Category Archives: Weird and Wonderful

Who ghost-wrote Ian Fleming`s novel “The Man With The Golden Gun”?

Fleming was credited with the novel, though some readers, when the book was originally published – and others since then – have become strongly suspicious that Fleming didn`t write it, or at least wasn`t responsible for the published version. From “Ian Fleming: The Man With The Golden Pen” (by Eleanor and Dennis Pelrine):

Lynn: “The Man With The Golden Gun” wasn`t written by him. When he died, there was an announcement that he had outlined the plot of a story. A few months later he had almost finished it, and still later “He had completed it.”

Yet Andrew Lycett`s Fleming biography (“Ian Fleming: The Man Behind The James Bond”) stresses that the book had been completed and that at least one other person had read the completed manuscript (Fleming`s editor, the distinguished author and poet William Plomer); though it also says that Fleming was dissatisfied with the manuscript and wanted to rewrite it. So who and what to believe?

Fleming was in poor health, both physically and emotionally (see Andrew Lycett`s biography for specifics). Yet, arguably, “The Man With The Golden Gun” was Fleming`s best written, tautest novel.

Fleming`s prose was usually fuzzy. He overwrote. “The Man With The Golden Gun`s” writing is sharp. Fleming was arguably poor at beginnings: compare OHMSS`s bloated and overwritten beginning with “The Man With The Golden Gun`s” taut opening. The writing here is much cleaner and more efficient than in any of Fleming`s other novels. `Gun` moves at lightning pace, prose as taut as Bond`s reflexes. There`s also much more humour – which should have been a tip-off – especially in the beginning: we`re led to believe that the steak-and-kidney pudding detail ultimately convinces the British that Bond is who he says he is.

Fleming`s own writing style did seem to have been undergone something of a transition, but I`m not sure that the differences can be easily explained this way. “You Only Live Twice” (the middle fifth of which features some of Fleming`s best writing and is wonderful) is much better written than the previous novel OHMSS. Bond, of course, in “You Only Live Twice” is more like Sean Connery. Was “The Man With The Golden Gun” a step further in that direction? Namely, a fluid, tauter writing style? However, Fleming`s incomplete short story “Zographos”, started shortly before he died, disputes this:

…”It was like this, Mr Bond.” Zographos had a precise way of speaking with the thin tips of his lips while his half-hard half-soft Greek eyes measured the reaction of his words on the listener… “The Russians are chess players. They are mathematicians. Cold machines. But they are also mad. The mad ones forsake the chess and the mathematics and become gamblers. Now, Mr Bond.” Zographos laid a hand on Bond`s sleeve and quickly withdrew it because he knew Englishmen, just as he knew the characteristics of every race, every race with money, in the world. “There are two gamblers… the man who lays the odds and the man who accepts them. The bookmaker and the punter. The casino and, if you like” – Mr Zographos`s smile was sly with the “shared secret” and proud with the right word – “The suckers.”

The writing style also changes, rather suspiciously, throughout “The Man With The Golden Gun”:

A cleaner ambled in and, with the exquisite languor of such people throughout the Caribbean, proceeded to sweep very small bits of rubbish hither and thither, occasionally dipping a boneless hand into a bucket to sprinkle water over the dusty cement floor. Through the slatted jalousies a small breeze, reeking of the mangrove swamps, briefly stirred the dead air and then was gone. There were only two other passengers in the “lounge”, Cubans perhaps, with jippa-jappa luggage. A man and a woman. They sat close together against the opposite wall and stared fixedly at James Bond, adding minutely to the oppression of the atmosphere.” [Chapter 4]

Compare this to:

The cars began rolling up. Scaramanga was in evidence. He switched a careful smile of welcome on and off. No hands were shaken. The host was greeted either as “Pistol” or “Mr S” except by Mr Hendriks, who called him nothing. [Chapter 8]

Some passages sound exactly like Fleming:

Bond rose carefully. He could hardly believe it! Leiter must have been riding on the buffers behind the brake van. He wouldn`t have been able to show himself earlier for fear of Bond`s gunfire. Yes! There he was! His fair hair tousled by the wind, a long-barrelled pistol using his upraised steel hook as a rest, standing astride the now supine body of Scaramanga beside the brake wheel. Bond`s shoulder had begun to hurt like hell. He shouted, with the anger of tremendous relief[.]” [Chapter 14]

Also from the same chapter:

“Next to him, and behind him, the three gangsters gazed up at James Bond with whipped eyes. They hadn`t expected all this. This was to have been a holiday. The calypso shirts said so. Mr Scaramanga, the undefeated, the undefeatable, had said so. Until minutes before, his golden gun had backed up his world. Now, suddenly, everything was different. As the Arabs say when a great sheik has gone, has removed his protection, “Now there is no more shade! They were covered with guns from the front and the rear. The train stretched out its iron stride towards nowhere they had ever heard of before. The whistle moaned. The sun beat down. The dreadful stink of The Great Morass assailed their nostrils. This was abroad. This was bad news, really bad. The Tour Director had left them to fend for themselves. Two of them had been killed. Even their guns were gone. The tough faces, as white moons, gazed in supplication up at Bond. Louie Paradise`s voice was cracked and dry with terror. “A million bucks, Mister, if you get us out of this. Swear on my mother. A million.”

Fleming must have written these sections: they`re overwritten (compare them to the book`s first several paragraphs).

Just as many sections don`t sound like Fleming. Many agree that the Chapter 11 scene where Scaramanga confronts Bond and Mary Goodnight sounds nothing like Fleming (and is extremely jarring):

“Unless, that is, you were screwin` her.” He raised one eyebrow. “I was. Anything wrong with that? What have you been doing with the Chinese girl? Playing mahjongg?”

The strange dialogue, even Bond`s persona which is so different, bolsters the argument that somebody else wrote parts.

So who?

Kingsley Amis reportedly did some editorial work on the manuscript (though I`m not as sure it`s as much as some claim – he was only paid 36 Pounds, 15s for it), and parts do sound like him:

“James Bond frowned. He didn`t know that he had frowned and he wouldn`t have been able to explain why he had done so.” (Chapter 1)

Or,

The first law for a secret agent is to get his geography right, his means of access and exit, and assure his communications with the outside world. James Bond was uncomfortably aware of that, for the past hour, he had been driving into limbo and that his nearest contact was a girl in a brothel thirty miles away. The situation was not reassuring.”

(Chapter 7) Fleming`s Goldeneye maid Violet claimed that Fleming`s Jamaican friend, politician and journalist Morris Cargill wrote it (Fleming gave him an off-page cameo in Doctor No; he also appears as a judge in “The Man With The Golden Gun”). Compare Cargill`s writing style:

“Here again, an answer seems necessary to avoid misunderstandings, for the white or light-coloured Jamaican is often unwittingly provoked by the visitor who asks him whether the “natives” are restless, as if he were a kind of Englishman abroad, carrying the white man`s burden with stiff upper lip while holding down the “natives” with a firm hand. […] While the peasant woman in Jamaica is not in the least hesitant about having sexual intercourse with a man who attracts her, she believes strongly that these affairs should be conducted in privacy and with due regard to modesty. To her, there is something both indecent and unnecessary about the flaunting of a rather phoney sexuality such as one sees in so many motion pictures, or in American quasi-pornographic magazines, or in the parks of London. Sex, to her, is something to be enjoyed, not to be dangled around in public. She is, in fact, convinced that foreign women are immodest and rather indecent, and her visits to the motion pictures give her a strange idea of the habits of foreign white men. She can hardly be blamed. […] Jamaicans are not shocked at the need for these alliances. They are merely shocked at the need for such elaborate, flimsy and, to them, unnecessary pretences. it is the fuss that foreigners make about their sex that defeats the Jamaican.” [“A Preliminary Canter”, “Ian Fleming Introduces Jamaica”]

Notice also that Cargill has a sense of humour which Fleming generally lacked.

Fleming`s brother Peter`s writing style is also suspiciously close to many of the earlier, more fluid passages. It`s obvious from Peter Fleming`s 1951 novel *The Sixth Column* (and I strongly recommend that you read it) that the Fleming brothers had much in common as writers. (It`s a shame that Peter Fleming didn`t write a Bond novel – he`s one of too many writers who should have.)

“Morning, Hall-Porter. Any letters?” “Good morning, General. No, no letters; but there`s a guest waiting for you.” “Thank you, Hall-Porter.” In 1907, or thereabouts, Black`s Club had engaged as hall porter a man whose name was, as it happened, Porter. By this name, as soon as they found it out, the members naturally addressed him. But there was at that time in the club a very pompous and unpopular man called Porter-Hall, and some half-forgotten wholly inconsequent chain of events led a clique of his enemies to believe that they could score off him by insisting that it was derogatory, unjust and cruel to call the hall-porter Porter; he must, they insisted, always be addressed as Hall-Porter. This abstruse and childish gambit, once adopted by an influential few, soon became obligatory for all; and, although Porter-Hall and Porter both died long ago, the convention which they involuntarily combined to establish has acquired the permanence of protocol, and it is as obligatory for a member of Black`s to call the uniformed figure in the little glass-fronted cubby-hole “Hall-Porter” as it is for a Grenadier Guardsman to say only “Sir” when everyone else in His Majesty`s Force would say “Yes, sir.” If the bar of the Shanghai Club is the longest in the world, the bar at Black`s – at any rate in relation to the volume of alcohol served across it – must be one of the shortest. Tucked away in an alcove of what is called, no longer very appositely, the Coffee Room, its dimensions suggest that it was originally designed to fit into the saloon of a moderate-sized yacht. Since few members of Black`s deem it prudent to ingest a meal without taking beforehand two, or three, or even four glasses of some beneficent cordial, the smallness of the bar means, so to speak, that a very large force has to attack on a very narrow front, which causes overcrowding, frustration and delay and often results in people deciding not, after all, to have another large pink gin but to go into luncheon before the cold salmon has been annihilated by the abstemious. Guests, and even new members, are sometimes puzzled by the club`s failure to equip itself with a bar les incommensurate with the needs – ever-present and often urgent – of its members. Looking at the thing from a purely material point of view, they deduce that Black`s must make a profit on the bar, difficult through it is of access; and they cannot understand why a larger and more convenient bar is not provided, and a bigger profit thereby made. Their callow speculations do less than justice to the wisdom of successive Committees. These enlightened bodies have long realized that the bar is too small and that to construct a bigger one would – by enabling members to drink as much as, instead of slightly less than they feel inclined to drink – increase the amenities of the club and strengthen its financial position. But it was also realized that this was but a specious, short-term point of view. A longer bar would mean a longer casualty-list, a quicker turnover of members; and though there would be no difficulty in filling the gaps in the ranks, new members – apart from being undesirable phenomena *per se* – would scarcely have the absorptive capacity of the Old Guard whom they replaced; so that capital expenditure on a new bar would have result which, while undesirable socially, would be of doubtful and perhaps diminishing value from a purely economic point of view. Projects for enlarging the bar at Black`s, though periodically and enthusiastically mooted, really come within the purview of Major Foxley-Ebbe`s section of MI5; they aim at upsetting the balance of nature in England.” [“The Sixth Column”, by Peter Fleming, 1951, Chapter 10]

(The careful reader will have noticed the similarities to Chapters 3 and 4 in Fleming`s novel “Moonraker”.)

“The Man With The Golden Gun” also has a much broader sense of humour than in any of Fleming`s other novels, which also strongly suggests Peter Fleming`s hand:

“Well let`s see, it`s Wednesday. Shall I tell you what`ll be the main dish on the menu in the canteen? It should be steak-and-kidney pudding.”

The Chief Security Officer picked up the direct telephone to Captain Walker. Captain Walker said to James Bond, “Damn! There`s the other telephone again. Shan`t be a minute.” He picked up the green telephone. “Yes, sir?” “I don`t like that bit about the steak-and-kidney pudding.” (Chapter 1, “The Man With The Golden Gun”)

“This document was afterwards picked up on the fourth green at Huntercombe by Professor TK Loopwith, who is employed by the Royal Institute of International Affairs at L1700 a year to study the effects of German propaganda on Central American folklore. Professor Loopwith, unable to fit into a thesis, which was then engaging his mind, on “Totalitarianism and the Basket-Dancers of Yucatan”, passed it on to a colleague who, shelving for the moment his work on “Silt as a Factor in International Relationships”, took it up to London and showed it to the Foreign Office. Here its importance was quickly recognized. Dr Lenkfals` notes are the most conclusive of various separate pieces of evidence which all points to 6.55pm as the time at which, 30,000 feet over the parish of Bix in Oxfordshire, a time-bomb in a thermos flask completely destroyed Herr Hitler`s aeroplane with all of its occupants save one.” [Chapter 3, Page 30, “The Flying Visit”]

So many lines and details echo previous novels that it strongly suggests someone had Fleming`s novels open while writing/rewriting the manuscript. True, it does seem to copy from past novels: the train set-piece (“Diamonds Are Forever”), the dossier (“Casino Royale”), the hood`s congress (“Goldfinger”), M`s cypher (“Live And Let Die”), the hospital (“Thunderball”), the “Z” scratch (“Goldfinger”), “funny coincidence department” in Chapter 11 (“You Only Live Twice”), the hotel situation (“The Spy Who Loved Me” discards; it also anticipates the film “Godfather 2”). The last two chapters recall “Thunderball” and “Casino Royale”. Felix`s pest control speech recalls Rene Mathis`s Red Indians observations from “Casino Royale”. The poison and the quick doctor recalls the transition from “From Russia, With Love” to “Doctor No”. The cyanide gun is from “The Property Of The Lady”. The Blades details are from “Moonraker” and “You Only Live Twice”. Not a major flaw, but they are disconcerting. Scaramanga sounds rather like Felix Leiter: read the pages in Chapter 7 where Scaramanga tells Bond who`s coming to the meeting. Now compare it to Felix Leiter`s dialogue in “Diamonds Are Forever” and “Thunderball”. See my point? Pretend Felix Leiter speaks those lines in *The Man With The Golden Gun*. It sounds dead on for Leiter. This only confounds the issue of who really wrote *The Man With The Golden Gun*. Would Fleming have imitated Felix`s speech patterns? Or did the real author hope nobody would notice? (The tone is so jarring it throws the reader off, even those like myself who like the novel.) Or compare the monologue in Chapter 12: that`s Felix Leiter talking, particularly the shell joke. In fact Scaramanga`s “talking” style changes as though somebody else wrote parts. All of this suggests somebody constantly referred back to Fleming`s other novels to ensure that this one fit in.

But! –Consider what would have happened had Fleming died in 1961. *The Spy Who Loved Me* would have been his last Bond novel. Much the same reaction would have followed. Indignant cries of, “Fleming didn`t write this, he wouldn`t write this way!”

The Man With The Golden Gun was probably an experiment, which explains why so many people doubt it`s veracity. In fact, it reads more like a product of the author of The Spy Who Loved Me.

Perhaps Ian Fleming did write all of it. There`s as much evidence supporting this theory as there is refuting it. Perhaps Fleming wrote an outline and somebody else filled in the blanks. Perhaps somebody, Peter Fleming, Cargill, Amis, whoever revised, re-wrote Fleming`s first draft. Perhaps much work was required, perhaps all Fleming left behind was an outline. Who knows? Glidrose, for one, and they`re not telling.

One last trivia note: Fleming may have intended to set this novel in Panama. He had wanted to see first hand how the canal locks worked, but family obligations, then later ill-health, intervened. “Fleming`s genius for imaginative gadgeteering would have reached its climax in a simple man`s guide to the manipulation of locks by oceans instead of by keys.” (Richard Hughes, *Foreign Devil*, Chapter 28, “Sayonara To James Bond”)

What is the James Bond book “Take Over”?

Of course, Fleming did not communicate this title from the grave, but that`s exactly what one man claimed he had done. The story ideas, which circulated around 1970, were never published.

Six years after Ian Fleming had died, a man approached Ian`s brother, Peter Fleming, claiming Ian passed messages, and even a novel called “Take Over”, from the great beyond. Apparently the man`s late wife would channel these messages through their daughter, while the latter was in a trance.

Intrigued and missing his famous sibling, Peter Fleming read the novel, and even met with the girl. Peter questioned her. She quickly and correctly answered questions anybody could have found in John Pearson`s biography of his brother, but botched more pertinent answers only Peter and Ian would have known.

Peter Fleming also thought that the writing in Take Over was nothing like Ian`s, and, worse, the book was incompetently written. Peter Fleming didn`t think that the girl or her father had perpetrated a deliberate hoax, and allowed the man to submit Take Over to Jonathan Cape (the Fleming brothers` British Publisher)! Cape read the manuscript and declined. The plot involved a poisonous gas that would enable its users to dominate the world, an idea grabbed if one thinks of oil as a poisonous gas, for The World Is Not Enough.

[Note: Peter Fleming`s son Nichol – Ian`s nephew – eventually wrote a novel entitled “Takeover”. It presumably has nothing else in common with this book.]

Was John Gardner forced to entirely rewrite a James Bond novel?

We`ll let John Gardner explain for himself:

“In “Role Of Honour”, there was originally a computer game featuring a large scale version of Waterloo, with computer-generated images of the battle. It was a highly feasible game which was played in two rooms via a computer linkup. It was a lengthy sequence in which Bond played a very realistic computer programme game called “The Battle of Waterloo”. It was a strategic battle game and it could be done–I`d had it carefully checked out by programmers. “But because there was a computer game in “Never Say Never Again”, they made me take it out.”

“Well, I`d spent a lot of time on this when I suddenly got a message from America saying I couldn`t use it under any circumstances. I saw that film and was furious. Theirs [the game seen in 1983`s Never Say Never Again] was merely a zap game, while mine was to be a complex, realistic game which was to highlight the book. Having lost that, I felt that the whole story was weakened, and I had to replace it with the Bunker Hill game which is played as a sort of role-playing game.”

“It was very disappointing, because I thought with the original idea I had the modern equivalent of that famous game of golf in “Goldfinger” or else Bond`s bridge match with Drax. I`d wanted to do something like that from the day I took over the series and it was a great shame when it had to be removed.”

Apparently, this incident combined with Glidrose forcing Mr. Gardner to write the book when he was ill prompted Gardner to publicly announce that he would quit following his sixth Bond novel. Either way, he didn`t think it likely that he would be asked back to write another cycle of Bond novels. Gardner ultimately wrote 16! –Editors

Gardner also rewrote parts of “For Special Services” when his friend Tony Colwell “spotted a serious character flaw and brilliantly suggested a major plot change.”

Did the Bond authors ever mention their favorite and least favorite Bond novels?

Ian Fleming`s favourite Bond novels were “Diamonds Are Forever” and “From Russia, With Love”. His least favourites were “Moonraker”, “Thunderball”, “You Only Live Twice”, “The Man With The Golden Gun”, and the short story “The Property Of A Lady”. He was enthusiastic about “The Spy Who Loved Me” until after it was published.

John Gardner is the only other Bond author to publicly comment on his own Bond novels. “Icebreaker” has always been one of his favourites, while he considered “Role Of Honour” weak – he was forced to write the book when he was sick. This in part explains why no Bond novel appeared the following year.

Kingsley Amis considered “The Man With The Golden Gun” to be Fleming`s worst. He didn`t like Cyril Connolly`s “Bond Strikes Camp”, thought that “Alligator” was worth a look through, and was mixed about Christopher Wood`s novelization “James Bond, The Spy Who Loved Me”. He said that John Gardner`s “Licence Renewed” was a bad enough novel by any standard and that Gardner`s second, “For Special Services”, was an unqualified disaster.

Raymond Benson considers “From Russia, With Love”, “Doctor No”, “On Her Majesty`s Secret Service”, and “You Only Live Twice” to be the best Bond novels, and “The Man With the Golden Gun”, “Octopussy and the Living Daylights”, “James Bond and Moonraker”, and “Brokenclaw” the worst. His three favorite Bond films are “Doctor No”, “From Russia With Love” and “Goldfinger”, and his three least favorite are “Casino Royale 1967”, “The Man With The Golden Gun” and “Moonraker”.

What Was The Novel Titled?

Bond books you have read may have never been the same had they popped up under their working titles. Check it out!

Ian Fleming`s Novels:

1953–Casino Royale:
(original US title was “You Asked For It”, appeared in this form from Popular Library); Ian Fleming would have been thrilled with the ancient description for the nine of hearts playing card that brings Bond trouble–“A Whisper of Love, A Whisper of Hate”

1954–Live And Let Die: “The Undertaker`s Wind”

1955–Moonraker:
“The Infernal Machine” was Fleming`s favorite choice, followed by “Wide of the Mark” or “The Inhuman Element”; “Bond & The Moonraker”, “The Moonraker Sense”, “The Moonraker Plan” were three of the publisher’s choices; after which Fleming crossed those out and stlyishly wrote over them in bright pink pencil “Moonraker”; other ideas included “The Moonraker”, “The Moonraker Plot”, “The Moonraker Secret”, “Mondays Are Hell”, “Hell Is Here”, “Too Hot To Handle” (original US title, appeared in this form from Perma Books

1956–Diamonds Are Forever (They liked it!)

1957–From Russia With Love (It doesn`t get much better than that! Ever search under this name on the web?)

1958–Doctor No: (serialized in the US as “Nude Girl Of Nightmare Key”) [!]

1959–Goldfinger: “The Richest Man In The World”

1960–For Your Eyes Only:
“Man`s Work”, “Death Leaves An Echo”, “The Rough With The Smooth”, which may be Mr. Fleming`s reference to a line in the opening chapter, eventually deleted (For Your Eyes Only is subtitled “Five Secret Occasions in the Life of James Bond” in the UK and “Five Secret Exploits of James Bond” in the US. The short story inside, “Risico” was alternately spelled Risiko)

1961–The Spy Who Loved Me: (serialized in the US as “Motel Nymph”) [!]

1962–Thunderball (A keeper! What a classic!)

1963–On Her Majesty`s Secret Service: “The Belles Of Hell”

1964–You Only Live Twice (Done!)

1964–The Man With The Golden Gun: “The Golden Gun”

1965–Octopussy:
“Octopussy and The Living Daylights” (or alternately “Octopussy AND The Living Daylights”, “Octopussy & The Living Daylights”) The short story inside, “The Living Daylights” has also been published as “Trigger Finger” and “Berlin Escape” (“Berlin” was published in hardcover form during the 80`s in the US!)

The short story, “The Property Of A Lady,” was originally entitled “The Diamond Egg” and was later called “The Fabulous Pay-Off”

Other Authors` Bond Novels:

1968–Colonel Sun:
(author Kingsley Amis` pseudonym, “Robert Markham” was originally “George Glidrose”, an idea of Peter Fleming`s (Ian`s brother). Publisher Jonathan Cape said “G.G.`s” name had no selling power.

1977–James Bond, They Spy Who Loved Me:
(Christopher Wood`s movie novelization had a US edition and a front page of the British hardcover reading simply “The Spy Who Loved Me”. The header in the British hardcover more properly reads, “James Bond: The Spy Who Loved Me”

1981–License Renewed: Meltdown

1986–Nobody Lives Forever:
“You Only Die Once” or “You Only Live Once” (in Great Britain the title is the slightly different “Nobody Lives For Ever”)

1987–No Deals, Mr. Bond:
“Tomorrow Always Comes” (So similar to a recent Pierce Brosnan film!) Also, several of Mr. Gardner`s subsequent Bond novels, in their list of authors’ books, erroneously list this one as “No Deals For Mr. Bond”)

Mr. Gardner explains that he can “…Recall such wonders as Oh No, Mr. Bond! and Bond Fights Back. Those two finally became, after many protests on my part, the dreadful No Deals, Mr. Bond while my original title for Icebreaker was instantly turned down only to be picked up again a month later after turkey after turkey had to be rejected. My former agent is convinced to this day that he was responsible for Death is Forever, which was actually taken from some dialogue in a Stephen King book. I tried to explain it to him but he still claimed that he was the one. I can’t think why because it isn’t a very sophisticated title. Peter Janson-Smith came up with two of the titles, though by now I’ve forgotten which, and somewhere I have the original lengthy list of quite abominable titles suggested by publishers.”

1997–Zero Minus Ten:
“No Tears For Hong Kong” (Benson submitted this bit O`Fleming as the title but it was rejected. Another interesting thought was “China Takeaway”, a slang British expression for China food-to-go.

1998–The Facts of Death: “The World Is Not Enough”–Benson’s title of choice (!)

1999–High Time To Kill: “A Better Way To Die”–Benson’s choice

2000–Doubleshot:
“Doppelganger”–Benson’s choice and then “Reflections In A Broken Glass”

2001–“Never Dream of Dying”; this is Mr. Benson’s original choice! Whew!

What Was (In Bond 20’s Case, Is?) The Movie Title?

1962–Dr. No:
“James Bond vs. Dr. No” (Belgium and France)
“007 Seized the Secret Island” (China)
“Mission: Murder!” or “Agent 007–Mission: Kill Dr. No” (Denmark)
“James Bond Chases Dr. No” (Germany)
“007 Is the Killing Number: Dr. No” (Japan)
“Agent 007 vs. The Satanic Dr. No” (Spain)

1963–From Russia With Love:
“Love and Kisses From Russia” (Belgium)
“Hunting Agent 007” (Denmark)
“Hearty Kisses From Russia” (France)
“Love Greetings From Moscow” (Germany)
“Moscow vs. 007” (Portugal)
“Agent 007 Sees Red” (Sweden) [!]

1964–Goldfinger:
The Man With Golden Fingers” (The Netherlands)
“007 Against Goldfinger” (Portugal)

1965–Thunderball:
“007 Averts SPECTRE” (China)
“Agent 007 In the Fire” (Denmark)
“Fireball” (Germany)
“Operations: Thundersky” (Norway)
“Atomic Ball” (Portugal)

1967–You Only Live Twice:
“007 Seizes the Rocket Base” (China)
“A Man Doesn`t Live More Than Twice” (Germany)

1967 – You Only Live Twice: Its German title “Man lebt nur zweimal” is the literal translation of the original one. “A Man Doesn`t Live More Than Twice” is a rather poor re-translation of the German title into English.
“007 Dies Twice” (Japan)
“James Bond In Japan” (Norway)

1969–On Her Majesty`s Secret Service:
“The Queen`s 007” (Japan)
“007 Seizes the Snow Mountain Castle” (Norway)

1972–Diamonds Are Forever:
“007 Averts the Diamond Gang” (China)
“The Man of Steel, Gold and Iron Catches the Gang With the Diamonds” (Hong Kong)
“Diamond Fever” (Germany and Sweden)
“Diamonds For Eternity” (Spain)

1973–Live and Let Die:
“The Dead Slave” (Japan)

1974–The Man With The Golden Gun:
“The Man With The Golden Colt” (Germany)

1977–The Spy Who Loved Me:
“007 My Beloved” (Finland)
“Beloved Spy” (Norway)

1979–Moonraker:
“007 Seizes the Space Station” (China)
“The Moon Rocket” (Norway)

1981–For Your Eyes Only:
“Top Secret” (Sweden)
“From A Deadly Viewpoint” (Finland)
“On A Deadly Mission” (Germany)
“A Deadly Point of View” (Norway)
“An Eye For An Eye” (Russia)

1983–Octopussy:
“Dangerously Yours” (France)
“Octopussy” (Germany)
“Operation: Octopus” or “Moving Target” (Italy)
“The Beautiful Prey” (Japan)
“With Death In Sight” (Norway)
“A Panorama To A Kill” (Spain)
“The Living Target” (Sweden)

1985–A View To A Kill:
“From A View To A Kill” was the working title (from Fleming`s short story of the same name in his “For Your Eyes Only”) and was considered too much of a mouthful for EON publicists to translate.
“In the Face of Death,” (a literal translation, meaning: “Facing Death” (Germany)

1987–The Living Daylights:
“Spies Die At Dawn” (Denmark)[!]
“Death Is Not A Game” or “To Kill Is Not To Play” (France) [!]
Depending how one translates “hauch”, either “The Breeze of Death” or “The Whiff of Death” (Germany)
“Danger Zone” (Italy)
“In the Line of Fire” (Norway) [!]
“High Tension” (Spain)
“Ice Cold Mission” (Sweden)

1989–Licence To Kill:
“Licence Revoked” (Title changed from “Revoked” when marketing bigwigs feared a unintelligent public would confuse the Bond film with a movie about driving. In ironic fashion, the Corey Haim vehicle “License To Drive” came out the summer of `89 also, thus justifying the marketing executives` salaries.) Posters may be found with variations of the American “license” rather than the British “licence”.

Foreign countries may not have adequate words to literally translate a film title from English into their language. They may approximate lines from the film or use a poor translation of an original, working title. For example, Japan uses the original title for “License To Kill”, “Licence Revoked” to form their translation. Thus, License Revoked became “The Cancelled License”! The film was known more gracefully, for example, as “Agent 007 With A License To Kill” (Sweden) and also as:

“Private Revenge” (Italy)
“With A Right To Kill” (Norway)
“Time For Revenge” (Sweden) [!]

1997–Tomorrow Never Dies: “Tomorrow Never Lies” (One story says the title changed when a copyist, prepping a press release, mistyped “Dies” for “Lies”. In possible verification, at least one band recorded “Lies” as a demo track for EON.)
“The Morning Never Dies” (Germany)

Other rumored titles were:
“Aquator” (starring George Lazenby as the villain, “Aquator”!)
“Avatar”
“Dream Weaver”
“On Hot Ice”
“Risico”
“Shamelady” (from Fleming`s Jamaican digs)
“Shatterhand” (Villain of novel, “You Only Live Twice”)
“The Postmaster”
“The Property of a Lady”
“The Undertaker`s Wind”
“The World Is Not Enough”
“Tomorrow Always Comes”
“Zameer Aquator”
“Zamfir Aquator”
“Zero Windchill” (Brrrr!)

1999–The World Is Not Enough, rumored titles for Bond XIX:
The aptly named “Bond 19” (USA press title)
“Bond 2000” (UK working title)
“Death Waits for No Man”
“Deathstriker”
“Elektra”
“Facts of Death”
“Fire and Ice”
“Prelude to Death” (One wag suggested the prelude was a Honda, perhaps.)
“Pressure Point”
“Shaken Not Stirred” (The working title of any Bond film not yet in the can.)
“Stonecold”
“The World Is Not Enough” (Correct!)

2002–Bond 20 rumored titles:
“Bond 20” (I don’t think so!)
“Little To Win… All To Lose”
“The Things I Do For England”
“The Infection Of The Ice”
“Colonel Moon” (title villain)
“Colonel Sun” (Kingsley Amis James Bond novel reviewed here.)
“Death Is Forever”
“For Queen and Country”
“Heroes Die”
“James Bond XX”
“Juggernaut”
“League of Dangerous Men”
“Never Send Flowers”
“Nobody Lives Forever” (John Gardner novel entitled Nobody Lives For Ever” in UK)
“Property of a Lady”
“Shaken Not Stirred” (The working title of any Bond film not yet in the can.)
“Die Another Day” (Correct!)

Rumoured filming locations:
Alaska, USA (Iceland, actually!)
Hawaii, USA (off the coast of Southern England, actually!)
New York City, USA (cancelled following events of 9/11)
Ireland
South Korea
Koln, Germany
MI-6 Headquarters, London, Great Britain

wild script – Tomorrow Never Dies

It`s worth repeating that a first draft is just that: a first draft. As such, they form the foundation for what other writers, almost without exception, will always revise. A rewrite is only one new writer away, and like every other Bond film, Tomorrow Never Dies had it`s share of them. The first writer is like the starting pitcher of a baseball game. The next writer, who does the rewrites, is like “the closer”. What might Tomorrow Never Dies have been had it been strictly translated from script to screen with no revision? Most of it sizzles (like Sidney Winch) with a few places fizzling (like any scene with Paris Harmsway in it).

Summary: A solid first stab at a script. The basic elements of the movie are in the script, but the sequencing is rearranged and the locations are replaced. It`s clear from the outset that media baron Elliot Harmsway has been thoroughly thought out, and as such, retains much of the flair and wit on the screen as in the script, even if the last name is changed. Lead Bond Woman, Sidney Winch, is nowhere to be found in the film. Completely cut out in subsequent rewrites, she is replaced by Chinese Agent Wai Lin. We will discuss Sidney Winch, her banter with Bond, a scene involving her frisking Bond that would`ve brought the theater to it`s knees in laughter, and the merits of her showing up in a future film later in this article. The plot concerned Elliot Harmsway`s desire to level Hong Kong, an element that was excised in later drafts. Paris Harmsway shows up, with fewer lines that her screen counterpart Paris Carver, but both meet the same fate. Paris Carver is actually an improvement over Paris Harmsway, as we will show.

The movie starts off with a precredit sequence much like the script, expect one crucial element is missing: the frozen waterfall sequence.

Fierstein crafts the opening scene by having Bond need to climb an icefall, the only way to stealthily infiltrate the arms bazaar and escape the detection of two radar dishes. The icefall is 600 feet tall, but 400 feet up, the ice begins to melt, and every stab of the pick and blow of the hammer begins to shatter the ice. Bond eventually swings himself like a pendulum until he`s able to swing to the top or near top of the fall, and climb the rest of the way; and just in the nick of time to, as the fall completely shatters, and running water pours out from underneath it.

Bond then skis down the slopes and positions himself to spy upon the arms bazaar. Tanner, not in the film, begins conferring back and forth with Bond. Admiral Roebuck, the blowhard in the film who challenges “M” every step of the way, is in the script as well.

After going through a list of identities at the explosive swap meet, Admiral Roebuck gives authorization to fire a cruise missle. Bond refuses to leave the area though. He`s spied something else: Kim Dae Yung, a North Korean nuclear specialist. Fearing there may be nuclear weapons in the bazaar, “M” orders Admiral Roebuck to abort the missle but he tells her it`s too late, that the missle is out of range. The difference here with the film is that in the film, Admiral Roebuck at least tries to abort the missle.

Bond then sees Yung holding weapons grade Uranium in a red box. Note: In the film, this little red box contains the GPS (Global Position Satellite) Tracking System. This GPS is less of a factor in the script than the major deal it is portrayed as in the movie.

The rest of the teaser sequence follows the film closely. Bond escapes by piloting a MIG. The major differences in the scripted version as opposed to the film are: Bond inverts his MIG so that he is looking down into the cockpit of the enemy (like Top Gun). He then presses the rear ejection button, sending his garrotte wielding enemy slamming into the MIG below. Bond peels away, allowing two heat seeking missles, launched by the other MIG, to slam into the wounded MIG. In the film, Bond flies up underneath the other MIG, ejects the rear copilot, causing that plane to explode. Fierstein`s original conception is actually the better of the two versions.

After the credits, the movie then opens with Stamper and Carver sinking the Devonshire. In the script, this sequence actually doesn`t take place until the beginning of the second-third of the story. Instead, after the precredits sequence, Fierstein takes us right to Oxford, where Bond is taking Chinese/Mandarin lessons from Professor Jenny Wu. This scene plays out almost identically to the film, except there they replaced Jenny Wu with Professor Ingstrom.

Moneypenny tells Bond to get into the office at once, calling him a “cunning linguist”. Professor Wu puts on her bra, panties and graduation-type gown. Wu asks Bond is he`s sure he can`t stay for her lecture, to which he replies: I can`t. But I did enjoy the dress rehearsal.”

Bond then goes to MI6 Headquarters, where NATO Colonel Dominique Everhart is addressing the staff, analyzing for them what the video Bond took in the Khyber Pass all means. Here we learn Stamper`s first name: Richard. He`s also known as Rendera Sikrahm, half Nepalese, half English. It`s obvious at this point that Everhart is putting together the case that the mercenary Stamper, Harmsway and Yung are connected. It`s also revealed, later, that Dominique and Bond once were stranded on a life raft in the Sargasso Sea for two weeks. Bond and Dominique exchange numbers, information both professional and personal, and Bond then leaves to see “M”. He`s escorted by Moneypenny, who in this draft, isn`t vulgur as she was in the film.

“M” is in her office with Minister Johnstone. “M” is prepared to launch an investigation into Elliot Harmsway and the theft of nuclear material from that arms bazaar in Afghanistan, but Johnstone wants to make sure that Harmsway is given every political consideration before it may be absolutely necessary to arrest him. Johnstone reminds “M” and Bond that Elliot Harmsway is a “Sir”, descended from the Earl of Aberdeen, and out of sheer gratitude, Queen Victoria herself named the port “Aberdeen Harbor” in their honor. Harmsway was investigated once in 1988 when he tried to initiate his own negotiations with the Chinese regardomg the takeover of Hong Kong. It`s obvious Hong Kong means something special to Harmsway. But MI6 have been tipped off from an anonymous source that Harmsway is up to no good. They don`t know who the source is, but Bond is to wear a mask and cape provided to MI6 at Carnival in Venice the next day, where he will be contacted by the source.

Johnstone leaves, and here we are given our first look at Malcolm Saunders, Q`s replacement since he retired (apparently Desmond Llewleyn had been bugging the producers and Bruce Fierstein for a while about giving him a dignified exit, and here Fierstein gives it.) Malcolm comes in and equips Bond with several gadgets.

The script then takes us to San Giacomo Square in Venice, Italy whereas in the film Bond manages to get invited to Carver`s party in Hamburg, Germany. In Venice it`s night. It`s carnival. It`s festive, crowded and boisterous. A solitary figure, disguised, approaches Bond and tells him to meet him/her at the church in five minutes. Bond does, only to find that the source is none other than an old flame named Paris.

The dialogue is strained here, some of it due to the fact that Bond is very, very cold and cruel to her; even slapping her at one point. Of course, she comes across as a total dingbat, and it wouldn`t be surprising to have seen a line forming with men wielding clubs, brass knuckles, boxing gloves, etc..just waiting for their turn to strike her. She`s a clinging ninny, but she gives Bond what he needs: info that Harmsway is behind the theft of the material. He wants to know how she knows Harmsway, but seeing some of his goons coming up the alley, she breaks off conversation with Bond. She tells the goons, one of which includes Stamper, that the man she was talking with was some drunk, but Stamper doesn`t belive it, or doesn`t care. He then gives chase in a somewhat rote chase scene that culminates in a Venice Medieval Armor Museum.

The next day Harmsway is holding a new conference aboard his yacht to announce his donation to mankind of The Sea Dolphin II and it`s 6 sea bed drills, otherwise referred to as `the worm`. It`s somewhat odd that Harmsway would make such a public spectacle with the drills, since he later uses them to destroy a British ship. While Harmsway is having a press conference, Bond is coordinating efforts with Signore DiGiacomo, an Italian Intelligence officer. When Bond gives the signal, DiGiacomo will board the yacht, discover the uranium, and arrest Harmsway, who will then be sent back to London.

Because Harmsway is a media baron, Fierstein gets to make good use of the press for fun. During his long speech to the press, Harmsway has this to say: …And so, it`s somewhat fitting that we are here today…To christen this enviromental research boat in Venice-Venizia-the port where Marco Polo sailed forth to explore the world`s great uncharted oceans…(beat) That 2/3 of the earth`s surface where the sharks *are not* working members of the press.

We then realize that Valentine Zukovsky is in Venice as the newly elected President of Ukraine. Together with Harmsway, Zukovsky managed to buy his election.

Bond sneaks on board the yacht, verifies the uranium slugs are there, and goes back topside, only to run into Zukovsky.

Bond: Valentin. What an unpleasant surprise.

Zukovsky: What is it that brings you to Venezia, Mr. Bond? Business…(sly glance to the thugs) Or *somebody else`s business?

Valentine then introduces Bond to Harmsway…

Harmsway: Always nice to meet one of her Majesty`s fellow subjects…(a nod to Valentin) Especially one with such distinguished friends.”

Bond: You might say I`ve always been one of Mr. Valentin`s biggest followers.”

Valentin: `Biggest followers?` He`s practically made a career out of it.`

He laughs. Bond decides to pull Harmsway`s chain.

Bond: It`s a beautiful boat, Sir Elliot. Practically glows in the dark.”

This type of interaction closely mirrors the scene at Carver`s Hamburg party, where Bond rattles Carver`s chains with comments about being “lost at sea”.

Harmsway introduces Paris to James, but then remarks how they have already met. Before Bond can respond, police sirens blare and DiGiacomo storms on board ready to arrest Harmsway.

Paris clings to Bond, telling him that Elliot didn`t want anyone to know they were married. That a third wife would look bad. Then she tells him “Leave me alone! He`s going to kill me!” Inexplicably, she then tells him only 5 seconds later: “You`ve got to protect me!” Well, which is it? Does she want James to leave her alone, or protect her? Paris is just…better off dead, and mercifully Fierstein deep sixes her very shortly.

Apparently Harmsway was expecting Bond, so he had put depleted uranium in the ship so Bond would find it. Harmsway explains to DiGiacomo that the depleted uranium ores were a gift from the Russian goverment. Tools to be used to help fund their aquatic research. DiGiacomo offers his most profound apologies and leaves. Bond smells a rat, suspecting that DiGiacomo was paid off from Harmsway from the beginning in an attempt to humiliate British Intelligence and warn them to keep away. As Harmsway tells Bond: “A piece of advice, Mr. Bond. Don`t screw with a man who buys ink by the ton. (Beat). It`s deadlier than uranium.”

Bond rushes back to his hotel where he has told Paris to wait for him. When he gets there, he can`t find her. He calls out her name and then checks the balcony. When he looks down, he sees her floating face down in the canal. Either Paris is trying to win a world`s record for holding one`s breath, or she`s dead. DiGiacomo bursts in and arrests Bond for Paris` murder. Flashbulbs go off; Bond`s arrest will become front page news. Harmsway has engineered the whole thing.

Everything in the Venice sequences were transferred to Hamburg, Germany which is unfortunate, as Venice is a much more beautiful city. However, it`s been used before in Moonraker. Did Fierstein allude to Moonraker when he had Bond tell his gondolier: “The Danielli. Presto!”?

Even though the overall sequence was transferred to Hamburg for the film, the details become completely different. In the film, Carver is set to launch a satellite network and holds an international party to do it. The Sea Dolphin II is scrapped, only to be replaced/morphed into a stealth boat for the film. Paris and her relationship are handled much better in the film than the first draft, but still, it would`ve been nice for Teri Hatcher to get a few more scenes to help nail the character. Bond is framed for drowning Paris in the script, just as he is in the film, but in the film, he`s able to turn the tables and get out of the situation in a very Flemingesque way. In the script, he has to have MI6 rush in and clear up the matter. There is no Dr. Kaufmann in the script.

The script then takes us to The South China Sea, where the HMS Indomitable (Devonshire in the film) is clearing Hong Kong Harbor with a ton of gold secretly stashed away. The course is set and the ship powers down, only able to receive electrical communications. Microwaves are shut off. Electric shavers unplugged. The ship is maintaining silence as it heads back to London.

We are now at page 42 of 131 pages. The scene is a manor house on the coast of Scotland. It`s the funeral for Paris. This scene was, of course, completely scrapped for the film. But the setting of a funeral in Scotland wound up in THE WORLD IS NOT ENOUGH.

After the funeral, Harmsway gets down to business, calling a meeting to get caught up to date on what`s going on around the world. He`s still got an empire to run. Harmsway refers to the gentlemen in his presence as Number One, Number Two and so on; almost Blofeld-like. After getting reports from Number 1 and 2, Harmsway receives a disturbing report from Number Three. Here, Fierstein makes an ingenious, funny, and not so subtle jab that there may have been more to The Gulf War than a fight for oil: that ratings may have manipulated it from the very start.

NUMBER THREE: I regret to inform you, sir, that Saddam Hussein is still demanding a bonus for his role in the Gulf War.

HARMSWAY: …Haven`t we already paid him for his services?

NUMBER THREE: Yes, sir. But he still feels his people should share in the increased profits of our news division. He has proposed an additional 500 million dollar payment.

HARMSWAY: …And there`s no truth that 10% of that money will go into your Swiss bank account?

Number Three denies the charge vehemently. Harmsway dismisses the meeting, but #3 is frightened to death that Harmsway just does not believe him. He`s relieved when Stamper puts him on a private plane to go home. Stamper even gives him a newspaper to read on the long flight back. #3 tucks the paper under his arm, boards the plane and takes off. When he unfolds the paper, he is stunned and scared to see his full color picture on the cover of Tomorrow (Harmsway`s paper) with the headline screaming ISRAELI AGENT REVEALED. He turns white as a ghost, two Arab gentlemen then sit down beside him, we hear a blood curdling scream and the script then cuts to The Straits of Malacca and The HMS Indomitable.

What follows here is a loose variation on what we see in the film, except here there are no Chinese MIG`s and no stealth boat. The Sea Dolphin II (Harmsway`s luxury yacht) is now in The Straits of Malacca and it sends `the worm` straight for the ship to sink it. The HNN satellite has quietly been sending the Indomitable off course. In the script, GPS technology is an afterthought. In the film, it`s a major plot point.

The worm bores through the sunken ship and eats it`s way through the cache of gold stored onboard. It laters sucks the nuggets up like an anteater, depositing the gold in the hold of the Sea Dolphin II. The script then immediately cuts to MI6, where a furious Minister Johnstone is berating British Intelligence for losing the Indomitable, even though it belonged under the auspices of the Royal Navy. Bond chimes in, and is ordered to go observe what Johnstone hopes will be a successful recovery mission in 36 hours outside of Hong Kong. Herein lies a problem though. The script feels as though it`s two different movies. The first movie was set in the Kyhber Pass and Venice. Now a new movie is beginning. There`s a disjointed feeling here, and wisely, the scene involving the worm destroying a ship is reworked and placed at the beginning of the film.

Bond tries tomake a connection with Harmsway: …Didn`t Elliot Harmsway just move his headquarters to Kuala Lampur?

M: Contrary to what you may believe, 007, the world is not filled with mad-men who can hollow out volcanoes, stock them with big-breasted women, and threaten the world with nuclear annihlation. The case is closed. The Italian authorities ruled the girl a suicide. We had enough trouble keeping your name out of the media. For everyone`s sake-(beat) Your job is to find the gold. Not settle some personal score with Elliot Harmsway.

This effectively, in M`s eyes, ends their investigation into Harmsway. So her next assignment to 007, is, in effect, a new mission which, to her knowledge, has no connection to Harmsway. This is a problem, as it gives the readers, and would`ve given the viewers, the feeling of loose ends not being tied up, nor giving Bond sufficient reason to pursue Harmsway any further.

The script now cuts away to Hong Kong and Shanghai Bank, where Harmsway is selling his interest in the Bank of Hong Kong to General Li of The People`s Revolutionary Army (a foreshadowing of General Chang?). Elliot sells the building, goes to the roof to get in his helicopter. The General goes to the rooftop to wave goodbye. The pilot has attached a cable between the skid of the copter and a towering ventilation shaft. When the copter lifts off, it pulls the shaft over, falling onto General Li, killing him. This sequence does not appear in the film, nor General Li.

We now cut to the Strait of Malacca, where Bond and the British Military are looking for sonar traces of the Indomitable. They have to wave away an HNN (Harrmsway News Network) boat trying to cover the story.

Harmsway is now in his Kuala Lampur office, which is inside the Petronas Towers, two towering 1500` structures which are the tallest buildings in the world and were used in ENTRAPMENT (we will discuss that later). In an insightful exchange here, Fierstein shows us the “if it bleeds, it leads” attitude in news media today. Harmsway calls a meeting to order:

HARMSWAY: Morning all my golden retreivers. What kind of havoc shall we create in the world today?

NEWS EDITOR #1: A ferry sank and burned in Pakistan; 457 dead.

HARMSWAY: Good.

NEWS EDITOR #2: American jetliner down in Omaha.

HARMSWAY: Better.

NEWS EDITOR #3: Economic summit ends in Tokyo.

HARMSWAY: *Boring*

NEWS EDITOR #1: Riots broke out at the World Cup Soccer Finals-

HARMSWAY: Dog bites man. (explains) Man bites dog is a news story. Riots at the World Cup soccer finals is a social announcement. Next?

Elliot feigns innocent disbelief when told that HNN is working on a story about a missing British ship carrying gold. Bond returns to the airbase only to find Jack Wade waiting for him; Wade and Bond take a look at a gruesomely disfigured body which appears to be the victim of a shark attack. It`s the body of one of the ship`s survivors, who was then eaten up in the blades of the sea drill/worm. This isn`t spelled out precisely in the script, nor why Bond would be interested in this body as if he were Captain Brody. The thinking here is that Bond can trace the body backwards to the ship by examining the currents at the time the ship sank. But again, it`s never spelled out that this was an Indomitable sailor.

Bond gets in Jack Wade`s boat. They`ve decided to contact the harbor master for charts and graphs showing currents and tides. As Wade is piloting his boat through the harbor, they are nearly run over by a much larger cigarette boat piloted by a beautiful woman who pays them no attention as she keeps boating onward.

WADE: I think I`ve just seen my next future ex-wife.”

It`s not a future ex-wife, but we will meet up with her later.

WADE: By the way, Jimbo – whatever happened to that girl – in Cuba?

BOND: Natalya?

WADE: Yeah, Russian Minister of Transportation.

BOND: She married a hockey player.

(Note, Izzabella Scorupco herself moved to Boston and married a hockey player.)

Bond and Wade talk with the HarborMaster, asking him if anything unusual had happened the night before. A few boats came in late or got lost, but nothing besides that. Bond checks out some graphs and charts and the HarborMaster tells Bond he`s the second person today to check out these materials. Bond looks at the name on the checkout list: Sidney Winch.

Bond arranges to meet with Captain Cheong later that night at the Kuala Lampur Yacht Club. There he gets some more information that could prove vital to where the Indomitable sank. Captain Cheong tells Bond that perhaps he should speak with Sidney Winch. Winch owns a marine salvage company in the area and knows more about the Strait than anyone else. Bond asks where he can find Mr. Winch. Captain Cheong tells him Winch is no man. Bond looks over at the bar and realizes Sidney Winch is a woman, and the same woman that nearly ran him over earlier in the day.

Here is where the script really begins to kick in with some sizzle. The banter and one upsmanship between Sidney and Bond alternates between hysterical and dynamite.

BOND (TO SIDNEY): I wonder if you handle your liquor more carefully than you handle your boat.

Very slowly, Sidney turns to Bond. She looks him up and down as if deciding whether this specimen is worth her time. Her conclusion: a definite – though skeptical maybe. She gives him a sultry smile:

SIDNEY: Sometimes, you just have to plunge into things. Be reckless.

BOND: And I bet you always leave turmoil in your wake.

SIDNEY: (thinking: `not bad`) Have we met?

BOND: This afternoon. Our boats practically kissed in the harbor. (holds out his hand to shake) James Bond.

SIDNEY:Sidney Winch.

Sidney then introduces Bond to this big, hulking man out of the corner of his eye: Taro, Sidney`s chaperone. She`s waiting on her date.

SIDNEY: So, what brings you to Kuala Lumpur Mr. Bond? (beat) Wait, don`t tell me. Unhappy marriage? Running from some poor little girl with two kids and a Chanel pocketbook in London?

BOND: (trying to rattle her) Actually, I`m here on business. You might say it was a…golden opportunity.

SIDNEY: (a chill in her voice) And exactly what business are you in, Mr. Bond?

BOND: Insurance. Lloyds of London.

SIDNEY: (daggers in her voice)The Strait can be a very dangerous place, Mr. Bond. A few words scribbled on a piece of paper in London doesn`t carry a lot of value out here. Including life insurance.

BOND: I`ll keep that in mind.

SIDNEY: (looking off) I see my date is here. (to Taro) And I think Mr. Bond is ready to leave.

BOND:Nice to run into you again.

SIDNEY: Let`s not make it a habit.

Taro then puts his arm on Bond`s shoulder, trying to nudge him out of the club. Bond sees Sidney`s date. It`s Uncle Elliot Harmsway. Seething with rage because of what Elliot did to Paris, he spins Taro around, wraps his tie around his neck, and takes an ice pick from the bar and nails Taro`s tie to it.

Wade comes upon the scene and asks Bond what happens:

BOND: He tied one on.

The next morning Bond and Wade prepare to look for the Indomitable when they climb aboard this sleek search vessel. Out pop`s Q from his retirment and immediately proceeds to arm Bond with plenty of gadgets. Q is surrounded by a bevy of beautiful women…

BOND: I must say, Q, you seem to be doing rather well in your retirement.

Q: Don`t even think about it, 007. They`re my granddaughters!

(Note: Desmond Llewelyn had been wanting an exit scene for a while. Here it was written, but for some reason was not implemented until the next film, The World Is Not Enough.)

Bond and Wade take off and eventually find the Indomitable, on the sea floor, miles from where she gave off her last known location. Bond dives in and examines the wreck, noting that the gold is gone except for one half chewed bar. He puts it in his diving sack and also picks up a broken uranium grinding tooth from the `worm`. On his rise back to the surface, he gets into a tangle with three divers and has to avoid being decapitated by a falling anchor. He`s eventually out muscled and he and Wade are taken to the ship`s Captain, who turns out be Sidney Winch. Here is the highlight of the script, a scene guaranteed to have brought the house down in fits of howling laughter had it been film. We can only hope that not only Miss Winch, but this entire sequence gets placed in another film:

SIDNEY: Just give me one good reason-Mister Bond, from Lloyds of London- why I shouldn`t kill both of you, burn your boat, and use your bodies for shark bait?

WADE: (chirping up)So you two know each other? Small world, ain`t it? What happened? Commitment problems?

SIDNEY: Who is he?

BOND: Sidney Winch, meet-

WADE: Jack Wade. Citibank. Commercial loan division. IF you`re ever lookin` for a sweet refinance on the boat-

SIDNEY: Shut up!

BOND: (to Wade)You have to excuse Miss Winch. She thinks she`s on a `seduce and destroy` mission through life (pauses)…But she won`t kill us.

SIDNEY: No?

BOND: No. First, because I don`t think it`s in your nature. And second, because there`s no gold down there.

SIDNEY: So charming. So suave. (beat) Don`t insult me. I`m not one of your `little London girls` who falls for the lies.

WADE: So it *was* commitment.

SIDNEY: Every wharf-rat from here to Hong Kong knows what`s on that boat and i`m claiming it. One third of that gold is mine.

BOND: That`s fine – but- even a little London girl knows that one third of nothing is still nothing.

There`s a flicker of doubt in her eyes. She turns to Taro:

SIDNEY: Was he carrying anything?>

Taro holds up Bond`s diving belt, indicating `nothing`. Angrily:

SIDNEY: Search him.

The men look at Bond, wearing only swim trunks. Nobody moves.

SIDNEY: Do I have to do everything around here?

BOND: I hope so.

Frowning, Sidney moves to Bond. As she REACHES INTO HIS TRUNKS, we cut to THEIR FACES. THEIR EYES ARE LOCKED ON EACH OTHER.

BOND: I hope you`ll be gentle.

SIDNEY: Think about mom.

BOND WINCES. She`s goosed him.

BOND:…Unusual technique.

Returning to the wide shot, she opens the sack. SHOWS THE GOLD:

SIDNEY: And what do you call this?

BOND: The family jewels?

A British Naval Cutter breaks up the action, arresting Bond and Wade and forcing Winch`s smaller boat off the area. She protests that the ship is in international waters, abandoned, and as such, she has a legal claim to it. But it`s to no avail, Wade and Bond are transferred to the British Cutter leaving Winch behind, vowing to get even with the men.

Wade and Bond are returned to the mainland. Their “arrest” was a ruse, designed to get them away from Winch. Bond tells Wade he has someone he wants to press for answers in Kuala Lampur.

Bond comes to Harmsway`s recently relocated headquarters, which reside in the Petronas Towers in Kuala Lampur. Harmsway knows Bond is in town and calls him on his cell phone, requesting a meeting. This scene is reworked and in the film, Carver calls Bond in Hamburg, a call that worries Bond, so he heads back to his hotel.

Bond meets Harmsway and takes a tour of HNN.

HARMSWAY: It`s funny Mr. Bond. Of all the things I own, nothing gives me as much enjoyment as my newspapers. Ironic isn`t it? In the age of TV, I still can`t get the ink out of my veins.

BOND: Yes, a man with ink in his veins and blood on his hands.

HARMSWAY: We print 31 newspapers here; another two hundred and seventy at satellite plants around the world.

BOND: And how many of those newspapers carried Paris Harmsway`s obituary?

HARMSWAY: All of them….Before I became involved with Paris, she was always involved with the most inappropriate men…Playboys. Thrill seekers. Middle aged Peter Pans who only brought out the worst in her.

Harmsway then shows Bond portraits of his ancestors, who built up a fortune smuggling opium in old China. Harmsway then leads Bond into his office, where Sidney is waiting in a chair. Bond and Sidney are surprised to see each other because, up to this point, neither knew the other`s connection to Harmsway.

Elliot goes on to tell Bond that Sidney had this fantastic story about a ship being sunk and it`s gold stolen, but that there was no evidence. Then Sidney protests, telling Elliot that he ran out of the room so quickly earlier that she didn`t have time to show him the evidence. Elliot is stunned that Sidney has proof, and Bond tries to nudge her to shut up, realizing that Carver will kill them both if Sidney reveals how much she knows. She pulls out the gold bar and uranium tooth. Harmsway looks at it and tells them he`ll have his news division look into it. He keeps the evidence and wishes them a good day. Sidney and Bond are escorted to an elevator.

Bond tells Sidney they are in great danger, to which she scoffs. He tells her he`s really British Intelligence and that Elliot is about to kill them.

SIDNEY: Elliot Harmsway is my Uncle!

BOND: Blood or Dutch?

SIDNEY: He was my father`s best friend!

BOND: He`s killed closer.

SIDNEY: You are seriosly deranged.

BOND: Maybe. But why are we going up instead of down?

The elevator stops on the 70th floor. Sidney gets out of the elevator to get away from Bond. She sees Stamper and runs up to him, glad to see him, and tells him that the deranged Mr. Bond is in the elevator. Stamper then spins her around, puts a gun to her skull and marches her back toward the elevator.

Stamper and his men unleash a hail of bullets into the elevator car. When they get closer, they realize Bond is not in the car. He had climbed up into the roof and has now swung down and knocks the gunmen down. Bond grabs Sidney and pulls her through the escape hatch.

The action includes gunfire, explosions, and lots of running before Bond and Sidney eventually find a window washer`s rig on the 72nd floor. It has two leather safety harnesses and runs on a track and cable. Sidney is reluctant to go, but Bond tells her “sometimes you just have to take the plunge.” And off they go, escaping Stampers bullets as the rig begins to plunge.

Around the 60th floor Stamper manages to loosen the rig from the tracks, and it begins to swing like a pendulum on the cables. It has now plunged down to the 55th floor and then stops 20 feet above the skybridge, which is 20 feet below. Sidney almost falls off the rig. The cower in a corner to avoid bullets. In all probability the rig is going to hit the curved ceiling of the skybridge, bounce off, and plummet 750 feet to the ground. As it begins to plunge to it`s deadly rendevous with the skybridge, Bond shoots the glass of the bridge, and it shatters, allowing the rig to come crashing through the ceiling. This whole scene was reworked for the film, and it eventually becomes Wai Lin and Bond escaping a tower in Vietnam by grabbing a banner and taking a freefall. Vic Armstrong, a stunt coordinator on Tomorrow Never Dies, reworked this sequence for Entrapment, a film he and Sean Connery worked together on.

Bond and Sidney eventually make it to safe ground and cut through the press room, where much of this sequence ended up in Hamburg. A fight breaks out and Bond dispatches thugs, including throwing one into a printing press and exclaiming: “He was bad news.”

Bond and Sidney get caught and it looks like there will be no escape for them. But Bond starts the BMW by remote control just as it looked like they were about to be shot dead. Bond and Sidney jump into the back of the car and take off on a chase involving Humvees in the parking garage of the Patronas Towers. This whole sequence is reworked for Hamburg in the film, and Sidney, nor anyone else, rides with Bond in this scene.

Eventually the car hits a garage door that Bond was sure his missles would blast through. They do not. Both Bond and Sidney are knocked unconcious. By all accounts Bond should be killed at this point, but Harmsway changes his mind. This is the weakest part of the script, for Bond and Sidney have gone through plenty of action up to this point and yet end up caught, rendering almost all of the chase pointless. Whatsmore, Harmsway has told Stamper that Bond and Sidney were not to leave the building alive, yet changes his mind in the garage. Stamper puts his life on the line and this is what happens? The plotting and sequencing of this section of the script is suspect. It needs reworking, which eventually happens in the film.

Bond and Sidney are taken to Hong Kong, where Harmsway hopes to pin a nuclear meltdown on Bond. Harmsway and his men overtake a Chinese nuclear reactor in Hong Kong and plan on creating a meltdown with the uranium he bought in Afghanistan.

Harmsway explains his rationale for this to Bond:

HARMSWAY: A hundred and fifty years ago, my ancestors took this island – a barren, lifeless rock – and turned it into the greatest city known to modern civilization. (beat) And now that i`m being forced to give it back, I intend to return it in exactly the same condition: a barren, lifeless rock. (beat) The gold is merely reparations – payment from the spineless British government who wouldn`t listen.

BOND: (to Sidney):I think Uncle Elliot is having his own melt down.

The theft of the gold is jettisoned from the film and for good reason. It`s really just a secondary plotline that comes in late into the script and feels seperate from whatever else is going on.

Sidney is taken with Elliot to his luxury yacht, and Bond is left in a vault to die when the meltdown takes place. Yung is nearby finishing the job when Bond, using his Q gadget, escapes from the vault and fights to the death with Yung, a fight Bond wins. The meltdown never happens and Bond commandeers one of Elliot`s helicopters and heads to the rendevouz point that Elliot established with Yung.

At first, the crew of the Sea Dolphin see the helicopter and assume it`s Yung. But the helicopter comes in too fast, too steep. Bond begins firing on the boat. He then hovers over the bow of the boat and tilts the blades forward, to keep the men at bay. This scene is similar to the scene where Bond and Wai Lin are being mowed down the blades of a helicopter in Vietnam. The scenes are strong enough or similar enough though to automatically assume the scripted scene was reworked for the film.

Elliot opens his bedroom window to find Bond and the helicopter aimed right at him. Eventually the helicopter comes crashing down and the boat begins sinking. Bond kills Stamper and then drowns Harmsway. Sidney has escaped the sinking of the ship by donning scuba gear and surfacing. They get into a life raft, where Sidney and Bond have the obligatory make out session. M tells Moneypenny to issue a press release announcing Harmsway`s death as a suicide.

Overall, the script`s strongest points are it`s villain, action sequences and humor. It`s plot and sequencing needed some work, but overall, it`s an interesting and fascinating script, with passages we hope to see in future films.

wild script – The World Is Not Enough

The World Is Not Enough, despite numerous changes in differing drafts, stays fairly faithful to the first draft turned in by Neal Purvis and Robert Wade on June 18, 1998. (Spoilers to follow).

In the film, Bond goes to Bilbao, Spain to retreive King`s money. In the first draft, it was Havana. Most everything else in this scene stays faithful to the original script, except the name of the middle man is Karoush and he`s not a Swiss banker. Cigar Girl escapes in the same fashion, by knifing Karoush in the neck. Bond is not shot at nor saved by Renard as he is in the movie.

In Dana Stevens “polish” treatment, Cigar Girl hides out in an apartment across the street and tells Renard that the British Secret Service Agent was named James Bond, to which Renard replies: “One of MI6`s more accomplished tin men.” This scene was filmed, but eventually edited out of the finished product.

Bond eventually gets back to London with King`s money, and he presents Moneypenny with a cigar holder, only in the film, the dialogue is a bit more witty, if distasteful. The money is wired to explode in both the film and first two drafts of the film, only in the original script, Bond chases Cigar Girl down the Thames in a jet pack, not a Q Boat. The Q Boat doesn`t show up until Dana Steven`s treatment. There is no Millenium Dome or hot air balloon in the first draft. Bond lands the jet pack on a boat directly opposite Cigar Girl and shoots her to death.

The focus then shifts to the Scottish countryside where MI6 has now taken up residence in the wake of the explosion at their London headquarters. Purvis and Wade put in a scene with the Aston Martin DB5 pulling up to the castle, but it`s dropped by the second draft and is never filmed.

Bond immediately goes to see Dr. Greatrex, later to be dubbed Molly Warmflash by the time Bruce Fierstein does the third and final draft. In the original script, Bond goes to the castle and then goes straight to the doctor for his physical, whom he manages to seduce. In the film, he`s left off the Elektra case because of health concerns, so he then sees the doctor in an effort to get him passed and cleared for duty. The dialogue is more or less the same.

In the film, Tanner and Charles Robinson (Chief of Staff) discuss the methods used to kill Robert King. In the first draft, that job was left up to Q. In fact, there was no “R” in the first draft, nor was there an exit scene for “Q”.

In the debreifing scene in the first draft, we learn that Cigar Girl`s real name is Sashenka Firo, a fact never disclosed in the film. `Renard, the Fox` gets a name change from Claude Serrault in the first draft to Victor Zokas by the time the film opens.

The scene where Renard`s physical health is being discussed, i.e his inability to feel pain due to the bullet in his brain, in the first draft was left up to Tanner and M. In subsequent drafts and in the film, Dr. Molly Warmflash gives the medical breakdown on Renard.

In the first draft, “M” assigns Bond to infiltrate the King organization as a PR consultant. In the film, “M” sends Bond in as a known agent of Her Majesty`s Secret Service. Bond goes undercover in the original draft as David Somerset. Apparently Elektra had not noticed Bond at her father`s funeral.

In the first draft Elektra takes Bond by jeep through the oil fields along the Caspian Sea, rather than him driving in on his own with the BMW. In this scene she refers to Devil`s Breath, natural gas that`s been burning since before mankind. Bruce Fierstein later wrote in our first meeting with Renard by having him hold a meeting at Devil`s Breath, a meeting that was not scripted in the first draft.

The jeep takes Bond and Elektra up to the mountains for them to ski along the pipeline in the first draft, rather than a helicopter. The Parahawks give chase in the first draft pretty much as they do in the film, with the key difference being that when Elektra and Bond collapse into the avalanche, Bond does not have an inflatable ski jacket.

In the first draft, Elektra addresses a gathering of oil tycoons later that evening at Valentine Zukovsky`s casino. In the film, she simply shows up to gamble, running into Bond who has asked Zukovsky for some help.

In the first draft, Renard has a hawk that plucks out the eyeballs of his enemies. In the script, “Blue Eyes” refers to someone who had failed to kill Bond on the ski run. Renard whispers into the hawk`s ear and it lunges for “Blue Eyes”, plucking out the eyeball. The talons of the Hawk draw blood on Renard`s hand, but he`s unable to feel it. This sequence, and the entire concept, were abandoned by the second draft. Look for it to show up in a future Bond film.

At the casino, in both film and script, Elektra plays her hand against Zukovsky`s bank. But in the original draft, she ups the ante, so to speak, and plays several rounds. In the film, she lays down a million dollars all at once and loses everything.

The film follows the script in that Bond and Elektra leave the casino for a night of passion together. Where the film has Bond and Elektra going back to her mansion in Baku, the Purvis/Wade draft has Bond and Elektra going to her yacht.

In the Purvis/Wade draft, Bond tells Elektra in bed that the amount of money Sir King paid for the stolen reports was the same amount as the ransom for Elektra when she was kidnapped. She then pulls out some papers of her father that show King Industries was involved in supplying equipment to move nuclear warheads for the Chechnyans. This is a major plot point in the movie that was not adequately clarified.

In the Purvis/Wade draft, Christmas Jones is a French Polynesian nuclear scientist. She`s also not quite as antagonistic towards Bond as she is in the movie. Bond goes into the decommissioning site as himself, not as a Russian scientist like in the film.

Later, when Bond enters the underground chamber, it is Renard that finds Bond and grabs him, not the other way around, as in the film. “Blue Eyes” helps Renard grab Bond, and “Blue Eyes” now has an eye patch. Renard headbutts Bond, breaking the skin and revealing the metal plate in his forehead. This scene was not filmed for the movie and much of the dialogue was subsequently changed.

A firefight breaks out in the Purvis/Wade draft in the underground test facility, but in this draft, as opposed to the film, Christmas and Colonel Akakievich are above ground. Bond manages to get into an elevator cage just seconds before a bomb goes off, but the ensuing blast forces the elevator up through the shaft like a rocket. In the film, the Colonel is killed underground and Bond and Christmas escape the madness by taking an elevator ride out of the facility.

In the Purvis/Wade draft, Christmas, the Colonel and Bond survey the damage to the underground facility by using a robot like spider capable of surveing damaged areas humans couldn`t get into. They realize from using the spider that Renard stole a warhead. None of this sequence made it into the film.

The theft of the warhead was also intended to humiliate British intelligence, as they helped broker the deal to have the warheads moved to France. Hence the connection to Christmas Jones being French Polynesian. In any case, this whole line of plotting was dropped in subsequent drafts.

Bond leaves a briefing with M. Christmas demands to know where he`s heading, but Bond refuses to tell her. She`s concerned the loss of the warhead will cause her program to destroy the nuclear arsenals of the world to be shut down and instead, taken over by the military, who will insist on keeping the nukes alive. She wants to team up with Bond, but he wants to work alone. He takes off in his car, and she calls a friend who uses a spy satellite to track Bond`s movements. Christmas follows Bond. Bond has gone to Zukovsky`s caviar factory. In the film, Bond and Christmas have teamed up and gone to the factory. But in the Purvis/Wade draft, Bond goes alone.

Bond sees a shadow and punches his hand through some dead wood in the wall, yanking the intruder through the wall and into the room, then delivering a blow to the chin before realizing it`s Christmas. Wisely, this scene was dropped in Dana Stephens draft and was reworked in the film. The helicopters then bear down on the caviar factory as they did in the film. The key difference in this set of events is that in the film, Bond and Christmas already know that Elektra is working against them and have already defused the bomb in the pipeline. After leaving the caviar factory and getting information from Zukovsky, Bond and Christmas head back to the terminus, which by this point, have been hit by Renard`s men. The bomb is in the pipeline.

This sequence is different from the film because in the film, the caviar factory sequence comes after the defusal of the bomb in the pipeline. Also, in the film, M and Charles fly out to Kazakstahn to help Elektra, upon which Elektra kidnaps M. The kidnapping of M, nor her flying out to Asia happens in the first draft. Only in subsequent drafts is this role expanded.

Bond, Christmas and Zukovsky all end up in Istanbul trying to find the sub, Valentine`s nephew, Elektra and Renard. In this draft, Valentine`s nephew is named Yevgeny. He insists to Bond that if anything has happened to Yevgeny that he must be allowed to kill Elektra, not Bond.

A bomb goes off in both the Purvis/Wade draft and in the film. However, where the chase ends as it begins in the film, in the script, Bond gives chase through a Turkish steam bath. The Dana Stevens draft had Bond and a thug fighting it out on top of an electric cable car running through downtown Istanbul. Both sequences were cut from all drafts and the film takes us from the dye factory to the Maiden`s Tower in one transition.

Christmas gets taken to Renard, while Bond is strapped into the Garotte.

ELEKTRA (to Bond): “Cure me. Tell me why I should relent. Talk me out of it. Tell me the calvary`s on its way. All I see is one spy and a foolish girl, floundering in a city they don`t understand. You don`t know what i`m up to…and neither does M.”

BOND: “One thing M knows is what your father told her about you.”

ELEKTRA:”And what did my father tell M?”

BOND: “That his little girl was insane.”

Zukovsky limps in, is shot by Elektra, and then he frees Bond by blowing off the clamps on his wrists. Bond chases Elektra upstairs and kills her. She doesn`t tell Renard to “Dive” like the film shows her.

The submarine sequence comes off in the film almost identically to the first draft. In the end, Bond and Christmas have a tryst in a fishing boat. It was changed to a Turkish rooftop by the time filming began.

wild script – The Strange World of GoldenEye and Tomorrow Never Dies

What do you do while you wait for Bond 20’s premiere or for the next Bond Collectors` Weekend to commence? Why, you examine the many bizarre similarities and space-time continuum opposites between Brosnan`s first two outings as 007. The following list has caused more than one barroom brawl between fans!

Have fun with this list. How is it that talented Bruce Feirstein and one dozen other writers, directors and producers worked with GoldenEye and Tomorrow Never Dies, making them dissimilar films, and yet so bizarrely alike? Am I seeing conspiracy where none exists? Am I drinking too much coffee or watching too many TBS days of 007? Is something seriously wrong with me and the Mrs., authors of the following list of useless trivia comparisons? You be the judge!

PS: Read the whole thing (if you dare!) and at bottom you get a special bonus, “proof” that Brosnan will never make a third James Bond film. (That was a good one.) Have fun!

————

Cast, Crew & Production:

Both films had title songs and end title songs composed by different artists.

Only the title songs appeared as single CDs.

Both films had stars who are singers themselves, Jonathan Pryce and Isabella Scorupco.

Both were over two hours, even after significant editing down; both made over 350 million at the box office and were advertised and had tie-in products for many millions.

George Lazenby and Sean Connery were rumored for villains, and a rival Kevin McClory was rumored for both films–This did not happen!

Both had excellent re-mixes of the Bond theme prepared for them that were never used in the film score.

In GEYE, Bond plays cards for a hobby. Ricky Jay who plays “Gupta” in TND, throws cards for a living.

Both titles end with a “long I” sound.

Both flicks were turned into “The Making of” books that were not as good as their predecessors, The Making of License To Kill or Roger Moore’s account!

Both were published as movie tie-in novels in England by Hodder as their only hard cover versions, both were published by Charter and Boulevard in the UK and US respectively in soft cover–neither were as good as their predecessors, “License to Kill” or the Wood…even Raymond Benson calls his latest Benson Bond Three and not his fourth James Bond novel!

Both movies were produced by Michael Wilson and Barbara Broccoli. Wilson makes cameos in both, not as a villain but as someone employed by the bad guys, and both times his working context involves the government of a superpower nation.

Both movies debuted in odd-numbered years.

Both Brosnan and Feirstein were rumored to have a good relationship with Martin Campbell and a crummy one with Roger Spottiswoode.

All four songs were sung by single acts, not bands; the title songs were both done by single female acts; Tina Turner and Sheryl Crow both have ten-letter names composed of a four letter and a six letter word–The title song of GoldenEye is 4:46 on the movie soundtrack and TND’s song is 4:47 long. The soundtracks had 16 and 15 songs respectively–Both title songs use the word “eye” or “eyes” in them.

Taking away common letters from both titles leaves “GRIMLY SORROW TV” or what might happen when these films move to TBS!

Both had posters with Bond in the middle, gun to cheek, a female on either side, a fiery explosion and movie vehicles pictured; both ad campaigns featured prominent circular shapes in their logos and design; the 007 logo blown up in size and the GEYE satellite path.

Bruce Feirstein gets a main script writing credit on both, though technically speaking, he was the first (and last) author to handle both projects!

Fun cast fact: Hollywood Irish Pierce Brosnan’s first big movie was “Goldfinger” starring Sean Connery; Sean Connery’s first big movie was “Darby O’Gill and the Little People”, where he stars as an Irishman.

Both had Walther guns, BMWs and trading cards tied in to their toys.

Both movies polarized fans who tend to either love or hate the film intensely.

Joe Don Baker was a last-minute replacement in both.

Both starred Brosnan, Llewellyn, Dench and Samantha Bond; both were not influenced much by Albert Broccoli; both reflected 90s sensibilities and are the two most discussed, pictured and advertised Bond films on the Internet; both carried new gun barrel sequences and music for their film and displayed the new United Artists logos and music.

Desmond Llewellyn appears as reading off cue cards in both films.

Only a fan would understand both titles; that GEYE was Fleming’s villa and that the working title or TND, Tomorrow Always Comes was the working title of a Gardner novel. One title was one of the best loved titles by fans, the other, one of the most disliked– both movie titles refer to the villain’s chief tool or weapon.

One had one of the best loved title sequences, the other one of the most disliked by the same technician; same thing for the two title songs and the two end title songs, “Surrender” and “The Experience of Loving!”

Both were especially popular in Japan, where TND did better than Titanic in its opening weeks.

Both films had controversial score composers; David Arnold for being a great bond composer who some thought erred with Shaken Not Stirred and with using the Bond theme and Barry riffs too much; Eric Serra for being a poor Bond composer who did not use the Bond theme enough! Both Serra and Arnold join John Barry and Bill Conti in having a last name with just one more letter than in their first name!

————

Teaser Sequences.

006 hides and observes the villains in one teaser sequence, 007 in TND.

When we first see Bond, he says nothing until he acknowledges the first victim he punches unconscious with one punch to their head–He then cracks a joke afterwards–Both jokes refer to bodily habits; using the bathroom or cigarette smoking.

Bond steals the plane for his escape in both teasers after first riding upon another vehicle to get there–He dumps the pilot out of each plane sometime before escaping into the title song.

Both teasers involve a Russian who General who orders soldiers not to shoot their weapons.

In TND, not knowing his location is about to be blown up, a villain chases Bond’s getaway plane, in GoldenEye, Ourumov knows his location is going to be blown up and halts the chase of Bond and his getaway plane.

Both teasers are in or near Russia in a frozen locale with ice and snow–Both films will end in a warmer climate elsewhere.

————

Bond/Brosnan:

Brosnan sliced open a body part while both films were in production and needed to hide that fact for both his finger and lip during filming.

Brosnan visibly pulsates his jaw in GEYE and visibly pulsates his eyelids in TND.

A shaken not stirred vodka martini is ordered by Bond in both movies.

Bond apparently has no money and does not need to eat anything or order a meal in either film.

Bond uses explosives working on timing devices in both films to take out the villain’s headquarters…both explosions do only a partial job of destruction which Bond must afterwards finish!

Valentin Zukovsky was shot in the leg by Bond but that did not stop him. Mr. Stamper is knifed in the leg by Bond–without slowing him down much either.

Bond and friends destroy at least one space satellite in both films.

Bond smokes in neither film.

Bond uses an ejector seat in both movies to save his life.

Bond speaks his “native” French in one film and his “native” German in the other–in both films, Bond speaks in these languages to incidental movie characters who are helping him with his car!

Bond comprehends one other non-English language in each film; Russian in GEYE and Danish in TND.

Bond shuts off Carver’s power source in Germany and the radar station’s power source in Cuba. Both serve as only temporary measures, which serve mostly to anger the villains, more than ever.

Bond gets down to cases and solves both problems in 48 hours once the main plot gets rolling.

Bond only says “Bond, James Bond” one time–He says it each time to a villain or villainess.

Bond comes into physical conflict with more than one person in each film without killing them dead.

Bond meets the villain’s gal in both films and at that time the two of them order something to drink.

Bond is on at least three boats and ships in each film–if we disregard the submerged wreck of the ship Devonshire in TND; the first craft in both films is a privately owned fishing boat or yacht–the next in each film is a small-sized speedy craft–the next is a large boat that is motionless in the water while Bond is aboard!

Bond is stripped to the waist in both films…each time, he is in water and also has a misbegotten seduction take place at that time–further, he is handcuffed in one film by Wai Lin and legcuffed by Xenia Onatopp in the other!

We see Bond using three planes in both movies–the first was stolen for escape; the second is his flight to the mission and the last he moves away from at speed!

Bond uses body parts other than his hands to influence flying vehicles in both films by banging his head into instruments and steering with his knees.

He wears Brioni suits in both and a black, not white, tuxedo jacket in both.

After a dramatic pause, Bond says the one word, “Commander” in both films to a villain or villainess.

In one movie, Bond quips, “How original.” In the other, Bond quips, “Very novel.”

Bond’s female passenger criticizes his driving skills in both films.

Bond clutches a rope or chain like Tarzan in both films; once just after escaping the villain with his heroine; once just after losing the heroine to the villain; once he swings into glass to avoid machine gun fire, the other time he shoots glass with a machine gun after his swing; he also dangles from a bungee to enter a villain’s HQ in one flick and angles from a rope to leave a villain’s HQ in the other!

Bond dodges numerous machine gun bullets in both and uses machine guns himself in both.

In GEYE, a villain looks at Bond’s Omega and wonders if Bond is still using Q’s old and supposedly outdated spy watch; in TND, two years later, Q has learned nothing from Bond’s presumed report of the incident since Wai Lin also criticizes Bond’s Omega and says, “the Chinese have made improvements!”

Brosnan is criticized in both films for not being a physically imposing Bond though he gets into more brutal fights and kills more people using knives and heavier guns than in previous Bond films.

Bond is uncertain of both heroines’ allegiance during their first encounters.

Bond drinks straight liquor from a glass in both films.

In both films, Bond is intimate with a woman who wears a necklace during that movie scene. For Both films and all six women, Bond makes love to each on screen one time only.

Bond bites two women with his teeth in TND. Bond is himself bitten by Xenia Onatopp in GoldenEye–Xenia bites Bond’s lip in their fight scene until he bleeds in GEYE–in real life a stunt man bled Bond’s lip during filming a fight scene in TND!

Bond empties and loses or discards a Walther in both films.

Bond uses a machine gun and dodges numerous machine gun bullets in both films.

Bond does not know M has read the report of Trevelyan’s death in GEYE–Bond does not know M knows about his relationship with Paris Carver in TND.

————

Villains:

Sean Bean was considered for the role of Bond himself, Jonathan Pryce asked to be considered to sing the title song; Sean Bean’s henchman was the former Colonel Ourumov, Pryce played the former Colonel Juan Peron in Evita!–Both men have light colored hair–Both die in their films while located in Communist countries and both are ultimately killed by their own devices–both are covert devices a one-time underwater radar antenna mast and a one-time underwater grinding submersible.

One villain damages a communist country to cover his tracks–He then plans to hurt England and steal power and money–The other villain hurts England to cover his tracks, so he can steal power and money from a communist country!

Bond says the final words to both villains just before he kills them–Both scream as their death overtakes them.

Both villains are pursued by Bond across two continents.

Bond casts doubt on Elliot Carver’s plot during their last meeting, with his two henchmen present, before their final showdown. Carver prophesies that as his plot succeeds, he will “Reach more people than God.” Bond casts doubt on Alec Trevelyan’s plot during their last meeting, with his two henchmen present, before their final showdown. Travelyan prophesies that as his plot succeeds, he will “Have more money than God.”

Alec Travelyan tells Bond, “God didn’t give me this face. You did, when you set those timers for three minutes.” Elliot Carver tells Bond, “I didn’t write my late wife’s obituary. You did, when you asked her to betray me.”

Both villains arrange Bond’s death using a helicopter without being present themselves, in both instances, the heroine’s life is threatened at the same time by the same helicopter and Bond improvises a rescue, both rescue methods see the helicopter blown to pieces.

Both villains holds the heroine hostage at gun point; disdain their intelligence and abilities, and then taunts Bond that they have his woman now

One villain sought to destroy mass communications and electronic media, the other to foster mass communications and electronic media.

The GoldenEye weapon works on a principle of thermonuclear pulse defeated by the chip stolen back by Bond in A View To A Kill; Tomorrow Never Dies involved the manipulation of space vehicles which Bond had helped defeat in Dr. No!

Both villains had mobile headquarters that were hidden by water on or near islands!

Both movies have villains refer to an American movie, since Zukovsky’s girlfriend sings “Stand By Your Man” from Coal Miner’s Daughter and Carver’s competitor emblazons “The Empire Strikes Back” for a newspaper headline.

Both feature an English villain who leaves his native country to live elsewhere and then seek to wreak havoc on only England and one other, Communist nation. Both villains need to steal a special helicopter from France or special computer equipment from America to achieve their ends, though!

Both villains are seen for one scene only in their moving headquarters of a stealth boat or stealth train; the only other vehicles Carver and Trevelyan are referred to as using are helicopters.

Both Carver and Trevelyan admonish Bond for being too late; Trevelyan to Bond in their first dialogue together, Carver to Bond in their last dialogue together!

————

Henchmen & Minor Villains:

Both villains had henchmen who were generals, Chang and Ourumov. Both Generals considered themselves the old guard of their nation and sought to take leadership of their country!

Bond was associated directly or indirectly with both villains before the present day of the film; in one, Bond has crossed oaths with the villain’s henchman Ourumov, in the other, he has crossed paths been with his wife, Paris.

By accident, the floor collapses under Natalya and she plunges to where the henchmen are waiting. Henchmen shoot the floor from beneath Bond and Wai Lin’s motorcycle intentionally yet they escape.

Both films focus on a minor villain handling a subplot, Zukovsky and Kauffman, who are played mostly for laughs.

Bond kills the main villain a few moments before the main henchman, Boris and Stamper, die.

As with the main villains, technically speaking, Bond does not kill Boris or Stamper; they are destroyed by the villains’ own weapons–both were stolen weapons; the liquid nitrogen in the stolen GEYE site in Cuba and the stolen missile from the ship?

Both films continue the tradition of the last few films as having at least one blond-hair, Aryan looking villain or henchman.

Henchman, not the main villains, steal special computerized equipment utilizing satellites as essential to the plot; both the henchman who steal computer equipment steal it from a locale in or near Russia that is demolished within minutes of the theft; the terrorist bazaar and Severnaya; both men die with one bullet shot into their forehead while Bond is in the same room!

————

Heroines:

At first meeting, Bond is unsure of the heroines’ allegiance–thinking Natalya might work for the KGB and Wai Lin might want to work for Carver.

The main villain makes a pass at both heroines.

Both films have a female character, (Paris Carver and Natalya Simonova) aloof to Bond initially and even tries to strike or resist him; they then tell Bond that his job is too dangerous and prohibits their relationship; then they urge him not to go after the bad guy in the morning, then after sleeping with him that night, they both change their mind and help him on his mission the next day!

Both movies have heroines who receive a gun from Bond; he directs them where to go and what do to in the final battle scenes–both comply and both know how to handle their weapons with skill.

Both heroines reside in Communist countries to which Bond encourages their loyalties and helps and protects their people!

Both heroines use personal computers in a way Bond is unable to so they can locate the villain’s location for the final showdown–our brilliant Bond, however, is able to give them both clues so each then can locate the villain’s base location in under sixty seconds!

The last danger is averted in GEYE when Natalya rescues Bond with helicopter from plunging into a satellite that was submerged a few minutes before; the last danger of TND has Bond rescuing Wai Lin from drowning while they are both submerged!

Both movies have Bond and the heroine in “impossible” stunts; neither sliding down a satellite or the helicopter jump into a building roof look like one could survive.

————

Other Bond Women:

Both films have at least one woman who wears a black dress.

Dutch actresses played in both films.

Bond is intimate with three women in both films–two of these women have dark hair; the third one has light hair, red or blonde–The two brunettes in each film are depicted as more intelligent and more combative.

The “light hair” women are throwaway characters who are less astute; one; probably the most English of the women Bond has been with ever, meets with Bond for the first time outside of England to evaluate his fitness for the Secret Service; Bond uses her and discards her to the frustration of M; the other, one of the most obviously foreign women Bond has been with ever; meets Bond in Oxford, England as a regular dalliance to instruct him and Bond discards her because M is impatiently waiting for him!

In one movie, Bond turns down the main villainess then kills her afterward; in the other movie, Bond accepts the villain’s wife and the villain kills her afterward!

————

Vehicles:

In both GEYE and TND, Bond has a missile fired at one of the planes he flies–One missile downs his vehicle, the other nearly downs his opponent’s vehicle.

Bond uses his Aston Martin in both movies; presumably the same car; neither is depicted as a Q branch vehicle and neither has gadgets greater than a champagne compartment; both are driven at the insistence of a red hair woman; in GEYE Caroline tells Bond he is driving too fast and should slow down before Bond makes love; in the other, Moneypenny tells Bond he needs to hurry up and drive faster to the Ministry of Defense right after Bond has made love.

Bond drives motorcycles in both films–both bikes are stolen vehicles and both bikes are discarded by Bond after their use–one smashes into a wall beneath the a helicopter, one smashes into the bottom of a cliff face.

In one movie, Bond uses the biggest, sturdiest vehicle possible, a tank…in another, Bond uses the tiniest and most vulnerable, half a motorbike.

In one movie, Bond dives out of a plane wearing a parachute, in the other, Bond dives into a plane not wearing a parachute.

In both movies, product placements are spilled and knocked over during a vehicle chase in second third of the film. Both products are made outside the UK which Bond has never traditionally ordered without a strong liquor chaser on the side.

————

“M”:

M is criticized for being a female head of the Service by English characters in both movies.

M’s “balls” are referred to in both films despite her lack of them; in GEYE, M states that Bond is “dead wrong” that she doesn’t have balls to decide to send a man to his death; in TND, M states that the lack of them is an advantage to making decisions!

In both films, M shows genuine remorse at the prospect of losing Bond.

M holds a drink in her hand as she assigns Bond both of his missions.

M thought 006 was killed in the teaser of GEYE, though he was not, and believes the same of 007 during the teaser of TND.

M accepts with rectitude that 006 gave his life at the beginning of GEYE; Bond feels terrible about his mistakes in 006’s death and M offers him forgiveness–at the end of TND, M says the villain gave up his life to cover up Bond’s success in the mission!

M sends Bond on both adventures while asking for discretion–in neither movie does she send Bond after consulting the Minister of Defense or the PM.

Both the control rooms M is in have screens that go blank after explosions hit the scene she are viewing.

————

“Q”:

Q gives Bond one device in both films, a belt or a cell phone, which Bond quips he is familiar with until Q points out the innovations inside.

Q insists in both movies that Bond return his equipment in pristine condition.

Q gives Bond two BMWs, both have missiles on board; one uses all points radar and the other has a radar tracking system; both have all the “usual refinements” plus something Q is “particularly proud of”–both have devices Bond used before, missiles were in Dalton’s Aston Martin and self-inflating tires were used For Special Services.

In GEYE, Q hands Bond his airplane ticket just before Bond gets on the plane from England to his mission–in TND, Q fills out Bond’s car ticket just after he steps off his airplane from England to his mission!

————

Other Characters:

The “good guys”, miles away from the villain’s headquarters in Tomorrow Never Dies and knowing Bond is inside but unable to see if bond is inside, help Bond destroy the stealth ship. In GoldenEye, the “good guys” are yards away from the villain’s headquarters and are watching Bond in desperate danger, but do nothing to help him!

Jack Wade is a gardener in GEYE and dresses in TND like he was working out in the garden–GoldenEye was written by John Gardner!

Jack Wade does not speed the plot but actually slows the tempo of both films and puts Bond into a situation sub-plot that two scenes after lead to his capture by the villain.

Moneypenny’s repartee is less lighthearted than Lois Maxwell’s in both films and begin and end in both movies on strongly sexual overtones.

Both movies have Russian officials, the Minister of Defense and General Bukharin, who work towards the detriment of the movie villains.

The character listed in the credits as M’s Chief of Staff, is informal and friendly with Bond in both movies, also he is competent, yet in each movie he misses a vital detail visible onscreen in the control room, that Bond is able to spot and further the plot.

————

Odds & Ends:

Sophisticated fingerprint or voice code locks are used in both movies to hide the computer equipment needing to be stolen; neither is ultimately effective.

Both Judi Dench, “M”, and Geoffrey Palmer, “Admiral Roebuck”, who are at odds in TND, play husband and wife in the British comedy show, “As Time Goes By”.

Our daughter, named Alexandria, was seven months old when she first saw Alec Trevelyan in the theaters. Our son, Benjamin Elliot, was seven months old when Elliot Carver in TND came out on video.

Both movies debuted in Winter.

I saw both films in Gainesville’s Litchfield theater with Kees Boer–Kees owned acquired preview copies from MGM of both movies before they were sold in video stores–I borrowed both copies from him on at least two occasions.

I went broke discussing both GEYE and TND with Steve Kulakoski on the phone long distance–Both our wives got upset when we bought all the merchandise available from the two movies.

————

Bonus: My Prophecy Fails: You Only Star Twice or why Brosnan can only be in Two Bond Movies!

Pierce Brosnan starred in 2 American TV series; Manions of America and Remington Steele.

Manions was made into a sequel so Brosnan was in it 2 times.

When tapped to play Bond, Remington Steele was renewed under contract and got a 2nd wind with Brosnan in the title role.

Brosnan, of course, was replaced by Timothy Dalton, who made only 2 Bond films.

The Living Daylights had 2 early poster releases, one with a Brosnan-like Bond character and one with Timothy Dalton!

One of Brosnan’s 2 loves and mothers of his children starred in a Bond movie, the other one commented on Bond for Entertainment Tonight.

After Remington Steele ended the 2nd time, when tapped for the Bond role a 2nd time in the 90s, Brosnan could say, “I am lucky to have fallen in love 2 times in my life, and that is enough for any man.”

————

“James Bond Will (Did!) Return!”

wild script – The Spy Who Loved Me

Before Dr. No was made, Ian Fleming agreed to give Danjaq control over the movie versions of the novels on one very important condition. If the company was ever going to make The Spy Who Loved Me, they must write a totally new story, and only use the title. (I don`t know if it included characters, locales, etc.)

This is why many of the main points of the movie are set up this way. The secret hideout under the sea, the brutish henchmen, and the villian. Curt Jurgens, who played Karl Stromberg was Ernst Blofeld in a different name. He looked like Telly Savalas, and the character was written as Blofeld.

The original was also going to be “unfinished”, thus the opening of For Your Eyes Only, where Bond rids himself of Blofeld. Broccoli dismissed SPECTRE at once, but kept the opening. Of course, For Your Eyes Only was not done imediately after TSWLM, and Moonraker was chosen, to cash in on the success of Star Wars and Close Encounters of the Third Kind

Anthony Burgess, novelist, critic, translator, composer, and long-time Fleming fan, (1917-1993) was asked to write the script for The Spy Who Loved Me. His novels include A Clockwork Orange, the Enderby Quartet, The Pianoplayers, and the spy spoof Tremor of Intent. He also wrote the introductions for the British Commonwealth paperback editions of Fleming`s novels (published by Coronet) praising Fleming`s virtues as literature, and chiding the films for stressing the fantastic and therefore being inferior entertainment. In his 1984 book “99 Novels”, Burgess included Goldfinger on his list of the 99 best English language novels written since 1939. Burgess also admired Amis`s Colonel Sun. Burgess also had the same agent as Ian Fleming: Glidrose chairman Peter Janson-Smith. Burgess wrote about his Bond screenplay in the second volume of his autobiography, “You`ve Had Your Time”, 1990, Chapter 4:

“Returning briefly to New York from Vancouver in order to fly to a college in Troy or Antioch or Rome (all NY), I was met outside my hotel by Cubby Broccoli and Guy Hamilton. They handed over a wad of paper and a portable typewriter. Cubby Broccoli was the producer of the James Bond films and Guy Hamilton was one of their directors. The next scheduled James Bond film was The Spy Who Loved Me, but it was permitted to transfer only the title from the book to the screen. Ian Fleming had forbidden, and was still forbidding from the grave, any use of the material in the novel. The novel had been a failed experiment in shoving Bond to the margin of the narrative and making the protagonist an English girl looking after an American motel. The subjects of the story were arson, and violent killing in the private sector, not the realm of SMERSH or SPECTRE. It would not do as a book – the critics condemned it wholesale – and it was not permitted to do as a film. Broccoli and Hamilton wanted a script from me that should be a totally original story. I found out later that they wanted scripts from a score of other writers, the intention apparently being to throw all these into a mixer and pull out a synthetic plot. So, on my travels, I hammered out my own contribution to the melange.

“I knew from the start that it would not work, but a horrid fascination drove me on. I followed the formal pattern of the Bond films as closely as I could. Before the main title sequence I had Bond in Singapore fighting a Chinese musical gong society and drowning one of its thugs in a tub of shark`s fin soup, seasoning it with soya sauce as the thug goes under. But Bond is then shot and left for dead, though he is merely stunned. He recovers to find a Chinese surgeon ready to extract a bullet from his shoulder, using acupuncture as an anaesthetizing technique. Bond learns about acupuncture and is given the two needles – one for yin, the other for yang – as a parting gift. Driving to Singapore airport he sees a Jumbo jet go up in flames as it leaves the runaway. This is an apparently motiveless atrocity engineered by CHAOS – the Consortium for the hastening of the Annihilation of Organized Society.

“A plenary meeting of CHAOS – in a maritime location not clearly defined – shows an Orson Welles monster based on my own character Theodorescu [Tremor Of Intent, 1966], crippled and confined to a wheelchair, tended by a Scottish Presbyterian doctor. He is the chairman of CHAOS, and he announces a programme of terrorism for its own sake, not for financial gain. The consortium has made enough money and must learn the pleasure of pure power. Great figures of the world – queens, presidents, popes – must render themselves obscene or absurd in full public view as the price for not seeing a school, a sanatorium, an orphanage wantonly destroyed by CHAOS. That blowing up of a jet plane leaving Singapore was the price the Pope had to pay, somewhat vicariously, for refusing personally to whitewash the ceiling of the Sistine Chapel [sic]. The chairman-monster`s terrorism is fired in part by his beautiful daughter, who, loved and then deserted by 008 [sic], Bond`s colleague, vows revenge on the world. Her chagrin has manifested itself in a hideous facial rash which she covers with her raven hair. She does not realize that 008 has been killed by SMERSH. It is she who, in the first main scene, burns up millions of dollars in a huge baronial fireplace to indicate the worthlessness of money in comparison with vindictive power.

“She is one justification of the title. Another is a beautiful Australian opera singer whom Bond think he loves. Bond sets out to discover by what means the seemingly inexplicable explosions which destroy innocent targets are operated. He finds out that people who have had appendectomies in a particular German clinic have been, unknowingly, fitted with a nuclear explosive device in the scar tissue which is activated by a distant radio signal. Infiltrating the German clinic he discovers the former mistress of 008 in charge. She devises delicious tortures for him but he comes through unscathed. More, he convinces her that 008 did not betray her. She sees something of 008 in 007, perhaps inevitably, since he was Bond`s twin brother. They make love. Miraculously, as in Greene`s The End of the Affair, the hideous facial rash disappears. He learns from her that her father is committed to blowing up the Sydney Opera House on a gala occasion at which the Queen and all the leaders of the British Commonwealth will be present. The alternative is for the American President to disport himself obscenely on international television. In Sydney, Bond discovers that the lovely opera singer, who is to play the lead in Strauss`s Salome on the gala occasion, has had an appendectomy at the German clinic. He performs an emergency operation, using the acupuncture needles to anaesthetize, and then pincers the explosive device out of her scar tissue. The 007- (formerly 008-) loving girl sees what looks like an amorous encounter. The hideous rash returns. She tries to kill Bond. Sydney, not just its Opera House and distinguished audience, will be destroyed by a nuclear bomb. I do not think I have to continue.”

Burgess also wrote about it in the April 1987 issue of Life Magazine:

“I remember, on Fifth Avenue, being handed a portable typewriter and a sheaf of blank paper by Cubby Broccoli, the series` long-time producer. He was trying to make The Spy Who Loved Me, and there was nothing in Ian Fleming`s novel of that name that could be used. Fleming had, in fact, forbidden its adaptation; there could be only a nominal connection between movie and novel. I was engaged in a lecture tour of the United States at the time, and so in one Holiday Inn bedroom or another I hammered out a story.

“My script imagined an organization called CHAOS – Consortium for the Hastening of the Annihilation of Organized Society. It is headed by a gross Orson Welles-like villain in a wheelchair, whose ambition, like that of his syndicate, is no longer to serve either Russia or Mammon but to humiliate the world and destroy the authority of its religious and civil establishments.

“There was possibly something oversophisticated in a concept that ignored monetary gain (in the first scene millions of dollar bills are insolently burned), but I made it plausible by giving the villain a beautiful daughter on whose face a livid deformity has appeared. She hates the world and wants to see it destroyed. She also hates the British Secret Service, for she once loved 009 [sic] and he deserted her (she does not realize that he has been killed). The ghastly strawberry field on her face appeared just after the supposed desertion. It is clearly psychosomatic.

“The Pope himself has to whitewash the ceiling of the Sistine Chapel; otherwise a convent school will be blown up [sic]. The Queen and all her Commonwealth ministers are to be destroyed in the Sydney Opera House unless they cavort in total nudity before the television cameras of the world. Explosive devices, activated by remote radio beam, are inserted in the scar tissue of innocent people who have been operated on for appendicitis at a Bavarian clinic. James Bond starts his investigations, is captured and tortured by the girl with the defaced face, but he eventually teaches her to love, which makes the deformity disappear as if by magic.

“My plot called on unbelievable technology. It asked for more nudity and frank sex than the Bond films – intended, after all, for the innocent young as well as the rest of us – could conceivably carry. As I foresaw, the script was rejected, though my oil tanker that served as a camouflaged floating palace for the chief villain was retained. When it was released in 1977, The Spy Who Loved Me turned out to be a kind of synoptic gospel, in which the contributions of numerous writers had been blindly pulled out of a hat and given to an electric mixer. Clearly we had come a long way from Dr No and From Russia With Love.”

The following writers also worked on The Spy Who Loved Me:

Cary Bates
-the villain Hugo Drax (“Moonraker”) has Spectre connections
-his underground base is inside Loch Ness in Scotland
-Spectre tries hijacking a nuclear submarine
-Bond tries stopping them with the help of Russian Agent Tatiana Romanova (“From Russia With Love”)

Ronald Hardy
-his story also involved nuclear submarines
-the villains use a sophisticated electronic tracking device to pinpoint and capture enemy submarines
-the villain has look-alike bodyguards/henchman
-except for the tracking device idea, Broccoli was unimpressed with the script

Anthony Barwick
-Barwick kept the tracking device
-the villain, Zodiac, will destroy fleets of nuclear submarines with his long range torpedoes if the Western powers don`t turn over their art treasures
-his henchman are triplets: Tic, Tac and Toe

Derek Marlow

Stirling Silliphant

John Landis

Anthony Burgess
-see above

Richard Maibaum
-Anya Amasova first appears in Maibaum`s draft
-the Red Brigade, the Bader Meinhof gang, the Black September Organization and the Japanese Red Army come together to form the new Spectre
-in the script`s first several pages, the young terrorists burst into Spectre`s headquarters and assassinate the old guard
-not interested in blackmail or extortion, they want to destroy the world by capturing a nuclear submarine and wiping out the world`s oil fields
-Maibaum did some location scouting in Budapest; either this was to have been a location, or a stand-in for the USSR
-Steven Jay Rubin`s book, The James Bond Encyclopedia, claims that the tanker idea first appeared in Maibaum`s draft; Anthony Burgess also claimed credit for it; either way, it was a carry over from Maibaum`s discarded Diamonds Are Forever script; Blofeld commandeers a huge tanker as a firing platform for his laser cannon
-Jaws may have been in Maibaum`s draft; apparently the character dies in a furnace
-Broccoli liked Maibaum`s script but thought it was too political

Christopher Wood
-Wood replaced the terrorist group with a Blofeld-style villain named Stavros
-a shipping magnate, Stavros owns a huge supertanker equipped with a special bow that opens up and swallows nuclear submarines
-Spectre uses a tracking system to capture a Russian and a British submarine
-Jaws becomes Stavros` chief henchman
-Broccoli told Christopher Wood to remove any trace of Spectre after Kevin McClory complained

Tom Mankiewicz
-polished dialogue and rewrote scenes

——————————————–
Missing scenes from earlier drafts:
In early drafts of TSWLM, the villians henchmen were triplets named Tic, Tac, and Toe. They were eventually written out of subsequent drafts and replaced with Jaws. Tic, Tac, Toe were in Anthony Barwick`s draft and may have been gone by the time Richard Maibaum did a draft. Quoting from Steven Jay Rubin`s book: “Uninterested in blackmail or extortion, they intend to destroy the world, by capturing a nuclear submarine and wiping out the world`s oil fields. In the script`s opening scenes, the youngsters burst into Spectre headquarters and assassinate the old guard. Broccoli had liked Maibaum`s script but he felt that the young SPECTRE group of terrorists was much too political.”

Another draft of the film had 007 fighting a lenghty and exhaustive battle in an Egyptian museum. During the fight, ancient treasures would be broken, artifacts destroyed, and at one point, the tombs or coffins of some of the Pharoahs, would be knocked open. These mummies would then disintegrate when the air hit them. The whole scene was scuttled, and later reworked for Moonraker, where 007 fights Chang in the Venini glass shop.

Broccoli originally wanted to shoot the film in the USSR, but couldn`t get permission. The Russian government wanted him to make a movie about the American communist John Reed – Warren Beaty eventually did (“Reds”).

Bond goes to the Cairo Museum of Antiques to meet its curator, Fekkesh. Once there, Bond encounters two Russian agents in the mummy room. Glass cases are smashed, mummies disintegrate and one-liners prevail. Bond quips, “Tut-Tut” after one of the Russians hurls a bust of King Tutankhamen at him. Eventually, Bond is overpowered, and knocked unconscious.

They take Bond to another part of Cairo and attach electrodes to his vital parts. The Russians order Bond to tell them where their missing submarine is – they think the British are responsible. Anya walks in just as they`re about to give Bond another jolt. She reprimands them, reaches down to unhook the electrodes and says, “I can handle this”. Bond smiles, quickly knocks out the two guards and jumps out of the window. A similar scene appears in Wood`s novelization.

Bond wins fifty thousand pounds from Kalba in a tense game of backgammon. Kalba dies before he can pay.

Bond and Anya follow Jaws into the desert in a sports-car. They fight Tuareg bandits using built-in mini hand grenades inside Anya`s pearl necklace.

Q`s equivilant in the KGB is a bearded Russian named “P”

The Liparus was known as the Leparus and the Lepadus

————————-
The following scenes were in the August 23, 1976 shooting script:

Throughout the script, Stromberg is referred to as “Number One”

In the pre-credit sequence two ratings – Jones and Fraser – play chess. With a grin, Jones picks up a piece of chalk and turns to a slate on the wall beside the serving hatch. On it is chalked – “Jones 148, Fraser 3”. Jones licks a finger and alters “148” to “149”.

Jones: “Don`t worry. You got another whole month to find out the Bishop moves diagonally.”

Bond meets Hosein after talking to Freddie Gray, but before Stromberg meets Bechmann and Markovitz.

Stromberg doesn`t kill Bechmann and Markovitz.

Bond flings himself and Felicca onto the floor instead of turning her into the path of the bullet

Sandor holds onto Bond`s cuff; it slowly rips.

Bond: “Your life`s hanging by a thread. Come on – where is he?”

Sandor (gasping): “Pyramids… The Pyramids.”

The sleeve rips away from the jacket and Sandor, with a scream of fear, falls into space.

Bond looks at the empty sleeve he is still holding, then with a shrug he tosses it over the edge of the roof.

Bond: “Not a tailor I`d recommend”.

Jaws doesn`t tear the van apart; Anya puts the van in reverse and slams Jaws into the wall. From Anya`s viewpoint in the driving mirror, we see Jaws lumber to his feet and start shambling in pursuit. Bond`s quips were presumably ad-libbed on set.

The Q Branch scene is much simpler. A door opens and through it we see a male figure in Arab dress seated back to us on a pouffe. Immediately, the figure is shot into the air, cracks against the ceiling with sickening force and falls to the floor, lying in a lifeless heap. From the pouffe there protrudes a powerful spring – it is, in fact, a large jack-in-the-box. Another technician presses a button on a camel saddle, releasing a knife blade which would stab the rider.

When Bond asks, “Have I ever let you down?” Q doesn`t reply. He looks sceptical as Bond gestures to Anya to get into the passenger seat. Nor does Anya refer to Q as Major Boothroyd.

Bond calls his car Wet Nellie: “Welcome to Wet Nellie. I wouldn`t call her that in front of Q, by the way.” After the car has beached, Bond doesn`t drop a fish out of his car and there are no double-take drinkers, or running dogs (though a teenage girl gets a face-full of suntan lotion). A little boy, building a sand castle, looks up and sees the Lotus Special approaching him out of the sea. He turns to his mother, a large woman lying on a beach mat with eyepads over her eyes. He shakes her, pointing to the sea.

Little Boy (excitedly): Mamma! Mamma! Guardi!

The Mother lifts a hand and gives a gesture of impatient dismissal. As the Lotus Special drives out of the sea, on the volley-ball court a ball bounces off a player`s head as he stops and stares in bewilderment.

Bond doesn`t make the “candid camera” quip on board the Liparus.

The ending of the film is different.

It`s not clear if Jaws survives: “Water floods in from above and Jaws is thrown back into the tank, disappearing in a churning deluge.”

Inside the corridor, Bond reaches the door labelled “Escape Chamber”. He seizes the central wheel and starts to turn it. He turns to speak to Anya.

Bond: “Give me a hand. It`s-”

He stops dead and stares. Anya stands back along the corridor, her gun levelled at Bond. Bond pauses, then steps forward. Anya fires. The bullet thuds into the wall besides Bond`s head. He pauses again, then starts to walk slowly towards her, his eyes steady on her.

Anya: “I won`t miss with the next one”.

Bond (still approaching): “You couldn`t have missed with the first one – if you`d really wanted to kill me.”

Anya`s face is blank. Her finger tightens on the trigger. Bond is nearing her.

Bond: “Anya…”

Her hand wavers. Bond reaches out, avoiding the gun, and puts his hands on her shoulders. She shakes her head as if waking up. He draws her to him.

Bond still holds Anya in the now acutely tilted corridor. Water floods in. Bond turns to the door of the escape chamber, wrenches the wheel round and pulls the door open.

Bond: “Go on – in!”

As he pushes her through the door, the wall at the end of the corridor gives way and a flood of water bursts through. Bond throws himself through the door of the escape chamber as the deluge of water engulfs the corridor.

Bond pulls Anya inside the escape chamber – there is just enough room for both of them. He slams the door and clamps it, and operates the control on the wall. The water begins to flood in. Clipped to the side of the chamber is an opaque plastic sphere about two feet in diameter. Bond grabs it, pulls it free and holds it.

Anya: “How long have we got?”

Bond: “Long enough – I hope.”

The water rises fast around them.

The escape hatch opens and Bond and Anya swim out, Bond still holding the plastic sphere. They start struggling up towards the surface.

There is a final torpedo explosion on board Atlantis. The entire structure buckles and disintegrates and slowly goes down, disappearing into the black void.

A calm, unruffled sea. After a short pause Anya`s head breaks surface. She gulps for air.

Anya: “James!”

A few feet away Bond surfaces, holding the plastic sphere. He, too, gasps for air.

Bond: “Anya!”

As Anya swims to him, the plastic sphere opens up like a flower into a circular raft.

Bond and Anya start to climb into it.

Bond and Anya lie shoulder to shoulder against the side of the raft. A mood of relaxed intimacy prevails. He turns aside, opens a container in the side of the raft and takes out a bottle of champagne and two plastic cups. He gives Anya one of the cups and pours them each some champagne. They toast each other silently and drink.

Bond: “I thought you were going to kill me down there.”.

Anya: “So did I.”

Bond: “What made you change your mind?”

Anya: “Isn`t it supposed to be a woman`s privilege?”

He raises his drink to her, smiling.

Bond: “To the spy who loved me.”

She smiles, leans forward and kisses him on the mouth. As he adjusts his position in order to repay the gesture with interest, his wrist-watch bleeps. He looks at it as the tiny ribbon of tape starts clicking out. He holds the end of the tape so that both he and Anya can read it.

In a close shot we read the words on the tape: “007 report soonest possible M”.

Bond carefully pulls the watch off his wrist, holds it over the side of the raft by finger and thumb and lets it drop into the sea. He looks at Anya. She is smiling invitingly. His eyes lift and looks beyond her to something in the far distance. He frowns.

Bond (without enthusiasm): “It looks as if they`ve sent someone to pick me up”.

A flotilla of battleships, Ensigns flying, cut through the water at high speed.

This ending was revised January 20th, 1977 into what it is now.

Bond still doesn`t say “keeping the British end up” at the end. Instead, echoing Gogol`s earlier words, Bond says, “Gentlemen – we have just entered a new era of Anglo-Soviet co-operation.”

wild script – The Property of a Lady (Third Dalton Film!)

Had MGM/UA not gone into financial trouble, and had EON not had to fight a legal battle of their own, Dalton would have gone on to film his third Bond movie in 1990 for a summer 1991 release.

Here`s what it might have looked like:

-one treatment was to have dealt with the Hong Kong exchange

-the title was alleged to be The Property Of A Lady (a Fleming title)

-locations included Hong Kong and Vancouver, British Columbia

-another draft was to have dealt with drug runners and been filmed in Mexico; this script was by Alphonse Ruggerio, Jr.

-a treatment involved anthropomorphic creatures (robots); this may or may not have been a part of the above two treatments. Apparenty preliminary sketch designs of these robots were made at Disney Studios.

wild script – The Man With The Golden Gun

At the end of the pre-credit sequence, Scaramanga shoots the Bond effigy in the heart.

Q and Major Boothroyd are two separate people; in the film, Boothroyd is renamed Calthorpe. The script actually identifies Tanner as the Chief of Staff.
_________________

The Saida sequence is considerably different (and much better than what`s in the film). Bond doesn`t swallow the lucky charm, nor does he fight Arabs.

The scene is set in a bordello in Beiruit`s red light district, not a nightclub. Bulbs from the ceilings make pools of light between dark areas. A fat, oily customer, indicative of the establishment`s clientele, emerges from the door of one of the rooms, passing Bond and the Madam as she leads him towards Saida`s room in the background.

Madam: “All my girls, monsieur, are famous beauties, but you are fortunate Saida was recommended to you.”

Bond: “The specialties of the house, I hear”.

A silhouetted figure, back to the camera, appears in the foreground watching Bond and the Madam.

Bond and the Madam stops outside Saida`s door.

Madam: A dove, a little bird of Paradise – and so talented.

Madam opens door.

Madam: Saida, here is a handsome Englishman for you.

Bond goes in. The Madam closes the door behind him.

Saida`s room is fairly large: it`s the showplace of the house, the decor partly Middle Eastern, partly Empire. Crystal chandelier et al vie with Persian rugs, silk wall hangings, etc. A carved, three-panel, latticed screen is positioned about fifteen feet away at a forty-five degree angle from the foot of the bed. It stands in front of an arched doorway opening on to a balcony running along the back of the house and masks a courtyard below.

Saida is excessively plump and over made up, but definitely not an “old bag.” Mind you, Bond is “unable to restrain a wince.”

Saida (flirtatiously): Oui, you are very handsome. (getting off bed) And Saida?

She undulates towards him, models herself provocatively, featuring a curvaceous but out-sized haunch.

Saida: Do you like her?

Bond: A dove, a little bird of Paradise.

Saida: Come. Saida can take you there.

Bond (stalling): Yes, of course, indubitably – but couldn`t we just chat?

Saida (Staring at him): With Saida? That is an insult!

Bond (craftily): I mean first.

Saida (mollified, returning to the bed): You are so English, you English.

They discuss Bill Fairbanks, as they do in the film. Eventually she clamps her arms around Bond. The camera pans slowly to the screen. Through the lattice work we glimpse a shadowy figure holding something. Scaramanga and gun?

Bond simultaneously pulls his gun out of the holster and rolls off the bed. Bond comes up in a half-crouch, still holding gun, and launches a flying dropkick at the screen. It crashes over, pinning Hammud, a husky, swarthy Lebanese, under it. Bond pulls him out from under screen to his knees and covers him with his gun. Hammud still hands on to a camera.

Hammud (gasping): Don`t shoot! I give you film! No charge!

He moves as though to hand Bond the camera, instead knocks the gun out of Bond`s hand with it. Bond brings his knee up under Hammud`s chin. Hammud falls back, drops camera. Bond picks it up. Hammud tries to get up. Bond bashes him over the head with camera. Then he wraps the strap around Hammud`s neck and twists it until his eyes bulge. Bond releases him, gasping, yanks Hammud to his feet, screws off lens, shoves it into Hammud`s mouth. Saida watches wide-eyed. Bond turns him around, hustles him out through the arched doorway. And propels him over the balcony railing. Hammud drops a short flight into a large refuse bin, groggily tries to climb out. Bond turns, goes back into the room. Returns with Hammud`s camera, aims, chucks it down over railing. Camera conks Hammud on the head and shoulders and knocks him back into refuse bin, out cold.

Bond comes in from the balcony.

Bond: I never liked home movies.

He picks up gun, puts it back into holster on chair, turns to her.

Bond: Where were we? Oh, yes.

She scurries back to the bed. He walks past her, kneels down to inspect wall on the other side. He sees the bullet hole. Bond stands up.

Bond: The bullet was never found. (turning towards her) What hap-

He stops abruptly. Saida is in bed, the sheet pulled up to her waist. Bond comes slowly towards her. We now see Saida has a black ribbon around her throat. Bond sits down on the edge of the bed. Bond examines the mashed golden bullet hanging on a ribbon in her cleavage.

Saida: My lucky charm. I never take it off.

She holds out her arms. Camera moves in Bond`s reaction. Big “Things I do for England” sigh.

Bond reluctantly takes off his jacket.

Later that night, the red light district, a narrow street, is deserted. Saida sleeps contentedly, a thoroughly satisfied female. She stirs, turns in the bed to find Bond. He`s gone. Saida sits up abruptly. The bullet is also gone.

___________________

The Queen Elizabeth scene ends earlier. Hip says, “Out of his pin money.” Bond replies, “I`d like to strike up an acquaintance with him, sir. I have a notion how to approach him.” Everybody stares at Bond, then we cut to-

Hong Kong Tai Pak Airport. Bond, carrying hand luggage, pays off his taxi and hurries into the airport. Hip is standing by the check-in desks, as Bond joins him.

Bond: Where`s Q?

Hip: Not here yet.

Voice: Boarding passes.

Goodnight, looking very trim, joins them, holding passes.

Bond: Three?

Goodnight: You stood me up last night, James, so buy me dinner in Bangkok.

Bond: Would M approve?

Goodnight: He suggested it. (enjoying herself) After last night`s debacle I suppose he thought a keen, efficient operative might not be amiss.

Bond: Quite right, too. Someone will have to keep an eye on me while I`m asleep.

A voice over PA announces departure of plane to Bangkok. Hip and Goodnight go past check-in desks. Bond sees Q hurrying towards him, carrying a tiny package. Puffing hard, Q reaches him.

Bond: Have you got the item I requested?

Q (panting): Stayed up all night making it (handing him a tiny opaque plastic box). I say, Double-O-Seven, you`re getting awfully kinky.

Bond (taking box): Thank you, Q.

He turns to follow Hip and Goodnight.

Q: Just a moment, Double-O-Seven (unslinging camera case) I believe you`ll find this unusually handy.

Bond: Not my hobby.

Q (taking camera out of case): It is now.

Bond: If you`ll excuse me, Q, my flight.

He walks past check-in desk.

Bond walks rapidly towards boarding gate and Q trots alongside him.

Q: Really, Double-O-Seven, you`re being unusually obtuse today. I`ve designed this for prompt emergency action by merely selecting and setting appropriate shutter speeds.

Passengers go through the boarding gate. Hip and Goodnight reach it. Hip goes through. Goodnight turns back and gestures for Bond to hurry up.

Bond and Q approach boarding gate.

Q (ratting on): Gas ejection – instant solidification, liquid non-adhesion. Fortunately there`s a complete manual in the case which I strongly advise you to study carefully, but whatever you do (indicating on camera) never, never press this without first turning that.

Bond: Why not

Q: Self-destruct mechanism. Whtt!

He pantomimes explosion. They stop at gate, beside Goodnight.

Bond: Most ingenious. But I`m sure there`s one thing it can`t do.

Q: What?

Bond: Take a photograph.

Q (putting camera back in case): There`s no need to be facetious. Actually you`re right, but I`m working on it. (thrusting camera case into Bond`s hand) Happy landing.

He bustles off. Stuck with camera, Bond slings it over his shoulder and accompanies Goodnight through boarding gate.
___________________

Hip`s nieces are named Nara and Cha. The karate school set-piece is different.

Headmaster: Good morning, Mr Bond. On behalf of my Academy I accept your challenge.

Bond: My what?

Headmaster: It is a source of great pride to us that we are prepared to oblige all comers. Have you any requests?

Bond (looking around): Is there a doctor in the house?

Headmaster: Excellent, Mr Bond. Always strive to strike fear into an adversary. I will be most interested to see your individual style of self-defence.

Bond (dead pan): So will I.

In slow motion, a student throws slabs of wood, each about seven inches square and an inch thick at a black belter who chops at them with the side of his hand and splits them in mid air one after the other.

Bond bows to the first black belter to indicate that he`s ready. The black belter scowls, starts circling Bond. Bond reaches into tunic, takes out iron incense burner rest, tosses it toward opponent. In slow motion, the black belter instinctively chops at it. He clutches his hand, grimacing, and retires.

The second black belter is bigger, tougher, uglier than the first. He circles Bond with the usual sneers, growls, hisses. Bond sticks his thumbs in his ears, wiggles his fingers, crosses his eyes. The second black belter stops, disconcerted. Bond stamps hard on the arch of the black belter`s foot. He grimaces, limps away disdainfully, squats and rubs his foot.

Bond fights Chula. Chula knocks him down again, then grabs Bond`s neck in a both-hand squeeze, a possibly fatal hold. Cha and Nara – Hip`s nieces – come to Bond`s aid. Actually, they are professional Thai girl kick-fighters. The crowd gasps as the two girls go to work on Chula with their fists, elbows, knees, feet, even butting with their heads. Chula goes down. Students and black belters rush to help Chula. The girls and Bond fight their way through them towards an exit. Hip joins them. They fight their way into the courtyard, pursued by students and black belters.

Hip and Cha are separated from Bond and Nara. Hip and Cha get out through the gate first, and run to Hip`s car as students pursue them. Bond and Nara fight their way out through the gate. However, students block the way to Hip`s car. Bond and Nara turn, run in the opposite direction, as Chula and three other black belters emerge from gate, see them, and follow.

Hip and Cha get in the car; Hip swerves to avoid hitting spectators emerging from courtyard through the gate. He can`t see Bond or Nara beyond the milling crowd.

Bond and Nara run along the wall in front of the courtyard, away from Hip and Cha in car. He looks back. Chula and the black belters spot them. Bond and Nara turn the corner of wall, and run towards the back of the houses beyond; the houses are built on stilts. Bond and Nara run along the side of a house. All kinds of boats are moored and tied up along a bank. Market boats in the stream are filled with melons, kitchen utensils, flowers, etc. Bond and Nara reach the bank. They look back. Chula and three of his men are coming after them alongside the house on stilts.

Bond and Nara jump from boat to boat working their way to the opposite bank. Nara misses her footing and falls into the water. Bond looks back for her. Though a great kick-boxer, she is obviously no swimmer. She thrashes around in the water. Chula and the black belters see Bond come back and dive in after her.

Chula and his men commandeer a market boat. Two men pole it past other boats toward Bond and Nara. Bond boosts her out of water onto a market boat with the help of a market man. She splutters and is winded. He sees Chula`s boat approaching, climbs back on deck, and picks Nara up.

Bond resumes crossing the stream by leaping from boat to boat while carrying Nara. In the background, Chula`s boat gains on him.

Three long-screwed Thai motor boats are tied to the dock. Bond sets Nara down. He pulls her with him into one of the motor boats, casts of, starts motor, operates long rudder pole with spinning screw at the back, backs boat into stream, swings boat around, capsizing the melon market boat as he does, then drives out of stream.

Bond and Nara manoeuvre in and out of all types of other boats of as he drives downstream.

Chula and one of the men commandeer one boat, the other two get in another.

Their new boats back out away from the dock, swing around, then pursue Bond`s boat downstream. They gain on it as Bond`s boat encounters growing river traffic.

Bond drives behind a large passenger launch. Chula`s boat roars past on the opposite side so that it is now ahead of Bond`s. Bond now has one hostile boat downstream of him, the other upstream.

Chula`s boat turns to come upstream.

Bond sees Chula in front of him, looks back, sees second boat gaining on him. He heads through the water traffic toward the bank and floating market.

Chula`s boats close in on Bond`s. Chula`s boats back off, turn around, then back toward Bond`s, the props on the end of the rudder poles whirling.

Bond and Chula`s boats manoeuvre as they attempt to cut each other down with the props. This takes them close to the bank.

A prop shears off the strut holding up the canopy over a boat load of tourists. It collapses on them.

A marketeer frantically tries to avoid veering tourist boat. It crashes into the poles holding up a house on bank. The house collapses.

Other boats try to avoid the manoeuvring long-screwed boats. They collide, tip over, and dump produce and merchandise into the water along with market people.

Chula`s second boat barely misses Bond with shirling prop. Bond manoeuvres to strike back at driver of second boat. Offscreen scream as his prop evidently hits driver of second boat. Sound of splash. Blood on the water at the centre of outgoing concentric ripples.

Bond (to Nara): He screwed himself up.

Bond manoeuvres his boat to put other water traffic between him and Chula`s boat. Bond and Nara get out of the motor boat and scramble onto a barge shop. They cross a barge crowded with shoppers, including tourists, identifiable by their holiday attire.

Chula and black belters climb out of his motor boat onto the barge shop. They start after Bond and Nara.

Market boats are now densely positioned so that shoppers and tourists can move around the floating market by using gangplanks, bamboo spans, rope ladders, or just by stepping from one boat to the other. Bond and Nara approach a group of tourists on a boat selling all kinds of large straw hats.

JW Pepper`s wife tries on hats while Pepper waits impatiently. Bond and Nara pass them. Pepper looks puzzled, then shakes his head.

Chula and the black belters on the floating market have apparently lost their quarry and look around, frustrated. Black belters from the other prop boat join them.

Bond and Nara see Chula and the black belters with their backs turned toward them. Bond and Nara turn, retrace their steps to get away from them, passing Pepper and Mrs Pepper at the hat shop boat. Close on Pepper. Delayed take, then he remembers.

Pepper: That spy fella!

Bond and Nara disappear behind cabin of a large market boat. Chula and black belters give up the pursuit, disgusted.

Pepper and his wife are among the other tourists.

Pepper: I tell you it was him, Emma! Let`s get out of here!

He turns, bumps into a market man carrying pile of hats, backs up, loses footing, and falls over the side. He comes up spluttering. Excitement among tourists, etc, on hat boat.

Mrs Pepper (Shrilly): JW, get your ass out of that filthy water!

Tourists and the market man pull him back aboard.

————————-
When Bond goes to the auditorium to meet Andrea, girls, not men fight. Scaramanga explains: “You know why those girls aren`t phoney? They`re fighting for husbands. Come from the mountain village up north, Chiang Mai. You need a dowry up there. Win a few fights and you can pick your husband.” Bond: “Lose a few and you end up a pug-ugly old maid.” Scaramanga doesn`t tell Bond about the elephant that he had when he was young.

JW isn`t in the car chase scene. A prospective buyer, a small, spectacled, solemn faced Thai, tentatively kicks one of the tires. He gets into the car and sits in the passenger seat. Bond gets into the car. The prospective buyer says, “Give me demonstration, please. How is pickup?” Bond drives the car out through the showroom window. Hip freezes as the Ford, with Bond behind wheel sitting next to the prospective buyer, comes at him. Bond swerves just in time to avoid hitting him. The prospective buyer displays true Oriental unflappability, his face expressionless. Bond says apologetically, “You wanted a demonstration.” The prospective buyer raises an eyebrow when Bond drives up the broken bridge. After the stunt, the prospective buyer merely gives the suggestion of a blink. Bond: “Nice family car.” As Scaramanga`s car flies away, the prospective buyer points up at it and says, “No care for that model. (gesturing back at the Ford) I take that one.”

Scaramanga tells Bond, “If I knew you were coming Nick Nack could have served your favourite meal.” Bond ignores the implications (“last meal”).
_____________________

The gun duel is much simpler. The following is all there is; nothing has been cut (i.e. we don`t actually see Bond change into the effigy`s clothes).

Both Bond and Scaramanga dive and roll behind rocks as Nick Nack yells “Twenty!”. He turns and scrambles away from what he now knows will be a no-holds-barred shoot-out.

From behind a rock, Bond shouts, “Chicken!”

Also behind a rock, Scaramanga shouts back, “How about you?”

Bond: Just a tactical surprise.

Scaramanga: That`s a laugh. I know every rock and bush on this island. You`re dead, Bond.

He darts from behind rock towards another. Bond sees just a flash of Scaramanga, crawling behind clump of brush to take cover behind different rock. Bond fires.

From behind a rock, Scaramanga calls, “You`re slipping, Bond. You had a clean shot at me and blew it. That leaves you five.”

Bond`s voice: Four more than you.

Each man tries to outmanoeuvre the other in an effort to get behind him or make him expose himself. Scaramanga takes advantage of his locale knowledge, Bond of props he finds in the sand. A crab, for instance, which he wedges into the Y of a piece of driftwood and propels over a rock that Scaramanga hides behind. When Scaramanga, surprised, becomes momentarily visible, Bond gets off another shot at him. Scaramanga almost traps Bond by throwing part of an abandoned fishing net over the slump of brush he is using for cover. Bond retaliates by tossing a dead seagull at him. Throughout Scaramanga tries to draw Bond closer to the grotto.

Bond fires again.

Scaramanga (taunting him): Three wasted – and three left – that doubles the odds on you – you`re a long shot now, Bond.

From behind rock, Bond (shouting back): That just pumps my adrenalin faster. You`re playing it close. Is that what they taught you when you were a KGB punk?

Scaramanga: You`re a limey punk yourself – and so far it looks like they didn`t teach you much.

Scaramanga sprints a few yards towards the cover of a rock nearer the grotto entrance.

Bond fires. Scaramanga reaches the cover of rock.

Scaramanga: Two left, Double-O-Seven.

He takes of yachting jacket, stuffs it with seaweed. Then he reaches for rotting plank and puts his yachting cap on it. By holding the plank behind the stuffed jacket he has made a passable stimulation of himself. He holds it up over top of rock.

Bond fires. Scaramanga fires golden gun back.

Bond drops back behind rock, not hit. Bond realizes that Scaramanga must now be without ammo. Or is he?

Scaramanga behind rock grinning as he loads another golden bullet into golden gun. He rises, sprints towards grotto entrance.

Bond gets up warily from behind the rock and pursues Scaramanga.

Scaramanga lets himself into the door to the foyer of his pad. Bond runs into the grotto in hot pursuit. He reaches door. It opens. Nick Nack looks up at him.

Bond: I`ve never killed a midget – but there has to be a first time for everything – where is he?

Nick Nack gestures for him to come in.

Afterwards, Nick Nack grins and goes back to the all purpose room.

Peering through semi-darkness. Light goes up over mirror and music starts. Bond moves past mirror, proceeding cautiously.

Scaramanga waits for Bond. We hear the James Bond theme. Lights go up on James Bond effigy in background. It drops to one knee as in logo, levels gun at Scaramanga. He laughs, starts past effigy, it fires. The bullet hits Scaramanga. He staggers, raises golden gun to fire back. As he does, wildly, his knees sag, and he sinks to the flor, the golden gun still clutched in his hand.

Close on effigy. But it isn`t. It`s Bond himself who had put on effigy`s coat and hat, etc, and impersonated himself. He rises, comes forward slowly.

Bond stops besides Scaramanga`s body, takes the golden gun out of his hand, turns away, looks for the way out.

Outside the fun house, Goodnight sees Bond and runs to him.

Bond (as she clings to him): Steady, Goodnight. Here`s a souvenir for you.

He gives her the golden gun. She stares at it.

Goodnight: Where is he?

Bond: In a funhouse. He died laughing.

Goodnight does not accidentally hit the switch with her rump during the Solex set-piece, nor does the Solex go on.

Bond and Goodnight have to climb down from the opening of the solex dome, slipping, sliding, desperately hanging on to rocks and shrubbery until they reach the base of the cliff.

For those of you wondering how M had the junk`s phone number, Goodnight had tried phoning M. He wasn`t in.

M: Keep trying, Operator. They tried to contact me ship-to shore so what`s the difficulty?

Operator (faintly audible over receiver): They don`t seem to be taking calls just now, sir.

When he does get through:

M: Is that you, Double-O-Seven? (he listens, smiles broadly) Well done. Congratulations.

Bond: Thank you, sir.

M`s voice (faintly audible over receiver): Can I speak to Miss Goodnight?

Bond: Just a moment, sir – she`s coming.

Inside his office, M waits and waits and waits. Fade out.

wild script – The Living Daylights

In the first draft of TLD, Bond and Kara escape the doomed C-140 by flying out into the Persian Sea. Bond tries to land the plane on the deck of a friendly aircraft carrier, but he can`t stop the plane quick enough. The plane goes over the edge, slightly teeters, giving 007 just enough time to hoist the cargo net out and latch it onto the ships derrick. Bond and Kara escape to safety.

Dalton filmed a lenghty and elaborate chase ssequence in the streets of Tangier that was significantly cut. After “killing” Pushkin, 007 jumps from rooftop to rooftop to escape the Tangier police. He grabs a roll of carpet, lays it out across some telephone wires, and slides across the rooftops of Tangier like Alladin. About to crash, he grabs a banner overhead, holds on to it, and swings down into the crowded alleyways of Tangier. Swinging like Tarzan, he latches onto a local vendor selling oranges on his motorbike. Bond jumps on the seat with the driver, takes over the steering, pops a wheelie, spilling all the oranges, and proceeds to screech down the bustling marketway.

Easily the most inspired action sequence of the film, it was unwisely cut in an effort to distance Dalton from Moore`s interpretation of the action sequences.

Kamran Shah was originally referred to as Ranjit in early drafts of the film.

wild script – On Her Majesty`s Secret Service

In one scene not used in the film, 007 chased one of Blofeld`s spies across the rooftops of the College of Arms after he discovered him spying on Bond. Bond gives up the chase, goes back to the College, collects his stuff and leaves. The sequence was filmed and not used since the final running time of the film was already near two and a half hours. Maybe it will show up on the Special Edition DVD.

Two endings were devised for the film. The first ending was Tracy dying; the second ending was simply Tracy and Bond getting married and riding off into the sunset. Because Lazenby decided not to return as Bond (and he made this official before the movie was released), the producers had Tracy killed off in the movie and then start the next film with Bond seeking revenge.

wild script – Never Say Never Again

Co-author Len Deighton is a respected British spy novelist. The “Harry Palmer” films that Harry Saltman produced in the 1960s, starring Michael Caine, were based on Deighton novels about an unnamed spy.

Deighton was also the first screenwriter on From Russia With Love. He had written 40 pages before the producers decided that it wasn`t going anywhere and signed Richard Maibaum.

See my third point under “Notes” for a list of scenes that suspiciously found their way into subsequent EON Bond films. Coincidence or not?

Warhead
(James Bond Of The Secret Service)

Screenplay by:
Len Deighton
Sean Connery
Kevin McClory

First Draft: November 11, 1976

(c) Branwell Film Productions Ltd 1976
Paradise Film Productions, Ltd

Characters:

James Bond: Bond is referred to as Double-07 (as opposed to 007).

Felix Leiter: CIA agent and Bond`s friend.

Q: Bond seems to question Q`s sexual preference. Page 75: Bond turns and puts an affectionate arm on the shoulders of Q. Bond: “Well done, old fruit.” Page 85, Bond, to Leiter, over shoulder indicating Q: “Say goodbye to Esmeralda, Felix.

Emilio Largo: Pretends to be a philanthropist. Owns Turtle Cay, has a large shark laboratory for cancer research. The locals are afraid to go near it. They call it Shark Island. Plays backgammon.

Maslov: A Spectre scientist; Polish. He defected and was reported missing on an airliner that went down in the Bermuda Triangle in 1948.

Bomba: A gigantic black man; Largo`s henchman. Page 97: “The door is suddenly pulled off its hinges and Bomba, whose presence and attack makes Muhammad Ali look like a fag, enters.”

Fatima Blush: Agent X Three. She`s tall for an Oriental. Page 7: Lovesit: “She`s the new doctor, Dr. Fatima Blush. She`s here to give the men their physicals. She has a Korean mother and a Spanish-Moroccan father. She`s a good swimmer. She nearly got into the Olympics team last year.” Bond: “Representing who – the United Nations? She could easily win a gold medal in the physical Olympics.

Domino: Fatima`s twin sister.

Hellinger: One of the CIA`s top underwater electronics experts; involved with Fatima Blush. He`s a wiry ferret-faced man with a very distinctive scar running down the side of his face.

Giuspeppe Petacchi: He`s undergone plastic surgery and his face has been clinically scarred so that he can impersonate Hellinger. He`s not connected to Domino. She doesn`t even realize that he ever existed.

Effie: Spectre cleaning lady.

Fidelio Sciacca: A Spectre agent. The diver Largo leaves behind.

Justine Lovesit: A Shrublands masseuse. Page 5: Bond: “What`s your name?” Lovesit: “Justine Lovesit.” Bond: “She does?

M: Head of the British Secret Service.

Moneypenny: M`s secretary.

Blofeld: Head of Spectre. Environmentalist (he calls the Earth “Planet Ocean”). Cat fetishist. There`s nothing to suggest that he and Bond have any past history.

Locations:
-The Bermuda Triangle
-Shrublands (Bahamas)
-Azores Islands environs
-Shark Island (Bahamas)
-London
-New York City
-the Atlantic Ocean

Notes:
-Arkos is a white superstructure that rises out of the water (like Stromberg`s Atlantis). Tubular passageways connect Arkos to its components. The huge circular moon pool is on the central floor. This is actually the water of the surrounding ocean held at that level by the pressure inside the chamber. We see the ocean bed beneath. During the action, we glimpse fish, and occasionally the surface is broken by a fin.
-Shrublands is a Bahamas training facility. It`s not a British health clinic.
-The script has many similarities to Bond films made after 1976. Not only SWLM (Arkos; agent X-Three; a gigantic mute henchman; creating a new civilization under the sea; the villain mentions that 70% of the world is covered by ocean; and many others), but also:
MR (the philosophical undertones about creating a new civilization because the modern world is degenerate; the tubular passageways that connect Arkos to its components);
FYEO (getting a device from a sunken ship before any one else can; the underwater scenes; the “michelin man”);
OCT (backgammon; sliding down spiral staircase bannister, the last words are “Oh, James.”);
LD (Bond`s beeper plays Rule Britannia);
LTK (the decompression chamber death; water-skiing stunts);
What might have been the third Dalton Bond film (anthropomorphic creatures);
GE (the villain has a scarred face; a protracted setpiece in the first half where the villains steal weapons; complete mechanical breakdown using an electronic interfering device);
TND (sinking a ship to steal its weapons; finding that weapons have been removed from a sunken ship);
And even Gardner`s Nobody Lives Forever (Shark Island).

The script seems divided into three main sections:
1. 1-80
2. 80-110
3. 110-150

1-4
While on board Arkos, Largo and Maslov use an electronic jamming device to bring down the seaplane carrying the Secretary General of the United Nations into the Bermuda Triangle.

During the titles, Arkos carries the broken seaplane down into the colder, deeper ocean layers, past the graveyards of previous victims of the Bermuda Triangle (airplanes, ships, etc) at the bottom of a vast undersea empire. As the Arkos and its prey reach the bottom the algae floats up revealing fields of stacked gold, diamonds, manganese nodules, etc.

4-9
At the Shrublands school of aquabatics, Justine Lovesit rubs sun oil onto Bond`s body and tells him about Fatima Blush and Hellinger. Bond meets them on the beach.

9-31
Largo and Maslov experiment with a heat-seaking electric shark inside Arkos. Maslov also explains that the surrounding sea water is rich in mineral wealth. A giant magnet and mineral evaporation extractor has retrieved uranium, copper, tin, titanium, silver and gold from the sea. Blofeld hears progress reports from his fifteen Spectre agents and learns that one of them lost money. Blofeld presses a button on his submersible control panel. A glass tube rises from the floor of the chamber around the chair, trapping the agent inside. The top closes and the tube, the chair and the agent descend out of sight through the floor, then the chair comes back empty. The man`s body is next seen floating through the mineral extractor tube. Blofeld explains that Spectre will take possession of the seas and stop all pollution. The fifteen Spectre agents watch via a monitor as Largo sends a diver down in a “michelin man” suit to retrieve the warheads from a sunken Russian ship, but the American recovery vessel arrives ahead of time. Largo leaves the diver behind. The incredible pressure at that depth causes the man`s body to be slowly squeezed up into his helmet. Largo claims that the diver asked to be left behind, and has the Spectre agents stand for a moment of silent reflection and prayer. Actually, the diver had pleaded with Largo not to leave him behind. So much for loyalty.

31-39
Shrublands. Bond and Felix Leiter attend a meeting to discuss the downing of the seaplane carrying the Secretary General of the United Nations. Apparently Blofeld notified the White House that the plane would crash into the Bermuda Triangle, minutes before it actually did. In private, Felix mentions that the Ruskies lost another sub off the Azores and there`s a chance of getting their decoding equipment. The CIA will fly Hellinger out to the recovery vessel the next night. Bond and Leiter meet Hellinger and Fatima Blush. Bond, of course, flirts with her. Hellinger takes Fatima by the arm, gives Bond the brush off, and leaves.

39-48
That night, Fatima and Bomba sneak Petacchi into Shrublands: they cover him in blankets and claim that he has a bad case of the bends and must use the decompression chamber immediately. In private, Petacchi tells Fatima he wants more money. While in bed with Justine Lovesit, an alarm goes off. Bond looks out the window and sees Bomba standing in the shadows near Fatima`s room. He goes to investigate and instead finds Fatima. They go into her room; Bomba and Petacchi stand behind the door. Fatima gets him into the whirlpool. Hellinger overhears them, and being jealous, alters the control so that the whirling gets fiercer. Bomba and Petacchi interrupt Hellinger, who is surprised to see his double. Bomba snaps Hellinger`s neck. Bond and Fatima nearly drown as he struggles to get her out. Pretending to be Hellinger, Petacchi lowers the controls, parts they curtains and reprimands Bond for “fooling with his girl” (sic). Bond drenches him with a hose.

48-53
Next day, Petacchi takes Bond out for hang-gliding practice. Petacchi drives the boat slowly over the shark pens so that Bond`s feet skim the water. Bond barely avoids the snapping sharks and manages to jump onto the pier, then onto the boat and overpower Petacchi. Bond notices Bomba near the shark pens.

53-65
Fatima tells Largo that Petacchi wants more money. Largo replies, I`ll see he gets it.

From inside an old dredger, Largo uses the electronic jamming device to freeze the American recovery vessel. Spectre divers enter the Russian submarine and remove the warheads. Meanwhile, the American recovery vessel`s compass has gone haywire, all navigation and direction instruments have failed, and even the helicopter is inoperative. Once the warheads have been recovered the divers get back into the submarine. The dredger`s underwater hatches open and swallow the submarine.

Largo asks Maslov if the device Petacchi carried on board the American recovery vessel has a self-destruct device. It does. How is it activated? By pushing this button. Like this? Largo pushes the button and the Zodiac boat carrying Petacchi explodes. Too bad for Petacchi.

65-68
Fatima claims to have booked the same flight to London as Bond, but a routine call to the Duty Officer reveals that she lied. She only booked a seat after Bond told her about his travel plans.

68-75
MI6. Bond flirts with Moneypenny, but she chides him about Fatima. In a life-sized model of the mid-Atlantic ridge, M and Q show him just where the Russian submarine sank after it experienced complete electronic breakdown. The recovery team discovered that three warheads were missing. They also found the depressurized body of Fidelio Sciacca, the Spectre diver that Largo left behind. Q explains that a computer terminal watch was safely locked in Sciacca`s right eye socket. The device is more sophisticated than anything the Russians are using, so Bond decides that Spectre is responsible. They watch an intercepted transmission. The picture is too fuzzy for them to see or hear much. Bond calls Q an old fruit and Q mutters something about building Bond an electronic chastity belt. M has overhead. “Permission granted – in your free time.”

75-80
Bond`s house. Effie, pretending to be Bond`s cleaning lady, sticks a bomb under Bond`s bed, rightly figuring that if there`s an “odds on” place to get him, it`s there. Bond enters just as she rushes down the stairs. Bond asks her to get the Fortnums and Mason package from his car and stick it in the fridge. “There`s only one thing worse than no caviar – that`s warm caviar.” Instead, Effie puts an explosive device in Bond`s Aston Martin.

The doorbell rings. It`s Fatima. Effie slinks upstairs to the bedroom, cuts the wires and crawls under the bed to dismantle the bomb. Bond enters carrying Fatima caveman style over his shoulder. He throws her onto the bed – flattening Effie. Bond and Fatima`s sexual callisthenics are revealed on the face of Effie, who is hardly in a position to complain. After sex, Bond confronts Fatima about her lies. She hadn`t booked the flight to London until after he told her his travel plans. The big black man he saw outside her room at Shrublands was the same person he saw around the shark pens. He hears scratching at the skylight window in the bedroom and sees a man climbing down. Bond kicks him in the crotch. The man collapses in the bathtub.

Fatima follows Bond down to the garage. The handle of the garage door starts to turn gently. Just as the door is about to open, Bond yanks on the handle. He drops to one knee and karate stabs the visitor who is propelled into the house. Meanwhile, Fatima goes into the garage. The front door bell rings. Through the peephole, he sees a very British-looking man in a white raincoat. As he does this, Effie slips into the garage. We hear the Aston Martin`s ignition, then the garage explodes. Fatima and Effie are dead.

The white-coated man is M`s emissary. So were the two men Bond attacked. Q has made a breakthrough on the computer watch. With perfect clarity and picture, Bond et al watch the transmission again: Largo instructs Effie to kill Bond and Fatima. Bond recognizes Largo; the two men will be playing each other in the Nassau backgammon finals.

80-84
Bond and Q fly to Shrublands on a twin-engine propellered plane. All throughout the flight, Q explains the gadgets he`ll be giving Bond. Bond keeps nodding off as Q drones on. Bond barely has time to check into Shrublands and chat Justine Lovesit up, when he`s called into the Operations Room. M (who took a Concorde over) explains that Spectre contacted the President of the United States and claimed responsibility for the Bermuda Triangle. Spectre also has the Russian submarine`s three nuclear warheads and threatens to atomize one of the world`s largest cities, and even destroy the world, if their demands are not met.

84-104
Bond and Felix use jet packs to presumably “fly” to Shark Island at an extraordinary rate, narrowly avoiding a shark on the way over. Bond sneaks inside Largo`s bungalow and sees who he thinks is Fatima – but it can`t be, she`s dead. It`s Fatima`s twin sister Domino. She hates Largo, so she`ll help Bond. She gives him a manganese nodule that Largo claims he found scuba diving.

Meanwhile, Largo has arrived at the Casino for the backgammon competition. Largo is declared the winner when Bond doesn`t show.

Bond and Felix slink into Maslov`s laboratory and find the mechanical sharks. Largo arrives in time to capture both and put them in a decompression chamber. Their breathing becomes more laboured and Felix`s watch implodes as the pressure increases. In private, Largo and Maslov discuss the Spectre operation. The mechanical hammerhead shark will carry the warhead, while the tiger sharks will act as escorts. Not having heard from Bond or Leiter in 24 hours, M sends troops to Shark Island. On board Arkos, Largo discovers the homing device that Bond gave Domino. He ties her to a diving board and intends to use her for shark bait, but Maslov intervenes and saves her.

104-110
Shark Island. The troops arrive. Q discovers the secret cliff-face entrance and together they rescue Bond and Leiter. Apparently Domino tied her scarf around the controls to prevent the chamber from decompressing any further. They also find the dredger Largo used to steal the warheads. Once on board, they hear Blofeld`s taped message. Either they comply with his demands or he`ll destroy a major city then explode two nuclear warheads under the Antarctic ice cap to flood Planet Ocean (Blofeld`s name for the Earth).

Back at Shrublands, Q explains that they found an unusually high outer coating of bacteria on the manganese nodule generally associated with faecal matter emanating from at least eighteen million people (M had been examining the nodule and hastily puts it down). This combined with the direction of the homer, means only one thing: New York City.

110-150
New York City. Riots and looting have begun. Fifth Avenue has been cleared. Plans for the evacuation of Manhattan and adjoining areas are nearly complete. The police have commandeered all privately owned buses and trucks. All the buildings have been searched, but not underground pipes or sewers. Bond asks the Colonel of the Aquatactical Unit to have troops inspect them.

Spectre has commandeered the Statue of Liberty. Maslov works on the hammerhead shark in a small underwater chamber at the bottom of the statue. The warhead is armed. The hammerhead shark is lowered into the water. The tiger sharks keep guard and escort the hammerhead through the sewer system.

Bond and Leiter watch the latest news reports of riots and looting. The President will go on TV at ten o`clock. A newsflash interrupts regular programming to announce that the Mayor of New York appeals for calm. There are traffic jams on all roads to the airport. There have been reports of shark sightings in New York Harbour. Reports are coming in of a possible shark attack in New York Harbour. Bond realizes the troops are inside the sewers. “Get them out of there!” It`s too late. They watch as the sewer spews out mutilated limbs and tissue. The water turns reddish brown. Strips of flesh and equipment float out including pieces of Q`s thermal suits. The Chief of Police says, “What a nightmare – we sent those men to die.” Shaken, Bond says, “You didn`t. I did.” A shark`s fin is seen as pieces of torn bodies float away amid toilet paper and sewage.

Bond remembers that the sharks were seen coming from the direction of Ellis Island. He also remembers Blofeld`s words: “Liberty is our Symbol!” It`s the Statue of Liberty.

Spectre has sealed all the access manholes in Manhattan and put robot sharks on guard at the sewer outlets, so the men have to drill through the subway wall to get into the sewer system. The Chief of Police thinks Bond should take a gun. Wryly, as he steps through the hole, Bond replies, “A screwdriver is all I need, Chief. I think I know what I`m looking for.” With a wave he disappears, lighting his way with a torch. As a safety precaution, the Chief sends three men in as back up. The last of the men climbs in: it`s Bomba.

The hammerhead shark slows as it approaches the sewer exit. It moves through the sewer entrance amid sewage and paper. Largo and his men watch the shark`s progress on a large illuminated map. It emits a moving intermittent red light.

As Bond goes under the sewage water, a heat-seaking mechanical tiger shark senses his presence and trails him. Bomba stands on a walkway by the side of the murky water. The two Sewer Men lie crumped at his feet. Bomba goes after Bond.

Bond sees the flesh of the shark`s fin just before it attacks. The shark`s red eyes pass close to Bond`s face as the jaws miss his arm by inches, but tear his aqua suit. Bond seizes the metal rungs of a wall ladder built into the concrete. The shark snaps at Bond`s feet. Bond moves up the metal rungs. He feels a sharp pain in his wrist and looks up. As he receives a karate chop, Bond just has time to see the impassive face of Bomba as he falls back into the junction with the shark.

The length of the shark makes it difficult for it to bend its body enough to get its head to he middle of the concrete box. But as the shark lunges close, Bond grabs the metal fin. The shark bucks and speeds away into the narrow sewer, dragging Bond along at great speed. He is smashed against the sides of the sewer and part of his equipment is torn off. All the time Bond has the screwdriver and tries inserting it into the shark. The shark slows at a bend in the sewer. Bond grabs a steam valve. There is a great roar of steam and the shark goes mad trying to get to the valve. Attracted by the heat, its jaws keep snapping at the steam. Now Bond can get the screwdriver into the inspection panel. His hands go into the shark`s belly and he rips out entrails of wiring and transistors. The shark`s eyes flicker and go dark. Finally, it sinks – belly up – like a dead fish.

Bond climbs out onto walkway next to the eerily lit sewer. Two sewers run parallel to each other with a narrow walk in between. Bond takes out the geiger counter attached to a lanyard around his neck. There is an immediate response – the indicator points to the far sewer. Bond looks and sees the hammerhead shark, just discernible as it slowly cruises along, its lights illuminating the sides of the sewer. Bond doesn`t see Bomba creeping up on him in the darkness. Suddenly from above there is the wail of sirens. Bond looks round and manages to throw himself sideways to avoid a murderous kick from Bomba. With amazing speed, Bomba catches Bond with a right hook. Bond is catapulted back against the slimy wall. Traffic and sirens can be heard from above while Bomba throws Bond against the rounded walls of the sewer. Bond pulls himself up the rusty iron rungs on the wall as Bomba comes towards him he looks up. The steam pipe crosses over the parallel sewers.

With superhuman effort Bond leaps out from the ladder, avoiding Bomba, and catches hold of the overhead pipe. For a moment he dangles over the murky water of the sewer. Then he crosses hand over hand. A tiger shark swims along a narrow sewer passage. Bomba reaches up and grasping the pipe pulls his great weight onto pipe. Holding with one hand he reaches out and grasps Bond`s neck. Bomba is unable to snap Bond`s neck due to lack of leverage – Bond`s neck muscles strain as he tries to resists the enormous pressure of Bomba`s grip.

Suddenly the pipe is pulled from its bracket – Bomba releases his hold on Bond – Bond throws himself to the walkway between the parallel sewers. The tiger shark cruises beneath Bomba. The pipe starts to bed under the enormous weight – as his body is lowered towards the water the sharks swim to the surface directly beneath him. We hear the metallic buzz. Bomba draws himself up. The seat glistens on his skin, but his weight causes the pipe to bend more. His body touches the water – there is a flurry of dirty suds as a rush from the shark opens up a line down Bomba`s back. The blood stains the already brown water. Suddenly another shark attacks from the side. Bomba, only his arms, head and shoulders now above water, screams as the flesh is stripped from the lower part of his body. Bond unable to hold on to the hot steam pipe any longer, falls on the hammerhead. He quickly inserts his screwdriver into the side panel.

Largo and Maslov stand by the large illuminated map. The intermittent red light is no longer visible. As they watch, the screen clears and we see Bond`s face close on the TV screen. Largo orders Maslov to activate the time mechanism. Bond pulls the shark out of the water and leans over it as a red illuminated panel lights up the words: WARHEAD ACTIVATED. It starts ticking. Bond feverishly tries to defuse the warhead without detonating it. A hand reaches from behind him and deftly switches off the mechanism. Bond wheels around and sees Q, wearing a sewerman`s helmet and a boiler suit.

Air raid sirens continue; traffic moves in one direction on Fifth Avenue. The newscasters on all channels appeal for calm and give instructions as to the evacuation. Individual shots on TV screens show pandemonium.

Twelve heavily-armed members of the Aquatactical Unit quietly storm the Statue of Liberty. Helicopters spew coloured smoke to cloak the assault helicopters.

Bond can hear the roar of helicopters over the sound of traffic from inside the sewer, but can`t get out. Several sharks patrol the sewer exits.

With Leiter at the helm of a speed boat, Bond water-skis past the sharks out into the harbour. His kite turns into a helium balloon, lifting him into the air. Bond lands on the Statue of Liberty, knocking Largo over. Largo slides down the spiral staircase in the statue`s arm. Inside the head of statue, a marine makes a hole in the eye big enough to climb through. Largo, inside, grapples with him. They fight – Largo stabs the Marine with stiletto. Blood trickles down the cheek of the Statue of Liberty like a tear. Largo, pushing the Marine`s body aside, seizes one of the grapnel wires hooked into corner of eye and climbs out.

The Arkos rises out of the sea. Largo slides down a rope to land on the upper deck of Arkos. Bond follows, but the rope is cut, and he lands in the sea. He grabs the upper rail of the Arkos and submerges with her. Largo orders Maslov to arm the warheads. Bond clings onto the Arkos, unable to get through the fish-stopping grid. Maslov unties Domino, but before he can leave, Largo enters. He sees Maslov`s reflection in the glass. Bond swims up through the moon pool. A Spectre Agent kills Maslov. Largo kills the Spectre Agent responsible because he needed Maslov alive. Bond sneaks up behind Largo, knife poised. An Engineer enters and sees Bond and shouts. Largo turns and grapples with Bond. A shot goes wild and smashes a glass tube – water pours in.

The Arkos speeds perilously close to small underwater mounds and hillocks along the Hudson Canyons. The upper railing of Arkos hits a cliff-face. The Arkos lurches. Domino is thrown backwards on to the control panel – the automatic pilot light goes out. Her hand knocks down several switches – warning lights flash – bells ring, the wheel spins around. A glass tube rises swiftly around Largo. The tube and Largo descend into the ocean. Largo claws at the glass.

The Arkos increases speed and heads towards a narrow underwater canyon. Water spurts through the broken overhead pipe and splashes over the side of the moon pool. The gold extraction laboratory door bursts open and gold dust fills the whole area. Bond and Domino can barely be seen as they run downstairs through the golden air. They get into Largo`s submarine. The locking devices release the submarine and it slowly sinks through the water. The Arkos collides first with one underwater mountain peak then another, then splits open. Alone at last, Bond asks Domino if she`s ever been gold plated before. She snuggles up to him and says, “Oh, James.” Bond looks up at their reflection in the ceiling mirror and winks. The submarine recedes until it`s a tiny dot in the distance. We hear the strains of Rule Britannia. The End.

wild script – Moonraker

In Tom Mankiewicz`s discarded treatment for the Bond XI:

-India and Japan were locations

-the villainess had a bow and arrow and was known as The Archer

-the space shuttle was to have been stored in the Himalayas

-the Acrojet stunt used in Octopussy was to have first appeared here and both Bond and Holly were to have their own jets; it was subsequently replaced by the Amazon riverboat chase

-the Eiffel tower scene eventually used in AVTAK was also in an earlier draft and the poison butterfly trick used by Mayday in AVTAK first showed up in early Moonraker drafts

-in a scene that was shot, but later cut, Drax meets his co-financiers in the Amazon lair; they use the room located just below the space shuttle launch pad that Bond and Holly later escape from

wild script – Live and Let Die

In the original script for Live and Let Die, the role of Solitaire, white in the novel, was written as a black woman while the role of Rosie Carver was written as a white character. Studio executives balked at the idea of a black Bond girl in the lead role (this was 1973 after all) and changes were made; the racial identities were switched.

In Live and Let Die, Bond greets his contact at Kennedy Airport but the man fails to give the proper recognition code. 007 jogs the man`s memory with his Walther PPK. For the purpose of shortening the film, this scene was deleted from the finished print.

There was also a fight scene between 007 and Adam, in their boats, prior to the climactic explosion, that was deleted. Now, it only shows 007 throwing gasoline into Adam`s face, manipulating the steering of Adam`s boat, and forcing the boat to crash into an oil tanker and explode.

wild script – Licence to Kill

An exclusive look behind the scenes of Licence To Kill that you`ll find only at 007Forever.

Sanchez wasn’t always the villain in this film, and his drug empire wasn’t always the centerpiece of the plot. Actually, the reverse is true. At one point in late 1987 the producers went to China and began scouting locations. Michael G. Wilson explains: “We wrote two treatments for this one in China. It involved the treasures of China and was quite a different story.”

Richard Maibaum explained further in Cinefantastique: “We had wanted to pick up on a warlord in the Golden Triangle from a previous film who was all mixed up in drugs.” Budgetary concerns played a pivotal role in changing the location, tone and scope of the storyline and the novelty of being the first major Western production to film in China was lost when Steven Spielberg filmed a movie there first.

007Forever was able to study some archived materials that Richard Maibaum had donated to a university library before his death and in those materials we found the first known treatment of BOND XVI (as it was then known at the time), along with a dozen or so story board sketches by well known Bond stunt coordinator Remy Julienne. The Bond XVI draft is a revised treatment dating back to March 4th, 1988.

The structure for the film is in place, but before it would go before the camera in late summer 1988, names would change, a few action sequences would be dropped, characters added or replaced and the last third of the script would undergo a radical redo.

The treatment begins with a Coast Guard AWACS plane on patrol over the Caribbean. Inside the crew is plotting the course of a private plane flying toward an island in the Bahamas chain. We then cut to a limousine where Bond and Felix Leiter are sitting in the back, while Jericho, Leiter’s friend, is in the front driving. Jericho would eventually turn into Sharkey by the time filming began. The three of them are on their way to Leiter’s wedding. Leiter’s bride is Della Dale, in this draft, not Della Churchill.

Hawkins, Leiter’s partner at the DEA, swoops down beside the limousine in his DEA helicopter and informs Leiter that Sanchez is en route to Cray Cay. Leiter has been trying to arrest Sanchez for five years. Maibaum describes Sanchez as …”the legendary Columbian drug kingpin, an ex-Army officer known as Colonel Crack.”. Leiter commits to arresting Sanchez now even if it means delaying the wedding by an hour or so. Bond tags along, as an observer, and the two jump into the helicopter with Hawkins, leaving Jericho to go tell Della what has happened.

Meanwhile, on Cray Cay, Sanchez’ plush private jet has landed on a deserted airstrip. Sanchez steps out of the plane first, then his bodyguards Braun and Perez, and then Lupe Lamora. Of Lupe Lamora, Maibaum notes: “…his current inamorata…a voluptuous Colombian girl, winner of the Miss Galaxy beauty contest. Once happy-go-lucky, she now feels trapped by his possessiveness.”. Dario, Sanchez’ chief bodyguard, steps out last. Sanchez tells Dario to stay with Lupe in the plane. He will only be a few minutes.

Sanchez and his men enter a low bungalow not far from the airstrip. A tough Colombian starts to get out of his chair. Perez pushes him roughly back. Sanchez says only one word: “Velasquez?” The man nods toward the near doorway. Sanchez pushes the door open. Velasquez is nude in a hot tub with two girls. His surprise turns to a smile as he recognizes Sanchez. “Hey Amigo! What’s happening?” he says. Sanchez eyes the girls coolly. “Leave us. ” They grab towels and scamper off. “I’m honored, but it’s risky.” Velasquez tells him. Braun and Perez walk around Velasquez. “Risky for you! ” Sanchez tells him. He pulls a packet of hundred dollar bills out of his jacket and throws them into the hot tub. They scatter on the surface. Velasquez looks at the money as the ink runs in the water. Sanchez, his murderous rage building, yells: “I sell real dope. I want real money.” Velasquez says he didn’t know, that it won’t happen again. Sanchez assures him it won’t happen again as Braun and Perez lift the heavy wooden insulation cover for the hot tub over and on top of Velasquez. They stand on top of it, forcing him underwater. His muffled cries gradually die out.

This scene, as described above, would be radically altered. Velasquez would become Alvarez, and instead of counterfeit money, he would be sleeping with Sanchez’ girlfriend. Either scene would have been effective, but the eventual rewrites are probably better because they show that Lupe has become disinterested in living with Sanchez. It also makes more sense that Sanchez would risk everything for a woman that he considers property than to infiltrate the Bahamas over some counterfeit money.

The Coast Guard helicopter approaches the bungalow and Hawkins and Leiter exchange gun fire with Sanchez and his bodyguards. The action isn’t fleshed out here, as this is only a draft, so the sequence where Bond jumps from the helicopter behind a line of oil barrels is nowhere to be found. Sanchez makes a quick escape in a single engine light plane. Leiter, Hawkins and Bond give chase and this time Bond gets in on the action. Leiter lowers Bond down onto the back of Sanchez’ plane just as in the film and Bond proceeds to wrap a thick cable around the tail section of Sanchez’ plane. Sanchez eventually loses throttle power and is reeled in like a fish.

The DEA gently lowers the plane to the ground at a Coast Guard Base in Key West. Leiter jumps out of the helicopter, opens the hatch to Sanchez’ plane, hands him a warrant for his arrest and says: “Welcome to the U.S., Colonel Crack. ” Then he gets into the helicopter with Bond and heads for his wedding. We then fade to the MAIN TITLES.

Maibaum and Wilson’s treatment calls for us to see Leiter and Della’s wedding, something we never do in the film. It also establishes that Pam is at the wedding herself. We know from watching the film that she shows up at the reception, but it was never clear whether she just dropped by or was involved in both the ceremony and the reception festivities.

Felix and Della get into a car and drive off. Bond looks for a cab and notices Pamela, standing alone further down the curb. Interested, he joins her. She glances at him, then turns away. He hails a cab. One stops. “Can I give you a lift? ” he asks her. She says no thanks and crosses the street. Meanwhile, Killifer has been put in charge of interrogating Sanchez. He is eventually transferred to Quantico, but before Sanchez gets there, Killifer changes the plans, knocks out the driver of the armored van, crashes the van into the water, and he and Sanchez are both safely picked up by underwater divers. Killifer has betrayed the DEA for two million dollars and given up Leiter’s name.

Bond goes into Leiter’s study, tries to introduce himself to Pamela, who brusquely shrugs him off and leaves. Later that night, Bond leaves Leiter’s house so that Leiter and Della can get on with having their honeymoon. Dario and his men have snuck through a back entrance into Leiter’s home and are now confronting Della and Felix. Dario knocks Felix unconscious over the head with a sawed off shotgun and takes him to the Ocean Exotica Warehouse run by Milton Krest. What happens here largely follows the same path taken by the film. Leiter is used as a counterweight to a side of beef dangling precariously over the jaws of several hungry great white sharks. Leiter, believing he is about to die, gasps: “See you in hell! ” Sanchez bends lower: “Yes, a living hell. Today is the first day of the rest of your life.” Leiter begins to be torn apart below the waist by the sharks. Sanchez orders the men to pull Leiter up. “I want enough left for his people to see.”

The next morning Bond is headed back to London via Key West Airport when he sees the headline on a newsstand: COLONEL CRACK ESCAPES. Knowing Sanchez’ reputation for revenge, which often includes the slaughter of innocent family members, Bond races back to Leiter’s home. There he finds Della has been strangled and Leiter barely alive. Bond picks up the phone and dials 911.

A doctor and paramedics arrive at the scene along with Rasmussen, lead homicide detective. Unlike the film, immediate suspicion falls upon a shark attack. Bond then picks up a diskette that Leiter had hidden the night before but has now fallen loose from its hiding place. Sanchez’ men were looking for something, Rasmussen points out. Bond thinks he has found what they were looking for but keeps it to himself.

He then walks out to the Harbor Master’s office and hands a message written on a telex form to a pretty girl operator. “Urgent to Universal Exports, London,” she reads back to him, then looks puzzled. “The rest is gobbledygook. What are you? Some kind of secret agent?” “Just terminating a contract. Don’t want the competition to get wind of it.” He leaves. Outside Jericho is waiting for him and the two discuss exactly where such a shark attack might occur on the island. Jericho mentions that only Krest’s warehouse is capable of holding great whites.

Bond and Jericho then infiltrate the warehouse during the daytime. This contrasts sharply with the film, where Bond and Sharkey break in at night. Bond gingerly steps on the mesh and walks toward the staircase. As he reaches it the mesh screen is hit with a mighty blow from underneath. Bond, thrown into the air, manages to grasp the staircase railing with one hand. Looking back, he glimpses the jaws of a great white shark disappearing into the water.

Bond gets inside the warehouse and examines a large tank whose base seems suspiciously solid. He’s looking for drugs when all of the sudden a moray eel leaps out from behind a rock and grabs a crow bar Bond had in his hand. The strength of the eel pulling on the bar nearly pulls Bond into the tank. He manages to wrest it out from the eel’s jaws. Then he examines the maggot incubator, four feet wide, eight feet long. He operates the controls, which turns out to be a mistake. The temperature change in the incubator sets off a series of lights in the guard’s office and one guard comes downstairs to see what’s going on. Bond has his hand inside the incubator pushing away the maggots to reveal bags of cocaine hidden underneath. A guard comes up behind him to question Bond, but 007 flings a fistful of maggots at the guard. A shootout ensues, with tanks exploding and water running everywhere.

Bond is then cornered by Killifer, who orders him over by the trapdoor. Bond manages to get Killifer’s foot caught up in a rope, which then leaves him dangling above the trapdoor. Before going all the way in, he manages to grasp an edge and hold on. Hepleads for his life, begging mercy, and even willing to split to the two million dollars with Bond. Bond just throws the suitcase at Killifer, and in a moment of natural instinct, Killifer lets go of the edge to grab the suitcase and falls into the shark tank. Jericho comes barging in, looks down, sees stacks of bills floating around, and wants to get some. “Forget it, Bond tells him. “It’s blood money”.

The next scene finds Bond at his rented beach house, putting a call in to Jericho. It seems some of Jericho’s fishing buddies have located the WaveKrest and Bond and Jericho make plans to catch up with it later in the day. There’s a knock on Bond’s door. It’s “M”. “What’s this about resigning, Double-0-Seven?” “A Personal matter, sir.” “There’s nothing personal in our business. Has it something to do with Leiter?” Bond remains silent, not trusting himself to discuss it. “What happened to him was a risk in the line of duty.” “And his wife?” M sits down wearily. “Let the Americans take care of it. You should never have become involved. We can’t have MI6 mixed up in this. I’ll keep your telex in my pocket. Your license to kill revoked. You will have no contact with Her Majesty’s government. In three months, if you’re clean, I’ll tear up your resignation. Otherwise, I’ll sack you.” “Thank you, sir.” M gets up and goes to the door. He seems on the verge of softening. Instead, he growls “Take care, James” and leaves.

This sequence is nowhere to be found in the film, and has wisely been rewritten to fuse two scenes together (the writing of the telex and M’s entry into Bond’s rented beach house), to provide some action, and to give a lift to the dialogue. In the film, Bond is coerced into meeting M at the Hemingway Estate. When Bond resigns, M reminds him this isn’t a country club. When M revokes Bond’s license to kill, Bond quips: “Then I guess this really is a farewell to arms”, an inside joke about Hemingway’s novel A FAREWELL TO ARMS that seemed to have gone right over the audiences head. Bond leaps off the top floor of the estate and runs for cover, while being shot at by his own men from a light tower.

In the treatment, Bond and Jericho pose as fisherman, though in this case Jericho really is a fisherman. They spy on Krest’s yacht, the WaveKrest. Bond sees Lupe on deck in a bikini and he waves to her, though he’s not met her (as opposed to the film, where he meets her right away). Krest, on the bridge with the crewmen, trains binoculars on Bond, then looks down and sees Lupe. “Get her below”, he orders. “And keep those fishermen away.” Bond watches as Lupe is hustled into a port.

Meanwhile, in the hospital, Leiter is apparently comatose when Hawkins and an unidentified guard converse in low tones about the DEA raid at Krest’s warehouse. The fire department answered a false alarm but found drug activity going on. Five hundred kilos of cocaine were found, along with bits of Killifer inside of a great white shark, while someone else suffocated in a maggot incubator. A small smile crosses Leiter’s lips, indicating he has heard the conversation and can understand what is going on. It’s really sad that this scene didn’t make it into the film, as it adds an emotional lift to the story and connects Leiter to Bond in a way words sometimes can’t express. The smile across the lips is almost a symbol that Leiter knows Bond is out there trying to help him and Felix is silently urging him on. Telepathy, if you will.

Later, WaveKrest has launched its external probe, Sentinel, into the water and Bond rides it back into the WaveKrest. Milton Krest is busy making passes at Lupe when he’s summoned to the operations room. Bond has snuck into Krest’s cabin and sticks a knife under the neck of the body whom he believes to be Krest. When it turns out to be Lupe, he tells her: “Don’t be afraid. I won’t hurt you.” She stares at him for a few seconds, confused. “Who are you?” “I was at Cray Cay. Is Sanchez here?” She shakes her head. “Where’s Krest?” She finds her voice. “In the next cabin. This is his. He gave it to me.” “You’re not his girlfriend?” “No. Sanchez’.” She starts to cry. “I didn’t know what I was getting into. The drugs, killing people. I wish I never met Sanchez.” “So walk out.” “It doesn’t work that way with Franz.” Bond tells her he’ll try and help her, but then a noise outside startles them. Bond goes into the corridor and gunfire breaks out. Bond runs up the stairs and is cornered. They take away his knife. Lupe secretly sneaks into the lounge area and hides. Krest confronts Bond, who makes up a story about swimming, getting a cramp and coming on board. Krest doesn’t believe him and orders his men to beat Bond up. Seconds later, another boat pulls up alongside the WaveKrest. It’s Jericho’s boat, and he’s hanging upside down by his feet, along with two sharks that are dangling by their tails. Jericho is dead. “Friend of yours?” Krest asks Bond.

A plane roars over head and lands near the WaveKrest. Krest tells his men to put Bond into a locker until such time as he can deal with him. As Krest’s goons are about to take Bond downstairs, Lupe swings the door wide open, hitting one of the men dead on. Bond karate chops the other man, whispers “Thank you” to Lupe and takes off.

What follows in the treatment is literally what you see on film. Bond does some water-skiing behind the airplane, overtakes it, dumps the pilot out and steals the money. Later the next day Bond reads the contents of the disk Leiter had hidden away. Leiter was arranging to take someone named Bouvier into protective custody. He turns his attention to the television, where CNN reporter Anna Rack is broadcasting live from the gala party being held in Sanchez’ casino to welcome him back to Isthmus City. Bond leaves a message for Bouvier to meet “Lexington”, the code word Bouvier and Leiter agreed upon. Bouvier sends a message back through his/her service that he/she will meet Lexington at the Barrelhead Bar in Bimini at 8 PM. The treatment even shows Bond spending a hundred grand on a brand new boat to get him around the Keys.

Eventually Bond makes it to the Barrelhead Bar, where Bouvier turns out to be Pamela, from the wedding. “An unexpected pleasure,” he tells her. “For a moment I didn’t recognize you.” “My work clothes,” she replies and gestures for him to sit down and pour himself a drink. “Local rot gut.” “Thanks, but….” He looks around, sees a waiter, beckons to him. “Vodka martini, shaken, not stirred.” Waiter shakes his head. “No fancy drinks. You take it the way it comes.” Bond asks for vodka on the rocks. Pamela appraises him coolly, not overly impressed. “You wanted to see me?” “Leiter’s in a bad way.” “So I heard.” “He wanted you protected. Why?” She shrugs. “Long story,” she replies equivocally. “Sanchez has Leiter’s files,” he tells her. “He’ll know if you were working with him.” She looks at him sharply. “You’re English. Not D.E.A. How do you know that? Who are you working for?” “No one. I’m on my own.” After a beat she nods. “You were Leiter’s best man. I think I know what you…It’s Dario!” She indicates entrance.

Dario sits down and talks to Pam. He tells her he’s got a proposition for her, but that they can’t talk here. A short fight breaks out, but nothing along the lines of what happens in the film. Pam grabs Dario’s gun and she and Bond take off in Bond’s boat. Pam goes downstairs and changes into a terry cloth robe too large for her. When she comes back upstairs she realizes the boat has stopped. “What’s the problem?” He grins. “We’re out of gas.” “I haven’t heard that one since high school.” “Did it work then?” She eyes him with amused skepticism. She sits next to him. “I had you pegged all wrong. When you came in I thought you were just a chauvinistic English wimp about to get his ass kicked.” “What do you think now?” “You didn’t get your ass kicked. I’m keeping an open mind about the rest.” She leans over him. The robe opens…and you can figure out the rest.

At dawn Bond is still asleep when the engines roar to life. Pam has found the reserve tank. Pam confesses: “Driving cigarette boats is my profession. It’s the vessel of choice for short haul smuggling.” What about long haul?” “Planes. I used to fly Air America for the CIA. Guns, people, money, whatever was needed. That’s how I met Leiter. When contra funding dried up I went free lance. Dario hired me for Sanchez to fly what he said were Mexican illegals into Texas. They turned out to be Colombian hit men. I got indicted. I helped Leiter while he was trying to nail Sanchez. He said he’d get me off if I did.” “Where are we going?” he asks her. “The airport. We’ll charter a plane and I’ll fly you to Sanchez.” “Last night you said I was nuts if I went after him. What changed your mind?” She smiles but doesn’t reply. He grins. “Let’s just say you slept on it.”

Sadly, this exposition is missing from the film. It’s much wittier than what actually gets shown, and also develops Pam’s character more. It also might explain what Dario was hinting at in the film when he tells Pam he believes she’s done some charter favors for some of his friends.

Moneypenny gets one quick scene in the treatment, where M berates her for five typing errors in her memo. She explains that she’s just worried about James. M leaves, Moneypenny calls Q and says: “Q, Moneypenny here. Are you free for lunch?” It’s odd to think about, but very rarely have Q and Moneypenny ever had any scenes together.

Pam flies Bond into Isthmus, and as they arrive in the airport, they see a large contingent of international visitors, many from South East Asia here to visit Sanchez’ casino. They get to the hotel room, where Bond hands Pam a wad of cash and tells her to look the part of his new executive secretary. Bond tells her: “Say ‘Yes, Mr. Bond’”. She gives him a dirty look, saying, “I should always trust my first impressions,” and then exits. She meets Bond at the bank, where he has come to create an account, and is now a stunning blonde.

We now cut to the casino scenes, where Bond is in tux and Pam in an exquisite evening gown. Bond grabs the attention of a foreign delegation, particularly two individuals, Kwang and Loti, whom we will later discover are Hong Kong narcotics agents. Upstairs, on the top floor of the casino, Sanchez and Skelki are watching a television broadcast from the Oaxaca Bible Institute, hosted by evangelist couple Joe and Deedie Butcher, whom Maibaum notes in the treatment: “remind us of you know who.” In case you don’t know who the “you know who” refers to, Maibuam is making an obvious reference to Jim and Tammy Bakker, whose financially corrupt and troubled organization, PTL (which stood for Praise The Lord) was still making news at the time of the writing. When information about the script began to leak out in the summer of 1988, special emphasis was placed on the evangelists, as Tammy Bakker, and Jim to a lesser extent, were such larger than life characters that they were ripe for mockery as villains. Sadly, this aspect is downplayed in the film. Deedie Butcher gets cut from the script altogether, and John Glen directs Joe Butcher’s scenes (played by Wayne Newton) as though he were part of some mystical, cryptic, alternative New-Age religion.

Deedie cries and pleads and begs for money, then mentions that she has a special prayer blessing for everyone this week. “Please read Matthew, Chapter 1, Verse 2” she says. Chapter One, Verse 2 actually means 12 bucks a gram, and Sanchez’ dealers aren’t at all happy about the boost in price but have no choice other than to agree to the new terms. It’s quite obvious now that Joe and Deedie Butcher are using their Bible College in Oaxaca, Mexico to serve as a front for a cocaine smuggling ring.

Meanwhile, Bond has been playing the casino Pit Boss for a fool. After coming off as a chump, initially losing several hands in a row, Bond has taken the lead over the dealer. The Pit Boss calls up to Sanchez to see if he wants the action stopped. Sanchez tells him to let the man (Bond) play. Shekli (later to be renamed Truman Lodge in the film) is elated to see that all the “chapels” accepted the new price. The Pit Boss calls Sanchez back and lets him know that not only has Bond recouped his money, but now he’s 200, 000 dollars ahead. Sanchez calls Lupe, who is in the room next door, bored, leafing through a magazine (no mention of Sanchez’ pet iguana in the treatment, by the way). She comes in and Sanchez points to the man on the screen. She recognizes Bond but conceals her reaction. Sanchez tells Lupe to go downstairs and chat the man up. Get to know him better. Shekli tells Sanchez that that was the man who came into the bank today and opened up an account with $5 million dollars.

Lupe passes by Bond’s table; he gets the hint, and follows after her. Pam stays at the table and plays the game, picking up on what she observed Bond doing. Bond tells Lupe he wants to see Sanchez now. She tells him he is “loco” and to please go home. When she sees he is not going to listen to her, she gives in and escorts him upstairs.

Bond meets with Sanchez, who is enraptured by the image of Deedie and Joe Butcher’s telecast. Wonderful work these people do. I always watch them. It is good for the soul,” Sanchez remarks. Sanchez switches off TV and motions for Shekli to make an anonymous donation of $10,000. Sanchez then compliments Bond on his skill at blackjack. He indicates closed circuit screen where the plaques in front of Pam are considerably diminished. “Your companion is not so fortunate,” Sanchez remarks. “It’s only money” Bond counters. Sanchez laughs. “I like your style. Your credit rating is impressive. What business are you in?” “Your business, Senor Sanchez. I distribute pharmaceuticals in London. That’s why I asked your beautiful, charming Senorita Lupe to introduce us. I have a proposition that could be mutually profitable.” Again Sanchez laughs. “Your direct approach is refreshing, but I do not discuss business in front of women.” He turns to Lupe. “I will see you later, muchacha.” She leaves. “What is this proposition?” “I want the East Coast business.” Sanchez turns to Shekli. “Have we business there?” he asks him ironically. “Let’s not play games, Senor Sanchez. I’m interested in Milford Krest’s operation. Krest is finished. The DEA turned over his warehouse in Key West. They took everything. Krest’s so desperate he’s ripped someone off.” “How do you know this?” “He’s put 500 keys on the London market at bargain prices. It’s hot. I wouldn’t touch it.” “I must look into this, Senor Bond. It will take a few days.” “Be careful, Senor Sanchez. It is dangerous to corner a desperate man.” “Don’t worry. I’ve known Krest for many years. We are hermanos, like brothers.” Bond gestures toward TV “Ask your favorite evangelists to tell you about Cain and Abel.”

Bond returns downstairs, where Pam asks him: “Where did you go with that hot tamale?” “Up to Sanchez’ office.” When Bond and Pam return to the hotel, Bond discovers his “Uncle” there, whom he then introduces to his cousin, Pam. Q admits to Bond that Moneypenny has kept tabs on him, was worried about him, and reveals that Moneypenny has been mad about Bond for years. “Really?” Bond asks with feigned surprise? Much like the film, Q brings along enough gadgets to convince Bond to let him stay in the field.

The next night we find Bond, Q and Pam at the casino. Q is in his chauffeur’s uniform. Bond uses the service elevator to reach the top floor, swing over the side, and lay a line of plastic explosives along Sanchez’ heavily armored window. Bond spies a group of Orientals in conference with Sanchez. They are discussing how to bring the cocaine trade to South East Asia. Rios (to be renamed Heller in the film), another one of Sanchez’ bodyguards, gets suspicious and looks out the window but sees nothing. Bond gets off the building, crosses the street, and gets into position to assassinate Sanchez. In the treatment, Pam does not show up in Heller’s office to offer him an immunity agreement to get the Stinger Missiles back. In fact, there is no mention of Stinger Missiles at all in the treatment.

As Bond attempts to fire, he’s attacked by two gray clad ninja’s until he’s knocked unconscious. The two ninja’s take Bond to a remote location outside the city. They remove their hoods. One of them is female and was at the casino the night before. Fallon, a British Hong Narcotics Agent, accompanies Kwang. They are furious MI5 would attempt to kill Sanchez without informing them. Bond tells them he’s not on an official assignment. In the film, Fallon doesn’t mistake Bond for an MI5 agent, but instead tells Bond he’s there to make sure Bond is taken back to London. Meanwhile, General Rios has corralled a tank and some soldiers and surrounded the bungalow. Sanchez is on hand. Rios gives the command and they destroy the bungalow. Rios walks inside and is about to kill Bond, who is strapped to a chair, when Sanchez stays his hand. “He tried to warn me,” he explains.

The next morning Bond awakens in the bedroom of the casino penthouse, not in the seaside mansion as shown in the film. Lupe sits beside him and tells him she prayed for him. And for herself, too. She heard Sanchez tell Shekli that Krest is arriving on the WaveKrest that night. Sanchez enters with his personal physician, Doctor Mendez, who wears a voluminous camel’s hair coat, a broad brimmed fedora and dark sunglasses. NOTE: This character does not appear in the film. Sanchez expresses his gratitude and now that they are hermanos, friends; the East Coast territory might soon be his. Dr. Mendez accompanies Sanchez into the hall. Sanchez tells Mendez to give Bond a sedative to knock him out for six hours. Sanchez heads to the elevator and tells Dario to keep an eye on Bond.

Inside Bond’s room, Dr. Mendez prepares to inject Bond with a sedative when Bond grabs the needle and injects Dr. Mendez with it instead. Mendez stumbles, staggers and then falls down. Outside the doorway, Dario hears the crash and comes in to investigate. He sees Bond in bed asleep and pulls back the covers, only to reveal Mendez. Bond takes Dario from behind and smashes a lamp over his head, which only makes him angrier. A hand-to-hand combat fight ensues, while Lupe prepares another injection. Bond jabs Dario in the butt with the needle, putting him to sleep. “What was in that?” he asks. He reads the label, “Equine tranquilizer”. Dr. Mendez was a veterinarian. Bond drags Dario into the closet and locks it. He then tells Lupe this is her last chance to get away from Sanchez and Krest. Will she come with him? She is still shaken but agrees.

Bond calls Pam and Q, dressed in Dr. Mendez’ camelhair overcoat, hat and dark glasses. Bond tells Pam to make sure a plane is ready for a quick getaway and to meet him later at the Harbor Master’s office. He and Lupe slip out of the casino. Taxi stops at bank. Bond gets out of taxi with two suitcases and informs bank manager he is making a withdrawal.

At the airport, Pam asks to file a flight plan. She is handed the logbook and looks down to see that Sanchez is taking the Asians to Oaxaca, Mexico. Later that night, as the WaveKrest approaches the harbor entrance, a pilot boat comes along side it. Surprisingly Q is at the wheel and Bond is in the stern as he lifts bulky fenders (bumpers) and ties them over the table. The pilot climbs aboard the WaveKrest via the Jacob’s ladder. It’s Pam, who greets the mate in Spanish. Pam crashes the bow of the ship into the docks, then runs off. She runs down to the well area and helps Bond haul in the cash, which they throw into the decompression chamber.

Sanchez meets with Krest to discuss the dough he owes him. This scene also differs from the film. In the movie, Sanchez takes Lupe with him to the WaveKrest, sure that Krest won’t dare lie about what happened to his money in front of Lupe. Perez and Braun search the ship while Krest pleads his case that the money was stolen. Braun finds the cash in the decompression chamber and alerts Sanchez. Enraged, Sanchez throws Krest into the chamber, increases the pressure, and then just as suddenly decreases it, causing Krest’s head to explode. In a scene not in the film, Shekli comes in with two other men and a groggy Dario. Shekli explains that Bond drugged Dario and took off with Lupe, before withdrawing four million dollars in cash. Sanchez realizes he has been duped into killing Krest. He thinks for a moment. “He came in a private plane. The airport!” blazes Sanchez. Of course, none of this ends up in the film. In the film, Bond tells Q and Pam to go home. He wants to finish Sanchez off and goes back to Sanchez’ estate to do it.

In the treatment, Bond, Lupe, Pam and Q are stopped at the airport gate. Sanchez has called ahead and warned them to be on the lookout. Inside the van Q is putting the finishing touches on a new passport for Lupe. Sirens behind them blazing make the airport guard cautious. He refuses to let Bond through the barrier, so Bond guns the engine and crashes through the gate. Sanchez’ limo and Rios’ police car finally catch up to the Bond’s van. It is parked near Bond’s private plane. The plane begins to taxi down the runway. Dario comes up alongside the plane as it is speeding down the runway and pulls out an Uzi. He begins firing away mercilessly at the fuselage. The plane veers off the runway and crashes. Sanchez grabs the Uzi, walks up to the crippled plane and unloads another round of bullets into the cockpit, only to realize the cockpit is empty. Everyone turns around to hear the noise of an oncoming plane. Sanchez’ private plane. Pam is flying Sanchez’ private with Q, Bond and Lupe in the back. (exactly how Maibaum planned to explain a pilotless plane taxiing down the runway is unclear, and was later abandoned anyway). Sanchez orders for the plane to be shot but the gun is empty.

Pam and Bond are at the controls. Q is in the back, worn out, but still enjoying himself. He never knew fieldwork was so much fun. Pam says it’s too bad they didn’t have the chance to kill Sanchez, but Bond tells her the plan is on ice until they find out where Sanchez was taking the Orientals when they got to Oaxaca. Bond tells Pam he needs a two-hour nap, then he’ll come in and relieve her.

He heads to the rear of the plane and finds Lupe taking a shower. She sees him over the top of the glass shower door and asks him for a towel. He attempts to hand it to her over the door but she simply opens the door and takes it from him. Bond turns away; realizing Lupe has made a not so subtle play for him. In the cockpit, Pam looks concerned. She turns on the intercom to “listen”. Lupe, now in a silk robe, asks Bond “What will we do? Franz will follow us. Kill us.” “Not if I get him first.” She’s frightened. She sits on the edge of the bed with him and asks him to please hold her. She then starts kissing Bond. Pam is still listening to them on the intercom. She jerks the controls. The plane bumps a little, but not enough to distract Lupe. She is moving her body against Bond. Her ardor becomes more vocal. Pam scowls. She switches intercom from LISTEN to TALK. “Please fasten your seat belts. We’re about to go through some air turbulence.” She turns the steering wheel to its chuck stop. The plane does a barrel roll. Lupe is tossed off the bed onto the floor. The plane rights itself. Bond is amused but Lupe shouts “Beetch!” at the top of her lungs.

Back at the casino penthouse, Shekli is distraught. He’s afraid Bond has uncovered the entire operation. Sanchez tells Shekli to put the Oaxaca people on alert for Bond.

The next morning Bond and crew arrive in Oaxaca. All filming for scenes in Isthmus were done in Mexico, but unfortunately, none of it’s beauty or flavor was captured, and instead, John Glen goes for a non-descript, plain, hodge-podge of Hispanic culture. Thus, Mexico is barely distinguishable as the location in this film, save for some brief glimpses of Acapulco Beach when Bond is staying with Sanchez. This was not what Maibaum had in mind. He writes: In Oaxaca the next morning the streets are crowded with tourists shopping or sightseeing. Music is audible from cafes and a strolling mariachi band in colorful native costume moves.”

Bond tells Q to take Lupe to Miami to be with Leiter. Lupe is reluctant, but Bond insists she’ll be safe if she goes, so she does. Bond and Pam see a bus filled with American students in Oaxaca to visit the Bible Institute run by Joe and Deedie Butcher. They start handing pins, buttons, and pamphlets to people in Oaxaca. Bond takes one, gives it to Q and tells him to call Felix and tell him that the Institute may be a front for Sanchez’ smuggling ring. Bond remembers that Sanchez was watching the program in his casino the other night. Bond and Pam head to the Institute to arrange a tour.

Dario is now in Oaxaca, accompanied by Colonel Rios and a dozen men dressed as civilians. Sanchez is in town to. “I had to come”, he tells Dario. “The Chinese are having second thoughts. They’ve heard rumors about Krest. That Kwang business upsets them. Then Bond taking Lupe and my plane. I have to show my face to prove everything’s alright.”

At the Institute, an appropriately dressed Bond and Pam attempt to register for a seat to listen to The Butcher’s sermon, as well as take a tour. The woman behind the desk has to inform them that they are not on the guest list and since the tour is overbooked, they can’t come in. Bond tells her that they came all the way from England. That this suitcase is full of their life savings. Deedie, who has been in the lobby greeting visitors, has her ears perk up when the suitcase is opened to reveal thousands of dollars (where this money comes from is unclear, as it is assumed Bond dumped all the money into the decompression chamber). She comes over to personally greet Bond and Pam. “Leave it, you dear people. There is always room at our inn for the faithful.” The receptionist gives Bond and Pam a badge to tour with. When Bond and Pam are out of earshot, the receptionist calls Shekli and tells him that the man and woman they are looking for are here and are on tour.

On the tour Bond visits the mailroom. It is an assembly line operation. Mail is dumped on a table to then be split by a machine. The opened letters are delivered to computer operators who remove the cash and checks. These are placed on one conveyor belt. The tour guide explains that it’s impossible for Joe and Deedie to read each piece of mail, but assures the group that each letter is read by someone on staff. However, Bond closely follows the route of the conveyor belt after the money has been removed and notices that the prayer letters are put on a conveyor belt that lead directly to an industrial shredder. No one is reading them!

Meanwhile, Sanchez and Shekli are conducting a private tour of the Institute, showing the Chinese how the counterfeit money operation works in conjunction with the institute. Bond’s tour group is led back to the lobby. Bond sees Dario enter a restricted access area. He tells Pam to give him her gun. He’s going after Dario. Bond dons a mask and heads after Dario. Inside the restricted area are several white-coated technicians with masks, a locker room and a guard near the door. Bond karate chops one of the technicians and takes his labcoat and badge, which identifies him as Jose Pico.

In the lab, Sanchez has just been informed that Bond is on the loose. Sanchez continues to show the Chinese how the cocaine can be smuggled via gasoline tanks (just as in the film) and converted back into cocaine. Bond, now dressed in mask and lab coat, is instructed in Spanish to grab a flask by one of the other technicians. Bond grabs the wrong flask and the technician becomes impatient, while Sanchez becomes suspicious. The Chinese are given a conversion demonstration and enthusiastically accept Sanchez’ invitation to join the cartel. Sanchez tells them there is a helicopter outside that will take them to Acapulco to observe the loading operation. At the door, Sanchez whispers to Rios to hold Jose.

During all of this, Pam has worked her way into the auditorium and is ready to take a seat to listen to Joe and Deedie. She spots Dario scanning the audience looking for her. She ditches her seat and sneaks backstage, grabs a gown, and goes onstage to pose as a choir member right behind Joe and Deedie (wisely, this whole section is cut, as it borders on Naked Gun style parody. On a side note, Leslie Nielsen did a spoof of Jim and Tammy Bakker in a film called REPOSSESSED which costarred Anthony Starke, who played Truman Lodge aka Shekli in License to Kill).

Rios and two henchmen walk towards Bond. Realizing he’s been made, Bond edges backward. Rios draws gun, but Bond grabs Erlenmeyer flask and throws contents into Rios’ face. He instinctively flinches and drops his gun. Bond tries to draw his, but henchman throws his arms around him. Sanchez returns to the lab. He strides up to Bond arrogantly. “What is this vendetta, Senor Bond?” “Felix Leiter” “The American Drug agent? What is he? Nothing!” “My friend. A man you couldn’t buy.” “Too bad for him. So, where is he now? Selling pencils in the street?” “No, Sanchez. He’s after your head. You can’t stop men like him.” “Bravo! Big talk from a dead man.”

Too bad this exchange wasn’t used in the film. The ending, where Bond shows Sanchez the cigarette lighter from Felix and Della, falls flat. It’s more emotionally searing to hear Bond say the words “My friend.” It personalizes the relationship in a way the film attempts to, but never does.

Sanchez tells Braun and Perez to hold Bond. He then asks for the red key from Shekli. The red key opens a wall panel with a vault behind it. Inside the vault is a detonator. Sanchez sets it for 10 minutes. Shekli asks “Why?” Sanchez explains that if Bond knows about the Bible Institute, he’s probably told others. “When the police come, what will they find? Ashes.”

On the walkie-talkie, Dario is told to meet Bond. Pam sees Dario slip out of the auditorium and follows him. Bond, in the vault area, is tied up. Sanchez tells Bond: “Dario owes you some pain. I promised he could have you. Amuse yourself Amigo.” He exits with everyone but Dario and other henchman. Outside, Shekli asks Sanchez “Shouldn’t we tell Dario he only has seven minutes left?” “No! He has made too many mistakes lately.”

Meanwhile Leiter is watching Joe and Deedie’s broadcast on his television.

In the counting room, Dario puts Bond on the conveyor belt leading to the shredder. Bond uses his feet to grab a bucket and Maibuam alludes to Bond using the bucket to pass through the shredders unharmed. Exactly how this is accomplished is hard to imagine. Bond manages to knock one guard out but Dario comes after him in a fight to the death. They both grapple with one another on the moving conveyor belt when Pam comes in, clothed in a white robe (just as in the film). Dario looks up and says, “You’re dead” to which Pam replies “You took the words right out of my mouth” and shoots him. Dario falls through the shredder. Pam and Bond escape the mailroom. They escape to the auditorium where Joe and Deedie are “channeling” people in the spirit realm to help the audience realize who they were in a previous life. Bond and Pam leap on stage and Bond claims he was a smuggler in a past life. Leiter sees Bond on television.

Bond says he worked at the port in Acapulco. He repeats it “Acapulco!” Joe Butcher is impressed. Security guards burst into the control room and cut the program. Leiter turns to Hawkins “Get Commander Rojas of the Mexican National Police on the phone. Something’s going down at the port in Acapulco.”

Now that they are off the air, the security guards draw their guns on Bond and Pam. It looks hopeless. Suddenly there is a tremendous explosion. Pandemonium breaks loose. The audience goes crazy, rushing outside. The lab and counting room are burning. Money is falling from the sky. “Manna from heaven It’s a miracle!” someone shouts. The people rush around snatching up the money (a scene I would have liked to see filmed).

Bond sees five petrol tankers headed for Acapulco. He tells Pam to call the authorities so that they can intercept the convoy before it reaches the port. She takes off and he sneaks into a utility truck that is riding shotgun with the tankers. Sanchez, Shekli and two others are in a limo riding alongside the tankers. Bond hides in a toilet stall where some action takes place once he is discovered. He moves out from inside the stall and commandeers the truck by forcing the driver to jump. Rios and his men set up roadblocks using local farmers and their vehicles. Pam finds a crop duster, steals it, and chases after Bond.

Bond plays a game of chicken with his tanker truck and Rios’ car. He sideswipes their car. It piles up in a ditch. One of them radios Sanchez that Bond has hijacked the tanker. Bond sees upcoming roadblock and tries to slow down, but side smashes all the way through it. Rios tells Sanchez to stay put. He’ll personally kill 007. Rios’ men plant explosives along the roadside ahead of Bond and blow out a half the road. Bond tilts the rig on one side and manages to cross over the gap.

The rest of the action closely follows what you see in the film, except a scene in the treatment shows the Hong Kong group at a port gate in Acapulco in handcuffs. Bond and Sanchez duel to the death on the back of a tanker, until it goes over the cliff. The two tumble a hundred or so feet before coming to a rest. Sanchez is soaked in gasoline. Bond takes out a flare he had stolen from an emergency box inside one of the tanker cabs and aims it at Sanchez. He goes up in a ball of flames. In the film, Bond ignites Sanchez with a cigarette lighter. Also in the film, Pam’s plane is shot down. Since no Stinger Missiles are involved in this treatment, her plane does not go down. Instead, she lands it on the road and rushes up to Bond, tears in her eyes. She cares for him. Bond looks up at her and smiles.

Later, there is a Mexican fiesta in Acapulco. Pam and Q are at a table on a patio. Bond arrives at the party with Lupe, his arm in a sling. Pam is miffed to see Bond arrive with Lupe until she realizes Lupe is pushing Leiter in a wheel chair. Lupe has found her true vocation: taking care of Leiter (in the film, Bond suggests Lupe hook up with President Hector Lopez, who is nowhere to be found in this treatment). Q tells Bond that M wants him to return to London at once for re-assignment. Pam says he’ll need some R and R first. She asks him: “Why don’t you buy a yacht for a three month sail on the Caribbean with me?” Bond asks her what will they use for money. She opens one of the padded sections on her vest. It is stuffed with packets of hundred dollar bills. “You didn’t think I was going to let you put all that cash in the decompression chamber, did you? I’m a practical woman.” Bond says he won’t be much use to her with one arm. “For what I have in mind, you won’t need your hands,” she tells him.

FADE TO END CREDITS

wild script – Kiss The Girls And Make Them Moonraker

The Real Origins of Screenplay #11? by Alan Stephenson

An unctuous, wealthy megalomaniac with an interest in rare orchids surrounds himself with a coterie of beautiful women. In breaching the madman’s underground Brazilian lair during Carnival, a notorious international secret agent—accompanied by a female operative who initially mistrusts him—uncovers a scheme to decimate mankind from earth orbit, then repopulate the world with a new master race.

Despite a lavish budget, the film is something of an embarrassment to genre devotees. The title is, of course, Kiss the Girls and Make Them Die. What?! Produced by famed Italian mogul Dino De Laurentiis in 1967, the film stars Michael “Touch” Connors—later to become simply Mike Connors of TV’s Mannix—Dorothy Provine (who, in sharp contrast with Bondian tradition, never succumbs to the hero’s charms, but—more conventionally—plans to marry him), and Terry-Thomas with music by John Sebastian of Welcome Back Kotter fame.

The similarities to 1979’s Moonraker don’t end with the plot synopsis: Specific scenes—even particular sight gags—are duplicated in the EON film. In fairness, Kiss … appears to borrow liberally from early EON releases as well. Following is a comparison of elements appearing in both Kiss … [KGMTD] and Moonraker and other Bond titles.

KGMTD: Villain plots to release radiation from orbiting satellite to sterilize human race; lower animals unaffected.
Moonraker: Villain plots to release chemical from orbiting satellite to kill human race; lower animals unaffected.

KGMTD: Male CIA agent investigates villain whose operation has already been infiltrated by female MI6 agent.
Moonraker: Male MI6 agent investigates villain whose operation has already been infiltrated by female CIA agent.

KGMTD: Amazon’s Iguacu Falls appear in the opening titles.
Moonraker: Amazon’s Iguacu Falls appear in the chase sequence.

KGMTD: Sets influenced by Ken Adam.
Moonraker: Sets designed by Ken Adam.

KGMTD: Adam influence includes villain’s headquarters, concealed underground in the Brazilian jungle.
Moonraker: Adam designs include villain’s headquarters, concealed underground in the Brazilian jungle.

KGMTD: Many sequences take place during Carnival in Rio de Janeiro, Brazil.
Moonraker: Some sequences take place during Carnival in Rio de Janeiro, Brazil.

KGMTD: Hero contacts counterpart at tramway station where assassination attempt is made.
Moonraker: Hero contacts counterpart at tramway station where assassination attempt is made.

KGMTD: Villain keeps representative orchid in acrylic block.
Moonraker: Villain keeps representative orchid in acrylic sphere.

KGMTD: Hero’s shoes fire darts.
Moonraker: Hero’s wristband fires darts.

KGMTD: Heroine’s cigarette fires darts.
Moonraker: Heroine’s diary fires darts.

KGMTD: Heroine’s ring injects poison via retractable needle.
Moonraker: Heroine’s pen injects poison via retractable needle.

KGMTD: Heroine’s eyebrow pencil sprays knockout gas.
Moonraker: Heroine’s perfume atomizer is a flamethrower.

KGMTD: In escaping henchmen on winding road above Rio, heroine’s car becomes billboard featuring satiric message [Bullova watches].
Moonraker: In escaping henchmen on winding road above Rio, hero forces one of same into billboard featuring satiric message [British Airways].

KGMTD: Villain traps heroine inside rocket warhead.
Moonraker: Villain traps heroine inside rocket exhaust port.

KGMTD: Villain’s headquarters eventually overrun by government troops.
Moonraker: Villain’s headquarters eventually overrun by government troops.

KGMTD: Rocket carrying satellite looks like giant silver bullet inside giant silver gun barrel. Silo is perfectly smooth save for gantry arms and encircling pierced metal platform-fed by flush-mount doors-situated above guidance planes.
Moonraker [Novel]: “It was like being inside the polished barrel of a huge gun. Up through the centre of the shaft, which was about thirty feet wide, soared a pencil of glistening chromium … The shimmering projectile rested on a blunt cone of latticed steel which rose from the floor between the tips of three severely back-swept delta fins … otherwise nothing marred the silken sheen of fifty feet of polished chrome steel except the spidery fingers of two light gantries …”

And For Good [Bad?] Measure…

KGMTD: Lesser female character drives new Ford Mustang convertible, in marked contrast to otherwise nondescript domestic vehicles.
Goldfinger: Lesser female character drives new Ford Mustang convertible, in marked contrast to otherwise nondescript domestic vehicles.

KGMTD: In startling double-cross, villain kills his own investors.
Goldfinger: In startling double-cross, villain kills his own investors.

KGMTD: In shower of sparks, henchman electrocuted by electrified bars.
Goldfinger: In shower of sparks, henchman electrocuted by electrified bars.

KGMTD: Trapped by automated door triggered by villain, henchman ultimately falls spectacularly to his death.
Goldfinger: Trapped by automated door triggered by villain, henchman ultimately falls spectacularly to his death.

KGMTD: Villain’s principle mode of transportation: luxury yacht.
Thunderball: Villain’s principle mode of transportation: luxury yacht.

KGMTD: While seated in bleachers observing festive parade, hero questions heroine who is also villain’s companion.
Thunderball: While seated in bleachers observing festive parade, hero questions heroine who is also villain’s companion.

KGMTD: Villain feeds enemies to pirhana fish.
You Only Live Twice: Villain feeds enemies to pirhana fish.*

KGMTD: Rocketry obtained from Red Chinese.
You Only Live Twice: Rocketry provided by Red Chinese.*

KGMTD: Heroine’s name is Fleming.
James Bond Novels: Author’s name is Fleming.*

Moonraker ultimately launches 007 into orbit while Kiss … keeps its hero, “Agent Kelly,” earthbound. As a result, the earlier film is—in certain respects—the more “believable” of the two; Kiss … has no “city in space,” for example—a frequently criticized element of Moonraker—and thus perhaps doesn’t stretch audience credulity nearly so far (though there’s still plenty else on display in Kiss … to leave you wincing).

I’m not suggesting that Moonraker’s screenwriter, Christopher Wood, baldly stole from Kiss …, at least not consciously (even David Gerrold—scribe of the famed Star Trek episode, “The Trouble With Tribbles”—admits he may well have stored “Flat Cats” in his subconscious, but otherwise failed to recall the pre-Trek tale), but almost none of Moonraker’s on-screen elements appear in Fleming’s novel and they must have been born of something; the films’ similarities seem too numerous to accept that they randomly occurred to two screen writers working in the same genre a decade apart.

Did Wood forget viewing Kiss … or was he hoping no one remebered an obscure Italian knockoff? Might EON even have purchased the rights in the meanwhile to avoid a messy plagiarism charge? (Potential fodder for Comedy Central’s MST3K if nothing else, Kiss. .. is seldom seen today outside bootleg videos.) Or are the similarities indeed just an unfortunate—albeit mighty suspect—coincidence?

The occasional champion aside, Moonraker is more often derided by serious fans as a misguided, overly humorous attempt to cash-in on the Star Wars craze. But almost more intriguing than its place in the history of the franchise are its possible true origins. Could one of the most (justifiably?) maligned Bond films really have appeared on-screen years before? This time, it may be a mystery even 007 couldn’t unravel …

*Since KGMTD and YOLT were effectively simultaneous, similar elements may indeed be genuinely coincidental. Regardless, it’s virtually impossible to determine who was borrowing from whom.

–Alan Stephenson (Santa Cruz, CA) is one of the world’s leading collectors of James Bond memorabilia.

wild script – GoldenEye

In original drafts of GoldenEye, the Ferrari that chased Bond in his Aston Martin was some type of tree cutting machine. This rumor has some credibility as there is a truck seen carrying tree logs in the chase sequence. Michael France, the writer for GoldenEye, received a writing credit for “The World Is Not Enough” because the helicopters-with-sawblades sequence was lifted, to a point, from his script for GoldenEye.

Xenia and the Admiral`s sex scene had to be redone, trimmed, edited and generally toned down in order to avoid strict ratings in the UK and US. Apparently it was much wilder in the first draft.

The character of Alec Trevelyan was originally supposed to be an older gentleman, many years Bond`s senior, who acted as a father figure or surrogate father. Anthony Hopkins was attached to the role, but after turning it down, the role was changed to resemble brotherly, sibling rivalry between 007 and Alec. The role went to Sean Bean.

Michael France scripted a scene where 007 breaks into KGB headquarters in Moscow. The scene somehow didn`t make it into filming.

Michael France also wrote an action sequence that popped up in Quantum of Solace, but slightly altered. In the sequence, Bond and Natalya are flying over Cuba, when Xenia, in her helicopter, fires away at Bond`s plane. The shots rip open the passenger door, sweeping Natalya out without a parachute. Bond, with parachute, dives out to catch her. He does, and opens his parachute to bring them safely down to Earth. But Xenia comes bearing down on them before they can reach ground. She starts firing on them, the blades coming perilously close to 007 and Natalya. Both are hurtling towards a hole in the ground. A huge hole in the Earth (like the one in Australia) big enough to fit a helicopter. Bond fires back at the helicopter, and both Bond, Natalya, and the helicopter plunge into the hole. The copter explodes, nearly decapitating Bond and Natalya as it plummets and passes by them.

In the earliest drafts of Goldeneye, there was a sequence on the Eurorail similar to the one in Mission:Impossible (1996). It might have been the pre-credits sequence for the film.

In Michael France`s original script, the story`s catalyst had scientists around the world being assassinated; Jeffrey Caine, who was hired to rewrite the script, complained that France`s script was too much like a mystery with its connect-the-dots story and changed much of it

Kevin Wade (Working Girl) was an uncredited screenwriter on GoldenEye. Amongst other things, he wrote the scenes featuring Jack Wade (hence the name).

wild script – Diamonds Are Forever

The story that brought Diamonds to the screen is clouded in numerous rewrites and a number of different plots.

The first draft, was originally going to start off very differently, and was to do something that seems a bit odd. The pre-title sequence was to be the wedding and death of Bond`s bride, (taken from OHMSS) and was to lead into a different story altogether, after that.

The original drafts also featured a new villian, the twin brother of Auric Goldfinger (who was to be played again by Gert Frobe), and the plot was revenge for his twin. Broccoli and Saltzman liked the idea at first, but later rejected it as being “too far off of the original premise of Fleming`s novels.” Also, his revenge was to done by killing Bond`s bride, (tying up loose ends, and such.) Dick Maibaum even had a fantastic line written for Bond`s first encounter with Goldfinger`s twin: “I think you knew my brother Auric. Mother always said he was a bit retarded.” The line got dropped when the whole storyline got jettisoned.

The villians from the book, the Spangled Mob, were considered, but not right for the time, so Blofeld returned. Also, many actors were considered for the role of 007, before Sean stepped back into it. Those considered included Burt Reynolds and Roger Moore but the producers flat out rejected Reynolds (because he was American). Reynolds was chosen by MGM/UA execs, trying to cash in on his status as one of the world`s biggest male movie stars (at the time) Well, we all know Moore got the role more than a year later in Live and Let Die.

Another interesting point stricken from the first few drafts was the climactic fight. Originally it was set to take place in a salt mine in Baja California and 007 was somehow supposed to grab hold of a weather balloon that was attached to a fleeing speed boat being driven by Blofeld. When the boat stops, Blofeld turns around to see Bond way up in the sky dangling from the balloon and says:

“Mary Poppins I presume?” He shoots Bond down and the fight begins.

Another draft of the film had the climactic showdown on Hoover Dam. A flottila of U.S. forces had surrounded Blofelds boat in an attempt to corner him and force him into surrender.

When Bond asks Felix for the real merchandise, an extremely sheepish Q is surrounded by customs officers. On the table in front of them is a large wooden leg with shoe and sock on it, open at one end.

FELIX (re: Q): Ask him to do his Long John Silver imitation for you someday. It`s a riot.

Sammy Davis Junior had a cameo in the film. This was cut during post-production:

SAXBY: Hey, I just got a call from Mr Whyte. Understand you haven`t signed your contract yet. What`s the problem?

DAVIS: The money, if you can believe it. Considering your boss is a billionaire, for God`s sake. Do me a favour, Bert. Trundle on up to that penthouse of his and talk to him for me.

SAXBY: You kidding? I run this place for him, and even I haven`t seen Willard Whyte for three years.

Then after Bond has entered the room, Davis says that you could eat off him!

Bond has drinks with Plenty. The waiter presents Bond with a wine. Bond shakes his head sadly in front of an impressed Plenty, and sends it back.

PLENTY: Hey! I didn`t think you could really do that. I bet they charge you for it.

BOND: I thought you were paying.

PLENTY: Well, it was still a very classy thing to do. (suspiciously) Say listen, you aren`t a knight or anything like that are you? I mean-

BOND: A mere commoner, I`m afraid.

PLENTY: (taking his hand) Don`t feel bad. Doesn`t make any difference to me. I`m a Democrat.

The following exchange occurs in bed with Tiffany Case:

TIFFANY: Peter? I think we`ve got a problem.

BOND: You forgot to take your pill.

TIFFANY: Nothing as trivial as that. (pause) You`re not going to tell me where the diamonds are, are you?

At the tail end of the circus sequence, the gorilla rushes out after the agents:

MAXWELL: Let us through! We`re agents!

GORILLA: Agents? (turns, yells off) Hey, wait! We need an agent!

GOONA (to Gorilla): I guess they didn`t dig the act.

When Bond uses the dart gun to sneak up to see Willard Whyte (and instead finds Blofeld), he mutters to himself, genuinely upset, “So help me, Q, if I fall I`ll kill you.”

After Whyte tells Bond “I`ll have him steam around in circles for you.”

BOND: If you`re ever in London-

WHYTE: After what I`ve seen of the world in the last couple of days? As soon as I get the kitty litter out of my john it`s back to the old-

The tag scene was different in the shooting script:

On board, Kidd and Wint bring the food. Kidd tells Bond that “Monsieur is wanted in the radio room. A telephone call from Mr Willard Whyte.”

Bond tells Tiffany that he won`t be a moment, hands money to Kidd and asks him to keep the dinner warm, will you?

Kidd replies, “But Monsieur does not have to pay us for what we are about to do.”

The Radio Operator tells Bond that somebody must have played a joke on him. “I could live five times over before Willard Whyte called this tub.”

Bond realizes that he`s been had.

Back in the cabin Tiffany is in short nighties, now spreadeagled, tied down to bed, gag in mouth. Hanging above her is the sizzling pot of boiling oil, attached by rope. Wint and Kidd have attached the rope to the handle. They open the door two inches. It tilts – a drop falls. It burns a smoking hole in the pillowcase next to Tiffany`s head.

Bond climbs outside boat, and using a long rope, he lowers himself over the side.

Meanwhile, a maid goes from door to door. Kidd and Wint wait patiently. When Bond – or the maid – comes back and opens the door, Tiffany will be burnt.

Just as the maid is about to open the door, Bond pushes off the side of the ship with his feet and sails through the porthole feet first. He sails in, makes a swipe at the oil pot and rope, misses, lands in a pile at the other side of bed. Kidd locks the maid out just as she`s about to push door open.

The oil pot teeters precariously back and forth.

Bond leaps for the top of the soup toureen, grabs it. Wint yells for Kidd to pull rope. Kidd ranks on rope and the oil pot turns over. Bond passes the upside-down tureen lid over Tiffany`s face, catches the oil, throws it into Wint`s face.

He screams – Bond pushes him hard to one side, impaling him on a sharp point of carved ice Cornucopia, killing him. Kidd has passed skewers through Sterno flame – they are now ablaze. He jumps Bond from rear. Bond twists away, grabs brandy bottle, breaks neck of it on table, and slings brandy at Kidd. Flames shoot up Kidd`s arms – his whole body is on fire. Bond yanks blanket from bed, wraps it around Kidd, smother flames. He picks up the bundle, stuffs it through and out of the porthole, looks down at Tiffany. She`s still bound and gagged, tied to bed, legs spread apart.

wild script – A View To A Kill

Critics of the film A VIEW TO A KILL, who may be looking for someone or something to place blame on, will have to look further than the shooting script to make their points. Reading the first draft and subsequent revisions leaves the reader with the impression of a serious, ambitious, tight and well thought out fun romp of a script by Richard Maibaum and Michael G. Wilson. Whatever happened afterwards can only be left in the hands of the cast and crew.

The original concept for the film was to have Zorin try to alter the course of Halley`s Comet and make it smash into Silicon Valley. Halley`s comet would make its appearance later in 1985. Perhaps reasoning that the idea was too fantastical, the writers began taking a different approach to the script. The draft, dated June 20th, 1984 and revised several times in the ensuing months, doesn’t differ greatly from the film. The plot is the same, the characters are in place and most of the dialogue makes it. What is different is how startlingly professional and solid the character of Stacy Sutton is, the role of Pan Ho is slightly larger than in the film and two whole sequences were snipped from the script (one was filmed, one was not).

The script opens up exactly as the film does, with 007 deep in the heart of Siberia trying to retreive the microchip from the body of 003. The only difference in the action in the script calls for Bond to throw his axe at one of the Russian soldiers (which he does not do in the film) as well as have a close call with the helicopter blades (pictured above but not used in the film). Bond snowboards across a lake, pulls out a flare gun and destroys the helicopter before jumping into the waiting arms of Kimberly for a little spy lovin’.

KIMBERLY: I thought you’d never get back.

BOND: I ran into a few unfriendly natives.

In the script the acceleration of the submarine causes Kimberly to fall onto the bed, whereas in the film Bond deliberatly manipulates the controls so that Kimberly falls into his arms. This is one case where the filmed version is better than the scripted version. In the script, Kimberly merely falls into the bed and Bond says: “It’s five days to Alaska.” In the film, Kimberly puts up a fey protest against Bond’s not so subtle pass at her:

KIMBERLY: Commander Bond!

BOND: Call me James. It’s …five days to Alaska.

The action then shifts to the MI6, where both script and film follow a parallel course with little to no differences. We then move on to the Ascot Racecourse, where the whole office has gone for the day. Bond and M have their binoculars trained on Zorin’s luxury box. Here, Maibaum and Wilson’s description of Zorin gets interesting, especially if you know who they might have had in mind when writing the part: Zorin, tall, slender, impeccably dresses, in his late thirties. Unusually handsome, he has one grey and one blue eye. David Bowie was reportedly offered the role of Zorin. Could he have been in mind while this was being written?

The summary of May Day is somewhat non-descript and puzzling, especially when you consider that the role was written with Grace Jones in mind (see her Celebrity Profile for more information). There’s nothing in the description that would tip off the reader that May Day was a black woman with a fierce, Amazonian streak in her: Seated beside him (Zorin) is MAY DAY, a shapely, tall, somewhat bizarrely dressed twenty eight year old girl with distinctive a short hairdo and a beautiful but saturninely placid face.

Also cut was a short exchange between Sir Aubry (officiating the race) and Zorin after Zorin had won the race:

SIR AUBRY: This is becoming habitual, Mr Zorin.

ZORIN: Each times only makes me more grateful, Sir Aubrey.

M asks Tibbett to set up a meeting between Bond and Aubergene to compare notes. Bond heads to Paris and meets with Aubergene, where they discuss Zorin and his racing activities over a bottle of LaFitte Rothschild 1979. Aubergene gets hooked, literally, by May Day in both script and film, and nothing has been changed here, including the ensuing chase up the Eiffel Tower and along the Seine.

The script then moves along to Bond in a Parisian jail cell.

INSIDE PARIS JAIL: GENDARMES PIMP TWO PROSTITUTES

M waits impatiently. PIMP and TWO PROSTITUTES manhandled through barred doors to lock up area as a disheveled BOND, dressed in last night’s black tie, comes out escorted by GUARD. He stops at sergeant’s desk. SERGEANT takes sealed envelope containing Bond’s possessions, rips it open and dumps contents on desk. An underwater wrist watch, fountain pen, lighter etc. He starts to pick up watch by winding stem.

SERGEANT: One watch….

The stem pulls away and is actually the end of a garrot cord which winds out from watch. He lets go of stem, in surprise. He winds it back into watch. BOND picks it up and puts it on.

BOND: An old family heirloom.

He picks up fountain pen, unscrews top.

SERGEANT: One pen….

He scribbles on on the pad and screws top back on as he hands pen to Bond.

SERGEANT: ….in working order.

The pad begins to smoke and curl up, unnerving SERGEANT slightly. He picks up lighter.

SERGEANT: One lighter….

He flicks it. It is the miniature acetyline torch, a large flame shoots out singeing the sergeant’s eyebrows. He drops the lighter and pushes the remainder of Bond’s things away.

SERGEANT: Take them! Just sign here.

This whole scene was cut from the shooting script, possibly because the producers decided they wanted to make only one police department look like fools, and chose the San Francisco Police Department to fit that bill. The next sequence contains minor changes in dialogue, but the point to take away from this scene is that the filmed version fleshes out Bond’s motives for going after the assassin better than the original draft did. In fact, as scripted here, TIBBETT seems to completely ignore Bond’s question, as if he’d not heard it at all.

IN CAR: BOND AND M AND TIBBET

As CHAUFFER drives away from station. M holding a sheaf of bills, etc.

M: (caustically) Your release gratifies me, 007. All it took was 600,000 francs in damages and penalties for violating most of the Napoleonic code. May I remind you this operation was to be conducted discreetly.

BOND: Under the circumstances sir, I felt it was more important to identify the assassin.

M: Any ideas?

BOND: None that make any sense, sir. What did Aubergene hope to learn at the Zorin thoroughbred sales?

TIBBETT: I think I can arrange an invitation, Sir. Bit short notice, but I might be able to squeeze Bond in.

M: Very well, and try to avoid any more international incidents; the exchequer can’t afford them.

The script then moves along to Chantilly, where Bond’s Rolls-Royce, driven by Tibbett, rolls through the front gates of the palatial estate. There, Pan Ho and Scarpine are checking security. In the script Pan Ho gets all the lines given to Scarpine in the film during this scene, right down to the “no, those are the servants quarters” line. Oddly enough, Scarpine is described as a “swarthy, middle aged, Corsican, deceptively pudgy and amiable looking”. Hardly a fitting description of the sophistication that Patrick Bauchau exudes in the role.

Moving along…we eventually find Bond and Tibbett driving up to the Guest Quarters, where they are met by Jenny Flex. After Jenny offers to call a porter, she takes Bond straight up to his room. Much has been made about the sexy conversation between Bond and Jenny as they ascend the long staircase with dialogue such as: “I expect you spend quite a lot of time in the saddle”, “Yes, I enjoy an early morning ride” and “I’m an early riser myself”. Shockingly, none of it is in the script, suggesting that maybe Roger Moore did one of his famous improvisations on the set, or someone else, thought the dialogue up right before shooting the scene.

Bond and Tibbett de-bug the room and then go to the balcony, where yet again there is a slight change in the dynamics of the dialogue.

TIBBETT: Another wealthy owner?

BOND: Or a Zorin inamorata? Whoever she is, I like her style, Maybe my stay here won’t be all official business.

TIBBETT: Were on a mission.

BOND: And she’s part of it.

Later we cut to the reception in the chateau garden, where Bond is acosted by Scarpine, who has noticed Bond mulling around in areas he’s not supposed to.

SCARPINE: Enjoying the party, Mr. Sinjin-Smythe?

BOND: Immensely. Always enjoy a good knees-up.

The reference to the “knees-up” is obscure, vague. Wisely it was cut and replaced with something else.

Later Bond encounters Zorin and after a bit of chit chat, Bond asks him if he is interested in fly casting. In the film, Zorin’s immediate reaction is negative and evasive. Here in the script, he takes the cool approach.

ZORIN: Delightful pastime. I must do it more often. But I’m neglecting my other guests. Enjoy yourself. You will find the young ladies stimulating company.

The script gets weak momentarily when Bond finally meets up with Stacy.

STACY: No, I’m not interested in race horses.

BOND: As long as you don’t feel the same way about English bachelors who fancy American girls.

Ugh. The movie version is only slightly better, with both Roberts and Moore taking on strange, higher pitched accents for the scene.

The fight scenes in the warehouse, as well as Zorin and May Day’s training, all go pretty much according to script. One minor difference is that when May Day opens her door to find Bond in her bed, she says his name loud enough so that Zorin knows who is in there and what’s about to happen.

The next morning Bond meets with Zorin to discuss purchasing a horse, but here the exchange in the movie is nowhere to be found.

ZORIN: Good morning. You slept well?

BOND: Never better.

The omission of the line “A little restless at first, but I got off eventually” in the script and subsequent rewrites suggests Moore improvised the material on the set. Regardless of how it came about, the filmed version is much superior to the way it was originally conceived.

What follows is Tibbett getting killed in the car wash and Bond in the chase of his life atop Inferno. Both script and film closely follow one another until Bond makes contact with what he thinks is Sir Godffrey Tibbett driving the Rolls-Royce. No major changes here, but it does allow for PAN HO to get more screen time. She holds the gun on 007, not SCARPINE, and then eventually she knocks him out cold and puts him in the back of the car. Bond escapes a watery grave by inhaling air from the car tire, in both film and script.

We then cut to the meeting between Zorin and his Cartel members.

ZORIN: Gentlemen, you may find the venue of our meeting unconventional, but I assure you we will not be overheard.

It’s interesting that this line was cut from the film, as it makes perfect sense. Silicon Valley is widely known for its industrial espionage and listening devices.

Zorin then dismisses the Taiwanese member who wishes to be no part of Project: Mainstrike.

ZORIN: May Day will provide you with a drink.

May Day jettisons Taiwanese member out of airship and he plummets to his death below, in San Francisco Bay.

ZORIN: (to May Day) Did he get his drink?

Obviously this punch line is too cerebral. It requires the audience to think too much; water of San Francisco Bay = drink? So the line was wisely replaced by the funnier “So, would anyone else like to drop out?” Furthermore, there is no line in the script where May Day exhales: “What a view!” and Zorin: “To a kill.”

We now cut to Bond on Fisherman’s Wharf, preparing to meet Chuck Lee. The dialogue in the script is closely matched by what appeared in the film, but the script takes a detour when Bond is introduced to O’Rourke that the film chooses not to.

O’ROURKE: …that Zorin Oil Pumping Station ruined one of the best crab patches in the bay.

BOND: Scared them away?

O’ROURKE: No, they didn’t go nowhere, they just disappeared.

BOND: I’d like to have a look. Can you get me near the station?

O’ROURKE: That’ll be tough. (slowly a gleam comes to his eye) I might just have a way.

LARGE CRAB BOAT DAY

Deck crowded with CRAB MEN holding placards protesting Zorin Oil Company. BOAT approaches PUMPING STATION JETTY.

DECK OF BOAT CRAB MEN BOND, LEE, O’ROURKE standing together.

BOND: See if you can get a little closer.

O’ROURKE: O.K.

INT. PUMPING STATION ZORIN at window. CONLEY, SCARPINE and MAY DAY join him. TECHNICIANS in B.G at control console.

ZORIN: What do they want?

CONLEY: A bunch of hotheads. They want us to stop pumping.

ZORIN: (to Scarpine) Keep them away.

CRAB BOAT BOND AND LEE on deck. See LAUNCH approach.

ZORIN LAUNCH SCARPINE with blow horn and uniformed armed guards.

SCARPINE: This area is restricted. Keep your distance.

CRAB BOAT O’ROURKE joins BOND and LEE

O’ROURKE: This is as close as I can get.

BOND: I”ll wait until dark.

The script then offers two scenarios regarding the pumping station. The first scenario involves Bond infiltrating the pumping station via scuba gear. Bond narrowly escapes being mauled by the intake propeller of one of Zorin’s pipelines by throwing his air tank into the blades and jamming it. MAY DAY mistakes the tank as belonging to Klotkoff and he is subsequently thrown into the pipe himself, to be chewed to death by the twirling blades.

The other scenario involved a more hands off approach by Bond. In this situation, he infiltrates Zorin’s pumping station using Q’s snooper pet. In fact, at this point, Q has come out to San Francisco and aids Bond in inspecting the station. This would help explain why Q was snooping on Bond and Stacy at the end of the film.

The cut scenes:

Q AND GUARD over map.

SECOND GUARD: Go back to the lights and hang a left.

Q: Hang a left?

SENTRYBOX DOG on leash sees SNOOPER and barks furiously.

SNOOPER scuttles behind some pipes.

Q AND GUARDS SECOND GUARD turns to DOG.

SECOND GUARD: Shut your yap, mutt.

DOG continues to bark. He hands the map to Q and goes to the sentry box to quiet DOG.

Q (confused): A left hand turning….

FIRST GUARD: Be cool. Forget what Jim said. There’s an easier way. Go past Gus’ about a mile to the MacDonald’s…

420-423 DELETED

JETTY SNOOPER scoots under the pipes and is well hidden.

Q AND GUARDS Dog is quiet now. SECOND GUARD rejoins them.

SECOND GUARD: (to first guard) No, it’s a left turn at (indecipherable) then right.

FIRST GUARD: That’s the long way. (to Q) Go to Van Ness. Then take a left.

Q: Thanks very much, chaps.

He leaves them arguing and gets into VAN.

BEACH ROAD PARKED CAR

We do not see who is in it. VW van passes CAR.

VAN continues down the road and stops. The pumping station on jetty is in B.G.

ZORIN PUMPING STATION NIGHT

Dim lights along JETTY. STATION HOUSING rests on piling about two feet off jetty floor boards. Window of CONTROL ROOOM lit. FAINT SOUND OF PUMPING.

MAIN GATE TO JETTY GUARD stationed there, his back to jetty.

JETTY GUARD IN B.G. SNOOPER moves away from GUARD between pipes.

EXT. BEACH VW VAN NIGHT

Lights out. Jetty in B.G.

INSIDE VW VAN Q AND BOND at console manipulates controls. Snoopers POV on TV monitor.

SNOOPER approaching RAMP leading up to deck around station housing. SOUND OF PUMPING GROWS LOUDER as SNOOPER moves up ramp to deck.

NEW ANGLE SNOOPER stopping below sill of CONTROL ROOM WINDOW. Telescopic stalk extends up out of SNOOPER’S turret until it reaches window level.

SNOOPER’S POV INSIDE CONTROL ROOM ZORIN, CONLEY, MAY DAY, TECHNICIANS watching CONTROL BOARD.

CONLEY: The porosity levels are still low.

ZORIN: (sharply): Increase them.

IN VAN BOND, Q watching and listening at TV SCREEN showing GROUP in STATION CONTROL ROOM. Voices from TV are faint and somewhat obscured by sound of pumping.

CONLEY ON TV: We’re at maximum pumping now…

ZORIN ON TV: We have a deadline. I’ll hold you personally responsible if we miss it.

SUDDEN SOUND OF GROWLING. Q reaches hastily toward REMOTE CONTROL UNIT beside screen.

SNOOPER AT WINDOW Turret stalk swivels, top pans down. CAMERA ANGLE WIDENS TO INCLUDE GUARD DOG growling at robot. Stalk whips back to window.

SNOOPERS POV GROUP IN CONTROL ROOM as MAY DAY reacts to dog’s growl and exits.

SNOOPER retracting stalk. DOG edges closer, growling.

IN VAN BOND at a loss. Distorted view of menacing dog on TV monitor. Q reaches across, hits button.

Q: Repellent.

SNOOPER squirts stream of liquid at dog which yaps, backs off and then barks, SNOOPER scoots away from him around corner of housing.

IN VAN Q AND BOND

Q: Foul smelling stuff.

RAMP SNOOPER scuttling down it, then disappearing under HOUSING FLOOR BOARDS

OUTSIDE HOUSING FLOOR BOARDS SNOOPER swivelling turret

WINDOW DOG, MAY DAY reacts to smell of DOG

SNOOPER POV as turret holds and trains on MICROPHONE under and against floor of control room, positioned there by BOOM ARM extending up through gap in jetty floor boards.

SNOOPER moving to gap and panning “EYE” down through it.

IN VAN BOND, Q

BOND shakes his head.

BOND: Too dark.

Q: Try infrared.

He switches to it.

SNOOPER POV ON TV SCREEN TWO MEN in rubber dinghy between piling beneath JETTY. One of them is KLOTKOFF. SECOND RUSSIAN, slenderer, could be Venz but we cannot see the face. They are equipped with earphones and waterproof tape recorder. CAMERA PANS UP TO MIRCOPHONE AND ZOOMS IN.

IN VAN BOND, Q looking at screen

Q: An RM 214 Russian sound probe. We picked one up in Istanbul six months ago.

BOND: (puzzled) The Russians bugging Zorin, too?

SUDDEN BARKING SOUND FROM TV

On JETTY FLOOR BOARDS which are under housing boards. DOG appears from under RAMP. SNOOPER scuttles further back under ramp out of sight.

RAMP MAY DAY looking under it.

HER POV She sees the MICROPHONE but not the Snooper.

RAMP MAY DAY quickly moves up to DECK.

IN VAN BOND, Q at darkened TV SCREEN

BOND: Where’s Snooper?

Q: Stuck somewhere under the ramp.

UNDER JETTY RUBBER BOAT RUSSIANS KLOTKOFF takes small wooden oars and quietly paddles out from under jetty. As he peers out from behind piling he is jerked out of boat.

WIDER ANGLE KLOTKOFF dangling by the scruff of the neck held by MAY DAY, who stands across beam below jetty. She cannot see other Russian in rubber boat.

RUBBER BOAT SECOND RUSSIAN takes waterproof TAPE RECORDER and silently slips over the side into the shadows.

JETTY MAY DAY and KLOTKOFF on deck joined by ZORIN, SCARPINE, and GUARDS

IN VAN Q, BOND trying to locate Snooper. BOND gets up.

BOND: Snooper’s a write off.

Q: (stubbornly) I never desert a fellow agent in the field, double-oh seven.

BOND takes STAR LIGHT GLASSES form wall and exits van.

JETTY KLOTKOFF held by GUARDS on deck near clean out hatch. He pleads with Zorin in Russian. ZORIN, impassive, nods to SCARPINE who opens hatch. ROAR OF IMPELLER, SCARPINE motions to GUARDS. They chuck KLOTKOFF in. Impeller labours for a few seconds and then resumes normal sound.

BOND standing next to VAN viewing jetty with STAR LIGHT GLASSES. Q joins him. BOND reacts to something to his left.

BOND’S POV through star light glasses. A BLACK FIGURE wades through the surf.

BOND with glasses.

BOND: At least one got away. (suddenly dawning) It’s their car down the road. I want the tape.

He hands GLASSES to Q and runs off.

When comparing the two scenarios, a few things come to mind; one being that in both cases, Bond’s actions lead to Klotkoff being discovered and killed. Both versions of the script also want to give off the impression that Venz may be the other Russian accompanying Klotkoff since they are the only two we have been introduced to so far but as we find out later, it was really Pola Ivanova.

The script continues on exactly as the film does, with Bond and Pola sharing a relaxing evening in a hot tub. Bond later questions Mr. Howe and spies Stacey at City Hall. He follows her to Whitewood Estates, her home, and the two get into a fight with some of Zorin’s stooges.

Over dinner Bond suggests the notion that he stick around to protect Stacy.

BOND: Look…it might not be a bad idea if I stayed here tonight.

She turns to face him, almost in his arms.

STACEY: (slight smile) To protect me?

BOND: They may be back.

STACEY: (smiling) I hope not.

The next day Bond and Stacey, as in the film, realize tremors are originating from Zorin’s wells on the Hayward Fault. Stacey stalks off to confront Howe. In the film, their argument is off camera. The script gives clues as to what might have been said.

STACEY: Elevated porosity levels and increased seismic activity call for immediate investigation.

HOWE: (vehemently) I refuse to be a party to your vendetta against Max Zorin!

She ends up being fired. Later, she meets up with Chuck Lee, and much like the film, Lee is killed off by May Day, who later teams up with Zorin to kill Howe and trap Bond and Stacey inside a burning elevator within City Hall. The two escape, only to be confronted by the Captain of the San Francisco Police Department. Bond is about to be arrested when he takes off in a fire truck with Stacey. Oddly enough, there is no line: “Where’s that guy going? That ladder’s unlocked!” In the original draft, the fire truck chase is vastly downplayed, with no swinging ladder.

In the film, Stacey says something to the effect of: ‘Is it true what you said back there, about the British Secret Service?’

Bond replies: “I’m afraid it is.”

In the script, the dialogue is clunky, pointless and uneven:

STACEY: Are you really James Bond?

BOND: You’d better believe it.

First of all, why would STACEY ask him if he was really James Bond? Does she know another James Bond? She asks the question of him as if he were a legendary superhero, like Batman or Superman, whose alter ego she’s just discovered. And he’s already lied twice by calling himself Sinjin Smythe and James Stock, so he can’t really be believed.

Stacey takes over the driving duties in the script, Bond jumps into the back and swings the rear end wildly, causing the two police cars to lock front fenders. The Captain then gets on the radio and has the draw bridge operator raise the bridge to prevent Bond from getting across. Bond waves Stacey on and she goes for it.

Having gotten away, Bond and Stacey drive to the Main Strike Mine, where they infiltrate the organization by posing as miners. Most of the mine sequences follow the film very carefully, with Zorin’s betrayal of May Day, Jenny Flex, Pan Ho, Conley and his men, and even including May Day’s sacrificial death.

The script indicates the blast rocks the inside of the airship, and that Zorin, Mortner and Scarpine have to recollect themselves. Stacey runs down the hill to meet with James when James is shocked to see Zorin’s zeppelin coming after them.

BOND smiles and jogs in her direction. His face suddenly registers alarm.

HIS POV STACEY is running towards him. But swooping down silently behind her is ZORIN’s AIRSHIP. It is gaining on her.

BOND shouts a warning.

BOND: Stacey! Behind you.

He picks up speed.

AIRSHIP AND STACEY A door opens on the side of the ship. ZORIN appears with one arm extended as the ship closes on STACEY.

STACEY confused by Bond’s reaction.

ANOTHER ANGLE The shadow of the ship covers her. She slows down and turns. She comes face to face with Zorin who grabs her around the waist.

Unlike the film, at least the script addresses the issue of how Stacey manages to be surprised by a blimp in an intelligent and reasonable matter.

Stacey, now firmly seated as an unwilling passenger next to Mortner, says:

STACEY: Zorin’s mad. He’ll kill us all.

MORTNER: Just sit there and shut up.

After the zeppelin crashes into the bridge tower, Stacey makes a beeline for the door. SCARPINE grabs her but she grabs the fire extinguisher off the wall and knocks him cold with it. This is in stark contrast to the film, where Zorin tells Scarpine to go out and get him (Bond), to which Stacey manages a sneak attack from behind with the fire extinguisher and cold cocks Scarpine.

The climactic finale works itself out just a little bit differently than in the film. Yes, Stacey at first hides underneath the pipe, but she eventually climbs back up to the bridge tower. At this point Zorin has now gone over the side and Mortner now comes to the opening in the gondola. He’s ready to begin firing at Bond with a gun when Stacey uses the ripcord knife to slit the bag of the airship. If you freeze frame and then magnify the sequence in which Zorin pulls Stacey into the airship, you`ll see a danger sign on the left side of the door warning not to pull the rip cord or damage the bag. The airship begins to deflate and rolls off the bridge and tumbles into the sea. Stacey redeems herself and saves the day.

Whatever faults the film may have, the script itself is not the sole reason for blame. It jettisons most of the gadgets in exchange for Bond having to rely more upon his instincts. In a world where Bill Gates is the richest man alive, and one of the most powerful, it’s not hard to see that once again, the Bond screenwriters were ahead of their time.

Women In Black

Past Editor of 007Forever, Michael Kersey was right on the mark when he humorously yet seriously pressed for EON to hire Haile Berry as a Bond girl. See story below.–Editors

I’m talking about interracial romance. Yes, as President and Editor-in-Chief of 007Forever, i’m asserting my Executive Privilege and getting back on my soapbox again about this issue. No, I will not just let it die.

Normally I love everything EON puts out. And if I don’t, I still try and be supportive. So what am I doing complaining about Bond20 when it hasn’t even come out yet? I’ll tell you what i’m trying to do. I’m trying to influence EON and MGM into casting a black actress in the leading role for the next Bond film. The mere fact that credible rumors of Whitney Houston being asked to participate in the new film lead this egomaniacal Editor into believing his constant drumbeat for a “woman of color” in the next Bond film is being heard loud and clear. Apparently my drumbeat was misunderstood slightly though, as I prefer not to have a [deleted] playing opposite Pierce Brosnan.

Three of the most mentioned names I receive when someone tells me who they’d like to see play a Bond Girl are: (in no particular order) Halle Berry, Salma Hayek and/or Catherine Zeta-Jones. Tyra Banks has graced the cover of Sports Illustrated…alone. Why in 2001 has Bond not had a black leading lady? In 2002, Bond will celebrate his 40th anniversary on the big screen, and what better occasion is there than this for EON to step up to the plate and join the rest of mankind who have already entered the 21st century by hiring my top two picks: Halle Berry and Michael Michelle.

The lack of black characters in Bond films is bad enough when you consider that most have been villains, pimps, double agents or misidentified as prositutes. Other than Bernie Casey’s portrayel of Felix Leiter in Kevin McClory’s Never Say Never Again, in which no one in the audience gasped or shrieked in disbelief, black characters in EON’s official Bond films have been few and far between. Really EON, do you want Kevin McClory to beat you on this issue?

The last time Bond had any sort of romantic dalliance with a black woman was in the 1985 caper A View To A Kill. Of the four women Bond shagged, Grace Jones was one of them. However, she played the villainous MayDay, and she only turned good in the end after killing a half-dozen people and being betrayed by her Nazi-progeny boyfriend. Up to that point, she was perfectly willing to go along with Max and send California plummeting into the Pacific Ocean. Many of the new generation of Bond fans weren’t even born in 1985, or were only a few years old when the picture came out. For these young fans, they’ve lived a life of relatively “color” free Bond films.

Before MayDay there was….Rosie Carver. And that was in 1973. You’ve got to give credit to producers Broccoli and Saltzman at the time for not only having the first black/white interracial love scene in a Bond film, but to writer Tom Mankiewicz, who, if he had had his way, would have cast Diana Ross as Solitaire. And let’s not forget, this was Roger Moore’s first Bond film. United Artists was going out on a limb here. The last time a new actor tried to take over the role of 007 (George Lazenby), the results were less than spectacular. Connery had to come back in and temporarily save the series.

But the lack of any black women in leading roles in the official Bond films has now reached the pathetic stage. Why is it that Hollywood casts Halle Berry, Angela Bassett and Thandie Newton as love interests in their respective movies, they all go on to be big hits, and EON sits on its hands, doing practically nothing? And then the first real bit of news we hear about casting is that they are considering hiring a [deleted] to sing/act opposite Brosnan for Bond20. Not to be outdone, the Mariah Carey camp has let it be known she to is up for a role in the new Bond picture. Whether those are dualing divas trying to outspin and out-public relations one another remains to be seen, but we can at least hope that the fact that the two strongest candidates rumored for roles in the next Bond film are black.

If it came down to Mariah vs. Whitney, i’d rather have Mariah. But she doesn’t have enough acting experience to star in a Bond film, and that’s a pretty BOLD STATEMENT when you consider that acting isn’t always a prequisite for playing a Bond Girl/Bond Woman.

In the 1920’s, the Klu Klux Klan (KKK) had 5 million members. Today, their pathetic little organization has less than 7,000 red-necking, white-trashing, trailer-parking members. Exactly whose demographics are MGM and EON trying to play to? The 7,000 trailer-trash bigots who probably can’t afford a movie ticket anyway, or the millions of 21st century moviegoers for whom race is no big deal?

So, in closing, may I please make a suggestion? Well, i’m going to anyway, because it’s my website. Here’s my suggestion: Hire either Michael Michelle from “ER” or Halle Berry as the leading lady in the next Bond film. They are talented, beyond beautiful and almost in a class that can only be described as “heavenly”. Second tier candidates could/should include Vivica A. Fox or Tyra Banks.

Please EON, I beg of you, join us in the 21st century and hire a beautiful, black actress named either Halle or Michael. Please bring back the cutting-edge, trend-setting Bond films we used to have, rather than just following the “pack mentality”. Even if you were following the “pack or herd mentality”, by now you should’ve hired a black actress. So what gives? Come on. Get with it!

That’s my opinion. It’s 100% accurate and I’m sticking to it.

Top Ten Titles Rejected For “Die Another Day”

From Our “Why Pick DAD As An Acronym” Department

10. The Man with the Gold, Period.

9. The Scottish, Welsh, English, Australian, Irish Killer in Brioni

8. Far Up, Far Out, Far Moore!

7. You Only Live For One Movie, Maybe Two If You Have Metal Teeth

6. Connery Is Forever, Moore Just Looks That Way alá Dorian Grey

5. Sleeping With My Enemies

4. The Best Undercover Spy Ever Whose Name Everybody Knows At The Grocery Store

3. For More Bucks Only

2. Shaken Not Stirred Hairdo, Even In Freefall Off A Cliff

1. Bad Guys Wear Jumpsuits, Villains Wear Nehru Jackets

Top Ten Statements To Avoid At A Raymond Benson Book Signing

Written with gratitude to Mr. Benson for being a great writer and a good sport! We enjoyed the Magnificent Mr. B.’s company at our Bond Weekend IV.

10. Please sign this one to sell on eBay, this one to sell at Amazon, this one I want to sell off my webpage…

9. (To another fan on the line for a signing) So, this guy starred in only one Bond movie, huh?

8. Was it hard to think of a first name for Goldfinger?

7. Hi, you are one of my biggest fans!

6. We are doing an interpretive dance called “Shaking but not Stirred.” Can the Ian Fleming Foundation offer our troupe a grant to support…

5. Would you please sign my Christopher Wood novelizations?

4. Mr. Fleming, where were you born? I believe your main distinction at Eton was in athletics?

3. I am Raymond Benson, can I sign your book, my friend?

2. What are the Playboy bunnies REALLY like?

1. My name is Bond, James Bond . . . how’s that, Raymond, is that good, huh, good, yes?

Top Ten Stacy Sutton’s Dumbest Things Said And Done

And we had a heck of a time just narrowing the list down to ten!

10. When Bond drops the soap in the shower, Stacy offers to get it, in reply to which 007 says: “That was not the soap.” Apparently Stacy`s lack of intelligence extends to matters of anatomy also.

9. Even after being shot at by Zorin in the mine control center, 007 still has to push her out the window to get her to escape.

8. Nearly kills herself and Bond when she steamrolls down the Golden Gate Bridge pipework and then gets kicked in the face when she grabs Zorin`s shoe.

7. Manages to make every catastrophe about “her needs.” Witness her theatrics in the burning elevator shaft: “James! Don`t leave me! James!”.

6. Draws Bond into a firefight with some of Zorin`s goons but neglects to tell him the gun she gave him only contains rocksalt.

5. Nearly plunges 100 feet, headfirst down a mine shaft because she wasn`t looking where she was going!

4. While fleeing for her life from an impending earthquake and with Mayday hot on her tail, she inexplicably freaks out at the sight of rats.

3. While grabbing Scarpine from behind, yells: “Are you crazy?!? Stop it!” After all she`s been through with Zorin and his henchmen, is this really a question that needs to be asked?

2. “Seawater? That’s incredibly dangerous!” Well, duh! Then she confronts Mr. Howe to make him “stop Zorin now”, only to get herself fired from her job.

1. Is snuck upon by a blimp. Even Helen Keller`s blindspot was never that big.

Top Ten Rejected Sean Connery Movie Lines

As presented on the LATE SHOW with DAVID LETTERMAN

10. “Do you like my frilly sundress, commander?”

9. “Congratulations, Ernest, you’ve saved Christmas!”

8. “I’m not only a secret agent, I’m also a client.”

7. “My pajamas have given me a bad rash.”

6. “Dr. No, Dr. Kevorkian. Dr. Kevorkian, Dr. No.”

5. “Please pass the mashed potatoes, Goldfinger.”

4. “One more martini, and I’m gonna ralph.”

3. “Help, Mommy! I’m being chased by a scary man with steel teeth!”

2. “Let me see if I have this right: I have sex with Robert Redford, and I get $1 million?”

1. “The name’s McDonald. Ronald McDonald.”

Top Ten Reasons Best Movie Is Goldfinger

With A Tip of the Bowler to Messrs. Lee Pfeiffer, Kees Boer and Craig Chenery (Goldfinger is their fave.)

10. Connery as Bond

9. See above

8. Villains just don’t play golf like they used to

7. The Queen Mother, Queen Elizabeth, and the Royal House can’t be wrong about their favorite flick

6. What’s-his-name, the henchman with the steel hat that he throws

5. Gals Galore

4. What’s-its-number, some car that shoots water from a hose in the next one

3. I laughed, I cried, I kissed 30 bucks goodbye for the 30th Anniversary showing in LA

2. They make an excellent bourbon and branch water in Kentucky

1. They made more Bond movies?