Casino Royale Quotes

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People are islands,' she said. 'They don't really touch. However close they are, they're really quite separate. Even if they've been married for fifty years.
Ian Fleming (Casino Royale (James Bond, #1))
Surround yourself with human beings, my dear James. They are easier to fight for than principles.
Ian Fleming (Casino Royale (James Bond, #1))
Mine’s Bond – James Bond.
Ian Fleming (Casino Royale (James Bond, #1))
Bond reflected that good Americans were fine people and that most of them seemed to come from Texas.
Ian Fleming (Casino Royale (James Bond, #1))
Today we are fighting Communism. Okay. If I'd been alive fifty years ago, the brand of Conservatism we have today would have been damn near called Communism and we should have been told to go and fight that. History is moving pretty quickly these days and the heroes and villains keep on changing parts.
Ian Fleming (Casino Royale (James Bond, #1))
History is moving pretty quickly these days, and the heroes and villains keep on changing parts.
Ian Fleming (Casino Royale (James Bond, #1))
Everyone has the revolver of resignation in his pocket.
Ian Fleming (Casino Royale (James Bond, #1))
A dry martini,' he said. 'One. In a deep champagne goblet.' ... Just a moment. Three measures of Gordon's, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice-cold, then add a large thin slice of lemon-peel. Got it?
Ian Fleming (Casino Royale (James Bond, #1))
Like all harsh, cold men, he was easily tipped over into sentiment.
Ian Fleming (Casino Royale (James Bond, #1))
The bitch is dead now.
Ian Fleming (Casino Royale (James Bond, #1))
There's a Good Book about goodness and how to be good and so forth, but there's no Evil Book about how to be evil and how to be bad. The Devil had no prophets to write his Ten Commandments, and no team of authors to write his biography. His case has gone completely by default. We know nothing about him but a lot of fairy stories from our parents and schoolmasters. He has no book from which we can learn the nature of evil in all its forms, with parables about evil people, proverbs about evil people, folklore about evil people. All we have is the living example of people who are least good, or our own intuition.
Ian Fleming (Casino Royale (James Bond, #1))
Surround yourself with human beings, my dear James. They are easier to fight for than principles.' He laughed. 'But don't let me down and become human yourself. We would lose such a wonderful machine.
Ian Fleming (Casino Royale (James Bond, #1))
In their talk there was nothing but companionship with a distant undertone of passion. In the background there was the unspoken zest of the promise which, in due course and in their own time, would be met.
Ian Fleming (Casino Royale (James Bond, #1))
He was a secret agent, and still alive thanks to his exact attention to the detail of his profession.
Ian Fleming (Casino Royale (James Bond, #1))
I never have more than one drink before dinner. But I do like that one to be large and very strong and very cold and very well-made. I hate small portions of anything, particularly when they taste bad.
Ian Fleming (Casino Royale (James Bond, #1))
Above all, he liked it that everything was one's own fault. There was only oneself to praise or blame. Luck was a servant and not a master. Luck had to be accepted with a shrug or taken advantage of up to the hilt. But it had to be understood and recognized for what it was and not confused with a faulty appreciation of the odds, for, at gambling, the deadly sin is to mistake bad play for bad luck. And luck in all its moods had to be loved and not feared
Ian Fleming (Casino Royale (James Bond, #1))
Englishmen are so odd. They are like a nest of Chinese boxes. It takes a very long time to get to the centre of them. When one gets there the result is unrewarding, but the process is instructive and entertaining.
Ian Fleming (Casino Royale (James Bond, #1))
The conventional parabola--sentiment, the touch of the hand, the kiss, the passionate kiss, the feel of the body, the climax in the bed, then more bed, then less bed, then the boredom, the tears and the final bitterness--was to him shameful and hypocritical.
Ian Fleming (Casino Royale (James Bond, #1))
Luck in all its moods had to be loved and not feared Bond saw luck as a woman, to be softly wooed or brutally ravaged, never pandered to or pursued. But he was honest enough to admit that he had never yet been made to suffer by cards or by women. One day, and he accepted the fact he would be brought to his knees by love or by luck.
Ian Fleming (Casino Royale (James Bond, #1))
In his mind he fingered the necklace of the days to come.
Ian Fleming (Casino Royale (James Bond, #1))
When she had failed once or twice to respond to some conversational gambit or other, Bond also relapsed into silence and occupied himself with his own gloomy thoughts.
Ian Fleming (Casino Royale (James Bond, #1))
These blithering women who thought they could do a man's work. Why the hell couldn't they stay at home and mind their pots and pans and stick to their frocks and gossip and leave men's work to the men.
Ian Fleming (Casino Royale (James Bond, #1))
Bond didn't defend the practice. He simply maintained that the more effort and ingenuity you put into gambling, the more you took out.
Ian Fleming (Casino Royale (James Bond, #1))
Women were for recreation. On a job, they got in the way and fogged things up with sex and hurt feelings and all the emotional baggage they carried around. One had to look out for them and take care of them.
Ian Fleming (Casino Royale (James Bond, #1))
Then he slept, and with the warmth and humour of his eyes extinguished, his features relapsed into a taciturn mask, ironical, brutal, and cold.
Ian Fleming (Casino Royale (James Bond, #1))
I'm getting very sorry for the Devil and his disciples such as the good Le Chiffre. The devil has a rotten time and I always like to be on the side of the underdog. We don't give the poor chap a chance...the Devil had no prophets to write his Ten Commandments and no team of authors to write his biography.
Ian Fleming (Casino Royale (James Bond, #1))
[W]hen one’s young, it seems very easy to distinguish between right and wrong, but as one gets older it becomes more difficult. At school it’s easy to pick out one’s own villains and heroes and one grows up wanting to be a hero and kill the villains.
Ian Fleming (Casino Royale (James Bond, #1))
Three measures of Gordon’s, one of vodka, half a measure of Kina Lillet. Shake it very well until it’s ice-cold, then add a large thin slice of lemon-peel.
Ian Fleming (Casino Royale (James Bond, #1))
Each day the atmosphere became more hateful. It seemed fantastic to Bond that human relationships could collapse into dust overnight and he searched his mind again and again for a reason.
Ian Fleming (Casino Royale (James Bond, #1))
Bond insisted ordering Leiter’s Haig-and-Haig ”on the rocks” and then he looked carefully at the barman. ”A Dry Martini", he said. "One. In a deep champagne goblet.” ”Oui, monsieur.” Just a moment. Three measures of Gordons, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice-cold, then add a large thin slice of lemonpeel. Got it?" ”Certainly, monsieur.” The barman seemed pleased with the idea.
Ian Fleming (Casino Royale (James Bond, #1))
Bond frowned. ‘It’s not difficult to get a Double O number if you’re prepared to kill people,’ he said. ‘That’s all the meaning it has. It’s nothing to be particularly proud of.
Ian Fleming (Casino Royale (James Bond, #1))
He cursed himself and cursed the hubris which had made him so sure the battle was won and the enemy in flight.
Ian Fleming (Casino Royale (James Bond, #1))
I like doing everything fully, getting the most out of everything one does. I think that's the way to live.
Ian Fleming (Casino Royale (James Bond, #1))
And now that you have seen a really evil man, you will know how evil they can be and you will go after them to destroy them in order to protect yourself and the people you love. You won’t wait to argue about it. You know what they look like now and what they can do to people.
Ian Fleming (Casino Royale (James Bond, #1))
In the background there thudded always the hidden metronome of the Casino, ticking up its little treasure of one-per-cents with each spin of a wheel and each turn of a card – a pulsing fat-cat with a zero for a heart.
Ian Fleming (Casino Royale (James Bond, #1))
THE SCENT and smoke and sweat of a casino are nauseating at three in the morning. Then the soul-erosion produced by high gambling – a compost of greed and fear and nervous tension – becomes unbearable and the senses awake and revolt from it.
Ian Fleming (Casino Royale (James Bond, #1))
He saw her now only as a spy. Their love and his grief were relegated to the boxroom of his mind. Later, perhaps they would be dragged out, dispassionately examined, and then bitterly thrust back with other sentimental baggage he would rather forget.
Ian Fleming (Casino Royale (James Bond, #1))
You must forgive me,’ he said. ‘I take a ridiculous pleasure in what I eat and drink. It comes partly from being a bachelor, but mostly from a habit of taking a lot of trouble over details. It’s very pernickety and old-maidish really, but then when I’m working I generally have to eat my meals alone and it makes them more interesting when one takes trouble.
Ian Fleming (Casino Royale (James Bond, #1))
A scar had been beaten into his mind which would only heal by experience.
Ian Fleming (Casino Royale (James Bond, #1))
If one could be right every hand, none of us would be here,’ he said philosophically.
Ian Fleming (Casino Royale (James Bond, #1))
Miss Moneypenny would have been desirable but for eyes which were cool and direct and quizzical.
Ian Fleming (Casino Royale (James Bond, #1))
Bond found this irksome. He disliked being cosseted. It gave him claustrophobia.
Ian Fleming (Casino Royale (James Bond, #1))
Put your guns away and get him out,’ he ordered brusquely. ‘I’ll keep you covered. Be careful of him. I don’t want a corpse. And hurry up, it’s getting light.
Ian Fleming (Casino Royale (James Bond, #1))
He suddenly dropped his bantering tone and looked at Bond sharply and venomously.
Ian Fleming (Casino Royale (James Bond, #1))
She has black hair, blue eyes, and splendid … er … protuberances. Back and front,’ he added.
Ian Fleming (Casino Royale (James Bond, #1))
She looked at him and saw that his nostrils were slightly flared. In other respects he seemed completely at ease, acknowledging cheerfully the greetings of the Casino functionaries.
Ian Fleming (Casino Royale (James Bond, #1))
Bond’s car was his only personal hobby. One of the last of the 4½-litre Bentleys with the supercharger by Amherst Villiers, he had bought it almost new in 1933 and had kept it in careful storage through the war. It was still serviced every year and, in London, a former Bentley mechanic, who worked in a garage near Bond’s Chelsea flat, tended it with jealous care.
Ian Fleming (Casino Royale (James Bond, #1))
For an instant he felt nettled at the irony, the lightest shadow of a snub, with which she had met his decisiveness, and at the way he had risen to her quick glance. But it was only an infinitesimal clink of foils and as the bowing maitre d’hotel led them through the crowded room, it was forgotten as Bond in her wake watched the heads of the diners turn to look at her.
Ian Fleming (Casino Royale (James Bond, #1))
Continue, my dear friend. It is interesting for me to see this new Bond. Englishmen are so odd. They are like a nest of Chinese boxes. It takes a very long time to get to the centre of them. When one gets there the result is unrewarding, but the process is instructive and entertaining. Continue. Develop your arguments. There may be something I can use to my own chief the next time I want to get out of an unpleasant job.’ He grinned maliciously. Bond ignored him.
Ian Fleming (Casino Royale (James Bond, #1))
Bond swallowed. He looked over towards Vesper. Felix Leiter was again standing beside her. He grinned slightly and Bond smiled back and raised his hand from the table in a small gesture of benediction.
Ian Fleming (Casino Royale (James Bond, #1))
He wore a heavy black moustache and the backs of his hands on the rail were matted with black hair. Bond guessed that hair covered most of his squat body. Naked, Bond supposed, he would be an obscene object.
Ian Fleming (Casino Royale (James Bond, #1))
Le Chiffre was serving a wonderful purpose, a really vital purpose, perhaps the best and highest purpose of all. By his evil existence, which foolishly I have helped to destroy, he was creating a norm of badness by which, and by which alone, an opposite norm of goodness could exist. We were privileged, in our short knowledge of him, to see and estimate his wickedness and we emerge from the acquaintanceship better and more virtuous men.
Ian Fleming (Casino Royale (James Bond, #1))
My dear boy', Le Chiffre spoke like a father, 'the game of Red Indians is over, quite over. You have stumbled by mischance into a game for grown-ups and you have already found it a painful experience. You are not equipped, my dear boy, to play games with adults and it very foolish of your nanny in London to have sent you out here with your spade and bucket. Very foolish indeed and most unfortunate for you.' 'But we must stop joking, my dear fellow, although I am sure you would like to follow me in developing this amusing little cautionary tale.
Ian Fleming (Casino Royale (James Bond, #1))
I’m behaving like a pig,’ she said happily. ‘You always give me all the things I like best. I’ve never been so spoiled before.’ She gazed across the terrace at the moonlit bay. ‘I wish I deserved it.’ Her voice had a wry undertone. ‘What do you mean?’ asked Bond surprised. ‘Oh, I don’t know. I suppose people get what they deserve, so perhaps I do deserve it.’ She looked at him and smiled. Her eyes narrowed quizzically. ‘You really don’t know much about me,’ she said suddenly. Bond was surprised by the undertone of seriousness in her voice.
Ian Fleming (Casino Royale (James Bond, #1))
Bond’s mind was clear again. By a miracle he had survived a devastating wound. He could feel his armpits still wet with the fear of it. But the success of his gambit with the chair had wiped out all memories of the dreadful valley of defeat through which he had just passed.
Ian Fleming (Casino Royale (James Bond, #1))
It’s wonderful,’ said Bond, deciding to relieve her mind, though irritated with her obvious guilt over this childish mystery. ‘You must go in and we’ll have breakfast on the terrace. I’m ravenous. I’m sorry I made you jump. I was just startled to see anyone about at this hour of the morning.
Ian Fleming (Casino Royale (James Bond, #1))
By now it was dawn – about five o’clock, Bond guessed – and he reflected that a mile or two on was the turning to Le Chiffre’s villa. He had not thought that they would take Vesper there. Now that he realized that Vesper had only been a sprat to catch a mackerel the whole picture became clear.
Ian Fleming (Casino Royale (James Bond, #1))
If the decision is unfavourable, the only alternative would be to place our information and our recommendations in the hands of the Deuxième Bureau or of our American colleagues of the Combined Intelligence Agency in Washington. Both of these organizations would doubtless be delighted to take over the scheme.
Ian Fleming (Casino Royale (James Bond, #1))
Above all, he liked it that everything was one's own fault. There was only oneself to praise or blame. Luck was a servant and not a master. Luck had to be accepted with a shrug or taken advantage of up to the hilt. But it had to be understood and recognized for what it was and not confused with a faulty appreciation of the odds, for, at gambling, the deadly sin is to mistake bad play for bad luck. And luck in all its moods had to be loved and not feared. Bond saw luck as a woman, to be softly wooed or brutally ravaged, never pandered to or pursued. But he was honest enough to admit that he had never yet been made to suffer by cards or by women. One day, and he accepted the fact, he would be brought to his knees by love or by luck. When that happened he knew that he too would be branded with the deadly question-mark he recognized so often in others, the promise to pay before you have lost: the acceptance of fallibility.
Ian Fleming (Casino Royale (James Bond, #1))
I'm getting very sorry for the Devil and his disciples such as the good LeChiffre. The Devil has a rotten time and I always like to be on the side of the underdog. We don't give the poor chap a chance. There's a Good Book about goodness and how to be good and so forth, but there's no Evil Book about evil and how to be bad. The Devil has no prophets to write his Ten Commandments and no team of authors to write his biography. His case has gone completely by default. We know nothing about him but a lot of fairy stories from our parents and schoolmasters. He has no book from which we can learn the nature of evil in all its forms, with parables about evil people, proverbs about evil people, folk-lore about evil people. All we have is the living example of the people who are least good, or our own intuition.
Ian Fleming (Casino Royale (James Bond, #1))
There was a sharp ‘phut’, no louder than a bubble of air escaping from a tube of toothpaste. No other noise at all, and suddenly Le Chiffre had grown another eye, a third eye on a level with the other two, right where the thick nose started to jut out below the forehead. It was a small black eye, without eyelashes or eyebrows.
Ian Fleming (Casino Royale (James Bond, #1))
Stupefied, but unharmed, he allowed Mathis to lead him off towards the Splendide from which guests and servants were pouring in chattering fright. As the distant clang of bells heralded the arrival of ambulances and fire-engines, they managed to push through the throng and up the short stairs and along the corridor to Bond’s room.
Ian Fleming (Casino Royale (James Bond, #1))
They were given a corner table near the door. Bond ordered a bottle of Veuve Clicquot and scrambled eggs and bacon.
Ian Fleming (Casino Royale (James Bond, #1))
Flowers seemed to ask for recognition of the person who had sent them, to be constantly transmitting a message of sympathy and affection.
Ian Fleming (Casino Royale (James Bond, #1))
Bond awoke in his own room at dawn and for a time he lay and stroked his memories.
Ian Fleming (Casino Royale (James Bond, #1))
Darling, the bath's absolutely right. Will you marry me?' She snorted. 'You need a slave, not a wife.
Ian Fleming (Casino Royale (James Bond, #1))
The Russians had no stupid prejudices about murder.
Ian Fleming (Casino Royale)
He was used to oblique control and rather liked it. He felt it feather-bedded him a little, allowed him to give or take an hour or two in his communications with M.
Ian Fleming (Casino Royale (James Bond, #1))
The safe, empty room sneered at him.
Ian Fleming (Casino Royale (James Bond, #1))
IT WAS twelve o’clock when Bond left the Splendide and the clock on the ‘mairie’ was stumbling through its midday carillon.
Ian Fleming (Casino Royale (James Bond, #1))
Mathis turned off the radio and waved an affectionate farewell. The door slammed and silence settled on the room. Bond sat for a while by the window and enjoyed being alive.
Ian Fleming (Casino Royale (James Bond, #1))
AS, TWO weeks later, James Bond awoke in his room at the Hotel Splendide, some of this history passed through his mind.
Ian Fleming (Casino Royale (James Bond, #1))
He awoke in the evening completely refreshed. After a cold shower, Bond walked over to the Casino. Since the night before he had lost the mood of the tables. He needed to re-establish that focus which is half mathematical and half intuitive and which, with a slow pulse and a sanguine temperament, Bond knew to be the essential equipment of any gambler who was set on winning.
Ian Fleming (Casino Royale (James Bond, #1))
Fear was the impulse. For them it was always safer to advance than to retreat. Advance against the enemy and the bullet might miss you. Retreat, evade, betray, and the bullet would never miss.
Ian Fleming (Casino Royale (James Bond, #1))
He pulled out a chair and while they sat down he beckoned to a waiter and despite Mathis’s expostulations insisted on ordering the drinks – a ‘fine à l’eau’ for Mathis and a ‘bacardi’ for the girl.
Ian Fleming (Casino Royale (James Bond, #1))
Now in order to tell the difference between good and evil, we have manufactured two images representing the extremes – representing the deepest black and the purest white – and we call them God and the Devil. But in doing so we have cheated a bit. God is a clear image, you can see every hair on His beard. But the Devil. What does he look like?’ Bond looked triumphantly at Mathis. Mathis laughed ironically.
Ian Fleming (Casino Royale (James Bond, #1))
He found something grisly in the inevitability of the pattern of each affair. The conventional parabola – sentiment, the touch of the hand, the kiss, the passionate kiss, the feel of the body, the climax in the bed, then more bed, then less bed, then the boredom, the tears and the final bitterness – was to him shameful and hypocritical. Even more he shunned the ‘mise-en-scène’ for each of these acts in the play – the meeting at a party, the restaurant, the taxi, his flat, her flat, then the week-end by the sea, then the flats again, then the furtive alibis and the final angry farewell on some doorstep in the rain.
Ian Fleming (Casino Royale (James Bond, #1))
All concierges are venal. It is not their fault. They are trained to regard all hotel guests except maharajahs as potential cheats and thieves. They have as much concern for your comfort or well-being as crocodiles.
Ian Fleming (Casino Royale (James Bond, #1))
Vesper smiled at him. ‘I like it,’ she said. ‘I like doing everything fully, getting the most out of everything one does. I think that’s the way to live. But it sounds rather schoolgirlish when one says it,’ she added apologetically.
Ian Fleming (Casino Royale (James Bond, #1))
Bond saw luck as a woman, to be softly wooed or brutally ravaged, never pandered to or pursued. But he was honest enough to admit that he had never yet been made to suffer by cards or by women. One day, and he accepted the fact, he would be brought to his knees by love or by luck. When that happened he knew that he too would be branded with the deadly question-mark he recognized so often in others, the promise to pay before you have lost: the acceptance of fallibility.
Ian Fleming (Casino Royale (James Bond, #1))
The two cards slithered towards him across the green sea. Like an octopus under a rock, Le Chiffre watched him from the other side of the table. Bond reached out a steady right hand and drew the cards towards him. Would it be the lift of the heart which a nine brings, or an eight brings? He fanned the two cards under the curtain of his hand. The muscles of his jaw rippled as he clenched his teeth. His whole body stiffened in a reflex of self-defence. He had two queens, two red queens. They looked roguishly back at him from the shadows. They were the worst. They were nothing. Zero. Baccarat. ‘A card,’ said Bond fighting to keep hopelessness out of his voice. He felt Le Chiffre’s eyes boring into his brain.
Ian Fleming (Casino Royale (James Bond, #1))
The scent and smoke and sweat of a casino are nauseating at three in the morning. Then the soul-erosion produced by high gambling – a compost of greed and fear and nervous tension – becomes unbearable and the senses awake and revolt from it.
Ian Fleming, Casino Royale
So,’ continued Bond, warming to his argument, ‘Le Chiffre was serving a wonderful purpose, a really vital purpose, perhaps the best and highest purpose of all. By his evil existence, which foolishly I have helped to destroy, he was creating a norm of badness by which, and by which alone, an opposite norm of goodness could exist. We were privileged, in our short knowledge of him, to see and estimate his wickedness and we emerge from the acquaintanceship better and more virtuous men.
Ian Fleming (Casino Royale (James Bond, #1))
The one more or less behind Le Chiffre’s right arm was tall and funereal in his dinner-jacket. His face was wooden and grey, but his eyes flickered and gleamed like a conjurer’s. His whole long body was restless and his hands shifted often on the brass rail. Bond guessed that he would kill without interest or concern for what he killed and that he would prefer strangling. He had something of Lennie in Of Mice and Men, but his inhumanity would not come from infantilism but from drugs. Marihuana, decided Bond.
Ian Fleming (Casino Royale (James Bond, #1))
And then there was this pest of a girl. He sighed. Women were for recreation. On a job, they got in the way and fogged things up with sex and hurt feelings and all the emotional baggage they carried around. One had to look out for them and take care of them.
Ian Fleming (Casino Royale (James Bond, #1))
Bond closed his eyes and waited for the pain. He knew that the beginning of torture is the worst. There is a parabola of agony. A crescendo leading up to a peak and then the nerves are blunted and react progressively less until unconsciousness and death. All he could do was to pray for the peak, pray that his spirit would hold out so long and then accept the long free-wheel down to the final blackout. He had been told by colleagues who had survived torture by the Germans and the Japanese that towards the end there came a wonderful period of warmth and languor leading into a sort of sexual twilight where pain turned to pleasure and where hatred and fear of the torturers turned to a masochistic infatuation. It was the supreme test of will, he had learnt, to avoid showing this form of punch-drunkenness. Directly it was suspected they would either kill you at once and save themselves further useless effort, or let you recover sufficiently so that your nerves had crept back to the other side of the parabola. Then they would start again.
Ian Fleming (Casino Royale (James Bond, #1))
During the next two days James Bond was permanently in this state without regaining consciousness. He watched the procession of his dreams go by without any effort to disturb their sequence, although many of them were terrifying and all were painful. He knew that he was in a bed and that he was lying on his back and could not move and in one of his twilight moments he thought there were people round him, but he made no effort to open his eyes and re-enter the world. He felt safer in the darkness and he hugged it to him.
Ian Fleming (Casino Royale (James Bond, #1))
Mathis moved his chair close to hers and said softly: ‘That is a very good friend of mine. I am glad you have met each other. I can already feel the ice-floes on the two rivers breaking up.’ He smiled. ‘I don’t think Bond has ever been melted. It will be a new experience for him. And for you.’ She did not answer him directly. ‘He is very good-looking. He reminds me rather of Hoagy Carmichael, but there is something cold and ruthless in his …’ The sentence was never finished. Suddenly a few feet away the entire plate-glass window shivered into confetti. The blast of a terrific explosion, very near, hit them so that they were rocked back in their chairs. There was an instant of silence. Some objects pattered down on to the pavement outside. Bottles slowly toppled off the shelves behind the bar. Then there were screams and a stampede for the door.
Ian Fleming (Casino Royale (James Bond, #1))
The waiters wore striped waistcoats and green baize aprons. Bond ordered an Americano and examined the sprinkling of over-dressed customers, mostly from Paris he guessed, who sat talking with focus and vivacity, creating that theatrically clubbable atmosphere of ‘l’heure de l’apéritif’.
Ian Fleming (Casino Royale (James Bond, #1))
They sat for a time listening to the music and then Bond turned to Vesper: ‘It’s wonderful sitting here with you and knowing the job’s finished. It’s a lovely end to the day – the prize-giving.’ He expected her to smile. She said: ‘Yes, isn’t it,’ in a rather brittle voice. She seemed to be listening carefully to the music. One elbow rested on the table and her hand supported her chin, but on the back of her hand and not on the palm, and Bond noticed that her knuckles showed white as if her fist was tightly clenched. Between the thumb and first two fingers of her right hand she held one of Bond’s cigarettes, as an artist holds a crayon, and though she smoked with composure, she tapped the cigarette occasionally into an ashtray when the cigarette had no ash. Bond noticed these small things because he felt intensely aware of her and because he wanted to draw her into his own feeling of warmth and relaxed sensuality. But he accepted her reserve. He thought it came from a desire to protect herself from him, or else it was her reaction to his coolness to her earlier in the evening, his deliberate coolness, which he knew had been taken as a rebuff.
Ian Fleming (Casino Royale (James Bond, #1))
Bond closed his eyes and mentally explored his body. The worst pain was in his wrists and ankles and in his right hand where the Russian had cut him. In the centre of the body there was no feeling. He assumed that he had been given a local anaesthetic. The rest of his body ached dully as if he had been beaten all over. He could feel the pressure of bandages everywhere and his unshaven neck and chin prickled against the sheets. From the feel of the bristles he knew that he must have been at least three days without shaving. That meant two days since the morning of the torture.
Ian Fleming (Casino Royale (James Bond, #1))
There was a scream of tortured rubber as the tyres caught the boulevard in a harsh left-handed turn, the deafening echo of a Citroën’s exhaust in second gear, a crash into top, then a swiftly diminishing crackle as the car hared off between the shops on the main street towards the coast-road.
Ian Fleming (Casino Royale (James Bond, #1))
Mathis had been unable to enlighten him. ‘Unless you have bought him yourself,’ he had said, ‘you must assume that he has been bought by the other side. All concierges are venal. It is not their fault. They are trained to regard all hotel guests except maharajahs as potential cheats and thieves. They have as much concern for your comfort or well-being as crocodiles.
Ian Fleming (Casino Royale (James Bond, #1))
Patriotism comes along and makes it all seem fairly alright, but this country right or wrong business is getting a little out of date. Today, we are fighting communism, okay. If I'd been alive fifty years ago, the brand of conservatism we have today would have been damn near called communism, and we should have been told to go and fight that. History is moving pretty quickly these days, and the heroes and villains keep on changing parts.
Ian Fleming (Casino Royale (James Bond, #1))
Come to the bit about soft silk shirts for evening wear?" I asked carelessly. "Yes, sir," said Jeeves, in a low, cold voice, as if he had been bitten in the leg by a personal friend. "And if I may be pardoned for saying so - " "You don't like it?" "No, sir. I do not. Soft silk shirts with evening costume are not worn, sir." "Jeeves," I said, looking the blighter diametrically in the centre of the eyeball, "they're dashed well going to be. I may as well tell you now that I have ordered a dozen of those shirtings from Peabody and Simms, and it's no good looking like that, because I am jolly well adamant." "If I might - " "No, Jeeves," I said, raising my hand, "argument is useless. Nobody has a greater respect than I have for your judgment in socks, in ties, and - I will go farther - in spats; but when it comes to evening shirts your nerve seems to fail you. You have no vision. You are prejudiced and reactionary. Hidebound is the word that suggests itself. It may interest you to learn that when I was at Le Touquet the Prince of Wales buzzed into the Casino one night with soft silk shirt complete." "His Royal Highness, sir, may permit himself a certain licence which in your own case - " "No, Jeeves," I said, firmly, "it's no use. When we Woosters are adamant, we are - well, adamant, if you know what I mean." "Very good, sir." I could see the man was wounded, and, of course, the whole episode had been extremely jarring and unpleasant; but these things have to be gone through. Is one a serf or isn't one? That's what it all boils down to.
P.G. Wodehouse
Now that little problem of yours, this business of not knowing good men from bad men and villains from heroes and so forth...There's still plenty for you to do. And you'll do it. And when you fall in love and have a mistress or a wife and children to look after, it will all seem easier." He opened the door but stopped on the threshold. "Surround yourself with human beings, my dear. They are easier to fight for than principles." He laughed. "But don't let me down and become human yourself. We would lose such a wonderful machine." With a wave of his hand he shut the door.
Ian Fleming (Casino Royale (James Bond, #1))
She answered perfunctorily. She said that, of course, they had picked out the two gunmen, but had thought nothing of it when the man with the stick had gone to stand behind Bond’s chair. They could not believe that anything would be attempted in the Casino itself. Directly Bond and Leiter had left to walk over to the hotel, she had telephoned Paris and told M.’s representative of the result of the game. She had had to speak guardedly and the agent had rung off without comment. She had been told to do this whatever the result. M. had asked for the information to be passed on to him personally at any time of the day or night.
Ian Fleming (Casino Royale (James Bond, #1))
By the time Bond had taken in these details, he had come to within fifty yards of the two men. He was reflecting on the ranges of various types of weapon and the possibilities of cover when an extraordinary and terrible scene was enacted. Red-man seemed to give a short nod to Blue-man. With a quick movement Blue-man unslung his blue camera case. Blue-man, and Bond could not see exactly as the trunk of a plane-tree beside him just then intervened to obscure his vision, bent forward and seemed to fiddle with the case. Then with a blinding flash of white light there was the ear-splitting crack of a monstrous explosion and Bond, despite the protection of the tree-trunk, was slammed down to the pavement by a solid bolt of hot air which dented his cheeks and stomach as if they had been made of paper. He lay, gazing up at the sun, while the air (or so it seemed to him) went on twanging with the explosion as if someone had hit the bass register of a piano with a sledgehammer. When, dazed and half-conscious, he raised himself on one knee, a ghastly rain of pieces of flesh and shreds of blood-soaked clothing fell on him and around him, mingled with branches and gravel. Then a shower of small twigs and leaves. From all sides came the sharp tinkle of falling glass. Above in the sky hung a mushroom of black smoke which rose and dissolved as he drunkenly watched it. There was an obscene smell of high explosive, of burning wood, and of, yes, that was it – roast mutton. For fifty yards down the boulevard the trees were leafless and charred. Opposite, two of them had snapped off near the base and lay drunkenly across the road. Between them there was a still smoking crater. Of the two men in straw hats, there remained absolutely nothing. But there were red traces on the road, and on the pavements and against the trunks of the trees, and there were glittering shreds high up in the branches. Bond felt himself starting to vomit. It was Mathis who got to him first, and by that time Bond was standing with his arm round the tree which had saved his life.
Ian Fleming (Casino Royale (James Bond, #1))
Finally, he looked sideways at Vaughn. “So. I guess this is probably a good time to mention that Isabelle is pregnant.” That got a small chuckle out of Vaughn. “I kind of figured that already. I’ve had my suspicions for a few weeks.” Simon nodded. “Isabelle wondered if you knew.” “You could’ve told me, Simon,” Vaughn said, not unkindly. “I get why you might not want Mom to know yet, but why not talk to me about it?” Simon leaned forward, resting his elbows on his knees. “I guess I didn’t think you’d understand.” “I wouldn’t understand that you want to marry the woman who’s pregnant with your child? I think that’s a concept I can grasp.” “See, that’s just it.” Simon gestured emphatically. “I knew that’s how you would see it. That I’m marrying Isabelle because I got her pregnant. And I don’t want you, or Mom, or anyone else to think about Isabelle that way—that she’s the woman I had to marry, because it was the right thing to do. Because the truth is, I knew I wanted to marry Isabelle on our second date. She invited me up to her apartment that night, and I saw that she had the entire James Bond collection on Blu-ray. Naturally, being the Bond aficionado that I am, I threw out a little test question for her: ‘Who’s the best Bond?’” Vaughn scoffed. “Like there’s more than one possible answer to that.” “Exactly. Sean Connery’s a no-brainer, right? But get this—she says Daniel Craig.” Simon caught Vaughn’s horrified expression. “I know, right? So I’m thinking the date is over because clearly she’s either crazy or has seriously questionable taste, but then she starts going on and on about how Casino Royale is the first movie where Bond is touchable and human, and then we get into this big debate that lasts for nearly an hour. And as I’m sitting there on her couch, I keep thinking that I don’t know a single other person who would relentlessly argue, for an hour, that Daniel Craig is a better Bond than Sean Connery. She pulled out the DVDs and showed me movie clips and everything.” He smiled, as if remembering the moment. “And somewhere in there, it hit me. I thought to myself, I’m going to marry this woman.
Julie James (It Happened One Wedding (FBI/US Attorney, #5))
Stay there,’ said Mathis. He kicked back his chair and hurtled through the empty window-frame on to the pavement. 6 ....... TWO MEN IN STRAW HATS WHEN BOND left the bar he walked purposefully along the pavement flanking the tree-lined boulevard towards his hotel a few hundred yards away. He was hungry. The day was still beautiful, but by now the sun was very hot and the plane-trees, spaced about twenty feet apart on the grass verge between the pavement and the broad tarmac, gave a cool shade. There were few people abroad and the two men standing quietly under a tree on the opposite side of the boulevard looked out of place. Bond noticed them when he was still a hundred yards away and when the same distance separated them from the ornamental ‘porte cochère’ of the Splendide. There was something rather disquieting about their appearance. They were both small and they were dressed alike in dark and, Bond reflected, rather hot-looking suits. They had the appearance of a variety turn waiting for a bus on the way to the theatre. Each wore a straw hat with a thick black ribbon as a concession, perhaps, to the holiday atmosphere of the resort, and the brims of these and the shadow from the tree under which they stood obscured their faces. Incongruously, each dark, squat little figure was illuminated by a touch of bright colour. They were both carrying square camera-cases slung from the shoulder. And one case was bright red and the other case bright blue. By the time Bond had taken in these details, he had come to within fifty yards of the two men. He was reflecting on the ranges of various types of weapon and the possibilities of cover when an extraordinary and terrible scene was enacted.
Ian Fleming (Casino Royale (James Bond, #1))