The Man With the Golden Gun poster
Richard Maibaum, the veteran 007 screenwriter, wasn’t involved with the launch of the Roger Moore era of James Bond films. He was off doing other things as Tom Mankiewicz scripted Moore’s debut in Live And Let Die.
Maibaum, though, was summoned to return to the fold with The Man With the Golden Gun. Mankiewicz bowed out after after the earlier drafts (he’d be back for later rewrites).
Producer Albert R. Broccoli, doing the heavy lifting for this film the way Harry Saltzman had for Live And Let Die, needed help. He turned to Maibaum, an old associate.
Bond collector Gary Firuta provided a copy of Maibaum’s initial effort, dated Jan. 7, 1974. The title page simply reads, “First draft screenplay by Richard Maibaum,” so there’s no way to tell what Mankiewicz ideas were carried over.
Still, reading the draft, there are significant differences compared with the finished film, which was released for 1974’s Christmas film season. Some of the ideas in Maibaum’s draft are arguably improvements from the final movie, but the draft has other issues.
For example, it seemed pretty much established that Major Boothroyd and Q were one and the same. Desmond Llewelyn, who made his debut in the Maibaum-scripted From Russia With Love, was identified as Boothroyd in that film and known as Q thereafter.
In Maibaum’s draft, after the pre-titles sequence (pretty similar to the final movie), there’s a scene in M’s office. With M are Chief of Staff Bill Tanner and “ballistics expert” Boothroyd.
That’s on page 7. But on page 18 (more in a moment about what happened inbetween), Bond meets with Boothroyd *and* Q. Based on the stage directions, It’s clear that Q, rather than Boothroyd, is the character normally played by Llewelyn. In the final movie, Colthorpe is the ballistics expert and Q is his usual self (after a one-movie hiatus, having not appeared in Live And Let Die).
As in the final film, MI6 has received what appears to be a threat — a golden bullet with 007 inscribed — against its prize agent. M relieves Bond off his current assignment of finding a missing solar energy expert until the matter can be resolved. So now Bond is on the trail of Francisco Scaramanga, the title character.
As in the final movie, Bond travels to Beirut, where double-O agent Bill Fairbanks was believed to have been killed by Scaramanga. The trail leads to a woman called Saida.
Except, in this draft, Saida is a prostitute as a bordello, not a dancer in a cabaret. Maibaum’s description:
BOND’S P.O.V. SAIDA
Recling (sic) on king-size bed, she wears thin Turkish trousers, a short velvet bedjacket, is excessively plump and over made up, but definitely not an old bag. Her eyes light up.
This version avoids a visual gag of the final film (Bond swallowing golden bullet after retrieving it from her belly button). There’s a fight, but the context is different. Afterward, Bond is with Saida once more. She has the mashed golden bullet that is hanging “on ribbon in her cleavage.”
My lucky charm.
SAIDA IN BED. CAMERA ON HER BACK
She holds out her arms. CAMERA IN on BOND’s reaction. Big “Things I do for England” sigh
Reluctantly starting to take off his jacket.
After some, eh, “bliss” with Saida, Bond has the bullet and takes it back to MI6.
For a while, things proceed much as the finished movie, including Bond roughing up Andrea, Scaramanga’s mistress and a number of other scenes. Scaramanga kills Gibson, the missing solar expert, we meet Hip, the MI6 operative in the area and Bond tries to get the mission back on track.
The trail leads to industrialist Hai Fat. There’s a scene in the draft not contained in the film where Q meets up with Bond, Hip and Mary Goodnight before they can fly to Bangkok. Q gives Bond a camera that do a number of tasks except take photographs. It’s in this scene that Bond asks Q to make a fake third nipple so 007 can pass for Scaramanga.
We eventually get to Bangkok to meet Hai Fat, “an impressive Chinaman in his late forties.” Interestingly, the part would be filled by character actor Richard Loo, who was in his early 70s.
Bond, posing as Scaramanga, manages to get invited by Hai Fat for dinner. As in the final movie, Hip drives him to Hai Fat’s residence, accompanied by his nieces, Cha and Nara.
Things don’t go well. Bond is caputred and ends up in a martial arts academy. There are some interesting differences from the movie.
For one thing, Bond has an exchange with the academy’s headmaster. “Good morning, Mr Bond,” he says. “On hehalf of my academy I accept your challenge.”
This scene is populated by a number of “BLACK BELTERS.” There are also SPECTATORS, a group that somehow includes Hip and his two nieces.
After some preliminaries, Bond faces off against prized pupil Chula. Things don’t look good for 007.
CHULA knocks him down again, then grasps BOND’s neck in a both-hand squeeze, a possibly fatal hold. ANGLE SUDDENLY WIDENS as CHA and NARA come to BOND’S aid. Actually, they are professional Thai girl kick-boxers. Gasp of amazement from CROWD as they go to work on CHULA with their fists, elbows, nkees feet, event butting with their heads. CHULA goes down.
So, if anything, Bond looks even more impotent in the sequence than in the final film, where at least Bond bested Chula before being shown up by the girls.
The ensuing chase plays out a bit differently than the movie. Nevertheless, there is an appearance by J.W. Pepper and his wife. Unlike the film, though, that’s all there is for the good sheriff (a creation of Tom Mankiewicz, after all). Pepper falls into the water, but isn’t pushed by an elephant.
Jumping forward, Andrea is revealed as having sent the golden bullet, wanting to get Bond to kill Scaramanga. When Bond is supposed to meet her, there’s an interesting change from the final film. The event that’s supposed to be the site of the meeting is a tournament of girl Thai kick boxers.
Scaramanga and Nick Nack get the drop on Bond. But Scaramanga, in this draft, provides an attempt of an Ian Fleming-type travelogue.
“You know why these girls aren’t phony?” Scaramanga says of the contestants. “They’re fighting for husbands. Come from the mountain villages up north. Chiang Mai. You need a dowry up there…Win a few fights and you can pick your husband.”
The next major change from the final movie comes in the chase sequence, where Goodnight is in the trunk of Scaramanga’s car while Bond tries to pursue.
Bond needs a car and goes to a Ford Motor Co. dealership (it was American Motors in the movie).
A would-be Thai buyer gets into the car. “Give me demonstration, please. How is pickup?”
This, of course, is where Bond gets into the car and steals it to chase Scaramanga. For the rest of the sequence, PROSPECTIVE BUYER (as he’s called in the script) displays “true Oriental unflappability, his face is expressionless.”
So, instead of a screaming, over-the-top J.W. Pepper, we have a cool, calm Asian man along for the ride with Bond, including the now-famous car jump. (“Nice family car,” Bond quips after the jump.) As in the film, Scaramanga gets away in a flying car.
As Bond and policemen watch the flying car gets away, Prospective Buyer says he “no care for that model,” referring to the departing car plane. Gesturing toward the Ford that Bond stole, he says, “I take that one.”
Eventually, Bond makes it to Scaramanga’s island. They discuss the solar power system made possible by the solex agitator. The stage directions for one of Bond’s lines says “usual expertise when needed.” One difference: when Scaramanga destroys Bond’s plane, 007 responds, “Thanks. A very convincing demonstration.”
Maibaum also comes up with an interesting line when Bond and Scaramanga verbally spar during lunch. Agent 007 says, “You’d kill a blind cripple for tuppence. When I have to kill it’s a kind of justice.”
This draft has a more elaborate duel sequence, which was filmed (some scenes are in the movie’s teaser trailer) but don’t show up in the final version. Some of the dialogue, though, is a little clunky:
BOND BEHIND ROCK
That just pumps my adrenalin (sic) faster. You’re playing it close. Is that what they taught you when you were a KGB punk?
You’re a limey punk yourself — and so far it looks like they didn’t teach you much.
There’s more, but overall the Maibaum draft is mostly what we’d see on screen. Whether the draft is actually better or not is in the eyes of the beholder.
Filed under: James Bond Films | Tagged: Albert R. Broccoli, Harry Saltzman, Richard Loo, Richard Maibaum, Roger Moore, The Man with the Golden Gun, Tom Mankiewicz | 3 Comments »