneypenny, suggestively. “I know EXACTLY where to put that.” She promptly throws the container into her waste paper basket. “The story of our relationship,” sighs Bond. “Close – but no cigar.”  (The World is Not Enough, 1999)

006: Bond gives a driving lesson

007 and XXX are in a van being methodically chewed to pieces by Jaws. Bond decides to pass the time by methodically chewing the scenery, settling back into the passenger seat and rifling through his repertoire of gags about women drivers. “Try the big one,” he informs Mrs Ringo Starr. “Can you play any other tune?…Let’s try reverse, that’s backwards… Would you like me to drive?” Of course, he’s not just being a sexist pig. Oh no. His jibes contrive to whip up XXX into a spot of Jaws-baiting road rage, while setting up the perfect retort once out of harm’s way. “Shaken,” she informs her companion coolly, “but not stirred” – at which Bond rolls his eyes, wonderfully. (The Spy Who Loved Me, 1977)

005: Bond considers a couple of points

While posing as a businessman in the office of petrochemical megalomaniac Mr Osato (Teru Shimada), 007 finds talk turning to matters anatomical. After his host cautions him on the dangers of smoking, his host’s assistant Helga (Karin Dor) decides to reinforce her support of this position by referencing her own reinforced position. “Mr Osata believes in a healthy chest,” she flexes. “Really,” digests Bond, pointedly. (You Only Live Twice, 1967)

004: “It’s late, I’m tired, and there’s so much left to do.”

Blofeld (Charles Gray) bemoans the lot of diabolical masterminds everywhere. (Diamonds are Forever, 1971)

003: The definition of safe sex

It’s wise of our hero to remain armed in what appears to be a Russian leisure centre. It’s even wiser of him when it turns out the facilities are being shared by Xenia Onatopp, the Esther Rantzen of the anarcho-erotic underworld. “You don’t need the gun, commander,” she purrs. “That depends on your definition of safe sex!” retorts Bond, conscious of her predilection for swapping a pout for a bout. Sure enough, much verbal and physical petting ensues, until 007 has had enough. “No, no, no!” he states triumphantly. “No more foreplay!” (Goldeneye, 1995)

002: “Your problems are all behind you now!”

It’s the scene that always got cut out of ITV’s bowdlerised daytime versions of Bond, and one that has helped get the entire film bumped up from a PG to a 12. Both of these decisions were and are as ludicrous as the sequence itself, which is the second most flippantly yet amusingly outrageous moment in the whole of the official 007 canon. There is nothing suggestive here; just silliness. Heavens, it’s pure Carry On Bond, with our man pretending to call someone a bitch before slipping a cassette down their pants then making a joke about bottoms. Loose Women is a thousand times more offensive. (Diamonds are Forever, 1971)

001: The James Bond all-male close-harmony singers

“Do you think there’s a danger of the bends?” wonders Sir Frederick Gray, as the capsule containing Bond and Amasova bobs its way casually into the ledgers of cinematic legend. As the 007 “family” cluster round for a peek, somewhere off camera, clearing their collective throats, are the James Bond all-male close harmony singers, waiting for Roger Moore to deliver one of the greatest innuendos of them all. And waiting in line next to them, there’s only bloody Carly Simon and the greatest Bond theme of them all…

Two minutes of (double 0) heaven ensues. (The Spy Who Loved Me, 1977)

JAMES BOND WILL RETURN…

TV Cream continues its countdown of the 50 greatest moments from the James Bond films…

• Read numbers 0050-0041

• Read numbers 0040-0031

• Read numbers 0030-0021

0020: “I’m afraid you’ve caught me with more than my hands up.”

Yes, he is talking about what you think he is, and yes, he has done it before. But never with this much elan and, well, balls. (Diamonds are Forever, 1971)

0019: “Look after Mr Bond. See that some harm comes to him.”

For someone preoccupied with launching a new civilisation that is literally out of this world, Hugo Drax (Michael Lonsdale) is a diabolical mastermind who is also remarkably down-to-earth. He is forever bustling about the place being all domestic and fussy, whether it’s looking after his pet dogs, doing a bit of business over the phone, or – as here – sipping a nice cup of tea while instructing his henchman to trap Bond in a centrifuge machine until his face melts. But he’d never dream of saying as much out loud, oh no, hence this winningly decorous turn-of-phrase. What a guy. (Moonraker, 1979)

0018: For your eyebrows only

Mrs Ringo Starr may not be the world’s greatest actress – in fact, she’s not even an actress – but anyone who can move Roger Moore to essay not one but two class displays of acrobatic face furniture in quick succession more than deserves top billing. “We’ve really got to stop meeting like this,” cracks Bond when agent XXX joins in him the back of Jaws’ van. No, please don’t. (The Spy Who Loved Me, 1977)

0017: Bond raises his hands

…in the most camp and insouciant manner as is possible while standing in a cave full of mudbaths opposite someone who’s murdered your wife. (Diamonds are Forever, 1971)

0016: Simply having a wonderful Christmastime

Fine, she exists purely to enable one of the greatest closing lines of any 007 film. But Christmas Jones (Denise Richards) is more than just a jokey pay-off. She is one of the biggest and best jokes in the Bond franchise, right from the moment she first appears, disrobing her oh-so-serious nuclear overalls to reveal an oh-so-not-serious pair of hot pants. We are all in on the joke, including Bond. When six kilos of weapons-grade plutonium go missing, she wails: “I have to get it back, or somebody’s gonna have my ass!” 007 waits a well-timed beat before countering: “First things first.” (The World is Not Enough, 1999)

0015: Push-button pedagogy

There is absolutely no need for Auric Goldfinger (Gert Frobe) to have turned one entire wing of his lair into a collection of massive automated ooh-look-at-this models, but the fact he has done so, and all for just one five-minute chat with some mobsters, impresses them, us, and above all himself, immensely. After all, why bother with the back of an envelope when you can wield a giant pointing-stick at a hundred miniature trees? (Goldfinger, 1964)

0014: Bond meets a woman

Not just any kind of woman. “I’m looking for Dr Goodhead,” Bond announces, with only the trace of a smirk. “You’ve just found her,” she replies. “A WOMAN!” 007 deduces tartly, apropos of nothing and everything in particular. “Your powers of observation do you credit, Mr Bond,” she acknowledges, with only a well-judged modicum of outrage. (Moonraker, 1979)

0013: Bond outlines his Middle East peace plan

“When one is in Egypt, one should delve deeply into its treasures.” So that’s where Tony Blair has been going wrong. (The Spy Who Loved Me, 1977)

0012: Klaus Hergersheimer, G section

His job is checking radiation shields. He is “Klaus Hergersheimer, G section.” He is Bond’s alias for slipping into Blofeld’s laboratories and annoying the comedy Cher-man scientist Dr Metz. He is told to “please leave, you irritating man.” He does so. The real “Klaus Hergersheimer, G section” then enters. He’s checking radiation shields. Look, all of this is damn funny in the film, go and watch it. (Diamonds Are Forever, 1971)

0011: Desmond Llewelyn’s farewell

Vexed by the apparent idiocy of Q’s inferred successor, Bond has an important question. “You’re not retiring any time soon,” he asks the old man, “are you?” “Now pay attention 007,” Q replies gently. “I’ve always tried to teach you two things. First, never let them see you bleed.” “And the second?” “Always have an escape plan.” And with that he presses a secret button and sinks slowly out of sight. We will never see his like again. (The World is Not Enough, 1999)

JAMES BOND WILL RETURN…

…tomorrow, when we complete our countdown and discover the greatest 007 moment of them all.

TV Cream continues its countdown of the 50 greatest moments from the James Bond films…

• Read numbers 0050-0041

• Read numbers 0040-0031

0030: Lick and let die

Poor Rosie (Gloria Hendry). She tries to act all headstrong and assertive in 007′s presence, only to nip into the bathroom and take umbrage at a bit of unnecessary tongue. “A snake, I forgot,” consoles Bond. “You should never go in there without a mongoose.” Thrown by such subtle wit, Rosie declares herself to be useless. “Well, I’m sure we’ll be able to lick you into shape,” contends Bond saucily – a line of dialogue, let the records state, improvised by Roger Moore. (Live and Let Die, 1973)

0029: Size is everything

Sure, there’s epic Bond, of a car-rolling-through-the-air, skiing-down-a-bobsleigh-ride, fisticuffs-atop-the-Golden-Gate-bridge kind. But there’s also EPIC BOND, of a look-at-how-much-exoticism-we-can-cram-on-to-the-screen, here’s-the-biggest-studio-set-we’ve-ever-built kind. We know which sort we prefer. (The Spy Who Loved Me, 1977)

0028: The Acme pollution inspection

It’s the 1970s, which means you can’t just show up at an oil rig controlled by a diabolical mastermind in a bog-standard boat. You must instead flop out of an aeroplane while encased in an inflatable spiky cushion, which must then roll across the sea with you inside until you arrive at the oil rig just at the point where a party of guards is waiting, whereupon you unzip your inflatable sphere and proclaim: “Good morning gentlemen, the Acme pollution inspection. We’re cleaning up the world – we thought this was a suitable starting point!” (Diamonds Are Forever, 1971)

0027: “…you’ve never had me!”

Pierce Brosnan’s first scene with Samantha Bond establishes a relationship between 007 and Moneypenny that easily surpasses anything Lois Maxwell or The Other One ever enjoyed. It is an exchange fizzing with mutual wit, easy repartee and glorious flirtation. “What would I ever do without you?” coos Bond. “As far as I can remember, James, you’ve never had me,” notes Moneypenny. “Hope springs eternal,” Bond sighs exaggeratedly. “This sort of behaviour could qualify as sexual harrassment,” Moneypenny continues. And what does that mean, Bond queries? “Some day you have to make good on your innuendos!” (Goldeneye, 1995)

0026: The nod of recognition

Roger Moore essayed a celebrated sequence of eyebrow-ascending acknowledgements during his long tenure as 007, but the best was the first: a silent doff of the head to the pilot of an adjacent helicopter, who also happens to be an assassin, who also happens to be actress Caroline Munro – she of the “lovely lines”. Five minutes later Bond blows her up. Still, at least he was polite about it. (The Spy Who Loved Me, 1977)

0025: Bond goes sightseeing

Any sort of business that involves 007 out and about in London is a Good Thing. If there’s a handful of international landmarks involved, not to say a totemic slice of topical infrastructure plus a few precariously-balanced boxes of fruit, so much the better. (The World is Not Enough, 1999)

0024: Bond talks to a rat

“One of us smells like a tart’s handkerchief – I’m afraid it’s me. Sorry about that, old boy.” (Diamonds are Forever, 1971)

0023: You must remember this

There’s only one thing that outranks the sight of Judi Dench looking knowing, and that’s the sight of Judi Dench looking knowing in the company of Geoffrey Palmer. Alas, their big screen rekindling of their small screen relationship was to last but one Bond film, but while it burned, it burned brightly. “Sometimes I think you don’t have the balls for this job,” Geoffrey rasps. “Perhaps,” counters Judi. “But the advantage is I don’t think with them all the time.” (Tomorrow Never Dies, 1997)

0022: Lift off with Conners and co

We said we weren’t going to mention John Barry in this countdown, but he seems to have sneaked in, albeit as a co-conspirator with director Lewis Gilbert. At the time, this sequence was the most exciting thing to have happened in any Bond film ever. If Connery seems to be channelling his attitude towards gentlemen of the press during his rooftop romp, at least he’s far enough away from the helicopter’s swooping camera and sufficiently drowned out by Barry’s booming brass for us to neither see or hear. Or care. (You Only Live Twice, 1967)

0021: Bond and Q have a giggle

There’s a real warmth between Desmond Llewelyn and Pierce Brosnan that rivals – and possibly exceeds – the old man’s relentless sparring with Connery and patronising by Moore. Bond and Q never have more fun than they do here, teasing and sniggering their way around a carnival of contraptions. “They always did say the pen is mightier than the sword,” drawls 007 when Q presents him with a grenade-fitted Parker. “Thanks to me they were right,” Q responds, before demonstrating the pen’s capacity to blow up half a waxwork dummy. “Don’t say it!” begs Q. “The writing’s on the wall?” Bond wonders. “Along with the rest of him!” Q chuckles, delightfully. (Goldeneye, 1995)

JAMES BOND WILL RETURN…

…when we count down numbers 0020-0011 tomorrow and delve deeply into Egypt’s treasures.

TV Cream continues its countdown of the 50 greatest moments from the James Bond films…

• Read numbers 0050-0041

0040: “She should have kept her mouth shut!”

Here’s one of the earliest – and best – arguments in favour of the films over the books. Bond and colleague Kerim Bey (Pedro Armendariz) wait in a dark, rainy street for a shot at an enemy, then kill him while he climbs through a giant poster of Anita Ekberg. There’s no way this sequence would have been quite so gorgeously chilling and eerily entertaining had it existed merely on a page. It took a few years for the Bond production team to stop shooting adaptations and start making movies. This sequence pointed the way: ladles of atmosphere, an outburst of violence, some well-timed wit. (From Russia With Love, 1963)

0039: Bond takes out the trash

007 really ought to spend more time in New York. It’s his kind of town. Why, even strolling along an alley encrusted with rubbish – quite literally the dirtiest thing to ever make it into a Bond film – he seems at ease. And that’s despite being told by his unexpected yet soon-to-be-vanquished guests to “keep your hands up, honky” or they’ll “blow your frigging head off”. (Live and Let Die, 1973)

0038: From a blue to a kill

It doesn’t happen very often, and it’s probably just as well, but now and again the Bond films have strayed dizzyingly close to looking like works of art. The director Lewis Gilbert is often to thank (or to blame). Here he concocts a few bravely self-conscious moments with French cinematographer Jean Tournier, placing Bond – albeit briefly – in a world where “filter” doesn’t just mean a type of cigarette.  (Moonraker, 1979)

0037: Moneypenny goes undercover

Imagine the meeting. “OK, we want to do something with Moneypenny on location this time. Dress her up a bit, make her more of the plot. Any suggestions?” “Well, there’s this scene at passport control in Dover harbour.” And yet, it works. This is possibly Lois Maxwell’s finest moment. “Anybody seeing you in that outfit, Moneypenny, would be most certainly discouraged from leaving the country,” observes Bond. Moneypenny asks for a present from Amsterdam. “Would you settle for a tulip?” quips 007 as he drives away. “Yes!” she cries, sweetly. (Diamonds are Forever, 1971)

0036: What a gay day

Only the best will do for Bond when in Rio. This means checking into the grandest of hotels, as well as being checked out by a grandly-coiffeured attendant who is one-half Noele Gordon, one-half Larry Grayson. “The president’s suite,” he confides, plumping up some cushions suggestively. “Really?” purrs Bond. “Don’t bother showing me the rest. If I get lost, I’ll take a cab.” Thoroughly out-camped, the concierge pouts gloriously, then sashays off, no doubt to investigate alarming reports of a chest of drawers with no bottom. As for 007, precisely two minutes later he is ostentatiously shagging a woman. (Moonraker, 1979)

0035: Behind you!

One of the best reveals in cinema history. (Goldfinger, 1964)

0034: The squeaky trolley

Bond is trapped. Dozens of trigger-happy Russians have their guns pointed at him, Sean Bean has just been shot in the head, and a set-piece finale is required to get this new era in 007 history off to a rousing start. Luckily for Bond, help is at hand in the shape of a Brosnan-sized metal trolley. Luckily for us, the trolley lets out a perfectly-timed ironically-timid SQUEAK every few seconds when being wheeled across the silent room, turning a dutifully stern stand-off in a delightfully tense showdown. (Goldeneye, 1995)

0033: Bond and M share a brandy

Uh-oh. There’s the smell of something bad in the air – and it’s not just the nefarious antics of Auric Goldfinger. “Have some more of this rather disappointing brandy,” suggest Colonel Smithers, Bond and M’s dinner-guest and storyline consultant. “What’s the matter with it?” begs M, irascibly. “Indifferently blended,” concludes Bond. “Colonel Smithers is giving the lecture, 007,” squawks M – before taking a quick sniff when the others aren’t looking. (Goldfinger, 1964)

0032: Bond and M don’t share a sherry

It’s a few years later, and despite now being on the wagon, M can’t resist the opportunity for another pop at his agent’s liquor-based showboating. “Pity about your liver, sir,” drawls Bond, in between tiny sips. “’51, I believe.” “There is no year for sherry, 007,” spits M, irascibly. “I was referring to the original vintage on which the sherry is based, sir,” continues Bond, coolly: “1851. Unmistakable!” (Diamonds are Forever, 1971)

0031: Salmon-chanted evening

We’re not so fussed with 007′s car that can swim. We’re more smitten with what happens when 007′s car stops swimming and springs a leak. Forget the scenes of the holidaymakers on the beach, including The Man Who Looks At His Bottle Of Booze. Remember instead one of the neatest non-verbal gags in any Bond film, when Roger Moore nonchalantly winds down his window and nonchalantly tosses out a fish. (The Spy Who Loved Me, 1977)

JAMES BOND WILL RETURN…

…in numbers 0030-0021.

Welcome to TV Cream’s countdown of the 50 greatest moments from the James Bond films.

A word of warning at the outset. If you’ve come looking for the bit with the parachute, or the girl covered in gold paint, or anything to do with John Barry: sorry. As essential and justly-lauded as all those are, we’ve left them out. For we’re concentrating on the less iconic but equally vital moments. The ones that capture not just the spectacle but the spirit of Bond on the big screen.

We’ve also left out the two unofficial films. Not because they’re crap; far from it: both of them outrank at least three of the official ones (in entertainment value at least). No, as this is the 50th anniversary of the Broccoli/Saltzman-inaugurated, Monty Norman-hued Bond, that’s what we’ve focused on. So no room for Woody Allen and Kim Basinger – nor, for that matter, Bob Holness or Martin Jarvis.

Right, onwards. Feel free to debate, dispute and disregard any of what follows. After all, we’ve always said list and let list. (You know we did, you know we did, you know we did…)

0050: Bond makes an omelette

What better way to settle the stomach after a brush with a mob of snappily-dressed hoodlums than a dairy-based deep-layered snack? Bond serves Stacey Sutton (Tanya Roberts) his speciality dish: “Voila! Quiche de cabinet!” But his host fails to fall for this poncey moniker, despite believing the amateur chef to be something of a speciality dish himself. “An omelette,” 007 grudgingly explains. Come come, Roger: the world is not an oeuf. (A View to a Kill, 1985)

0049: Bond makes an espresso

“Coffee, sir?” our hero enquires when M (Bernard Lee) calls round at an indecent hour with news of some indecent behaviour at the United Nations. Bond placates his boss with a flash of an attractive Italian piece. Nope, not Madeleine Smith in a wispish negligee. We’re talking La Pavoni Europiccola, around which Bond’s entire kitchen has – rightly – been constructed. Thirty seconds of hisses, pops and continental-sounding pings later, hey presto: one cuppa. “Is that all it does?” gestures M, irascibly. (Live and Let Die, 1973)

0048: Bond eats caviar

Room service has arrived at Bond’s Portuguese oubliette – plus a bad man in a boilersuit who whacks 007 over the head. The secret agent returns the gesture, crashing a chair across his assailant’s face and then several punches. As his enemy impassively absorbs each blow, our hero is perplexed, grunting quizzically with every strike: “Hmm? Mmm?”

Thankfully, an indoor wooden balustrade (there are many in this film – some might say it stars one) saves the day, Bond pushing his foe straight through it. “Gatecrasher,” muses our man as his quarry lies motionless on the rug. “I’ll leave you to tidy up.” Sloping off, the agent makes a quick stop at the buffet trolley and drops a dollop of caviar onto a crispbread (rye another day?). Taking a bite he then murmurs approvingly: “Mmm, Royal Beluga. North of the Caspian.” (On Her Majesty’s Secret Service, 1969)

0047: “…unless she’s mental!”

While sorting through the latest sack of 007 fan mail, M stumbles upon the plot of Bond’s next mission – and it’s one full of Eastern promise. A Soviet beauty is smitten with one of Connery’s casting photos and is ready, decoding device in tow, to be plucked from Turkey. “Girls do fall in love with pictures of film stars,” sighs M, irascibly. Bond is quick to apply reason to the situation. “But not a Russian file clerk with a file photo of a British agent… unless she’s mental!” “Hmm,” replies M – the closest the old bugalugs is willing to come to a lecture in gender politics. (From Russia With Love, 1963)

0046: “…she’s just dead!”

You’re stuck in the middle of something that’s gone on too far long and shows no sign of ending. A wedding reception or office party, perhaps, or maybe a flabby and self-satisfied Bond film of the mid-1960s. You wonder, with desperation, how to pep up proceedings. Then it hits you: a spot of impromptu dancing! Suddenly everything snaps into life. “You’re mad, do you know that?” cries one passer-by. “Yes, isn’t everyone?” you reply, giddily. Suddenly you’re cheek to cheek with your nemesis and a gun has been pulled. A brisk do-si-do, a pause to think up a zinger, and boom: “Do you mind if my friend sits this one out? She’s just dead!” (Thunderball, 1965)

0045: Bond upsets Sir Frederick ‘Freddie’ Gray

“I’ve never been so humiliated!” barks Britain’s longest-serving minister of defence and social hob-nobber with most of the world’s top diabolical masterminds. And who can blame him. Agent 007 has just forced him to don a gas mask and parade around inside a staggeringly ornate but perfectly safe reading room occupied by a maniac who not only plays bridge but DRINKS TEA. “Your man should be taken off the assignment,” Gray (Geoffrey Keen) orders M as the three of them stroll awkwardly through Venice. M realises it’s all good-natured rubbish, while Bond realises he should probably hold off from publicly addressing his government chum as “Freddie”. At least for the next three films. (Moonraker, 1979)

0044: Bond’s van breaks down

Marvin Hamlisch composed one of the finest Bond scores of all time, thanks not least to his fondness for musical jokes. A particularly ripe one occurs when Bond and Russian agent XXX (Barbara Bach) make good their escape from a necessarily-perilous Egyptian building site in a comically dilapidated van. Cue a comically dilapidated soundtrack, which segues from something appropriate to the Arkansas Chuggabug to, as the van grinds to a halt and expires, something appropriate to Terry Scott very slowly falling on his arse. Boingggg! (The Spy Who Loved Me, 1977)

0043: “I feel like an idiot.”

Dr Kaufman has Bond in his sights. He is, in ascending order of importance, a professional assassin, a professional German and a professional gossip. All three collide in a delightful jumble of awkwardness when the Doctor is required to interrupt his killing to find out how to unlock 007′s car. “Did you call the Auto Club?” he bitches to his supervisor. “Oh, OK. Ja, I ask. This is very embarrassing. I feel like an idiot. I don’t know what to say.” Bond merely smiles. (Tomorrow Never Dies, 1997)

0042: The Russians are coming!

Giant maps: what’s not to like? Especially when they come with equally-giant Dad’s Army-esque moving arrows depicting the end of Western civilisation. But a preposterous scenario can only be taken seriously when explained by a preposterous person. Step forward, or rather swagger forward, Steven Berkoff, a man whose ego conveniently matches the size of several former Soviet republics. (Octopussy, 1983)

0041: M loses it with Q

Having been visibly discomfited by the effort of paying a house call to Bond’s bachelor pad in Live and Let Die, it’s no wonder M reacts the way he does at having to leave his office a second time in as many films and decamp all the way to the wreck of a liner in Hong Kong harbour. Ever the loyal attendant, Q obliges with enough pointless remarks to allow M to growl with satisfying irascibility: “Oh Q, shut up,” followed for good measure a couple of minutes later with: “Oh, SHUT UP Q!” (The Man with the Golden Gun, 1974)

JAMES BOND WILL RETURN…

…in numbers 0040-0031