Octopussy & the Living Daylights

Bond got the general picture, and it stayed with him long after the other man was asleep and snoring softly with a gentle regular clicking sound. A Wykehamist snore, Bond reflected irritably.



Yes, he had got the picture. The picture of a flicker of movement among the shadowy ruins on the other side of the gleaming river of light, a pause, the wild zigzagging sprint of a man in the full glare of the arcs, the crash of gunfire—and then either a crumpled, sprawling heap in the middle of the wide street or the noise of his onward dash through the weeds and rubble of the Western Sector. Sudden death or a home run. The true gauntlet! How much time would Bond have to spot the Russian sniper in one of those dark windows? And kill him? Five seconds? Ten? When dawn edged the curtains with gun metal, Bond capitulated to his fretting mind. It had won. He went softly into the bathroom and surveyed the ranks of medicine bottles that a thoughtful Secret Service had provided to keep its executioner in good shape. He selected the Tuinal, chased down two of the ruby and blue depth-charges with a glass of water, and went back to bed. Then, poleaxed, he slept.



He awoke at midday. The flat was empty. Bond drew the curtains to let in the gray Prussian day, and, standing well back from the window, gazed out at the drabness of Berlin, and listened to the tram noises and to the distant screeching of the U-Bahn as it took the big curve into the Zoo Station. He gave a quick, reluctant glance at what he had examined the night before, noted that the weeds among the bomb rubble were much the same as the London ones—campion, dock, and bracken—and then went into the kitchen.



There was a note propped against a loaf of bread: "My friend [a Secret Service euphemism that in this context meant Sender's chief] says it's all right for you to go out. But to be back by 1700 hours. Your gear [doubletalk for Bond's rifle] has arrived and the batman will lay it out this P.M. P. Sender."



Bond lit the gas cooker, and with a sneer at his profession, burned the message. Then he brewed himself a vast dish of scrambled eggs and bacon, which he heaped on buttered toast and washed down with black coffee into which he had poured a liberal tot of whiskey. Then he bathed and shaved, dressed in the drab, anonymous, middle-European clothes he had brought over for the purpose, looked at his disordered bed, decided to hell with it, and went down in the lift and out of the building.



James Bond had always found Berlin a glum, inimical city, varnished on the Western side with a brittle veneer of gimcrack polish rather like the chromium trim on American motorcars. He walked to the Kurfürstendamm and sat in the Café Marquardt and drank an espresso and moodily watched the obedient queues of pedestrians waiting for the Go sign on the traffic lights while the shiny stream of cars went through their dangerous quadrille at the busy intersection. It was cold outside and the sharp wind from the Russian steppes whipped at the girls' skirts and at the waterproofs of the impatient hurrying men, each with the inevitable briefcase tucked under his arm. The infrared wall heaters in the cafe glared redly down and gave a spurious glow to the faces of the cafe squatters, consuming their traditional "one cup of coffee and ten glasses of water," reading the free newspapers and periodicals in their wooden racks, earnestly bending over business documents. Bond, closing his mind to the evening, debated with himself about ways to spend the afternoon. It finally came down to a choice between a visit to that respectable-looking brownstone house in the Clausewitzstrasse known to all concierges and taxi drivers and a trip to the Wannsee and a strenuous walk in the Grunewald. Virtue triumphed. Bond paid for his coffee and went out into the cold and took a taxi to the Zoo Station.



The pretty young trees round the long lake had already been touched by the breath of autumn, and there was occasional gold amongst the green. Bond walked hard for two hours along the leafy paths, then chose a restaurant with a glassed-in veranda above the lake and greatly enjoyed a high tea consisting of a double portion of Matjeshering, smothered in cream and onion rings, and two Molle mit Korn. (This Berlin equivalent of a boilermaker and his assistant was a schnapps, double, washed down with draught Löwenbräu.) Then, feeling more encouraged, he took the S-Bahn back into the city.



Outside the apartment house, a nondescript young man was tinkering with the engine of a black Opel Kapitan. He didn't take his head out from under the bonnet when Bond passed close by him and went up to the door and pressed the bell.



Captain Sender was reassuring. It was a "friend"—a corporal from the transport section of Station WB. He had fixed up some bad engine trouble on the Opel. Each night, from six to seven, he would be ready to produce a series of multiple backfires when a signal on a walkie-talkie operated by Sender told him to do so. This would give some kind of cover for the noise of Bond's shooting. Otherwise, the neighborhood might alert the police and there would be a lot of untidy explaining to be done. Their hideout was in the American Sector, and while their American "friends" had given Station WB clearance for this operation, the "friends" were naturally anxious that it should be a clean job and without repercussions.



Bond was suitably impressed by the car gimmick, as he was by the very workmanlike preparations that had been made for him in the living room. Here, behind the head of his high bed, giving a perfect firing position, a wood and metal stand had been erected against the broad windowsill, and along it lay the Winchester, the tip of its barrel just denting the curtains. The wood and all the metal parts of the rifle and sniperscope had been painted a dull black, and, laid out on the bed like sinister evening clothes, was a black velvet hood stitched to a waist-length shirt of the same material. The hood had wide slits for the eyes and mouth. It reminded Bond of old prints of the Spanish Inquisition or of the anonymous operators on the guillotine platform during the French Revolution. There was a similar hood on Captain Sender's bed, and on his section of the windowsill there lay a pair of nightglasses and the microphone for the walkie-talkie.



Captain Sender, his face worried and tense with nerves, said there was no news at the Station, no change in the situation as they knew it. Did Bond want anything to eat? Or a cup of tea? Perhaps a tranquilizer—there were several kinds in the bathroom?



Bond stitched a cheerful, relaxed expression on his face and said no thanks, and gave a lighthearted account of his day while an artery near his solar plexus began thumping gently as tension built up inside him like a watchspring tightening. Finally his small talk petered out and he lay down on his bed with a German thriller he had bought on his wanderings, while Captain Sender moved fretfully about the flat, looking too often at his watch and chainsmoking Kent filter-tips through (he was a careful man) a Dunhill filtered cigarette holder.



James Bond's choice of reading matter, prompted by a spectacular jacket of a half-naked girl strapped to a bed, turned out to have been a happy one for the occasion. It was called Verderbt, Verdammt, Verraten. The prefix ver signified that the girl had not only been ruined, damned, and betrayed, but that she had suffered these misfortunes most thoroughly. James Bond temporarily lost himself in the tribulations of the heroine, Gräfin Liselotte Mutzenbacher, and it was with irritation that he heard Captain Sender say that it was five-thirty and time to take up their positions.



Bond took off his coat and tie, put two sticks of chewing gum in his mouth, and donned the hood. The lights were switched off by Captain Sender, and Bond lay along the bed, got his eye to the eyepiece of the sniperscope, and gently lifted the bottom edge of the curtain back and over his shoulders.



Now dusk was approaching, but otherwise the scene (a year later to become famous as Checkpoint Charlie) was like a well-remembered photograph—the wasteland in front of him, the bright river of the frontier road, the further wasteland, and, on the left, the ugly square block of the Haus der Ministerien with its lit and dark windows. Bond scanned it all slowly, moving the sniperscope, with the rifle, by means of the precision screws on the wooden base. It was all the same except that now there was a trickle of personnel leaving and entering the Haus der Ministerien through the door onto the Wilhelmstrasse. Bond looked long at the four dark windows—dark again tonight—that he agreed with Sender were the enemy's firing points. The curtains were drawn back, and the sash windows were wide open at the bottom. Bond's scope could not penetrate into the rooms, but there was no sign of movement within the four oblong black gaping mouths.



Now there was extra traffic in the street below the windows. The woman's orchestra came trooping down the pavement toward the entrance. Twenty laughing, talking girls carrying their instruments—violin and wind instrument cases, satchels with their scores—and four of them with the drums. A gay, happy little crocodile. Bond was reflecting that some people still seemed to find life fun in the Soviet Sector, when his glasses picked out and stayed on the girl carrying the cello. Bond's masticating jaws stopped still, and then reflectively went on with their chewing as he twisted the screw to depress the sniperscope and keep her in its center.



The girl was taller than the others, and her long, straight, fair hair, falling to her shoulders, shone like molten gold under the arcs at the intersection. She was hurrying along in a charming, excited way, carrying the cello case as if it were no heavier than a violin. Everything was flying—the skirt of her coat, her feet, her hair. She was vivid with movement and life and, it seemed, with gaiety and happiness as she chattered to the two girls who flanked her and laughed back at what she was saying. As she turned in at the entrance amidst her troupe, the arcs momentarily caught a beautiful, pale profile. And then she was gone, and, it seemed to Bond, that with her disappearance, a stab of grief lanced into his heart. How odd! How very odd! This had not happened to him since he was young. And now this single girl, seen only indistinctly and far away, had caused him to suffer this sharp pang of longing, this thrill of animal magnetism! Morosely, Bond glanced down at the luminous dial of his watch. Five-fifty. Only ten minutes to go. No transport arriving at the entrance. None of those anonymous black Zik saloons he had half-expected. He closed as much of his mind as he could to the girl and sharpened his wits. Get on, damn you! Get back to your job!



From somewhere inside the Haus der Ministerien there came the familiar sounds of an orchestra tuning up—the strings tuning their instruments to single notes on the piano, the sharp blare of individual woodwinds—then a pause, and then the collective crash of melody as the whole orchestra threw itself competently, so far as Bond could judge, into the opening bars of what even to James Bond was vaguely familiar.



"Moussorgsky's Overture to Boris Godunov," said Captain Sender succinctly. "Anyway, six o'clock coming up." And then, urgently, "Hey! Right-hand bottom of the four windows! Watch out!"



Bond depressed the sniperscope. Yes, there was movement inside the black cave. Now, from the interior, a thick black object, a weapon, had slid out. It moved firmly, minutely, swiveling down and sideways so as to cover the stretch of the Zimmerstrasse between the two wastelands of rubble. Then the unseen operator in the room behind seemed satisfied, and the weapon remained still, fixed obviously to such a stand as Bond had beneath his rifle.



"What is it? What sort of gun?" Captain Sender's voice was more breathless than it should have been.