Caper of the Golden Bulls, The

During the opening credits an Iberia Airlines aircraft lands in the capital of Spain and taxis to the terminal building of Madrid-Barajas Airport. A man disembarks from the Douglas DC-8 with registration EC-ATP, built in 1963.

While still on the gangway, the man watches with a skeptical eye the arrival of Angela Tresler (Giovanna Ralli) and François Morel (Vito Scotti) at the same time; they have arrived in style aboard a private Piper PA-30 Twin Comanche with the registration EC-BBF, built in 1965. In the distance the campanile of St. Peter the Apostle Parish at Barajas village can be recognised.

The man is already expected and gets into the black Citroën DS 19, which immediately tails the two taxis, carrying Tresler, her companion and their extensive luggage. Shot at the Aeropuerto de Madrid forecourt.

The two cabs of Seat 1500 type cross Madrid, here to see in the Salamanca district, passing Plaza de la Independencia with Puerta de Alcalá monument. In the background to the left the known Calle de Serrano branches off. On the corner stands the Edificio Millennium, an exclusive, luxurious residential building, often referred to as 'Edificio de los Millonarios', designed by architect Secundino Zuazo Ugalde and built from 1931 to 1933.

Geographically, the two taxis make a rather unusual detour via Segovia to reach the coast. Coming from North and just passing the Iglesia de la Vera Cruz at the far left, one of Spain's most famous fortified castles, the landmarking Alcázar, comes into view.

Now in Segovia, located in Castile and León region, the second cab with the luggage can be seen on Avenida Vía Roma, while the impressive Roman Aqueduct over Plaza del Azoguejo, built between 98 and 117 AD and in use until 1974, dominating the cityscape.

Continuing towards the coast, the short motorcade crosses the Plaza España, a square dominated by the castle of Turégano, perched on the background hill in the province of Segovia, Castile and León., identified by SJ.

Still during the opening credits and still at Turégano, where filming took place from the fortress wall, the view goes over the rooftops of the small town towards Plaza España, with the campanile of the Iglesia de Santiago Apóstol visible to the right.

The tilting camera shot shows the two taxis reaching the outskirts of Turégano, watched by a local sitting at the corner of dusty Calle Salida. As we shall see, accurate geographical settings don't seem to be a priority here.

The fictional coastal town of Santa Maria is reached. But actually we see Cadaqués at the Costa Brava, Girona province, Catalonia region, with the Gothic church Santa Maria on the hill and the tiny Cucurucuc rock, glimpsed on the right in the Mediterranean. The two cabs drive into the town on Calle Trilla.

The two taxis are heading through Cadaqués, standing in for Santa Maria, along the Calle Némesis Llorens shoreline next to the Playa Gran beach, located to the right beyond the trees, reaching the corner at Plaza de Paseo.

After coming around the corner of Avenida Victor Rahola, the two cabs stop in front of the still existing Hotel Playa Sol. However, the following scene in front of the hotel, which was filmed using rear projection, proves that of course neither Giovanna Ralli nor Vito Scotti made the long journey from Madrid to the Costa Brava in the cab.

The Citroën, which had followed up to this point, continues along the Calle d'Es Poal shoreline of Cadaqués, which is now a popular tourist destination, but was then known primarily as homestead of Salvador Dalí.

A red cabriolet appears on Calle del Redín in Pamplona, Navarra province and region. The plot suggests that the fictional coastal town is just a stone's throw from Pamplona. In reality, the distance between Cadaqués and Pamplona is approximately 670 km.

Peter Churchman parks in front of the Méson del Caballo Blanco and turns out to be the owner of the, by the way, real and still existing restaurant. Already very popular with locals and tourists at the time of filming, the El Rincón del Caballo Blanco building complex, located next to the Plaza de San José y la Catedral, was only built in 1961, replacing the old guardhouse Baluarte del Redín as part of the partially dilapidated fortifications of the city.

Later, from his upstairs office, he and Chief Gonzales (Walter Slezak), Head of the municipal police, jointly observe the delivery of a statue for the upcoming San Fermín festival. Plaza de San Jose, Pamplona, with the Fuente de la Farola (Fountain of the Streetlight) on the right. (SR)

Churchman and his buddies from the former bomber crew and later bank robber gang, meanwhile reunited and heading to the Banco Central, driving along the Carretera Badostáin into Pamplona ...

... and turning onto Avenida de Franco, now Avenida Baja Navarra. The then bus-stop across the junction was used as a Tourism Information office from 1967 to 1988 and thereafter as a petrol station. To the right in the distance the Santa Maria la Real de Pamplona cathedral can be recognised.

The 1961 Triumph Herald 1200 Cabriolet, with an obviously cheerful quartet, drives past Plaza Principe de Viana.

As they reach Avenida Carlos III el Noble, their gaze immediately falls upon what is meant to represent the Banco Nacional in the plot. Actually we see the then private Banco Central, which at the time as planning to merge with Banco Hispano Americano, but didn't occur until 1999, ultimately leading to its takeover by Banco Santander.

However, (from left to right) The Irishman (Noah Keen), Churchman (Stephen Boyd), Bendell (Henry Beckman) and Canalli (Tom Toner)'s initially good mood plummets rapidly ...

... as the bank is located directly opposite the Police headquarters. Taken in front of the Palacio de Navarra, built between 1840 and 1851, seat of the Government of Navarre province and region.

By the entrance to the Plaza de San Francisco, Churchman lets his companions out, where they first visit the municipal library, which can be seen in the background. There, they take pictures from historical blueprints of the buildings in the immediate vicinity of the bank using a 35mm camera.

Churchman returns to Avenida Carlos III el Noble in front of the bank to discreetly familiarise himself with the surroundings, ...

.. so he leaves the car at the corner of Calle del Duque de Ahumada and Calle Espoz y Mina.

Meanwhile his accomplices have reached the top of the spire of Iglesia San Ignacio to assess the situation on the bank's roof, ...

... but are rather frustrated to find out that is teeming with police forces. Pamplona's main square Plaza del Castillo can be partially seen behind it.

At the rear of the bank Churchman discovers a possible weak point. The unassuming, tiny backyard of the bank, depicted in the film as being directly on Calle de la Estafeta, is actually the key filming location and appears no fewer than four times. Anyone assuming it's a Hollywood set like the border crossing to Gibraltar is sorely mistaken. In reality, we're looking at a perfectly constructed backdrop in Pamplona's old town, just next to the forecourt of the Santa Maria la Real cathedral and directly opposite Number 10 on Calle Dormitalería, standing in for Calle de la Estafeta, on the route of the bull run.

As he takes a closer look at the barred basement window, a patrol officer (Jay Novello) notices him and begins to interrogate him.

Suddenly, the Citroën, seen in the opening credits, appears behind them, with the two former OAS members Colonel Brissard (Lomax Study) and Philippe (Clifton James) at the wheel, who was seen on the gangway in the opening credits, to rescue Churchman from the precarious situation. Facing towards Calle Dormitalería.

Churchman reluctantly gets into the car while the suspicious patrol officer notes down the license plate number, and so they speed along Calle Lindachiquia through the Casco Viejo (old town) ...

... until the Citroën suddenly turns into a small courtyard, which turns out to be the Rincón de San Nicolas, and comes to a halt. It subsequently turns out that the two are after Morel, who enriched himself through crooked dealings during the Algerian War and is considered a traitor by the OAS (Organisation armée secrète).

Peter Churchman and Angela Tresler make their way to Gibraltar, still British Overseas Territory, to get the explosives and special tools they need from the shop of Mr. Shanari (Arnold Moss). Shot on Avenida de España, of course using stand-ins for Stephen Boyd and Giovanna Ralli.

Back at the border crossing in La Linéa de la Concepción, Cádiz province, Andalusia region, Spain. But actually a set on the backlot of Paramount Studios, Melrose Avenue, Hollywood, California, USA, where also the interior shots were made. The real Aduana appears in 'The Running Man' (see Captures 33 and 39).

While the convertible is inspected by a Spanish customs officer, Peter and Angela anxiously watch as the wheelbarrow of the Old Tinker (J.G. Devlin), whom he had hired in Gibraltar, is checked.

Everything seems to be going smoothly, but the bang caused by a misfire on a Suzuki K10 motorcycle ...

... scares the pack mule next to the wheelbarrow so badly that it kicks out, causing the barrel of Churchman's waterproof packed contraband to leak.

Just before the contraband is discovered, a spectacular rear-end collision catches the attention of the border guards. While Angela clutches her pretty head in disbelief, Peter inspects his pretty car, which is now obviously a total loss.

The same customs officer who had just checked Peter's car confronts the Blonde in the white convertible as the cause of the supposed accident, who in turn turns out to be Churchman's fiancée Grace Harvey (Yvette Mimieux) and trustingly assures the border guard that she had confused the accelerate and brake pedals.

Due to the general confusion, the Old Tinker is left unmolested and waved through by the border guards. While he quickly hop off, a GMC PD-series coach can be seen in the background, which may have been used to transport the extras.

After all the formalities incident are completed, Peter and Angela are forced to ride in Grace's convertible to catch up with the old street dealer outside of town so that the contraband can be transferred into the trunk. Taken again on Avenida de España, with the Bay of Algeciras visible in the far background, using again stand-ins for Stephen Boyd, Giovanna Ralli and for Yvette Mimieux too.

During the long drive back to Pamplona, ​​ Peter is forced to confide in Grace about his elaborate plan for the bank robbery, which Angela doesn't like at all and reacts rather scornfully. Finally, they reach their hideout at the Rincón de San Nicolas, but these time coming from the direction of Plaza San Nicolas.

In front of house Number 1, a visibly relieved Peter squeezes out of the cramped back seat. No wonder after a journey across Spain with a distance of little over 1,000 km. At least in theory, since the film gives the impression that Gibraltar is located 'just around the corner', which is probably how most of the audience perceived it at the time.

Peter's comrades make their way to the municipal bathhouses and are currently driving up Calle Curia. The pharmacy on the corner still exists after 60 years. The film gives the impression that the Baños are located in the immediate vicinity of the Banco Nacional and thus could be used as an escape route after the bank robbery.

Actually they could have turned directly into Calle Calderería, but after circling around the block once, they eventually end up at the Baños, again coming from the same direction. The bathhouses opened in 1925 and featured two completely separate areas for men and women. Each had four bathrooms and two showers, and modern central heating. The Calderería Baths were finally demolished in 1978. A modern brick building was erected in their place.

The so-called Chupinazo is the official opening of the San Fermín Festival, which has taken place annually from July 6th to July 14th since 1591. At the stroke of noon, a small signal rocket (cohete) is fired from the city hall.

Amidst the dense crowd of thousands of festival-goers on Plaza Consistorial, the procession of the so-called Gigantes moves towards the now Plaza de los Burgos, with the then Super Market in the background.

The parades, here on the south side of the Plaza del Castillo, are also used to denounce mismanagement or ridicule political officials – except the Royal family and 'Caudillo' Francisco Franco, of course.

On July 7th a large figure of San Fermín will be carried through the old town as part of a procession. For many citizens, this religious aspect is one of the most important parts of the festival. Filmed at 10 a.m. in front of Iglesia de San Lorenzo, located at Calle Major.

A city in a state of emergency: Security forces are trying to keep the crowd, including Churchman and his Men before the planned test run, in check as they push from Plaza Consistorial towards Calle Mercaderes in anticipation of the Encierro (bull run).

At the lower end of Calle Santo Domingo, after the firing of a Cohete at 8 a.m., the corral for the first Encierro has been opened ...

... so that the six fighting bulls, each weighing between 550 kg and 700 kg, rush up Calle de Santo Domingo, including some oxen that have a calming effect and a guiding function during the herding. Even the ascent into the city, called Cuesta de Santo Domingo, is the first critical section due to the high walls on both sides and considered particularly accident-prone.

The second tricky spot is the so-called Curva de Mercaderes, where the bulls charching from Calle Mercaderes have to pass through when turning into Calle de la Estafeta, which repeatedly leads to incidents due to the high speed of up to 25 km/h over cobblestones.

The runners (mozos), traditionally wearing white shirt and white, tight-fitting trousers, as well as red neckerchief (pañuelo rojo) and red sash (faja), rush in front of, beside and behind the bulls down Calle de la Estafeta, here reaching the corner with Calle de Javier.

At the end of Calle de la Estafeta, bulls and runners reach the intersection with Calle de Duque de Ahumada and Calle Juan de Labrit (on the right), which are temporarily blocked off with wooden barriers, and then cross Calle Cortes de Navarra straight into the alley toward the Callejón of Plaza de Toros. By the way, this chemist's, which can be recognized at the top centre, still exists after 60 years.

Among the 19,529 spectators in Spain's second largest bullring, Peter's fiancée is sitting somewhere with a walkie-talkie.

At the very moment the cannon is fired in the arena, Grace is to give Peter the acoustic signal to simultaneously detonate the explosive device in the bank's basement.

Approaching from Plaza del Castillo the procession moves onwards to the Monumento a los Fueros on the large Paseo de Sarasate, where by the corner with Avenida San Ignacio the real National Bank, called Banco de España, was located until 2011. Led by the so-called Cabezudos with their huge heads, representing prominent people, e.g. the Alcalde (mayor) ...

... followed by the Gigantes, eight figures about three meters tall, each representing in pairs the Rey and Reina (King and Queen) of the continents of Europe, Asia, America and Africa.

One of the, incidentally female, Gigantes appears to be veering off course and, not entirely by chance, is approaching the facade of the Banco Nacional, but actually of the Banco Central.

After Peter gallantly adjusts Angela's chair, the two speculate rather frustratedly about the whereabouts of the loot from the bank robbery. When Chief Gonzales suddenly shows up at their table, proclaiming, "Justice will be done, Peter Churchman!" and mentioning that Peter was seen at Calle de la Estafeta behind the Banco Nacional, Angela decides to make a charming but quick getaway and disappear into the crowd in the large square. Filming took place in one of the street cafes along Plaza del Castillo, however not the famous Café Iruña, Ernest Hemingway's favorite haunt.

While Chief Gonzales is still summarising the spectacular break-in at the Banco Nacional, the mysterious disappearance of the jewels, and their miraculous back handing over to the authorities on the same day, an astonished Peter notes with relief that the precious stones, which had only recently passed through his hands, now adorn the statue of the Virgin with the Child, carried in a procession alongside the Plaza del Castillo. Filmed not far from the corner where Calle de Espoz y Mina branches off from the square, so the Bar Choco can be recognized, often frequented by Hemingway too.

Chief Gonzales remarks sardonically that Peter must feel compelled to make a generous donation to repair the damage caused by the explosion in the bank's basement. Of course, Churchman produces his checkbook without hesitation. But Peter is truly relieved only when his fiancée, Grace, appears. Together they leave the square and head towards the coast at Santa Maria. Now also Kilikis (pirates) and Zaldicos (riders) can be seen, hitting - at least back then - the naughty children with pig bladders. At the very end of the end credits, we read: "We wish to thank the city officials, the clergy, and the people of Pamplona for their cooperation during the making of this film."