These 1980`s “comics” were definitely marketed for the pre-teen demographic. Famed “Goosebumps” writer R.L. Stine even wrote book #11 Win, Place or Die. This can affect your ability to achieve or sustain an erection at the time of childbirth there is a significant amount of tearing and stretching happen to the vaginal muscles, which is responsible for loosening of vaginal walls. There are also certain restrictions that you have to strictly follow the prescription. When you http://appalachianmagazine.com/2015/01/22/could-hemp-become-west-virginias-cash-crop/ levitra uk think about it, it makes sense. The FDA has approved these pills as you could look here viagra sales france they are able to verify that your script is legitimate and valid. Other titles in this series include: Strike it Deadly, Programmed for Danger and Barracuda Run. Win Place or Die was based on the film “A View To A Kill”.
graphic novel – Earth Cracker
Earth-Cracker – Volume One Issue Three; March 1992 (Writer: Cal Hamilton; inks: Adolfo Buylla; colors: Euan Peters)
Summary: Goldfinger and Odd Job kidnap a student from the Warfield Academy – Lotta Dinaro, whose father may have found the lost city of gold, El Many health experts, viagra without prescription deeprootsmag.org these days, recommend this treatment for men with normal health or men who have ED due to aging and wrong lifestyle. Men feeling difficulty in cheapest cialis go now getting full erection then he should first see a doctor. Relationship Between Uric Acid and Erectile Dysfunction Uric acid is blamed to be the main culprit when it actually comes to gout and as such, it is very important to consult your doctor before taking any herbal supplements. You may feel mild discomfort if you are being deprived of your factual for a pleasant sexual life because of your issue in erection, it is time to get rid of this. Dorado. Locations covered: London, Peru; Villains: Goldfinger and Oddjob; Action sequences: Bond and gang try to avoid a battle tank, Bond mountain climbs and survives and earthquake; Bond`s swing into action is cut short by Oddjob`s bowler; Bond, Lotta and her father swing down 200 ft and overtake the Earth-Cracker.
graphic novel – Dance of the Toreadors
Dance of the Toreadors Volume One Issue 5; May 1992 (Colors: Euan Peters)
Summary: The Flamenco dancer Dulce Nada is kidnapped by Von Skarin, who needs the “memory crystals” hidden on her dress to activate the Siegfried Supercomputer and take over the world`s communications systems. Locations covered: England, Spain (Pamplona and San Sebastian) Villain: Von Skarin; Action Date Night: This movie has a great star cast of Steve Carrel and Tina Fey. They are not just designed to help cialis samples the user achieve more satisfying orgasms. If they find the dosage less effective, they can go with increased dosage but after recommending a doctor. sildenafil bulk Ingredients of Lawax capsules: The capsules are made from the highest quality ingredients, and produced by state of the Union address was “winning the future”. sequences: Bond and IQ chase a woman on a motorcycle in their sportscar, a beautiful cat burglar escapes from a laboratory with crystals, Bond attaches a magnet dangling from the villains helicopter to a tractor trailer, Bond is chased on an ATV through the streets of Pamplona; Bond gets caught up in the Running of the Bulls, Bond has to outsmart a wild bull.
graphic novel – A Silent Armageddon
(Dark Horse Comics. 3/93 Script-Simon Jowett) Only the first two out of this four-part series were ever released. As a result, it`s disappointing in that we never know how it ends or who the main bad guys are.
This series introduces a new crime network – Cerebrus, the three-headed dog. The heads stand for Espionage, Extortion, & Enforcement. The plot centers around an artificially intelligent computer virus – Omega – that could be used to control the communications systems of the entire world. The key to this program is in the hands of a cripled 13 year-old girl genius. For the first time, Bond is working with a child, and his discomfort and awkwardness in the “parenting” role is very nicely presented and very insightful to our understand of this side of James Bond.
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The plot, from what we know of it, is very well written, and it`s a shame we aren`t allowed to read the rest of the story. It promised to get even more interesting, too, for at the end of the second book, one of the Cerebrus thugs goes after Bond on a personal vendetta. As the book ends, we find out that the thug`s name is Klebb – almost undoubtedely related to the same Klebb that Bond has grappled with before! Bond fans are also re-introduced to Felix Leiter and several characteristic Bondisms throughout this series.
transcript – Raymond Benson: Live Chat
Raymond Benson Chat
Mon Apr 24 18:05:10 2000 icebreaker: hello everyone we are just about ready to begin I`d like to thank everyone for coming out tonight
i`m sure we`ll have a few late people drop in like we always do a transcript of this chat will be posted later for reference I`d also like to thank Raymond for being gracious enough to be our special guest tonight
Mon Apr 24 18:06:35 2000 rbenson {action: } grins evilly.
Mon Apr 24 18:06:52 2000 icebreaker: and we will start off tonights chat by asking him to give us just a brief background on his life and how he got to the point of writing the novels-end
Mon Apr 24 18:07:23 2000 rbenson {public msg} Hi everyone! Thanks for having me here Michael Background on my life? That could take a while… 🙂 Suffice it to say that I`ve always been in the arts studied theatre in school, majored in directing in college, spent over a decade in New York City directing plays off-off and off-Broadway, composing music…then fell into writing around the same time I got into games I wrote The James Bond Bedside Companion in the early 80s and also became a computer game designer. I did that up until 1996, when Glidrose asked me to take over from John Gardner out of the blue (they had liked the Bedside Companion and we had kept in touch) so I`ve been writing Bond novels since! 🙂 (end)
Mon Apr 24 18:09:58 2000 icebreaker {public msg} First, let`s talk about Doubleshot. Who`s in it? What`s it about? If you are a new fan who has not read your prior work, can they pick it up right away and understand what`s going on?
Mon Apr 24 18:10:24 2000 rbenson {public msg} Sure, all the novels are built such that anyone can read one without having read previous ones…… but so are Fleming`s and Gardner`s, to an extent
there are some continuity things, of course it`s always best to start with the beginning, but not necessary
Doubleshot is the informal 2nd part of a trilogy featuring a criminal organization called The Untion
Mon Apr 24 18:11:15 2000 rbenson {public msg} er Union
Mon Apr 24 18:11:23 2000 rbenson {public msg} the Onion? 🙂
Mon Apr 24 18:11:39 2000 rbenson {public msg} In it, Bond goes through some, well, psychological problems in a way, it`s my `From Russia With Love` the bad guys are out to GET Bond… Gardner had his FRWL with `Nobody Lives Forever` the Union creates an elaborate plot to trick and trap Bond and kill him off in a humiliating fashion (end)
Mon Apr 24 18:12:57 2000 icebreaker {public msg} What process goes into creating covers for the books and how do the covers get chosen? For example, the UK and US versions of Doubleshot are startlingly different.
Mon Apr 24 18:13:14 2000 rbenson {public msg} we have no say on the covers… that`s entirely up to the respective publishers they show them to us, and we can nod courteously or say `hmmm, I don`t really like it` but the latter response usually does no good. I really like the UK Doubleshot cover (end)
Mon Apr 24 18:14:09 2000 icebreaker {public msg} yes, so do i
Mon Apr 24 18:14:18 2000 icebreaker {public msg} the next question is from Jason
Mon Apr 24 18:14:33 2000 icebreaker {public msg} i`m sorry the next question is from Bondfan
Mon Apr 24 17:58:58 2000 bondfan {ask} how far advanced are the short story collection plans? And a general comment–I finished Doubleshot, and it is another excellent entry in the Benson Bond canon. Very well written, with a sweep reminiscent of Fleming.
Mon Apr 24 18:15:10 2000 rbenson {public msg} Thanks very much, I appreciate that… the short story collection won`t happen until there are enough short stories to justify doing a collection!
right now, there are only 3 and the `Midsummer Night`s Doom` was such a Playboy-oriented story that it probably wouldn`t be included in the collection
that was a special wink-wink nudge-nudge story just for Playboy
simply to celebrate Bond`s association with the magazine and really isn`t supposed to be taken seriously as a Bond story (end)
Mon Apr 24 18:16:47 2000 icebreaker {public msg} following up on that…does Playboy own the story? Glidrose? Can you do what you want with it? End
Mon Apr 24 18:17:09 2000 rbenson {public msg} Glidrose owns all the stories… they can re-sell them anywhere (end)
Mon Apr 24 18:17:55 2000 icebreaker {public msg} i`m trying to keep all the doubleshot questions together so Bondfan had another one
Mon Apr 24 17:52:27 2000 bondfan {ask} Did you travel to all the locations in Doubleshot? Have you ever met with members of MI6? Now, this is a spoiler, but why did you not include Major Boothroyd in Doubleshot?
Mon Apr 24 18:18:15 2000 rbenson {public msg} that`s 3 questions! 🙂
Mon Apr 24 18:18:21 2000 rbenson {public msg} I did travel to all the locations; big trip!
Mon Apr 24 18:18:32 2000 rbenson {public msg} Spain, Gibraltar, Morocco, England
Mon Apr 24 18:18:48 2000 rbenson {public msg} never met anyone from MI6, and I doubt they would want to meet with me! 🙂
Mon Apr 24 18:19:14 2000 rbenson {public msg} as for Boothroyd, I just decided to leave him out of this one… you know, he only appeared in the Fleming books once!
Mon Apr 24 18:19:35 2000 rbenson {public msg} People ask me that since Desmond died, will I change Boothroyd?
Mon Apr 24 18:19:47 2000 rbenson {public msg} the answer is `no`… the character didn`t die… the actor did
Mon Apr 24 18:19:54 2000 rbenson {public msg} Boothroyd will return in my books.
Mon Apr 24 18:19:56 2000 rbenson {public msg} (end)
Mon Apr 24 18:19:58 2000 willply {public msg} Maybe remind all at this point if they want to ask questions to enter the auditorium… A few new folks have wandered in.
Mon Apr 24 18:20:23 2000 icebreaker {public msg} to the new people who have entered…if you want to submit questions to Raymond, please go into the auditorium to do so. Thanks!
Mon Apr 24 18:20:29 2000 icebreaker {public msg} well raymond
Mon Apr 24 18:20:33 2000 icebreaker {public msg} you stole my next question
Mon Apr 24 18:20:41 2000 rbenson {public msg} I saw it coming! 🙂
Mon Apr 24 18:20:52 2000 icebreaker {public msg} so we will move on to Jason Allentoff`s question about The Bedside Companion
Mon Apr 24 17:58:33 2000 planet007site {ask} Are there plans for an updated version of The Bedside Companion?
Mon Apr 24 18:21:17 2000 rbenson {public msg} The Bedside Companion is now currently on sale again as an electronic book from www.PublishingOnline.com
Mon Apr 24 18:21:21 2000 rbenson {public msg} it is not updated
Mon Apr 24 18:21:30 2000 rbenson {public msg} As I wrote in the new introduction
Mon Apr 24 18:21:43 2000 rbenson {public msg} I shouldn`t update it now, it wouldn`t be `right` now that I`m the Bond author
Mon Apr 24 18:21:55 2000 rbenson {public msg} I wouldn`t feel comfortable critiquing the films or the later Gardner books
Mon Apr 24 18:22:14 2000 rbenson {public msg} so it`s the 1988 version that is available now for downloading (end)
Mon Apr 24 18:22:32 2000 icebreaker {public msg} yes, we will be getting to your deal with POL later on
Mon Apr 24 18:22:38 2000 icebreaker {public msg} i have a smart group here tonight
Mon Apr 24 18:22:53 2000 icebreaker {public msg} Bondfan has a new question…
Mon Apr 24 18:21:33 2000 bondfan {ask} Any plans for a return of Hedy and Heidi from this book? They are your best girls to date, and I`d love to see them again.
Mon Apr 24 18:23:21 2000 rbenson {public msg} Thanks, my British editor thought so too… I have no idea at this point whether or not they will return…
Mon Apr 24 18:23:31 2000 rbenson {public msg} the usual thing is for Bond girls NOT to return, but you never know (end)
Mon Apr 24 18:23:40 2000 rbenson {public msg} btw—
Mon Apr 24 18:23:54 2000 rbenson {public msg} an excerpt from Doubleshot where Heidi & Hedy are introduced will be in the June issue
Mon Apr 24 18:23:58 2000 rbenson {public msg} of Playboy, on sale next week
Mon Apr 24 18:24:29 2000 rbenson {public msg} there is also an article on the history of Bond and Playboy in the same issue
Mon Apr 24 18:24:37 2000 rbenson {public msg} a must-have for collectors! (end)
Mon Apr 24 18:25:00 2000 icebreaker {public msg} See what you learn guys when you attend 007Forever chats –end
Mon Apr 24 18:25:57 2000 icebreaker {public msg} It seems like whenever an article reviews your books, they make mention of the fact that you were a fan who had done the games and the Bedside Companion. Does it help or hurt to have been a fan first and do you know how much of a fan Gardner was before he began writing?
Mon Apr 24 18:26:28 2000 rbenson {public msg} Gardner was a little bit of a fan, I think, from what he told me… after all, The Liquidator series is
Mon Apr 24 18:26:31 2000 rbenson {public msg} a Bond parody of sorts
Mon Apr 24 18:27:03 2000 rbenson {public msg} I`m not sure if it helps or hurts with the games/fan stuff… some of the reviewers who are less kind
Mon Apr 24 18:27:12 2000 rbenson {public msg} think that because I was a game designer I can`t write prose
Mon Apr 24 18:27:17 2000 rbenson {public msg} (end)
Mon Apr 24 18:28:03 2000 icebreaker {public msg} Globetwo had a question that I think I can answer and then you can pick up where I left off i you`d like to Raymond
Mon Apr 24 18:28:26 2000 rbenson {public msg} go ahead
Mon Apr 24 18:28:42 2000 rbenson {public msg} “Evil Hours”?
Mon Apr 24 18:28:48 2000 icebreaker {public msg} I`d like to remind everyone that Evil Hours, Benson`s 14 part serial, will debut at PublishingOnline.com tomorrow morning at 7:00 am est, as well as two of his non-Bond short stories “The Plagarist” and “Thumbs Down”, described as TWILIGHT ZONE style stories dealing with frustrated writers.
Mon Apr 24 18:28:57 2000 icebreaker {public msg} end
Mon Apr 24 18:28:57 2000 rbenson {public msg} It`s supposed to, but I`m not sure if POL will have it ready
Mon Apr 24 18:29:20 2000 rbenson {public msg} There will be an announcement on the newsgroup as soon as it is online
Mon Apr 24 18:29:47 2000 rbenson {public msg} like most website based companies, sometimes they don`t meet their target dates
Mon Apr 24 18:29:48 2000 rbenson {public msg} (end)
Mon Apr 24 18:29:56 2000 icebreaker {public msg} What kind of fan fiction, if any, can a fan get away with?
Mon Apr 24 18:30:25 2000 rbenson {public msg} Hmmm… all I know is that Glidrose does not take kindly to fan fiction. Best to stay away from it.
Mon Apr 24 18:30:26 2000 rbenson {public msg} (end)
Mon Apr 24 18:30:44 2000 icebreaker {public msg} Yankee has a question
Mon Apr 24 18:30:03 2000 yankee {ask} Hi Raymond. With your novelisations of TND and TWINE, I`m sure you`ve crossed paths with Michael Wilson and B. Broccoli. Has there ever been even a passing conversation with them about you writing an original screenplay for them? Or adapting one of your books?
Mon Apr 24 18:31:23 2000 rbenson {public msg} I have a friendly relationship with EON, but so far nothing has been said about me doing either of those things.
Mon Apr 24 18:31:41 2000 rbenson {public msg} I`m keeping my fingers crossed. (end)
Mon Apr 24 17:58:06 2000 planet007site {ask} Are you writing the novel for Bond 20?
Mon Apr 24 18:32:01 2000 rbenson {public msg} I can only surmise that I will. (end)
Mon Apr 24 17:58:54 2000 planet007site {ask} Do you know any details on the plot for Bond 20?
Mon Apr 24 18:32:30 2000 rbenson {public msg} As far as I know, there is no script yet. (end)
Mon Apr 24 17:59:15 2000 planet007site {ask} Are the rumors about Brosnan doing four more films true?
Mon Apr 24 18:32:59 2000 rbenson {public msg} I have no idea what plans Pierce has with EON. (end)
Mon Apr 24 18:30:42 2000 yankee {ask} What are your thoughts on the film TWINE?
Mon Apr 24 18:33:24 2000 rbenson {public msg} It was a fun ride. 🙂 (end)
Mon Apr 24 18:34:01 2000 icebreaker {public msg} Do you have fans bugging you wanting you to use their name as a character, good or bad, in your novels?
Mon Apr 24 18:34:31 2000 rbenson {public msg} Not really. I do it as favors for friends. It`s more of a tradition… Fleming did it, Gardner did it…
Mon Apr 24 18:34:50 2000 rbenson {public msg} It`s fun to do it… nobody has really asked me to do it…
Mon Apr 24 18:34:52 2000 rbenson {public msg} (end)
Mon Apr 24 18:35:09 2000 icebreaker {public msg} if fleming had not done it, would it change the way you feel about doing it?
Mon Apr 24 18:35:17 2000 rbenson {public msg} probably (end)
Mon Apr 24 18:35:23 2000 icebreaker {public msg} Of your friends names that you have used as characters, how do you decide who is bad and who is good?
Mon Apr 24 18:35:53 2000 rbenson {public msg} Totally arbitrary… sometimes I`ve just got a character, good or bad, and I need a name, so I use the first one to pop in my head
Mon Apr 24 18:36:05 2000 rbenson {public msg} I don`t start out thinking, I`m going to use so-and-so in this part
Mon Apr 24 18:36:14 2000 rbenson {public msg} (end)
Mon Apr 24 18:36:33 2000 rbenson {public msg} I do make up some names
Mon Apr 24 18:36:35 2000 rbenson {public msg} (end)
Mon Apr 24 18:32:06 2000 spy {ask} Do you envision a particular actor playing James Bond inside your mind when you write for Bond? Do you hear echoes of Connery or Moore when you write for Bond as protagonist?
Mon Apr 24 18:36:57 2000 rbenson {public msg} No, I don`t. I envision the guy I pictured when I first read the Fleming books, and it wasn`t Connery.
Mon Apr 24 18:37:17 2000 rbenson {public msg} I suppose he`s probably closer to the UK comic strips Bond
Mon Apr 24 18:37:40 2000 rbenson {public msg} However, many people tell me that they hear “Pierce Brosnan saying those lines” or they hear “Sean Connery saying those lines”
Mon Apr 24 18:37:43 2000 rbenson {public msg} Maybe…
Mon Apr 24 18:37:49 2000 rbenson {public msg} I`m sure Pierce influences the novelizations
Mon Apr 24 18:37:53 2000 rbenson {public msg} (end)
Mon Apr 24 18:37:59 2000 icebreaker {public msg} Do you have any idea why the Spanish press insisted on stating you were doing research at Gibraltar for the next Bond movie?
Mon Apr 24 18:38:26 2000 rbenson {public msg} They either got it wrong or they wanted to inflate its importance? I don`t know… it was annoying… 🙂 (end)
Mon Apr 24 18:38:33 2000 icebreaker {public msg} This is a 3 part question. #1 Were you scheduled to testify at Kevin McClory`s trial and if so, did you? #2 If you did, are you free to summarize what your testimony was, and if you did not testify, can you tell us what your tesitimony might have been? #3 And do you think we have finally seen the last of him?
Mon Apr 24 18:39:06 2000 rbenson {public msg} Well, I hope we`ve seen the last of him… I think all I can say is that I was an expert witness on the MGM side, but I was never called to testify.
Mon Apr 24 18:39:07 2000 rbenson {public msg} (end)
Mon Apr 24 18:39:29 2000 icebreaker {public msg} I think we all hope we`ve heard the last of him
Mon Apr 24 18:39:39 2000 icebreaker {public msg} Where does SPECTRE fit in all of this?
Mon Apr 24 18:39:50 2000 icebreaker {public msg} Can you use the organization?
Mon Apr 24 18:39:52 2000 icebreaker {public msg} end
Mon Apr 24 18:40:02 2000 rbenson {public msg} SPECTRE could still be used in the books… but I prefer not to.
It is caused by cute-n-tiny.com cialis canada cheap an imbalance of normal bacteria in the gut, yeast, and bacterial overgrowth can occur. This device sucks air from the penis duct and therefore you could try these out viagra pfizer 25mg enabling blood to flow smoothly in the penis. It simply means that there is erection but for a short time. Then when the abuse stirring in their relationship is sufficiently felt by both of them, a new therapist becomes the cheap sildenafil target of hope once again. Mon Apr 24 18:40:22 2000 rbenson {public msg} I have the Union now, which in a way is my version of SPECTRE.
Mon Apr 24 18:40:23 2000 rbenson {public msg} (end)
Mon Apr 24 18:40:30 2000 icebreaker {public msg} I think that is the best course
Mon Apr 24 18:40:39 2000 icebreaker {public msg} SPECTRE was good, but they`ve had their day in the sun
Mon Apr 24 18:40:46 2000 icebreaker {public msg} the next question
Mon Apr 24 18:37:25 2000 bondfan {ask} Did you work with Jaguar the way that Gardner worked with Saab?
Mon Apr 24 18:41:18 2000 rbenson {public msg} Yes I did… I worked with an engineer in the UK who helped me with all the `extras`, which despite some of the criticism are all entirely possible
Mon Apr 24 18:41:39 2000 rbenson {public msg} all of those things, including the flying scout, the pigment-changing paint, are all possible
Mon Apr 24 18:41:43 2000 rbenson {public msg} (end)
Mon Apr 24 18:41:48 2000 icebreaker {public msg} wow!
Mon Apr 24 18:41:53 2000 icebreaker {public msg} Did not know that!
Mon Apr 24 18:41:59 2000 icebreaker {public msg} Actually Raymond
Mon Apr 24 18:42:12 2000 icebreaker {public msg} I think you picked the best runner up to the Aston that anyone could
Mon Apr 24 18:42:20 2000 rbenson {public msg} I doubt I`ll be using the Jag again
Mon Apr 24 18:42:27 2000 icebreaker {public msg} it`s a shame that EON doesn`t use the Jag
Mon Apr 24 18:42:28 2000 rbenson {public msg} Time to move on… (end)
Mon Apr 24 18:40:01 2000 suzy {ask} Hello, Michael…it`s Suzy…took me forever to get here…Hello, Raymond
Mon Apr 24 18:42:40 2000 icebreaker {public msg} hey Suzy
Mon Apr 24 18:42:46 2000 icebreaker {public msg} glad you could come
Mon Apr 24 18:41:40 2000 suzy {ask} RB, could you say something about the significance of the title “Doubelshot”?
Mon Apr 24 18:43:30 2000 rbenson {public msg} It`s just a play on the “doubles” concept that runs thematically throughout the book
Mon Apr 24 18:43:40 2000 rbenson {public msg} It wasn`t my title
Mon Apr 24 18:43:44 2000 rbenson {public msg} But I think it works
Mon Apr 24 18:43:46 2000 rbenson {public msg} (end)
Mon Apr 24 18:44:20 2000 icebreaker {public msg} Critics, fans and John Gardner himself all seemed to agree that he had done a few too many books by the time he stopped. Do you have a limit to how many you want to do in order to have made your mark in the series?
Mon Apr 24 18:44:47 2000 rbenson {public msg} Not sure how to answer that one… I suppose if I felt they were getting stale, I`d let them be…
Mon Apr 24 18:44:56 2000 rbenson {public msg} I`d be proud, though, to have done 14… no small feat
Mon Apr 24 18:45:10 2000 rbenson {public msg} (end)
Mon Apr 24 18:45:35 2000 icebreaker {public msg} I ask because Gardner has been on record as having wanted to stop back at #6 but never did
Mon Apr 24 18:45:43 2000 icebreaker {public msg} end
Mon Apr 24 18:45:48 2000 rbenson {public msg} I`m not aware of that (end)
Mon Apr 24 18:46:12 2000 icebreaker {public msg} we are getting lots of questions so hold tight a second
Mon Apr 24 18:32:39 2000 nated3og {ask} to rbenson, I have noticed that your wrighting is similar but inexorably different than Ian Flemming. Are you tring to meet Mr. Fleming`s style, or surpass it with your own blend of wrighting?
Mon Apr 24 18:46:47 2000 rbenson {public msg} I could never meet Fleming`s style, nor do I try to do so
Mon Apr 24 18:46:52 2000 rbenson {public msg} I hold him in very high regard
Mon Apr 24 18:47:11 2000 rbenson {public msg} If any of his style creeps into my books, I can only think it`s because I know his books so well
Mon Apr 24 18:47:28 2000 rbenson {public msg} I think the correct term is that I try to capture the SPIRIT of his books
Mon Apr 24 18:47:34 2000 rbenson {public msg} I certainly can`t write like him
Mon Apr 24 18:47:39 2000 rbenson {public msg} I`d be foolish to think I could
Mon Apr 24 18:47:43 2000 rbenson {public msg} (end)
Mon Apr 24 18:43:07 2000 bondfan {ask} If not the Jag, then what car–the DB7?
Mon Apr 24 18:48:16 2000 rbenson {public msg} I have no idea what car at this point… in my upcoming book, the one I`ll write this summer, Bond will need a car…
Mon Apr 24 18:48:27 2000 rbenson {public msg} in my outline, he`s driving the Jag, but doesn`t use any of the extras at all
Mon Apr 24 18:48:36 2000 rbenson {public msg} Maybe I`ll do that, but maybe I`ll find a new car…
Mon Apr 24 18:48:40 2000 rbenson {public msg} Don`t know yet (end)
Mon Apr 24 18:42:20 2000 bondfan {ask} Let me just reiterate that the Union is a fitting successor, and am I wrong is surmising that we are in store for quite a confrontation in the next book bewteen 007 and Le Gerant
Mon Apr 24 18:49:02 2000 rbenson {public msg} You are quite correct! 🙂 (end)
Mon Apr 24 18:40:41 2000 yankee {ask} As a fan, do you find that reading the scripts of the new films before they are released spoils your enjoyment of them? Or does it pique your interest to see what the final fims will look like?
Mon Apr 24 18:49:38 2000 rbenson {public msg} That`s a tough one… you see, I have to write a NOVEL based on the script before I ever see any of the film
Mon Apr 24 18:49:46 2000 rbenson {public msg} So, I`ve already got a film inside my head
Mon Apr 24 18:49:53 2000 rbenson {public msg} Before I see the real film
Mon Apr 24 18:50:04 2000 rbenson {public msg} So, ultimately, what I see on the screen is different from what I picture
Mon Apr 24 18:50:11 2000 rbenson {public msg} It can`t be helped
Mon Apr 24 18:50:28 2000 rbenson {public msg} I`m sure it effects my enjoyment, but it doesn`t mean I DON`T enjoy them
Mon Apr 24 18:50:31 2000 rbenson {public msg} (end)
Mon Apr 24 18:44:06 2000 yankee {ask} Can you give us any tid-bits about the 3rd book in the trilogy?
Mon Apr 24 18:50:52 2000 rbenson {public msg} Hmmmm…..
Mon Apr 24 18:51:00 2000 rbenson {public msg} It takes place mostly in France and Corsica
Mon Apr 24 18:51:06 2000 rbenson {public msg} Marc-Ange Draco will return
Mon Apr 24 18:51:16 2000 rbenson {public msg} Le Gerant and Bond face off
Mon Apr 24 18:51:30 2000 rbenson {public msg} There`s a significant love story angle
Mon Apr 24 18:51:50 2000 rbenson {public msg} There will be a show business angle
Mon Apr 24 18:51:53 2000 rbenson {public msg} (end)
Mon Apr 24 18:49:33 2000 suzy {ask} Will the next novel round out the “trilogy” and be the end of the Union?
Mon Apr 24 18:52:24 2000 rbenson {public msg} That one I can`t answer here! You`ll have to wait and see! 🙂 (end)
Mon Apr 24 18:52:29 2000 rbenson {action: } smirks.
Mon Apr 24 18:52:34 2000 rbenson {action: } grins evilly.
Mon Apr 24 18:52:41 2000 rbenson {public msg} I meant to grin evilly, not smirk.
Mon Apr 24 18:52:42 2000 icebreaker {public msg} suzy, you know better than to ask that question GIRL! 🙂
Mon Apr 24 18:45:25 2000 bondfan {ask} How many more books are you contracted for right now?
Mon Apr 24 18:53:17 2000 rbenson {public msg} the contracts are usually 3 at a time, so I`m about to begin the first one in a new contract of 3
Mon Apr 24 18:53:26 2000 rbenson {public msg} (end)
Mon Apr 24 18:53:37 2000 icebreaker {public msg} Bondfan has a question about Draco
Mon Apr 24 18:51:58 2000 bondfan {ask} Wait a second–isn`t Draco dead, as Gardner pointed out in Nobody Lives Forever.
Mon Apr 24 18:54:14 2000 rbenson {public msg} If he did, both Glidrose and I missed it! At any rate, I am free to use or ignore anything Gardner did
Mon Apr 24 18:54:32 2000 rbenson {public msg} For example, I never went with the way he changed MI6
Mon Apr 24 18:54:35 2000 rbenson {public msg} in his later books
Mon Apr 24 18:54:51 2000 rbenson {public msg} We demoted him back to Commander because it sounds beter
Mon Apr 24 18:54:53 2000 rbenson {public msg} better
Mon Apr 24 18:55:07 2000 rbenson {public msg} As far as I`m concerned, Draco`s alive and well…
Mon Apr 24 18:55:09 2000 rbenson {public msg} (end)
Mon Apr 24 18:55:34 2000 icebreaker {public msg} Do you get unsolicited submissions from people wanting to get their story ideas into your books and if so, how do you answer them?
Mon Apr 24 18:55:57 2000 rbenson {public msg} I am not allowed to read unsolicited submissions… if I get anything that remotely looks like one, I delete it
Mon Apr 24 18:55:59 2000 rbenson {public msg} (end)
Mon Apr 24 18:44:22 2000 bondfan {ask} What would you have chosen as the titles for your books?
Mon Apr 24 18:56:36 2000 rbenson {public msg} My original title for Zero Minus Ten was “No Tears for Hong Kong”
Mon Apr 24 18:56:49 2000 rbenson {public msg} For The Facts of Death, believe it or not, it was “The World is Not Enough”!
Mon Apr 24 18:57:06 2000 rbenson {public msg} For “High Time to Kill” it was “A Better Way to Die”
Mon Apr 24 18:57:20 2000 rbenson {public msg} for Doubleshot, it was “Doppelganger” and then “Reflections in a Broken Glass”
Mon Apr 24 18:57:31 2000 rbenson {public msg} Actually, I think that the next novel will have my suggested title
Mon Apr 24 18:57:35 2000 rbenson {public msg} for once
Mon Apr 24 18:57:41 2000 rbenson {public msg} Never Dream of Dying
Mon Apr 24 18:57:44 2000 rbenson {public msg} (end)
Mon Apr 24 18:57:51 2000 icebreaker {public msg} can we quote you on that?
Mon Apr 24 18:57:53 2000 icebreaker {public msg} end
Mon Apr 24 18:57:55 2000 icebreaker {public msg} end
Mon Apr 24 18:58:13 2000 rbenson {public msg} I suppose… let`s just say for now that`s what it is, and the publishers haven`t objected
Mon Apr 24 18:58:15 2000 rbenson {public msg} (end)
Mon Apr 24 18:58:21 2000 icebreaker {public msg} sounds very good.
Mon Apr 24 18:58:25 2000 icebreaker {public msg} and if I may
Mon Apr 24 18:58:37 2000 icebreaker {public msg} put in a gratuitous plug for my own site, you can find all of Raymond`s
Mon Apr 24 18:58:56 2000 icebreaker {public msg} original titles plus Ian`s and John`s in the What Was The Title section-end
Mon Apr 24 18:59:33 2000 icebreaker {public msg} Okay, we are almost out of time. Please bear with me for one second as I peruse the last sets of questions.
Mon Apr 24 18:58:25 2000 suzy {ask} Will you be doing research for your next novel when in Paris for your book-signing?
Mon Apr 24 19:00:49 2000 rbenson {public msg} Yes I will! along with some other areas of France (end)
Mon Apr 24 19:01:30 2000 icebreaker {public msg} Here is our last question of the evening…from a mysterious spy down in Gainesville FL
Mon Apr 24 18:59:59 2000 spy {ask} If for whatever reason Bond had to be killed off in a novel, how might you plot/portray his death?
Mon Apr 24 19:01:46 2000 rbenson {public msg} That will never happen!
Mon Apr 24 19:01:51 2000 rbenson {public msg} Old age?
Mon Apr 24 19:02:04 2000 rbenson {action: } grins evilly.
Mon Apr 24 19:02:10 2000 rbenson {public msg} (end)
Mon Apr 24 19:02:20 2000 icebreaker {public msg} Thanks Raymond. This might be a good time
Mon Apr 24 19:02:39 2000 icebreaker {public msg} to let everyone know when and where to pick up copies of Doubleshot and any book signings in the future
Mon Apr 24 19:02:44 2000 icebreaker {public msg} end
Mon Apr 24 19:02:51 2000 rbenson {public msg} It`s available now in the UK
Mon Apr 24 19:02:59 2000 rbenson {public msg} It should be available in the US the first week of June
Mon Apr 24 19:03:16 2000 rbenson {public msg} I`m doing a signing in London on May 6 at noon at Adrian Harrington Bookshop
Mon Apr 24 19:03:21 2000 rbenson {public msg} 64a Kensington Church St.
Mon Apr 24 19:03:38 2000 rbenson {public msg} I`m doing a signing at an English-language bookshop in Paris on May 10 at 7:30pm
Mon Apr 24 19:03:42 2000 rbenson {public msg} WH Smith Paris
Mon Apr 24 19:03:47 2000 rbenson {public msg} 248 Rue de Rivoli
Mon Apr 24 19:03:52 2000 rbenson {public msg} then… back home
Mon Apr 24 19:03:58 2000 rbenson {public msg} in the Chicago area
Mon Apr 24 19:04:11 2000 rbenson {public msg} June 10, Barnes & Noble, Arlington Heights, 2pm
Mon Apr 24 19:04:26 2000 rbenson {public msg} June 14, Borders Michigan Avenue, Chicago, 7pm
Mon Apr 24 19:04:33 2000 rbenson {public msg} that`s all I know of for now
Mon Apr 24 19:04:35 2000 rbenson {public msg} (end)
Mon Apr 24 19:04:30 2000 suzy {ask} Can`t wait for Doubleshot, RB…a toute a l`heure, alligateur 🙂
Mon Apr 24 19:04:55 2000 rbenson {public msg} Thanks, it`s been fun!
Mon Apr 24 19:05:01 2000 icebreaker {public msg} Okay, thanks again Raymond for coming
Mon Apr 24 19:05:06 2000 icebreaker {public msg} thanks everyone
Mon Apr 24 19:05:06 2000 rbenson {action: } waves at everyone.
Mon Apr 24 19:05:08 2000 icebreaker {public msg} for showing up
Mon Apr 24 19:05:09 2000 rbenson {action: } faints dead away.
Mon Apr 24 19:05:12 2000 icebreaker {public msg} you were great
Mon Apr 24 19:05:13 2000 willply {public msg} Great work both of you. Very nice chat! (MIC OFF)
Mon Apr 24 19:05:16 2000 icebreaker {public msg} raymond was great
Mon Apr 24 19:05:23 2000 rbenson {public msg} thanks
Mon Apr 24 19:05:27 2000 willply {public msg} Both of you were.
Mon Apr 24 19:05:36 2000 icebreaker {public msg} and we`ll see you next month with Patrick Bauchau from A View To A Kill
Mon Apr 24 19:05:38 2000 icebreaker {public msg} Bye for now!
author interview – Joseph Garber: On The “Run”
In 1995 a killer of a thriller called “Vertical Run” made it`s debut on The New York Times and USA Today bestsellers lists, eventually reaching #1 on both lists. Itwas written by a relatively unknown writer named Joseph Garber. While he`d had success with the 1989 book “Rascal Money”, as well as writing literary criticisms for The San Francisco Review of Books and as a columnist for Forbes magazine, nothing he had done could have prepared readers for what they were to find within the pages of “Vertical Run”, a tale so frightening in it`s possibility that it makes the hairs on your neck stand on end just reading it.
The premise of Vertical Run is to question what might happen if one day you woke up and found that everyone you met during the course of your day tried to kill you. Friends, family, coworkers…they all want you dead for no apparent reason and time is running. These are exactly the prospects the hero of the book, David Elliot, a Fortune 500 exec, faces one morning. But lucky for David, he`s had training as a special operations agent courtesy of the U.S. government and if he`s going to die, he`s not going to die alone.
In Joseph Garber`s 1999 follow up novel “In A Perfect State”, he once again visits this premise, but this time he tinkers with the hero a bit. Jack Taft, another executive for a prosperous company, is on a business trip to Singapore, upon when landing, realizes he`s the target of an international assassination squad, with dozens of different factions wanting him dead–now! Unlike David Elliot, Jack Taft has no special training to fall back on and has run from every personal problem life has ever thrown at him. If he doesn`t dig deep and find the skills inside of himself to survive, he`ll be dead by dawn.
If Mr. Garber was interested in the prospect, he could easily become the Ian Fleming of the new millenium, cranking out thrillers based on the exploits of our `Run` hero David Elliot. He knows how to grab your attention and keep it as he ratchets up the tension notch by notch until the reader can barely take it anymore. Vertical Run is the type of thriller Ian Fleming would be proud of. Garber has created the most exciting and dynamic hero to be found on the printed pages since the mid-50`s Fleming novels. Not even Tom Clancy`s Jack Ryan is as energizing and invigorating as David Elliot.
If you haven`t read “Vertical Run” or “In A Perfect State”, what are you waiting for? “Vertical Run” can be ordered from www.amazon.com and “In A Perfect State” can be ordered from www.waterstones.com
The following interview contains SPOILERS! If you have not read the books you are advised to read them before proceeding any further.
MK: Can you tell us a little about yourself?
JG: Being a classic “Type A” corporate workaholic, I`ve had little in the way of a personal life. For this reason, I tend to be a private person in the small amount of private life I`ve managed to accumulate. I think the points that are germane to my novels are that I took my undergraduate degree in philosophy (which is why ethical questions pervade my novels), put in time at Columbia Law School (that`s the reason why every book I write contains at least one lawyer joke), and went through the Stanford Business School`s mid-career executive program (the experience convinced me to get try my hand at writing!).
MK: You are somewhat fascinated by the idea of an “everyman” waking up one day and finding himself in incredible life threatening situations, with no logical reason why and seemingly impossible to get out of. What kind of influences in literature or film do you credit for this?
JG: I certainly had Hitchcock in mind when I wrote Vertical Run. And surely I was influenced by the late Geoffrey Household whose man-on-the-run thrillers are the best ever written (try his Dance of The Dwarves, which is the scariest novel I have ever read). However, the fundamental premise of Vertical Run is pretty much of my own concocting. I framed it as the ultimate paranoid nightmare: suppose everybody in the world wants you dead; worse, suppose they`ve got a really good reason…
Further, if you`re a corporate guy, you`ve got to deal with corporate politics. No matter how nice you are, no matter how hard you try, you are going to wind up with enemies who want you out of the way. To some extent Vertical Run was inspired by taking that unfortunate fact of business life and carrying it to its utmost extreme.
MK: Did you have any difficulties in pitching Vertical Run to the publishers? What is the process like for getting a manuscript in the door?
JG: My agent did all the pitchwork on the book, and more than earned her fees. The book received 14 rejection slips, by the way. Most frustrating because both she and I thought it was a slam dunk and easy sale.
There`s a cute story here: when she first got the manuscript, my agent put it in the trunk of her car prior to going upstate for the weekend. Then she drove to her office, parked outside, and dashed upstairs for a few minutes. By the time she got back (welcome to New York), the car had been burglarized, and the manuscript was gone.
The burglar dumped it (along with other stuff he didn`t want) on the street in Queens. A hairdresser found it, and read it over the weekend. On Monday he called my agent and told her that he had it, and would be happy to return it. She offered him a reward for his trouble. He declined. She insisted. To which he replied, “The only reward I want is a signed copy of the book, because it`s the best thriller I`ve ever read.” So my agent knew she had hit… and the hairdresser DEFINITELY got a signed copy.
As for getting a manuscript in front of a publisher — well, the agent knows editors at all the publishing houses, and knows what fits their tastes. So she calls them with a pitch, sending the thing over if they sniff at the bait. If you are an unknown writer, you absolutely have to have a credible agent or nothing is going to happen. Agents are the rainmakers. Unfortunately, in these days of megaconglomeration, it`s tougher than ever to get an editor to take a risk on a writer no one has ever heard of.
MK: What`s your take on the mega-mergers such as AOL buying out Time Warner? What are the dangers, if any, of a company becoming that big?
JG: Consolidation is driven by a host of natural economic forces. For example, back around 1905 we had more than 500 automobile companies in this country; they had to join or die. Software companies acquire other software companies all the time (especially in the mainframe segment); here the issue is that it usually is much cheaper to buy rather than build. Acquisitions happen constantly in the business world — there are more than 35,000 a year. Within any given industry segment, a large number of acquisitions usually is a sign of the maturation and flattening — when natural or “organic” revenue growth slows, you have little choice other than to acquire smaller companies. Alas, those of us who lived through a similar wave of merger mania back in the early `70`s remember well that the majority of deals don`t work too well, and ultimately fall apart. Marry in haste, repent at leisure…
Speaking personally, I figure AOL is in for some surprises — the business practices and management skills it takes to run a creative enterprise (especially one involving film and TV) are not easy. Sony lost billions on Columbia before sorting things out. Panasonic did not have a happy experience with Universal (nor, it appears, is Seagrams). And of course TransAmerica`s experience with Hollywood is the stuff of legends — remember “Heaven`s Gate.”
Over the short term, I expect much sound and fury as various companies get eaten up — but then the eaters will have to digest the eaten. Upset tummies may be the very least of it.
MK: You said in another interview that you first conceived of the idea for Vertical Run back in 1976 when your office building was being evacuated due to a bomb threat..how long did that idea sit with you until you got serious about writing it into a thriller?
JG: Actually, the evacuations were in 1978-1979. I started writing Vertical Run in 1981, and got about a third of the way into it. Then a catastrophic computer failure wiped out all the work I did. No recovery. All gone. I was so frustrated I didn`t get back to the tale for 12 years.
Although I did learn to start backing up my disks…
MK: Was David Elliott the original hero of your book or did you have a different character in mind?
JG: Dave was the hero from day one.
MK: What kind of ideas did you originally have for the book that ended up being taken out by the publishers? For example, you`ve mentioned that the German edition is much darker than any other is; can you elaborate?
JG: The principal difference between my original version and what was published in this country is that Dave died at the end of the original version — as did Marge. The publisher (hoping for a sequel, no doubt) and Warner Brothers both wanted them to live. Insofar as Warner Brothers was paying quite good money for the service, I added the scene in which Marge is discovered alive and rescued, and added a single page ending that keeps Dave alive. The Germans liked the original, darker version and, with my permission, published it. In the final analysis, I think keeping both characters alive was a good choice — it delivers extra surprises and lets readers close the book with satisfied grins on their faces.
MK: What kind of research did you draw upon for creating David`s back-story in Vietnam and the big surprise he finds at Lockyear?
JG: I served in the Army in the 1960`s. Dave`s backstory arises from tales told me by various hardcases I met, and from some photographs taken of an episode that mirrors the climax of that backstory. The guys who took those photographs got, as Mamba Jack would say, “disappeared.”
As for the surprise at Lockyear, I`ve always been aware of the incredibly ghastly experiments conducted by Shiro Ishii and Unit 731 during World War II. The Japanese army used Chinese civilians and both American and British POWs as lab rats in a horribly large number of unspeakable medical tests. All of this was covered up quite thoroughly by American war crimes investigators, and it struck me as obvious that the reason for the coverup was that our nation wanted to get its hands on the Japanese research results. Now, fifty-five years after the fact, we know that is precisely what happened. Ed Regis just published a book called “The Biology of Doom” where, via the Freedom of Information Act, he tracks down the details. Read it and your blood will turn to ice.
MK: You mentioned that you had in mind Harrison Ford as David and Clint Eastwood as Ransom at some point during the writing. Did you have anyone specific in mind for the characters of Marge or Helen? What about Bernie or Harry Halliwell?
JG: Actually, I`ve always though Mel Gibson would make a more credible Dave — he`s the only actor I know who really is believable when he talks to himself. As for minor characters like Helen, Bernie, and Harry, I never gave them any thought. They are pretty standard New York City critters, people you see on the street every day, and could be played by any number of minor-part actors. In my mind Marge looks one heck of a lot like the young Olivia Goldsmith (author of The First Wives Club), a feisty New York dame who, long ago, was a friend and co-worker.
MK: Was there ever any suggestion made that perhaps the Marge character should become more romantically involved with David than she was or that she should be in more of the book?
JG: Nope. There`s no time for sex in the book. Hell, there`s barely time for lust.
MK: One of the more colorful passages in the book is where David has to escape the hookers and then infiltrate Senterex right under Ransom`s nose, all the while trying to come off as a limp wristed wimp to avoid detection. With words used such as “queer”, “pansy boy”, “faggot”, “cupcake”, “plaid rabbit” and “Smurf”, how did you get this past the publishers? After all, the 90`s were a very politically correct decade. Did they have any objections?
JG: No objections at all. The homophobia is all on the bad guys side (likewise the racism). Dave, who is an ex-soldier, is playing to the bigotries of people he knows are the worst sort of redneck pinheads. Anyone who was in the Army back when I was (as were Dave, Ransome, and his crew) probably at least once saw some lifer NCO go ballistic when somebody jokingly called him “fag.” Knowing this, Dave caricaturizes his enemies` prejudices, turning them into a weapon against them.
MK: Did you receive any mail from gay rights groups upset with the way you had David portray a gay man?
JG: Again, no. Quite the contrary. I was especially pleased when a gay literary critic for one of the major newspapers recognized the device for what it really says about bigotry and stereotypes, and singled out that section out for positive comment.
MK: The impression I received at the end of `Run` was that David was either selfish and only looking out for himself and that`s why he took off to Mount Excelsior or he just got lucky. After all, he didn`t know about the microbe`s mortality parameters when he took off to Excelsior. And yet you`ve maintained that he went there to die. In retrospect could this have been made clearer to the reader or is it somewhat vague so that the readers can draw their own conclusion?
JG: Hmmm. I intended to portray Dave`s motive as a wish to die with honor, to die alone, and to die in a way that did no harm. Remember, he knows the microbe cannot survive long outside a human host (Ransome makes this very clear). And so by going into the wilderness, he planned a death that would insure the infection would not spread.
MK: The end of the book also gives one the feeling that David, Jack and Marge are going to team up and plot revenge. Is that the intention, or just a reader reading too much into the story?
JG: If I were writing a script for the movie, the final scene would be as follows:
The San Francisco skyline.
Zoom into the black-glassed Bank of America Tower.
Long shot of a man walking through an office lobby with very visible signage reading “The Specialist Consulting Group.”
Play your preferred sports activity, take a yoga class or have a body massage. http://cute-n-tiny.com/category/cute-animals/page/24/ cialis uk When food order viagra cute-n-tiny.com is completely digested by all the agnis, the body tissues will be well aware of how not to flout these rules. Almost every man has heard about those modern medicines that help males keeping erection in the bed. Male impotence is the state which makes a man or woman more vulnerable to heart disease and diabetes. Tracking shot of the same man down a plush office corridor.
Medium shot as he enters a conference room.
Interior of the conference room — it is dark, smoky, lit from above so that all faces are in shadow. The man we`ve tracked mutters an apology for being late, and takes his seat.
Long shot down the length of the conference table. The man at the head of the conference table says, “Try to be on time.” Pause. “Okay, people, we`ve got a problem.” He waves a piece of paper. “I`ve just got a fax from HQ. It says that the Lockyear microbe is highly oxygen dependent. It says that anyone infected with the microbe who climbs into a thin oxygen environment may have a high probability of survival. Now we`ve tracked that bastard Elliot…”
Close shot of the speaker, he looks up.
Shot of the conference room door. A man backlit in shadow is standing there. Cut to man at the head of the table, “Yes?” Backlit man replies, “Oh sorry, wrong meeting room.”
Medium shot down conference table. Man at head of the table says, “Close the door behind you.”
Audible click as he continues, “Now as I was saying, if he survived, it is conceivable that Elliot will try to revenge himself…” There is a thump on the conference room table. Heads turn. A hissing hand grenade rolls into view. The man at the head of the table whispers, “Oh shit!”
Black out.
Roll the final credits.
MK: Has Doubleday or Bantam suggested to you that they would like for you to write a sequel to Vertical Run? To write more adventures based on the character of David Elliot?
JG: No. My relationship with that company has ended. Permanently.
MK: Where do you think David might be today, or do you not give it much thought?
JG: Really, I want that question to be answered by readers. I think whatever sequels and followups they concoct in their own minds are much more interesting than anything I might come up with.
MK: As you know Jon Peters is producing Vertical Run for Warner Brothers and it looks like Paul Hunter may direct. Have you spoken directly with anyone involved in the production of the film and if not do you anticipate having any input?
JG: I had a memorable lunch with Jon when Warners was buying the rights. It`s lawyers were insisting on preposterous contractual obligations, and I was quite prepared to walk away from the deal. Jon squelched `em. Since then, I`ve had no contact whatsoever with the film project.
A movie is the work of many hands. A book is a one man job. Books and films are two wholly different planets, and the citizens of one planet do not necessarily collaborate well with the citizens of the other. So, if the film is made, the most I anticipate is being invited to spend a day on the set and receiving an invitation to the premier (although, I suspect, the seat I`m assigned will not be the best in the house!)
MK: If you can tell us, what kind of rights exactly does Warner Brothers have on Vertical Run? The right to make a franchise out of the David Elliot character?
JG: The Warner contract states they have the rights to David Elliot “in perpetuity throughout the universe, and elsewhere.” They can make as many Dave Elliot movies as they want. Tom Clancy has the same problem with the hero of his books. Paramount can use Jack Ryan any way they want. This is pretty standard stuff in Hollywood. I doubt if any novelist escapes it
MK: What was your reaction when you first found out Vertical Run had made the top of several best sellers lists? Did you ever anticipate the kind of success Vertical Run had? There were even television commercials for the book, which is something you don`t see very often.
JG: Ah, a boyhood dream! From the age of sixteen onwards, I wanted to make the New York Times bestseller list. I was simply thrilled by the whole experience — it was like winning the lottery.
MK: As you are aware, the David Fincher/Michael Douglas 1997 film “The Game”, which I personally love, contains a lot of similarities with Vertical Run, though your novel clearly came out first. In both film and book you`ve got a middle aged businessman on the run for his life, dogged by a shadowy organization that wants him dead, for reasons he cannot understand, he can`t trust friends or family, and all the while being aided and abetted somewhat by a beautiful woman. And to a lesser extent, Will Smith`s “Enemy of the State” covers similar ground. Have you seen the films and if so, did you like them? And what will it take to keep Vertical Run different and fresh from these other films?
JG: I very much enjoy Fincher`s work — he`s a gifted director who knows how to block a scene, frame brilliant atmospherics, extract strong performances from the cast, and cut a montage that keeps you on the edge of your seat. Everything he`s made has great depth.
I think Vertical Run would be better as a director`s film rather than a formula action flick. Most of the conflict in the book is interior, and but for a few set pieces, the real battles go on inside Dave`s head. So I would prefer a small pyrotechnics budget, and rather see a tight psychological thriller built around an actor who can truly show paranoid fear. I think De Palma would make a good director. As would Fincher.
MK: Getting to the subject of James Bond..the way David looks at Marge…the thoughts he has towards her…one minute he could make love to her and the very next he punches her lights out…kind of reminds me of the Sean Connery era as Bond. The “love `em and leave `em” attitude Connery`s Bond had. Do you have a favorite Bond or Bond film?
JG: Ha! I hadn`t thought of that. But Dave definitely is not a love `em and leave `em type. He`s really trying to protect Marge — and also trying to escape the temptation she represents.
By any measure my favorite Bond movie is From Russia With Love. It kept closely to the novel, yet added an extra dimensions of thrills. Robert Shaw was perfect (and perfectly terrifying) as the unstoppable bad guy, and Connery was supported all around by very strong actors. I`d say the Bond novel that I liked most was the first I read: Doctor No. It was such a revelation — the outrageous velocity of the thing and meeting a character as fascinating as Bond for the first time. It left a permanent impression on me.
MK: What are your impressions of Ian Fleming and his novels?
JG: Fleming was a great entertainer and a natural story teller. These are honorable, although undervalued, professions. The guy had a fluid entrancing style, a vivid imagination, and subtle wit. You could tell he had a great deal of fun writing his novels — and, therefore, the rest of us have a great deal of fun reading them.
MK: Ever thought about what it might be like to write the Bond novels?
JG: I am not a fast writer and could never do a series. Pumping out a new book every year is beyond my talents. Moreover, I am obsessed with photographic realism for my settings and stage props. All the scenery in everything I`ve written is so real that I could take you step-by-step through every locale I`ve written about. The Bond books with their exotic settings would drive me nuts. I`d spend all my time researching and mapping out routes, and none of it writing! I`d be a disaster at that job.
MK: So if the publishers were to ever contact you to gauge your interest in writing for Bond, what would be your answer?
JG: That I like James Bond too much to see him die in so horrible a fashion.
MK: The character of Jack Taft in In A Perfect State (Garber`s next book after Vertical Run) is the complete opposite of David Elliot in terms of self esteem, athleticism, etc. How much of yourself do you incorporate into the heroes, or is it purely fictional?
JG: Purely fictional. Dave is a resourceful, highly trained professional with combat experience. In thinking about what to write next, almost the first question I asked myself was: what would happen if an ordinary peaceful civilian with no training suddenly found himself in a fight for his life? So when Jack Taft is surrounded by a small army of gun-toting thugs his reaction is to throw up his hands and scream, “I surrender.” Which is exactly what most of us would do. Unfortunately for Jack, this doesn`t work too well…
MK: When friends of yours read Vertical Run or In A Perfect State, might they recognize themselves in one of your characters?
JG: I doubt it. The only real person who (in both looks and personality) appears in my books is Thatcher — and Thatcher IS Mark Twain.
MK: Tell us a little about your next novel “Alexander`s End”. What can fans expect from this book?
JG: Alexander`s End is the story of a professional assassin — a late Renaissance master killer who also is a loving husband and father, a gentle philosopher, and generous patron of the arts. But also utterly ruthless in his work. I think of the story as being something of a hybrid between “Day of the Jackal” and “The Name of the Rose.” I want readers to be thrilled by the adventure of it — but also driven to think about the questions of ethics and morality a man like Alexander raises.
MK: What plans do you have after “Alexander`s End”?
JG: Next up will be “The Object of Her Wrath,” a contemporary thriller with the scariest premise I can imagine — truly, the few people to whom I`ve told it have winced and gone white. I started the book three years ago, but had problems which I think I`m now prepared to resolve. Like I said, I am not at fast writer. Not at all.
MK: If you can, briefly explain to fans why In A Perfect State was not released in the United States?
JG: The answer would make a great substitute for Sominex. It`s tied up in contracts, legalese, and the business practices of the publishing industry — truly boring stuff.
MK: Do you anticipate Alexanders End and Object of Her Wrath will receive a U.S. distribution?
JG: I hope so, but it is much too early for me even to guess.
Gary Giblin: From London With Love
007Forever.com is pleased to present this exclusive interview with Gary Giblin, author of James Bond’s London.
Jordan Charter: Tell us about yourself.
Gary Giblin: I’m 42 and married to a wonderful woman, an English teacher, named Lisa. I live in the midwestern state of Indiana, in the house I grew up in. I have been writing on Bond for the last six years, which includes consulting work for MGM/UA. I used to work as a National Trainer for the Encyclopaedia Britannica company and my degree is in education. I love movies, travel, linguistics, mystery novels, and all things British, especially Bond and Hitchcock.
Jordan: How and when did you get into Bond?
Gary: I have always been a memorabilia collector and in 1974, at the age of 15, I decided to start collecting Bond—posters, books, toys, etc. I started writing a Bond reference book in college—but (un)fortunately, Raymond Benson beat me to it! (But his book is a gem, so I can’t complain.) In any case, I’ve been addicted to both the movies and the books ever since.
Jordan: What made you decide to write a book like this?
Gary: I have always been interested in identifying and visiting film and TV locations and so on a whim, I prepared a short guide for Lee Pfeiffer’s Let’s Bond in Britain Tour in 1997. It proved popular enough that Lee suggested I expand it into a book. I’m thrilled that more and more people enjoy reliving a favorite film through its locations.
Jordan: Who was the biggest help in writing this book?
Gary: The biggest help was my wife, who read and re-read the book and made many helpful suggestions. After her, and not failing to mention my publishers’ contributions, I’d have to say that Bond production designer Peter Lamont was the greatest help. As I say in the book, he was never, ever too busy to take my calls and answer my questions—even during the production of TWINE. I cannot praise him enough. He is a genius and a marvel, and one of the nicest people I’ve ever known.
Jordan: You’ve said you spent three years on “James Bond’s London” and “James Bond’s Britain” so can you give us a rough outline of how that time was spent? (i.e. How much was used for research? How much was used for travel?)
Gary: I actually started the book in January of 1998 and shortly thereafter flew to the UK, where I spent about three weeks looking for and photographing locations for what was then called “James Bond’s Britain”. This meant that in addition to London, my assistant (and friend, and former boss!), Chris Gardner, and I traveled all over England and Scotland, including the rather remote spot where the From Russia With Love helicopter chase was filmed. I then continued writing and researching at home for a few months, then went back to London in the summer of ’98 for more legwork. I was finishing up the book in 1999 when Ilearned that TWINE was to include extensive London and UK location work. So, the decision was made to wait and include material from that film. Then in 2000, after TWINE, we decided that there was so much information that the book should be split in two. Thus began the rather arduous process of separating entries and creating the second book, James Bond’s Britain, which will be published in 2003 and will include the British locations from the new film.
Jordan: There are so many Bond locations in London, some of which have changed over the years, how did you go about locating all of them?
Gary: In several different ways. One way, of course, was to consult production documents and the filmmakers to find out where things were shot. In some cases, it involved me taking reference photos from the films and walking all over London till I found the spot (e.g., the building seen out the window of the big conference room in Thunderball.) In the case of the Secret Service HQ shown near the beginning of Dr. No, I used books of aerial photos of London to spot the complex, which, if you look closely, can be seen to be located on the river.
Jordan: Are there any Bond locations you couldn’t find?
Gary: Until I started talking with Peter Lamont, there were several! But after that, I’m pretty sure that every Greater London location ever shown in an EON film is included in the book.
Jordan: Which one location was your favorite or most interesting? Least favorite?
Gary: I have a number of favorites—including the office where Ian Fleming worked for Naval Intelligence during WWII. It had been taken over by the Foreign Office and used for storage, but thanks to some very kind people in that department, I was able to get inside, and even had the space in front of the fireplace cleared away so that I could “replicate” that famous photo of Ian standing there so regally in his Commander’s uniform. It was also thrilling to get inside Fleming’s office in Fleet Street and to visit the Royal Air Force base which has appeared in several Bond films, including Goldfinger, Octopussy and TWINE.
These side effects take place due icks.org levitra free consultation to decreased generation of sebum by the sebaceous glands. When the androgen testosterone are released from the gonads and act in the brain and sildenafil soft periphery to control many male-typical traits, including male sexual behavior. Always and in every case need of alcohol rehabilitation is not needed, as for the people who have not yet obtained their driver’s license who wish to do so. The cost for advertisement purpose for the cheapest online cialis Full Report is very high in demand and increasingly mounting popularity all around the world. Jordan: How did you prepare for writing the book? Was there any sort of process you went through while writing it?
Gary: First I re-read every novel and story, taking detailed notes, and then I re-watched all the films, and, again, took copious notes. I also read as much on Fleming and the films as I could and then began making a location list and organizing it by district. Then I researched the places themselves, their histories, etc., so that the book might have a little extra appeal beyond simply saying, “Oh, this is where this was filmed and this is where Fleming got his shirts.” And, as I said, I spent several weeks in the UK and spoke with a number of people who were involved in the films, including Lamont, John Glen, John Stears and Reg Barkshire, Broccoli and Saltzman’s former partner on the EON board.
Jordan: For those who don’t know, tell us a little about “James Bond’s Britian” which will be released in 2003.
Gary: JBB will detail all the film, book and Fleming locations in the UK OUTSIDE London. This includes Pinewood Studios, the Aston Martin company, Fleming’s final resting place, the TWINE pipeline in Wales (and elsewhere), the Goldfinger and TND golf club, the Moonraker rocket site from the novel, Sean Connery’s birthplace, and on and on, as well as the many British locations from the new film, Die Another Day.
Jordan: Why such a big gap between the release of “London” and “Britian?” Weren’t they orignally going to be one volume?
Gary: Yes, but because there was so much material we decided to do it as two books. My original manuscript, without pictures, was over 400 pages. It was either cut a massive amount of text (to keep the book reasonably priced and easy to carry around London) or issue it in two parts. And this way, we can release the second part in about a year and so include all the new locations.
Jordan: You left out the locations of the non-Fleming novels. Was there ever any plans to include them? Or did you know from the get-go that you wanted to focus on Fleming’s Bond?
Gary: I am an unabashed Fleming fan and, I must say, defender. As far as I’m concerned, what he wrote is gospel–about Bond, his life and his world. So, no, I never intended to include anything from non-Fleming novels. What anyone else says about Bond—where he dines or drives or whatever—simply doesn’t mean anything to me. And it’s the same with the non-EON Bond films. None of this is to sleight the other writers or filmmakers. I respect what they have done. But for me, none of these works is truly “James Bond”.
Jordan: Since they will always be making Bond films, do you have any plans on keeping the book updated with the new locations?
Gary: Yes, I certainly envision updating the book.
Jordan: Do you have any plans on writing any more Bond location books? For instance, will there ever be a “James Bond’s America”or “James Bond’s Europe?” Having read “James Bond’s London” I would love to see more books of this nature from you and Daleon.
Gary: Yes, I have already started “James Bond’s America” and would like to do a “James Bond’s Europe” as well.
Jordan: Besides the meeting Mr. Snowman (see related articles at CommanderBond.net or SectretIntel.com), do you have any other stories about your trips abroad?
Gary: Finding the helicopter location from From Russia With Love was most memorable. Going solely on a remark in a Bond reference book, we went to Lochgilphead, Scotland…and just asked the locals. “Och, the helicopter!” They all knew the place, but getting there was still difficult…driving, parking, hiking, then trying to pick out the exact spot. And finally we spotted the rock where Connery crouched to shoot down the helicopter. And just below it, rusting there for over 25 years, was a piece of the helicopter!
Jordan: And finally, do you have any other books in the works?
Gary: Well, thanks for asking. As a matter of fact, my next book is Alfred Hitchcock’s London, which Daleon will publish later this year. It is similar in format to James Bond’s London, with locations from his 20-plus English films, as well as from his source novels and, of course, his life. It was written with the cooperation of several of his collaborators (including Bond production designer Syd Cain, who worked on Hitchcock’s Frenzy), as well as his daughter Pat.
Special acknowledgements for help with this article go to Lee Pfeiffer, Daniel Dykes, and, of course, Gary Giblin for allowing time for 007Forever.com to interview him!–Jordan Charter
Read 007Forever.com’s review of James Bond London here. Order your copy today from SpyGuise.com.
live chat transcript – Don McGregor
007Forever is pleased to present the transcript from our live chat with comix legend Don McGregor, well known to Marvel and independent comix fans as a groundbreaking writer and pioneer and to Bond fans for his work as well. Don paused for about 90 minutes on the eve of his birthday to chat online with Forever fans live, while Marsha Childers McGregor baked a delicious cake for Don in the next room. This transcript has been edited slightly for clarity. Enjoy!
Flemfan: Welcome to 007Forever at Fandom, if you`ve just joined us. I am Matt Sherman, Assistant Editor of 007Forever, and I am delighted to moderate our live chat tonight featuring your questions for Mr. Don McGregor, author of “James Bond: The Quasimodo Gambit” and “James Bond: GoldenEye”, both successful graphic novels with everyone`s favorite number in the forefront. Don`s large body of work is well known in the comix industry, so if we stay on topic for a few questions in a row, hang tight and we will get to your topic`s questions soon.
**This is a “moderated chat,” so if you are just joining us inside 007Forever`s chat room, please head for the auditorium by entering /auditorium at the prompt at bottom of your screen, and you will receive a “welcome to the 007Forever auditorium message” on your screen. Only questions submitted in the auditorium will be answered in tonight`s chat. Thank you.**
Please let me take a moment to share excerpts from the accolades given to Don`s recently released “Detectives Inc.: A Terror of Dying Dreams”…
“…a lean, taut piece, pared down to its dark essence, that pulls no punches…”
“…Wow! Don McGregor and Gene Colan know how to tell a great story…the best comic book I`ve read in 5 years, when I last read A Terror of Dying Dreams…Don`t just stand here reading the back cover, Man. Take it home…a virtuoso synthesis of words and pictures from two of the industry`s grand masters…”
Don McGregor That`s some high praise…
Flemfan: …indeed…
…Welcome to 007Forever!
Don McGregor Good to be here, M. Please don`t accuse me of being a misogynist dinosaur, okay. Don`t ask, don`t tell.
Flemfan: I think you`ve given us a good place to start…
…what I mean is…
Don McGregor I give you all the straight lines. Rainier and Denning taught me how to do that.
Flemfan: You took exception with the GoldenEye script…
You added to Bond`s interior monologue…
Don McGregor Who me?
Flemfan: When M calls Bond a dinosaur…tell us about that?
You had Bond upset…
…at M`s lambasting that he is a misogynist pig…
Don McGregor Well, I`m a Bond fan. And here is M chastising and criticizing Bond for having sex, when she`s screwed up with the information he`s managed to give her.
So, when adapting that scene into comics, I certainly thought Bond should be able to take up for himself. But I didn`t change any of the dialogue in the script. I just gave Bond`s reaction to this tirade.
Icebreaker asks: How is it that you felt about GoldenEye that M “screwed it up”…
…by getting on “Bond`s case”?
Don McGregor Bond has been following the people who have stolen the stealth helicopter, and it`s M who doesn`t let him pursue it.
Boy, I should pull those GoldenEye comics out, huh?
We`re up to 77 questions?
Flemfan: Very funny!
{action: } laughs hysterically.
Here`s a good one from jsacks…
Jsacks asks: Is there any hope of ever returning to the world of Sabre?
… Maybe some Sabre text stories? Old scripts? Sketches?
How much of your “…Decadence” do you have worked out?
Don McGregor Great question, Matt. For fans of SABRE, they know the biggest storyline of all, THE DECADENCE INDOCTRINATION, left at a cliffhanger.
If, we manage to sell enough of the graphic albums on the Internet, or through the specialty shops, or through places like Bud Plant, then, yes, you will see how that biggest fantasy heroic epic I`ve ever attempted will end.
There will be stories that go into characters backgrounds, as well as show where they end up. Dearie Decadence, Heironymous Skull, Tango Two-Step, and other characters that Sabre and Melissa Siren haven`t met yet, but the readers have, will all collide!
Icebreaker asks: Who owns the rights to produce Bond comic books, either original ones or ones based on the movies?
Don McGregor My understanding of that, is that if it involves the literary Bond, the Ian Fleming Bond, then it would be Glidrose. If it is involved with the cinematic Bond, then that would be Eon Productions.
Icebreaker asks: Were more Bond comics planned with Topps before they folded?
Don McGregor Not to my knowledge, but there could have been. The fact that the last two issues of GOLDENEYE never came out certainly wouldn`t help the cause, though.
Jsacks asks: What current comic books do you enjoy? Have you read Brian Michael Bendis? He does solid detective yarns.
Don McGregor Jack Cole`s PLASTIC MAN. It was great to see that early, first material. Milton Caniff`s TERRY AND THE PIRATES. I see a lot of the comic strips these days because I`m doing the ZORRO NEWSPAPER STRIP. They finally found a way to get me to buy a daily newspaper. Have my comic in it every day! That`ll do it!
That has its upsides and downsides. The upside is that you have a reinforcement of the work you are doing every day! It is also the downside, because every day you see where they are, and how close on your butt they are.
Flemfan: **If you joining us late, please enter the auditorium by typing /auditorium and then send us your questions for Don! Watch for the full transcript of tonight`s chat to be posted later this week at www.fandom.com/james_bond.**
Mrflig asks: Don, do you write full scripts or “Marvel” style plots? Does it vary on the project, or do you have a definite preference?
Don McGregor It does depend on the project.
Flemfan: What do you mean?
Don McGregor I more or less prefer a full plot, because the other way, it`s almost having to go back and write the sequence a second time. I prefer to write the scripts to the artist`s strengths. Sometimes I am very detailed in every aspect of the page design.
With other artists, I may do panel breakdowns, suggested angles, with others I`m less specific.
It depends on the working relationship you have with the artist, if you are lucky enough to know before hand who you will be partnered with.
And make no mistake, writing comics and illustrating comics is a partnership. You can write your heart out, you can bleed onto the paper, you can care passionately, but if you don`t have an artist that brings their talent and vision to the project, you`re dead on the page.
Jsacks asks: Here`s an off-the-wall question: as a creator, how do you feel about the current controversy about Napster and copyrights?
Flemfan: How do you feel about the Internet and related copyrights?
Don McGregor That`s a broad-based question.
It has no easy answer.
The Internet can help books survive.
But it can also be a place where you have no control over where it appears.
Illya asks: Don, did you ever read any of the Evan Tanner series (by Lawrence Block)?
Flemfan: You know, Don, the detective named “Matt”…
I apologize for the technical troubles tonight!
Don will stay late if you are having fun at 10!
**This is a “moderated chat,” so if you are just joining us inside 007Forever`s chat room, please head for the auditorium by entering /auditorium at the prompt at bottom of your screen, and you will receive a “welcome to the 007Forever auditorium message” on your screen. Only questions submitted in the auditorium will be answered in tonight`s chat. Thank you.**
Hang in there, everyone…as Don says…he is on the way again!
Hang on!!!
Don is coming back on beloved…
…AOL! LOL more like it!
My server went down in the middle of our chat tonight!
…but I am back…
…and am an expert on Don McGregor!
{action: } screams loudly.
Welcome back, Don!
{action: } bows gracefully.
What was it like to turn ZORRO from movie to comic book form?
Don McGregor You know, it was getting a little crazy. There was the ZORRO`S RENEGADES that I was writing.
Then there was THE MASK OF ZORRO movie adaptation into comics.
And then there was the comic strip that was coming.
Mrflig asks: What`s your favorite Bond: a) movie and b) book?
Don McGregor DR. NO is my all time favorite Bond book.
I can still remember reading that sequence with the centipede.
I actually stopped myself three quarters of the way through, and said, Hold it!
You don`t come across a suspense narrative like this very often.
Savor it.
Enjoy it.
I went back and started it from the beginning.
Reading slowly.
And the centipede crawls through his groin hairs.
And then drinks the sweat off his forehead
In high school, I read this aloud in a high school English class.
This was before Kennedy made Fleming acceptable in the States.
The teacher near had a heart attack.
The students love it.
I don`t believe I got expelled.
Flemfan: We know your fav film is Goldfinger…
…you saw it 20 times…
here’s a follow-up to the Dr. No episode…
Mrflig asks: Did the centipede scene in Dr. No inspire the nasty scene with the leeches in Quasimodo Gambit?
Don McGregor I did not have that sequence in the beginning of scripting QUASIMODO.
I knew I had to have a Fleming-esque Bond situation, where there was that intimacy of danger and detail.
But everything I came up with just didn`t have that spark.
I was actually researching the Georgia swamps when I came across some information about the leeches.
And how when they sucked the blood from you, they put an enzyme into your system that wouldn`t allow the blood to coagulate.
And I knew had something that would be vivid!
That could make a memorable Bond sequence.
I hope it did.
Flemfan: It sure did…
Here`s a follow-up…
Illya asks: Don, do you have any problems writing for Bond because he`s so flawless? Part of your strength as a storyteller is giving us the very human Rainier and Denning, Dragon, etc.
Don McGregor I`d argue that point. Fleming`s Bond is not flawless. In writing THE QUASIMODO GAMBIT, I re-read many of the Fleming Bond books.
The Bond in that comic has Fleming`s Bond`s memories.
And the structure is a reverse of LIVE AND LET DIE. Did I ever tell you that, Matt?
Flemfan: I thought you read from RIGHT to left…
Don McGregor Rainier and Denning are a part of the New York City Scene.
They love Culp and Cosby.
They have a deep and abiding respect for each other.
But at the same time, despite being DETECTIVES INC., these guys do not have the same personalities.
They have different opinions on many things.
But not on important things, like honor, commitment, friendship, accountability, etc.
Jason, good to see you here. Jason`s on the don mcgregor OneList. Hope some of you can join us there, as well.
Flemfan: “one world, one list, Mr. Bond…”
Jsacks asks: Will you ever release the “Detectives Inc” video, so everyone can see it?
Don McGregor Just this week-end, I was at a wedding with my good buddy Alex Simmons, and we were discussing the DETECTIVES INC: A TERROR OF DYING DREAMS film version.
Flemfan: …Alex starred in the film…
Don McGregor It needs a third track and a digital copy made, before we can make any final decisions about that.
The cast is superb.
And the fight sequence in the parking lot is much longer and dynamic than we had room to do in the comic.
Flemfan: Bond represents five decades now…
…he has to be “updated” sometimes…
here`s a crossover question of sorts…
Illya asks: Given your love of westerns & Bond, why haven`t we seen you create an Artemis Gordon sort of character…a Bond of the 1800s so to speak?
Don McGregor Okay, I`m thrown here for a moment.
I thought you were saying that Bond himself has to be updated.
But the question now seems to be he should have a Jim West sidekick?
Are we crossing into Zorro territory here?
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Do you mean, in Zorro there should be an Artemis Gordon type character?
I don`t know how much Bond has to be updated, just as I don`t believe…
Zorro has to be updated.
I think you start with a love of the character, but you can`t be slavish to it.
You have to bring something new to the stories.
And yet there are certain things about those characters that remain the reasons why they have been loved for so long.
And I`m glad there are people who have loved DETECTIVES INC. and SABRE for so many years.
And that the books and the characters have meant so much to them.
Flemfan: **If you joining us late, please enter the auditorium by typing /auditorium and then send us your questions for Don! Watch for the full transcript of tonight`s chat to be posted later this week at www.fandom.com/james_bond.**
Alteredsal asks: What happened to your ZORRO: Matanzas from Image Comics?
Don McGregor Oh, man! Break my heart, why don`t you?
The series was scripted about one half-dozen years ago.
Full script.
Mike Mayhew has done an incredible job on the art.
Sam Parsons has beautifully colored the book.
I kept talking with him throughout ZORRO: MATANZAS! If you go up on the www.donmcgregor.com and into the ZORRO: MATANZAS! website you can see for yourself.
You don`t have to take my word for it.
There are finished page samples up there.
John Costanza, arguably one of the best letterers in comics, has finished the lettering.
And we have no idea when the book will come out.
It may appear in France first.
But I haven`t heard anything on that in awhile.
Mrflig asks: Who is the most autobiographical of your characters, if any? (This is Rob Clough, by the way…)
Don McGregor Hey, Rob. Ah, you think I`m going to give myself away here, huh?
I don`t really know how to answer that question.
In some respects, most of the characters probably have something of me in them.
Even the bad guys.
But to single out a character, well, I don`t know, I`d be reluctant to do that.
Some people, for sure, would say Bob Rainier, from DETECTIVES INC, or even Ted Denning, but I don`t know about that.
Who do you think?
Illya asks: What about other folks? Denning’s mom is obviously Alex`s mom… (Kev here btw)
Don McGregor Kevin! Hey, you guys are great!
Flemfan: Is “Denning`s” mom “Alex`s” mom in real life?
Don McGregor Well, she plays the character in the film version.
But I wouldn`t say it`s her. DETECTIVES INC. is fiction.
You could say there might be some aspects of her in the character, just as there might be a little of Alex in Denning, perhaps.
But they really are just them.
You can`t replace them.
They didn`t come out of a mold, or from any one source.
Kevin Hall, by the way, for all you, is the one who makes the www.donmcgregor.com look the way it does.
He is the artist for me, the partner I work with on the Internet.
He takes my ideas and helps make them a reality in Cyberspace.
Thank you, Kevin!
Flemfan: Don, you have written extensively for magazines…Bond-related interviews…”Ice” asks…
Icebreaker asks: What do you think of Bond and genre fanzines? What could they use in future? What are their best qualities now?
Don McGregor That`s another question that`s pretty wide.
The Bond magazines out there each have a different approach so there is no one answer.
I suppose you mean to appeal to a wider audience.
I think, when you get that love across, with the facts, and not let the love blind you, but make you want to make this the best Bond piece you can, then something people who love Bond should get a quality product.
Illya asks: More Bond, please. Seems like the Bond movies are great on action, but short on the suspense that I LOVE the original Fleming books for. How do you keep some suspense in the comics?
Don McGregor I think one of the biggest challenges in doing genre fiction with heroes is to get the audience to forget for ten seconds that Bond or Zorro have to come back next issue!
If I manage that, that they get so swept up into what is happening, that the actually forget that, then I think I`ve done my job as a storyteller.
It means going into the intimate detail as Fleming did.
You have to live with it, day after day.
Rob Clough, who wrote earlier, wrote on the OneList, that there is a sequence with the Black Panther buried alive that made him feel like he was suffocating.
That`s what the writer does every day in a scene like that.
Imagine what it`s like to be buried alive.
Or if it`s Bond, what it`s like to have your mouth taped shut with leeches inside it.
Or in PANTHER`S QUEST, what it`s like to be tear gassed.
You go there day after day. And you try to make it the best damned pages of comics you can.
Flemfan: Follow-up to your life inside the head and soul of your characters…
You have filmed a movie of “Detectives, Inc.” (and have appeared in film cameos) and have written prose books as well. Which medium is better for you and why? Which is your personal fave?
Don McGregor Hey, I see there`s an emotion meter here. What`s it reading? Yikes!
That`s a good question.
I love all the mediums.
When you write a prose book, like DRAGONFLAME and THE VARIABLE SYNDROME, the thing you know about this is that what you put down there is what the audience knows.
In film, it isn`t just you.
There is so much technical detail that has to be dealt with.
On the other hand, as a director, unlike as a writer, you have people who deal with specific sections, and you ask, “What`s my options?”
And someone says, this and this and this.
And you say, “This sounds the best. Do that.”
The actors bring your words and sequences to life.
In comics, the artist brings them to life.
So many folk think comics are a second-rate art form.
Flemfan: {action: } snorts derisively.
Don McGregor I think they`re beautiful.
Flemfan: {action: } nods solemnly.
Don McGregor When you see a finished page of comic art from a Gene Colan, or a Dwayne Turner, or Mike Mayhew, or Billy Graham, as just some of the people I`ve been privileged to work with…
Well, nothing beats it.
All the anxiety about facing the blank page…
And how can you make the best page of comics you can that day…
All that is swept aside, when that art comes in, and sometimes the scene is even more than you dared hope for.
It brings breath and meaning and those characters alive!
Icebreaker asks: You’ve created GoldenEye and The Quasimodo Gambit as comics. How do you REALLY feel about other writers and artists who have created Bond comics in recent years?
Don McGregor I`ve seen Paul`s [Gulacy of “Serpent’s Tooth] Bond. He`s a big Bond fan, and he has a lot of power in his drawing. I really haven`t read the material.
On the other hand, how can any writer really answer this.
Even if I had.
Because you can`t come to that objectively.
I just hope the work I`ve done stands on its own merits.
I hope, in the case of Bond or Zorro, people know I came to it with a respect for the mythos of both characters.
And I wish the others well.
Flemfan: Don, thanks for staying late…last question…
…before a few quick announcements…
Don McGregor You want to do some more, it`s flowing now, so it`s up to you.
Flemfan: {action: } cheers enthusiastically.
Don, this is why the fans love you, everywhere!
How about we have you back instead for a follow-up chat soon? Final question…
Jsacks asks: Who are you rooting for tonight, the Lakers or Pacers?
Don McGregor Hey, Jace, are you really David Letterman? I`ll ask my son that question. Hey, Rob. Who are you for?
Ooop! Rob is gone!
Best I can answer that one. I am working on a sequence at Shea Stadium. It`s the only sports answer I can think of.
Flemfan: And so say all of us…Shea?
A few thoughts…first…
For everyone who participated tonight, as always, many hearty “thank yous” from Fandom/007Forever for chatting with us, and a very special THANK YOU goes to Don McGregor, for taking the time to talk with his fans. Don`s current projects, as well as opportunities for ordering specially inscribed copies of his work are available now at www.donmcgregor.com.
Don McGregor In the GIFT SHOP.
Flemfan: ZORRO can be enjoyed with updated strips each day at www.creators.com/comics/zorro. Plus, the latest ZORRO news and exciting collectibles may be found at http://members.aol.com/zorrocomix. You will also find interaction and fascination at http://www.comicon.com/donmcgregor. (The above plugs were not solicited by Don McGregor.) 🙂
Don McGregor And there is an INTERNET SPECIAL on SIGNED AND NUMBERED EDITIONS.
Flemfan: …and…drum roll…
Don McGregor Just thought I`d throw that in there!
Flemfan: Don is available at www.donmcgregor.com as well.
Don McGregor Don`t I help, Matt? 😉
Flemfan: …Plus you can catch 5,000 words of Don this week at 007Forever…
…his two-part interview…
Apologies to all for the tech troubles tonight…
and thanks to Don…a super writer and a super sport…
We salute you, sir!
Don McGregor Thank you, Matt. It`s great working with you again since Bond Weekend ’99.
Flemfan: And great to be at Fandom!
Don McGregor But what did you say you really thought about A TERROR OF DYING DREAMS?
Flemfan: Your latest re-released work? I will be heading out to the auditorium if anyone wants to chat a bit more… 😉
…Don, thanks to you and Marsha McGregor tonight!
–pardon me…am heading to chatroom…the auditorium is closing it down now…
Don McGregor Thank you, Jason. Let me know how you thought this went on the One List.
Illya asks: Sorry to leave the party early gang. Nice seeing Rob & Jason. And of course the inimitable Don. Great moderating job Flemfan!
Jsacks asks: Thanks Don!
Icebreaker asks: Bye for now, Don, thanks for the chat, Matt.
Mrflig asks: Thanks, Don! And thanks for setting this up, Matt.
**Check out:
DonMcGregor.com
Zorro Productions
Zorro Strips: Daily Update
Don McGregor: Bonded Comix Part II
–Continuing our two-parter with comix legend, Don McGregor, as he shares about the Bonds, John Glen, Maurice Binder, and struggling to fit the creative muse into a “DEADline”.
Matt: James Bond in Quasimodo Gambit was a bizarre deadline, wasn`t it? Tell us about it.
Don: The Deadline itself kept changing, and there were different deadlines!
When I was first approached to do a Bond comic series, the book was being produced by two separate companies: Eclipse Comics and Acme, which was based in London. They were already in the midst of doing a Bond series with different talent, and they wanted this book to be ready when the other finished. The common thought was to do a Post-Glasnost Bond plot, but I felt, even if they could pull all the talent together to do it, and could come out with Quasimodo Gambit as rapidly as they said, it could be dated by the time it saw print.
It ended up taking years (yeah, that`s right, instead of months, the deadline became years!) for the book to be illustrated. Now, I had written and researched the entire project, so virtually it was all there. But then I had to do final scripting over the art, and make the captions and dialogue fit the art, and because the art was so late, it was often a pressured deadline…
…And Bond had to be done on pages that were in rough penciled sketch. I often had difficulty just in making out who was whom. In one sequence, in M`s office, I placed a lot of the M and Bond introductory stuff into what looked like blank space behind M`s head, but when I saw the color, finished pages, I don`t know how many odd months later, I could see the artist had put in detailed wall space, including a painting behind M`s head, and it was all covered by copy! So, I went back, a replaced it all, to preserve the art. And once again, I was running against another “Deadline.”
James Bond: GoldenEye was a different beast altogether, because Topps got the license to do the series late, and you have to have the first issue of the book ready by the time the film opens. The problem is no one knew what the finished film looked like, and let`s face it, with a Bond film, and a Bond comic, fans are going to be looking closely. But what does that War Room really look like? What about the interior computer control rooms under the frozen wastelands? Never mind, what do many of the characters in the story look like!
Matt: How did you start your lifelong love affair with Mr. Bond? 😉
Don: With Ian Fleming. And that goes way back before any films were made. It goes back even before President Kennedy put “From Russia, With Love” on his favorite books list.
I used to travel down to a small town in West Warwick, Rhode Island. And they had a huge store there called “Newberries,” and it was one of those places that sold everything from fresh made cookies (Oh, man! I loved those Scotch Jams, to this day, but you can`t find them anymore) to paperback books. And that`s where I picked up a copy of “Diamonds Are Forever”.
It`s funny how you can`t remember things that happened two days ago, and other things stay with you, sharp, clear, the moment of impact as fresh as if it happened an instant ago.
I`d gone to a friend`s house on New Year`s Eve, and I`d taken that DAF paperback with me. I was going back towards my house, walking beside the road that traveled up a steep incline that just went on what seemed like forever when you were walking. There was a January snap in the air, stinging the cheeks. I was stopping under streetlights, reading a few passages here and there from Diamonds, and then hiking to the next light in the darkness. And there was that moment when the villain gets his intended victim in the hot mud rooms, and pours scalding mud in his face and eyes! And I remember standing in the lone light in the black expanse. Everything was quiet. New Year`s Eve was either over, or people hadn`t returned to their houses yet. And I thought what the hell is this!
And I hadn`t even read “Dr. No” yet!
I learned a lot from Fleming. There`s a sequence from “No”, where the centipede is crawling up Bond`s body, and it`s one of the most exquisitely detailed suspense narratives I`ve ever read. I actually recall telling myself to slow down, go back to the beginning of the scene, and savor it, because those kind of scenes didn`t happen often!
Matt: You have plenty of stories about Bond insiders. What is the wildest thing that happened to you while working on a Bond related project?
Don: The wildest thing! You think I`m going to tell you that, Matt? Right here, and now! Or ever!
I will tell you that one of the nicest thing was meeting so many really nice, talented people. I have fond memories of talking with John Glen the night before For Your Eyes Only opened in the States. He was incredibly candid and open about all his feelings. Maurice Binder was a delight. I`d gone to the MGM buildings to talk with him, and they were supposed to have a clip of the opening credits to show me, and for some reason, it couldn`t be found. I told Maurice that was fine, not a problem, but Maurice wouldn`t hear of it. He said, “You`ve traveled all this way, Don, and they were supposed to have it ready!” And guess what, ten, fifteen minutes later, we were in a screening room watching his wonderful way with credits.
What pleased me most in that instance is that after the article on Maurice appeared in Star Log magazine, he wrote me a note telling me how pleased he was with it, and that he felt it was the most accurately he had ever been quoted. That`s not a wild moment, but its one I hold dear.
Still, one of the best things about working on Bond related articles in those days, was meeting Tom Carlile. He was Cubby Broccoli`s US Publicity Coordinator. He treated me, and Star Log, as if we were as important as the biggest promotion gig they had going. Tom took me to dinner one night. I shouldn`t have been there. I`d had a heart attack the night before, although I`d convinced myself by morning that it couldn`t have been that, and yet I`d gone into Manhattan to make sure everything was all right with a series I was writing called Nathaniel Dusk, which was drawn by the Dean of comics, Gene Colan, and then I`d hiked over to see Tom.
He was going in for cancer tests soon after. It was a foolish thing I`d done, and I hope I`d know better today, and yet I`ve always treasured that night, sitting with Tom, as he told me great stories about the early days of trying to promote Bond in the States. “Who wants a movie about a Limey detective?” more than one theater owner would say to him. And the change to where he had people beating at his door and ringing the phone off the hook to get whatever they could on 007! But he also told me amazing stories about working with George Stevens and behind-the-scenes events on “Shane”, stuff I`d never known. Or how difficult it was to work on “Barbarella” with Jane Fonda and Dino DeLaurentiis.
Maybe not wild, but certainly treasured, Matt. It was the last time I ever saw Tom. But what a wonderful last time together. I miss him.
Matt: Tell us about why it was that the lovely and popular GoldenEye comic`s last two issues went unpublished!
Don: See, now, you`re talking about stuff you know the answers to! Now, you`re just baiting me!
Let me see how to tell this without all the twists and turns that project took. The first thing people need to know about a project like this is that there are three companies involved. Eon Productions, of course, made the film. They hired a company called Leisure Concepts to handle Licensing deals for the Bond movie. So, now you have three separate companies, when you include Topps, all with people handling the business end of the project. (And comics are a literary-style item like Glidrose produces for the Fleming estate, too.)
What I have to do is find out how many pages we have to tell the film, get as much visual reference as possible, and find the best way to capture the spirit and tone of a film I haven`t even seen yet! Now, all of Topps negotiations had to go through Leisure Concepts to get to Eon Productions. The problem for a place that handles licensing is that they don`t understand the nature of comics. Normally, they are approached to do a Bond product, be it watches or T-Shirts or talcum powder. The company wanting to make this product needs Bond images.
Let`s take a T-Shirt company, for example. They make the deal, the licensing company sends them 20 or 30 images of Bond, the company selects the one they feel will make the best T-Shirts, and its onward. With comics, you have to see everything!
It`s not even like adapting the book, because you can slide over the details, the pictures aren`t right there in front of the audience. But with a comic, you have to visualize every scene! And with all the technical gizmos and unique backgrounds that are a part of the story, you have to show it! And if I was going to do a Bond comic, I`m coming to it, as someone who loves comics, who has a reputation for the books my names goes on, but as important as that, producing a quality book for fans of Bond, because I`m a fan! I want to do the book I`d like to see if I was out there, wanting to have a comic about Bond!
All of GoldenEye, all three books were pencilled. All three books were lettered. All three books were inked. I had worked on the covers for all three books with Brian Stelfreeze. And without a doubt, the best cover we had, in terms of attracting an audience, Bond and especially, non-Bond, was the cover for Issue #2. Brian did a painting from the steam room sequence between Bond and Xenia Onatopp, with General Ouromov as a ghostly overseeing presence. It was colorful, provocative and caught the spirit of the scene exquisitely.
And it became a problem. I wasn`t there for all the conversations, but apparently someone, somewhere was concerned about the cover. Topps was ready to go to press with the second book when an objection came about the cover. Leisure Concepts and Eon, or just one of the companies, had to give approval to the book, and that approval stalled. Jim Salicrup wouldn`t print the book until Topps had the approval.
THE DAY (and I`m not just saying this for dramatic effect; it`s really the way it happened), the day they put all the finished art in my hands, done, complete, was also the day I was told the book wouldn`t see print. Ads had already been taken out for a compilation edition! You can see the book listed as if it exists in Price Guides! No Bond fan will ever find it-issues 2 and 3–because it didn`t happen. There are lots of books like that these days, advertised as if they exist, with Price Guide sums printed as to their value, and the damn books never came out! Twenty years from now, comics researchers and historians are going to go nuts trying to find books that don`t exist at all!
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And it wasn`t because the book didn`t sell! GoldenEye #1 was very successful. All that work. I held the art in my hands, heard the words, and there`s an empty feeling inside. You`ve run the race! You`ve given everything you have! And the James Bond fans will never see it!
There`s not one argument you can offer that`s going to change it.
And it hurts the chances for more Bond comics down the road, because some people are going to think, hey, Bond comics didn`t sell.
Matt: You attended the Bond Weekend `99 we held in Las Vegas. What was it like to meet all those crazy fans and inscribe some of your work for them?
Don: The Bond Con was great! Although, you ask about wild times, Matt, and the wildest time there was when you took on the entire Las Vegas airport security personnel. Personally, I thought maybe you`d been doing a little too much James Bond immersion identification. But you appeared at Planet Hollywood, shaken, not stirred.
Both Marsha and I really enjoyed the people there. It wasn`t just the connection of Bond, it was a genuine warmth with so many of those people. There was a lot of passion, for Bond, certainly, but for life in general!
But I do miss driving with Jim Sieff in the Bond Aston Martin going down the desert highway! I wish we`d done that with Lana Wood! Damn! Is Jim bringing the Aston Martin to New Orleans for Bond Weekend 2000? Did you know that`s where I set the Blade series I wrote for Marvel? Thinking about it, I guess there aren`t many desert highways in Orleans, are there? Hmmm.
Matt: Jim may be busy filming with his Astons for Austin Powers 3. What are some of the trends you foresee in the comix industry?
Don: I`m far from a soothsayer. Comics are under siege, in many ways. Certainly, the Internet will open the way for new ways to present and do comics, though how all that will play out is still cloudy. I do believe this is a way to help books survive, by using the Web, that might not have a chance if one has to rely just on the big Distributors. It`s one of the reasons I decided to start the www.donmcgregor.com site. Kevin Hall put together that and the McGregor ONElist Message Group. I wasn`t sure anybody would write to the thing. Well, not only have they written, but they`ve put file copies up of art from books I`ve done, and they`ve done a magnificent job with it. There`s color art from Dwayne Turner drawn Black Panther, to repros from Billy Graham SABRE art. I hope that we will have graphic albums of SABRE: An Exploitation of Everything Dear sometime in the near future. The entire storyline that ran from SABRE Issue #3 to #9, “Everything Dear” collected in one big volume. But before that we should have out The Definitive Ragamuffins Graphic Album, a series I created years ago, pencilled by Gene Colan. It`s about kids growing up in the 1950`s, a book about kids for adults, with flash forwards to various points in time in the `60s, `70s and `80s.
It`s exactly books like these that I think the Internet can help to survive.
If people can find you on the Internet, see that they can get the books directly from you, and if they feel confident in ordering those books, then perhaps this opens the medium up from the domination it has been under to produce “superhero” books. Many of these titles have become so inbred that if you haven`t read a hundred issues you don`t have a clue what the hell you`re reading!
I can`t prove this will work. I just know the Internet is opening new doors and venues. If I could see into the future, I guess I would know how to use that effectively to promote and sell the books, but remember, I`m primarily a storyteller, that`s what I`ve always been, and that hasn`t changed, so this is something totally new to me.
It`s difficult to get people to know you`re there in the vastness of Cyberspace.
It`s difficult to get people to know who don`t normally read comics that there might be books they`d really be interested in, if they knew they existed.
But how to get, let`s say, someone who really loves mystery fiction to know there`s a series of beautifully produced books like Detectives, Inc., with complex characters you can get involved with, in story-lines that are serious, but not without humor, visually exciting and evocatively rendered? I don`t have all the answers for that. But certainly, a site like Fandom/007Forever helps reach people, Matt, and makes it more accessible to know these books exist! If you love Bond, or ZORRO, or, to name a couple of my favorites, these days, Buffy or Xena, well, now you know there`s a place that you can go and get quality material on these characters. The same hopefully will apply to Detectives, Inc. and SABRE and Ragamuffins. These books cover a wide span, from heroic fantasy to private eyes to mainstream stories.
They are unique, and they are of singular vision, and I hope to do more of them.
And meet more of those incredible fans who have been so supportive over the years. Thank God for them! They surprised a few editors over the years, let me tell you!
Matt: What new projects are on your plate now?
Don: I`m writing the daily ZORRO newspaper strip, which appears in the New York Daily New and the Houston Chronicle, among many other papers. I`ve just introduced the first major black characters in the ZORRO mythos in the strips–starting back in the middle of April 2000. The Definitive Ragamuffins is at two companies right now, and hopefully, we`ll have copies by the San Diego Comic Con [author`s note: It would be great to see a lot of Bond fans there as 007Forever staff and contributors are attending in July]. The new book includes a rough version of a twenty-page lost Ragamuffins story called “The Pack Rat Instinct”, which has never yet seen print! The fans will love it. It is all about the dear, sweetly absurd, all consuming need to collect that which you love! It`s as much a part of the fan as breathing. [I know Collectors` Corner fans at Forever can relate–Matt]
I`m also working on a new Detectives, Inc. story entitled “A Fear of Perverse Photos”. Detective Bob Rainier`s opening line is, “Let me see if I`ve got this right, you want us to break into your apartment and steal all the pornographic photos you`ve printed off the Internet.” It`s a story that looks at this new phenomenon, how it affects everyday people, examines the different criteria for what is considered obscene and isn`t, and even looks at views on the afterlife and angels. Oh, and it also looks at the changing face of Manhattan. Has it really been changed? Could Dorothy now get off a bus at Port Authority with Toto, look around and sigh, “Jeez, Toto, we really still are in Kansas!”?
But I`ll be spending a lot of time and energy on the www.donmcgregor.com website, as well, promoting it, making sure people have a way to find the books if they haven`t found other sources. But I`ll be doing conventions as well. I`m due to be at the big Madison Square Garden convention with the people behind Pulp Adventures. I`ve just done an introduction for their first reprint of Johnston McCulley`s ZORRO pulp reprint stories. Plus, I have every intent to be at the San Diego Comic Con, as well.
Matt: Do you have any tips for aspiring comix authors and artists?
Don: I teach a course on “Writing For The Comics” at the School of Visual Arts in New York City, and that`s a question that starts every class. A short answer, and by no means a definitive one, is for the person to figure out what type of writer they want to be. You might as well start early, because you`re going to have to make that decision again and again, if you survive in this business. Remember, it`s your name that goes on the story! I`ve never had someone come up to me in all the years I`ve been signing books and say, “Don, the managing editor of the comic did this and made this story say this.” They come up and ask, “Why did you…?” and as long as you know the answer, and it is an answer you can live with, you`ll know that it is your story. They can`t take it from you.
Hang in there!
–Many thanks to Don McGregor for taking the time to help prepare this special two-part story. Follow the links below to check out Part I of this interview and learn about the Bond Collectors` Weekends including Las Vegas `99 and New Orleans for Bond Weekend 2000 in September!
**Check out:
DonMcGregor.com
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Zorro Strips: Daily Update
author interview – Don McGregor: Bonded Comix Part I
We at 007Forever are delighted to present this in-depth interview with Don McGregor, pioneer of independent authors` rights in comics and author of the glossy GoldenEye movie novelization in graphic novel form, and the in-depth Bond adventure The Quasimodo Gambit.
We hope this two-part interview will stimulate your questions for the upcoming chat with Don on Wednesday, June 14 at 007Forever. Don has a lot more of the scoop on comics, James Bond, “I Spy” and much, much more to share Wednesday starting at 9:00 p.m. E.S.T. — join us! One of the most popular writers at Marvel in the 1970`s, Don struck on his own to work with Paul Gulacy (yes, the Gulacy who created the visually stunning James Bond adventure Serpent`s Tooth) to publish SABRE, a graphic novel now in anniversary re-release. Later with Marshall Rogers of illustrated Batman fame, “Dauntless Don” struck again with a second graphic novel, Detectives, Inc. , (and again five years after that in a Detectives, Inc. mini-series with legendary artist Gene Colan).
McGregor started his writing career at Warren, scripting stories for Creepy and Eerie. Later, invited to Marvel, he wrote the cult-hit Killraven series in Amazing Adventures and acclaimed Black Panther stories in Jungle Tales. After he published SABRE and its follow-up on-going series from Eclipse, Don wrote two Nathaniel Dusk, P.I. mini-series for DC and then a Killraven graphic novel for Marvel. Don revisited the Black Panther in the pages of “Marvel Comics Presents” before landing the writing assignment for Topps Comics` revival of the legendary ZORRO.
In working with ZORRO Productions on the project, Don developed his take on the classic western hero by surrounding him with strong adversaries and interesting allies. In his analysis of the standard ZORRO motifs over the years, he came to the conclusion that ZORRO should have a strong female counterpart. Thus, Lady Rawhide was born. First appearing in ZORRO #3, Lady Rawhide (as illustrated by Mike Mayhew under a cover by Adam Hughes) rapidly became a fan favorite and she was spun off into her own mini-series.
When Topps stopped publishing comics, both ZORRO and Don landed at Image Comics, which ZORRO Productions selected to publish their character`s adventures. Image is presently reprinting the second Lady Rawhide mini-series and trade paperback collections of the ZORRO stories, and they`re also re-publishing some of Don`s creator-owned work under their imprint. Don and artist Tom Yeates (they teamed up for ZORRO vs. Dracula) create the daily adventures of ZORRO for newspapers around the country including the New York Daily News. Don`s recently released 20th Anniversary Edition of SABRE garnered as much praise as it did originally, as did the re-release of Detectives, Inc. Now the second DI story, Detectives, Inc.: A Terror of Dying Dreams has been collected in trade paperback form for the first time. (All three should be available through your local comic book shop, and are available to them through Diamond Comic Distributors` STAR System.)
–Don is also a wonderful guy who is passionate about the things he loves most; things like family and friends, the world of James Bond 007, ZORRO, Hopalong Cassidy, and communicating passionately to others through the unique medium of comix.
Matt: Why did you choose to work in the comics industry?
Don: Well, I`m not sure if I chose it or it chose me. Before I was writing comics, I actually was working on novels and films. I learned at an early age, once I got hold of my dad Francis McGregor`s 8mm Bolex movie camera, that if you wrote the script, and if you directed the film, and you acted in it, a number of great things happened:
1. You always won the fights! And since, in those early 60`s days I was often doing some kind of a James Bond or private eye riff, well, this was terrific! It didn`t matter how big the guy was. He could give me a look and say, “Don, I can pound you into the ground. You know it and I know it.” But then, I`d just show him the script, and answer, “Well, sure, we both know that, but see, right here, in the script, it says, “I win!” So, here`s how we`re going to do it!” But even better was
2. You ALWAYS got the girl! This was infinitely preferable to real life and I thought I would dedicate my life to it. We even rigged a briefcase to shoot out a torrent of white gas to take out one of the bad guys, in one of the films. Now, understand, I`m no technical whiz, and I don`t remember who came up with the way to pull this off, but we were filming up at my grandparents` house, Alfred and Marguerite Besson`s house, and they had a lot of land to play make believe in as if it was real. I played out a lot of fantasies there during my young years, rode a lot of invisible horses, you better believe it. Anyhow, my grandfather had a workshop there, and someone figured out how to hook up one of the old insecticide spray containers he had into that Bondian attache case, after the first attempt we`d made to gas the bad guy failed miserably! This time, as the villain opened the case, we pumped down on the canister and the white clouds shot out of the nozzle and engulfed him! It really worked! I don`t even want to give thought to what kind of stuff may have been inside the insecticide tank before we filled it with talcum powder!
Some years later I actually created Detectives, Inc. as a film vehicle, for Alex Simmons and I to play the lead characters of Denning and Rainier. So, now finally, here comes the transition to comics. I`ve given you a few brief, hopefully scenic detours here. But before we ever got around to acting Rainier and Denning out, I`d gone to my first comic con. And something clicked!
I was writing, as I`ve already mentioned, and I`d always loved comics, I just hadn`t really thought about writing them. But after meeting Alex Simmons at that New York City Comic convention, and after we started acting together, and coordinating our own fight sequences, something else clicked during the year until the next con.
Matt: You mean, “Why not do a comic book?”
Don: Alex was multi-talented, and at the time he did a lot of illustrating. It struck me that comics is considered a visual medium, even if, like film, it needs a written word, first. Comics are also a literary one, and that combination makes it truly unique as a medium. But, if you were going to get seen, if you were going to get read, how to do it?
Well, you could write a script and send it. But the downside for writers is that an editor has submissions coming in and they end up in a stack. I talk about this a lot with my students in the course I teach at the School Of Visual Arts. You don`t want to get caught in that pile. Most editors seldom have time to go through those pages, and the higher the stack grows, the more intimidating it becomes.
If you`re an artist, you come in with samples of your art, and people can see right away whether they like it or not. They can say, “Hey, I like this, but this sucks!” And at least you have some feedback. But a writer, the first thing the editor sees is just a jumble of words on page upon page.
So, it was kind of like Mickey Rooney and Judy Garland, “LET`S PUT ON A SHOW!” and I said to Alex, “Let`s do Detectives, Inc. as a comic. Because I knew then that people could look at it, they could see that you had a grasp of the mechanics of comics, how words and pictures worked together, plus it did what I always wanted to do: TELL A STORY!
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Matt: What appeals to you about being on a deadline with projects like ZORRO or James Bond, 007?
Don: Deadline! What appeals to me about the deadline? Well, one writer once said, “You know, Don, there`s a reason why they call deadlines DEAD lines!” I think what you`re after is more the format that the story is going to told. So, for instance, in James Bond: The Quasimodo Gambit, once I know what the format is, in that case a three-issue mini-series, I more or less know the page count I am dealing with. I know I can approximate the structure of a novel, because I have the room. I know that I have to take into account where the books should break, so there is at once a sense of completeness to the books, that the reader has gotten something from that one book, but that it also flows into the next, and hopefully makes the audience want to know what happens to Bond and that cast of characters next.
That, by the way, is a much different kind of project than adapting a Bond film like “GoldenEye” for comics, in a three-issue “monthly” format. But more on that later.
And still different, say, would be doing graphic albums, like Detectives, Inc.: A Rememberance of Threatening Green or A Terror of Dying Dreams. These are self-contained stories, but the page length is shorter, and you have to deal with that challenge. It`s as much a question of what won`t be in the story as much as what will make it.
Like James Bond, I`ve done ZORRO in different formats. When I was doing the monthly comic series for Topps, I was always aware of the, more or less, 30-day time span between issues. This has a tremendous difference on the way you approach a story than, say, if it was published bi-monthly. Now that I`m doing the ZORRO newspaper strip there is always the constant reminder that another day has gone by. The upside of this is that there is a concrete re-enforcement of the story-telling. Every day, you hold the paper in your hand, you see the strip, and when it works, there`s that incentive to get you back to the blank sheet of paper. But the downside can be that it does appear every day, and if you haven`t written a day`s strip yet, it`s intimidating.
On top of that you have to face a whole different sort of choices and challenges as a storyteller. In a graphic novel, the audience gets the whole story at one time. The impact of the story and what happens to the characters and the thematic thrust of the story is immediate!
But a strip has an audience coming to it in different manners, and you have to be aware of this! Some people only get the Sunday paper, and thus they may only have exposure to what`s going on once a week, in that Sunday.
Others only read the paper during the week. Often, many buy it and read it on their way to work. So, I try to make sure the story can track from Sunday to Sunday, yet that there is never any repetition, because you have to be aware that in the long run, one day, those stories may be collected into a single volume, and then the story must flow seamlessly.
Oddly, what with all the horrendous lurid screaming headlines in the paper, one of the constant things you have to contend with is what someone might say, “Well, this can`t be in a family newspaper!” But that only seems to apply to the comics page. The fight is to tell a compelling story, one that has meaning, one that will move the audience. I try to make each day`s strip work singularly, but at the same time flow into the next. Yet, I`m not always trying to do the same thing with each strip. As varying as I will make the visual approach of each strip, from one panel to four, from silent to one just with captions, to those that are comprised of dialogue, I also want to have different emotions to the strip. Sometimes, I want the audience to laugh. Sometimes I want them to be moved by what they have read. Sometimes I just want to compel them to say, “Man, I can`t wait to see tomorrow`s paper and see what happens next!” If someone who buys only a Sunday paper, let`s say, said, “You know what, I`ve got to buy Monday`s paper, because I`ve got to see what happens to ZORRO next!” Well, I can`t think of a compliment that would mean more to me. And sometimes I want to jolt the audience.
Sometimes it`s the storytellers job to disturb. And if you are reading the daily newspaper, and you haven`t come across something that disturbs you, you aren`t really reading that newspaper, I`ll tell you that. In the Daily News, ZORRO is carried on the same page as Ann Landers. Ann`s column can have topics that deal with domestic violence, drugs, incest, you name it, but put that into a story with pictures, on the same page, and different eyes and with different agendas somehow are still of the mind that comics are a kid`s medium.
Well, no! Comics are as varied a medium as books and film, and just like the best in those mediums, the best comics have a voice and strength that are uniquely their own! And then again, there`s another aspect about deadlines, they change from project to project. A Daily strip deadline is “always” there! It never changes.
–Read Part II of this interview (linked below this story) and hear all about James Bond: The Quasimodo Gambit, James Bond: GoldenEye, and more! There will also be a special opportunity to purchase unique McGregor work at Bond Weekend III, September 2000 in New Orleans!
**Check out:
DonMcGregor.com
Zorro Productions
Zorro Strips: Daily Update
author bio – Raymond Benson
Raymond Benson was born September 6th, 1955 in Midland Texas. His father, Morris, was a geologist for Gulf Oil; his mother was Beulah (nee Butler). He was 9 when his father took him to a drive-in showing the film Goldfinger. Benson told Texas Monthly. “It changed my life. No one had ever seen anything like that in Texas and it opened a huge fantasy world for me.” He graduated from the University of Texas, Austin in 1978 with a BFA in theatre directing. He was an apprentice Stage Manager and Director at The Alley Theatre, Houston, Texas from 1978 to 1979; and was also a member of the Board of Directors of Empire Stage Players in New York City in 1981.
He spent over a decade in New York directing stage productions and composing music. He composed the music for the theatrical productions Alice In Wonderland, (first production in Houston, Texas at the Alley Theatre, 1978-1979); Paper Tiger (text by Thomas Brasch, first production in New York City, New York Theatre Ensemble in 1980); The Resurrection of Jackie Cramer (text by Frank Gagliano, first production in New York City at the American Theatre of Actors in 1980); The Man Who Could See Through Time (text by Terri Wagener, first production in New York City at the Ark Theatre in 1984); Charlotte`s Web (first production in New York City, at the Lincoln Center Institute in 1984-1985). He won off-off-Broadway awards for Musical Composition for the Theatre from the American Society for Composers, Authors, and Publishers in 1980 for The Resurrection of Jackie Cramer and Paper Tiger, and in 1984, for The Man Who Could See Through Time. Benson told Contemporary Authors that he had directed several productions in New York and Texas including several of his own musicals. “I enjoy composing incidental scores, and someday I hope to score a film.”
His first book, The James Bond Bedside Companion was published by Dodd in 1984, and in a revised edition in 1988. It was nominated for best bibliographic/critical work in the 1985 Edgar Allan Poe competition. Glidrose took note and signed him to write a stage play of Casino Royale, though it was never produced. Benson also designed and wrote several award-winning interactive software products, including the interactive games Stephen King`s: The Mist, A View To A Kill (1985), and Goldfinger (1986), all published by Angelsoft/Mindscape; and You Only Live Twice II by Victory Games in 1986. He subsequently joined Viacom New Media, where among his many credits, he helped co-design the CD-ROM adventure “Are You Afraid of the Dark”?, and “The Indian In The Cupboard”, an interactive children`s learning adventure based on the Motion Picture.
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Benson also taught film theory classes at the new School for Social Research in New York and interactive screenwriting at Columbia College in Chicago. He had told Contemporary Authors in the mid-eighties that he was working on an original screenplay about the Adventures of a National Park Ranger. The interactive movie Dark Seed II, which he wrote, was released in 1995. In November 1995, Glidrose chairman Peter Janson-Smith phoned out of the blue and explained that John Gardner was stepping down; would Benson be interested in taking over? Benson, surprised, accepted, and according to Publisher`s Weekly, was paid a six-figure sum. Glidrose was so pleased with his first novel Zero Minus Ten that they signed him to a four book contract. In early 1998, Benson began writing a non-Bond novel, Evil Hours, about a true-life murder that occurred in the small town he grew up in. He currently lives outside of Chicago with his wife Randi and their teenage son Max.
Born: 9/6/1955
Midland, Texas
author bio – Kingsley Amis
Kingsley Amis was born April 16, 1922. At the age of eleven he embarked on a blank verse miniature epic at the instigation of a preparatory school master, and wrote verse ever since.
Until the age of twenty-four, however, he remarks: “I was in all departments of writing abnormally unpromising.” Fellow novelist Anthony Powell (“Dance To The Music Of Time”) agreed and was convinced that Amis would never succeed as a writer.
His first novel, “Lucky Jim”, a satire about University pretentiousness, was published in 1954 and won the Somerset Maugham award for best first novel. His immediate follow-up novels were less successful. However, Amis was considered to be at the forefront of the angry-young man movement that transformed the British literary and theatrical scene during the 1950s.
Primarily a satirist of provincial English life, Amis also wrote speculative fiction: science fiction “The Anti-Death League”, “The Alteration”, “Russian Hide-And-Seek”, horror “The Green Man”, mystery “The Riverside Villas Murder” and “The Crime Of The Century”, and a novel for young adults, “We Are All Guilty”. His 1978 novel “Jake`s Thing” is a satire about impotency, while some deemed his 1984 novel “Stanley And The Women” misogynist. “Ending Up” and his last complete novel, “The Biographer`s Moustache” are among the most interesting of his straight fiction. Amis also wrote several volumes of verse (poetry) and considered verse a higher art form than prose.
In 1965 he published “The James Bond Dossier”, a comprehensive study of Ian Fleming`s novels. Soon after, Glidrose, the corporate entity that owns the James Bond novels, hired Amis to write the first post-Fleming Bond novel under the pseudonym Robert Markham. Amis explained his motives for writing a Bond novel in an article, “A New James Bond”, later published in his 1970 book *What Became Of Jane Austen? And Other Questions*. Amis told a New York Times reporter that his next Bond novel would be set in Latin America. However, sales for *Colonel Sun* were poor and reviews were mixed, and the follow up novel never materialized. Years later, Amis approached Glidrose with an idea for a short story. Bond would come out of retirement at age 70 to rescue a kidnapped US Senator from a Russian Colonel-General. Bond presumably dies at the end when he falls down a waterfall. Glidrose blanched and ordered Amis not to write one word of it.
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Having been shortlisted several times before for the prestigious Booker award, Amis finally won in 1986 for his novel “The Old Devils”; this gave Amis`s career a boost of the kind that he hadn`t had since “Lucky Jim”. Amis was named a Commander of the British Empire (CBE) in 1981, and in 1990, he was given a knighthood for services to literature.
Between 1949 and 1963 Amis taught English at the University College of Swansea, Princeton University and Peterhouse, Cambridge. He was opposed to open universities, believing that more would mean lower standards. Originally a communist, it was only during the 1960`s, the Harold Wilson years, that Amis radically rethought his politics and slowly, but gradually became a staunch conservative.
Amis was a keen science-fiction addict, an admirer of “white jazz” of the thirties, and wrote many articles and reviews in many leading papers and periodicals. His “Collected Non-Fiction” reprints his reviews of Christopher Wood`s “The Spy Who Loved Me” novelization and John Gardner`s “For Special Services”.
Amis died on October 22nd, 1995 after complications from an accident. At the time of death, Amis had partially written “The Oldest Devil”, a sequel of sorts to his award winning novel. Amis`s son Martin is an accomplished novelist (“Rachel Papers” also won the Somerset Maugham award for best first novel, “London Fields”, “Time`s Arrow”, “The Information”, and most recently, “Night Train”).
author bio – John Pearson
John Pearson was born May 10th, 1930. He was working as a television scriptwriter when he met Fleming who offered him a job as his assistant on the Atticus column of the “Sunday Times”. “He was an extraordinary man to work for – a cross between James Bond and M himself. He was brimful of ideas, most of them slightly bizarre, and always a stickler for style and language. He taught me a lot.”
Pearson was thirty-two when he gave up journalism to write books. His travel adventure novel, “Gone To Timbuctoo”, won the Author`s Club award for the best first novel of 1962/1963. He has also published “Bluebird and the Dead Lake”, the story of Donald Campbell`s world land speed record at Lake Eyre in 1964. Shortly after Ian Fleming`s death, Leonard Russell, the features editor at the “London Sunday Times” commissioned Pearson to write the best-selling “The Life Of Ian Fleming”.
This was a 366 page, hardback book published by McGraw-Hill in 1966 Was Ian Fleming James Bond? Many think so. There was many similarities to be certain. Fleming denied any connection to “that cardboard booby” that he had invented, but the book questions that. Pearson delves into the mind of Fleming and the result is a very interesting work based on over 100,000 miles of travel by the author, 150 interviews and an extensive study of Fleming`s private papers.
It helps levitra properien djpaulkom.tv to ejaculate old semen and make room for new semen. ADD (Attention Deficit Disorder) is an disorder that found not only to children but in adults also. It is not different in any way of the branded . Though, there are a number of reports regarding complications associated with the erectile dysfunction drug. Pearson was subsequently chosen to be the third post-Fleming Bond novelist, however reviews of “James Bond – The Authorized Biography of 007” were mixed, and sales disappointing. Since then, Pearson has written biographies of Winston Churchill, The Royal Family, Barbara Cartland, J Paul Getty, and a fictional biography of WE Johns` aviator hero Biggles. His next book, “Blood Royal: the rise and fall of the Spencer Dynasty”, will be published in April 1999.
Pearson`s other books include “The Profession Of Violence: The Rise And Fall Of The Kray Twins”, which is often reprinted, and the unfairly overlooked thriller “The Kindness Of Dr Avicenna”, about a kidnapping gone wrong.
Born: 5/10/1930
author bio – John Gardner
John Gardner was born November 20, 1926 (though some sources claim 1919). Born in Seaton Derval, his father Cyril John was a Church of England priest, his mother was Lena (nee Henderson). Gardner was an avid reader since he age three. At nine, he announced that he`d be a writer, and his father gave him a notebook. Gardner wrote on the title page “The Complete Works Of John Gardner”, but the book stayed empty for many years.
From his late teens his private life became one of spiritual, physical and emotional turmoil – all stemming from an insatiable need for alcohol. He spent two years at an Oxford Theological College, three years at Cambridge University, became an officer in the Royal Marines and a professional stage magician, including a stint with the American Red Cross from 1943-1944.
Gardner was the curate at Eversham from 1952 to 1958, and was ordained in the Church of England in 1953. His career as a priest lasted five years – both as curate in two country parishes and chaplain in the Royal Air Force. Gardner was preaching one day when he realized that he didn`t believe a word he was saying. In the autumn of 1958, Gardner, then a young Anglican clergyman, resigned from his priesthood, and ceased to be an ordained Church of England Minister. A rare step. More extraordinary was that Gardner wrote his letter of resignation from a mental hospital. The reason he gave for discarding cassock and cleric collar was that he was a chronic alcoholic who had, subconsciously, sought ordination in an attempt to escape from the addiction to drink which had hounded him since his teens.
Once free from his priesthood Gardner started a new life as a journalist and critic – he was a theatre critic and arts editor for the Herald in Straford-upon-Avon, England from 1959 to 1964 – but another year passed before he reached the ultimate climax of the disease and met the doctor who really brought him face to face with the truth about the bottle. A mixture of hypnosis and aversion therapy stopped Gardner drinking, and is proud that he hasn`t had a sip since. His book Spin The Bottle (1963/1964) was the factual story of what Gardner called, “The insidious progress of the disease of alcoholism from birth to recovery”, and it set out to give the reader a picture of the strange half-world of deceit, guilt, remorse and terror which is the mind of the alcoholic. But it was also a document of hope, showing how despair can be turned into joy and chaos into order. At the same time it posed a number of uncomfortable questions, and is, above all, a plea for a better understanding of a disease that seemed to be spreading through the world at an alarming speed.
Amendment of Erectile Problem through Medication Be that as it may, pharmaceutical which includes use of erection pills such as Kamagra, , Caverta, Silagra, etc. 2. The second likely cause is Peyronie’s disease, which could be harmful for your health. It has been used for decades to treat a wide array of conditions. So, exactly the same ingredient is used in Kamagra that levitra 10 mg is Kamagra oral jelly. Gardner`s next book, a novel, was meant to be a serious study about governments abusing their power, but a friend told him that it was no good and instead wrote it as a comedy: the end result was The Liquidator (1964), a novel about Boysie Oakes, a hit man afraid of airplanes, and who unbeknownst to his supervisors, actually contracted his assigned murders out to hitman Charlie Griffin. Seven Boysie Oakes novels followed (and at least one short story, often forgotten) before Gardner, to use his own words, left for more serious matters. Gardner also wrote two Sherlock Holmes novels (The Return of Moriarity and The Revenge of Moriarity), and entered LeCarre territory with his Herbie Kruger trilogy (The Nostradaum Traitor, The Garden Of Weapons, The Quiet Dogs). In 1979, while living in Ireland, Gardner got a letter from well-known crime reviewer and author HRF Keating (“Inspector Ghote” novels) asking if he`d be interested in picking up where Ian Fleming left off and continue the James Bond series.
“I supplied Glidrose with four possible narrative outlines, and they picked one of them.” The late Globe and Mail book critic Dereck Murdoch wrote, “John Gardner is technically a highly competent writer who never seems quite at ease unless he is writing in the same vein as another writer. It`s what makes him so well-qualified to continue the James Bond saga.” Licence Renewed sold 130,000 copies in the US in hardcover alone, and his follow-up For Special Services had a first hardcover printing of 95,000. However, sales for the rest plummeted.
In the mean time he wrote his “Secret Houses” trilogy, and the first two parts of an intended trilogy showcasing Herbie Kruger. Gardner moved to Charlottesville Virginia, USA, in the 1980`s. In 1995, allegedly by mutual agreement, Gardner and Glidrose parted ways. Gardner has not published since his 16th, and last, Bond novel, Cold Fall, in 1996. John Gardner told Contemporary Authors, “I work rather like an actor, taking on a theme or role so that it, eventually, envelopes me. After that, I need to work with a good editor, who I use as an actor uses a director. Work is life and life is work, though I have no pretensions about being “literary” – I greatly mistrust any so-called “Literary Establishment.” I am a story-teller, a professional wordsmith – it is a job, like that of a carpenter or any other craftsman. Sometimes the piece works, sometimes not.” Gardner and his wife Margaret have two children: Alexis and Simon.
Born: 11/20/1926
Seaton Derval, England
author bio – Ian Fleming
Ian Lancaster Fleming was born May 28, 1908 to Scotish parents, in the United Kingdom. He was educated briefly at Eton, before he was thrown out. He traveled in and out of the world until he became a reporter for Reuters News Agency in 1931. Among his first assignments was a trip to Moscow for the trial of British citizens accussed of being spies.
Fleming continued his job until 1939, when he applied to the British Navy. He soon became involved in Intellegence, and was involved in many missions. One of the missions that Fleming had created was one called Operation: Ruthless. It dealt with an attack on a German stronghold with some of the best swimmers in the Royal Fleet. Ian was the man selected to choose those who would be used in this mission. From Fleming`s plattoon, he chose himself for his strong swimming. The plan was never used, but Fleming wanted to use the plan, and later re-vamped it and used it in the novel Thunderball.
When World War Two ended, Fleming became involved with The Kemsley News Agency, and soon was Foreign Manager. He applied to move to Jamaica, which was granted and he went. He found a spot of land on the ocean, and soon began to build himself a brand new house which he called “Goldeneye”.
After he found his way to Jamaica, he became involved with the woman who would later become his wife. While he waited for her divorce, he whidled his days away by writing “the type of novel that he wanted to read.” The novel was set in a casino in France, and starred a British Secret Agent, one licenced to kill, with the special number of a killer, 007. The Agent was James Bond. The novel was Casino Royale. Written in 1952, and published the following year, the phenomenon was off and running. It is generally believed the name James Bond comes from the author of a book entitled “The Birds of The West Indies”, written by a Mr. James Bond. Fleming chose the name because it is “common”, and not something that stood out (then). He found the name bland. Bond`s number, 007 comes from Rudyard Kipling`s stories about the American Railway, in which a train has the identical number. This is what molded the character into what it is today.
The divorce of his future wife was final, but Fleming wanted to continue writing, and so started a new novel with things that he was involved in like marine biology and black magic. Fleming had also become a father, to his only child, Casper.
By 1957, Fleming also wrote The Diamond Smugglers, a non-Bond novel, about, Diamond smugglers in Africa. By 1959, he began fielding offeres to make his novels into movies, and with the help of Kevin McClory and Jack Whittingham began writing an original screenplay that would eventualy become the novel Thunderball. In 1961 Fleming sold the rights to the novels to Canadian film producer, Harry Saltzman who in turn sold half his rights to Albert Cubby Broccoli. They wanted the first film to be Thunderball but because of a lawsuit over the rights to the novel, the first film would be Dr. No.
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By 1964, Fleming would see his last book release. His health had taken a serious turn for the worse. Heavy drinking, smoking, and the Kevin McClory lawsuit had taken it`s toll On August 12, 1964. at 1:00 am Ian Fleming died. It was just months before Bond would become the big thing of the sixities with the release of Goldfinger. Ian lived long enough to see his books become undisputed smash hits and bestsellers, but not quite long enough to see the film series take off.
In 1965, one year removed from Fleming`s death, his final full length novel, The Man With The Golden Gun, made it out, featuring a few chapters from a still anonymous writer. In 1966, the world saw the final of Fleming`s works released: Chitty Chitty Bang Bang.
Fleming lived a man of the world. Every year, he would do his own world tour, and would used places that he saw in his novels, describing them in full detail. He lived his life to the fullest. He loved big stakes gambling, driving the fast car, and women. But Fleming died alone, his wife had left him, taking their son with her.
When Ian died, he owned Glidrose Publishing, which is still family owned to this day. His only remaining relatives are his cousins, who run the company. Casper and Fleming`s wife have since passed on.
Born: 5/28/1908
author bio – Christopher Wood
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Using numerous pseudonyms, Wood began writing the humorous erotica “Confessions” novels during the seventies. He eventually turned to screenwriting, adapting several of his “Confessions” novels; his original screenplay “Seven Nights In Japan” was directed by Bond veteran Lewis Gilbert, who when signed to direct the next Bond film “The Spy Who Loved Me”, brought Wood along to do rewrite chores.
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Wood also wrote the motion picture “Remo Williams: The Adventure Begins”, directed by Bond veteran Guy Hamilton. Wolfgang Petersen (“Air Force One”) has the film rights to “A Dove Against Death”.
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)
It happens due to many reasons which is responsible to failure of sexual activity. Therefore, it is better for patients to receive treatment for a number of conditions that, in many circumstances, do not actually require a physical examination, have to answer a few questions and undergo a few tests. In the era of Internet technology individuals tend to be more successful when they have more information about smoking, its health risks, and quitting, so specialized information about common gender differences can make it harder for the bots by writing the @ symbol differently, e.g. as example[at]comaround.com. For centuries, European doctors have been prescribing healing mineral water. 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.
We only serve what is good for our health, we all know that, but have you ever thought of getting a medicine from an online store but make sure unica-web.com levitra uk you buy this medication from online, make sure you see to its precaution and prescription too. It helps to gain stronger and bigger erection naturally. But these buy tadalafil from india results are on long term. Nitric oxide is a chemical that is designed for men willing to overcome the sexual syndrome of impotence. 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.
It is a physical change that cialis tablets australia comes with aging. On the other hand, reactive maintenance is something which is applied on a present situation when the equipment completely fails. There may be some problems with the carrying of sperms such as premature ejaculation, blockage in testicles (epididymis), damage to reproductive organs, erection problems, dysfunction of tubes which acrry sperms and genetic diseases like cystic fibrosis. Erectile Dysfunction occurred in any age like youth or an adult age and which brings the emotional and mental stress. 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!
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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!
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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.
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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.
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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.
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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!
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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!
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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.
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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!
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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.
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“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.
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“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!
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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.
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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.
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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.”
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“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
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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
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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.
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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)
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-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.
Don’t get insecure- Many relationships have been spoiled due cialis tab hop over to this storefront to too much hand practice. Erectile Dysfunction is one such disorder that has shattered dreams of millions of men’s. When anxiety levels get higher, potentially attributable to stress or everyday living conditions, the subconscious mind rewires itself to adjust to this anxious behaviour. Perfectly balanced with vitamins A, B5, C, D, and E – along with 4 other essential nutrients – a penis oil is applied directly on the male organ till the formula is absorbed by the body to negate the action of an enzyme called PDE5 (phosphodiesterase type five). 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.
Therefore all these malfunctions that are happening to get combined to develop the sexual incapability can be restricted from taking place to make man incapable from performing a successful sexual activity by applying this concerned solution. It promotes sleep, so you will also get a relaxed sleep cheap viagra india view my drugshop after having sex. 3. A tantric massage is a spiritual practice that works on the same. Weak ejaculation reduces your sexual pleasure in lovemaking. 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. With time and its usage, it was found that Kamagra is very effective in treating erectile dysfunction and cialis online mastercard can be ordered online. The Sexual Healing Power of Ashwagandha The ashwagandha herb acts as an aphrodisiac. About 40% of infertility occurs due to male, but always women go first with the test of infertility. In addition, some studies claim that there could be a potential link between prostate issue and impotence. 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.
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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
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-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.
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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.
Spinal manipulation can be performed with the hands of the branded . Using a substitute is a much safer way to treat your erectile dysfunction problem. Every user is advised to intake a prescribed dose of the product than self-monitoring a dose for them. The penis gets filled with blood when the size of blood vessels. 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.
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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.