OHMSS script: Train of the dead, other surprises

OHMSS poster

The blog got around to reading the shooting script for On Her Majesty’s Secret Service. While very close to the finished film, there were still a few surprises, including a rail coach full of corpses.

The title page says the script was “issued 5th September, 1968” with some pages saying they had been revised “8.10.68.” There are no names on the title page. Richard Maibaum got the sole screenplay credit while Simon Raven got a credit for “additional dialogue.”

By this time, Maibaum had spent years developing a screen adaptation of one of Ian Fleming’s best 007 novels.

Charles Helfenstein’s The Making of On Her Majesty’s Secret Service summarizes 10 different treatments or scripts, including this one. The blog obtained its copy from collector Gary J. Firuta.

The script begins in a slightly different way than the film. After the gunbarrel, the script begins at the lobby of Universal Exports. A “Uniformed SECURITY MAN” is “at desk near door checking credentials of EMPLOYEES.”

The security man greets dome of the employees. Then there’s an “elderly MAINTENANCE MAN, mottled face, scraggly moustache, carrying wrench and plunger, plodding toward desk.”

The security man says (“cheerfully” as the maintenance man passes), “Morning, Double O-Seven.” We then go to the scene where M, Q and Moneypenny talk about how Bond can’t be found. Something not in the film: Moneypenny says, “Station R, Reykjavik seems to think Double O-Seven’s in Iceland — !”

After that, the scene where Bond meets Tracy unfolds much as it does in the film. One difference is that Tracy is driving a Bugati, rather than the Mercury Cougar we’d see in the movie.

‘This Never Happened Before’

The end of the pre-credits sequence ends with a slightly different line compared with the film. “This never happened before, Double O-Seven.”

On Her Majesty Secret Service’s gunbarrel.

Immediately after the titles, however, Bond returns to MI6. In the final film, this wouldn’t occur until later.

The sequence as depicted in the script is very similar to the final movie, except with some minor differences in dialogue. For example, Bond refers to M as “the Director.” (“Does this mean The Director has lost confidence in me?”)

As in the film, Bond dictates a letter of resignation to Moneypenny after the agent has been taken off Operation Bedlam (“Take a memo to the Director, Moneypenny.”) When Bond gets back to his office and starts clearing out his desk. The only specified object from a previous film is the “WRIST-WATCH GAROTTE used in FROM RUSSIA.”

The script has Moneypenny changing the resignation to a request for leave.

Before he departs MI6, there’s another scene in a garage area with the “latest model” Aston Martin. “You can break it in during your holiday,” Q says.

The pre-titles sequence had Bond driving an Aston. This script says is a new model. Bond gets in the car and checks it out.

“No reclining-seat lever?” Bond asks.

“No, Double O-Seven,” Q responds. “We don’t consider convenient love-making essential.”

“Your department always underestimates the personal requirements of my work, Q.”

Q “prissily” replies, “We still haven’t developed a substitute for that, Double O-Seven.”

“BOND grins, starts motor, drives ASTON-MARTIN out of garage.”

Pardon My French

The agent makes it to Portugal and, eventually, meets up with Tracy again. As in the movie, Bond uses his relationship with her to get some help from her father, Marc Ange Draco, in locating Blofeld.

In the scene where Bond meets Draco there’s this exchange:

BOND
She fascinates me, Mr. Draco — but I’m not a psychiatrist —

DRACO
(contemptuously)
Psychiatry! Merde! What she needs is a man, to beat her, to make love to her enough to make love him! A man like you, Mr. Bond

For the uninitiated, “merde” is the French version of a familiar swear word (if you don’t know it, just click here and look on GoogleTranslate). Evidently, in 1968-69, James Bond movies apparently weren’t ready to go that far in terms of language.

Train of the Dead

Eventually, Bond gets back on Blofeld’s trail. He’s off to the College-of-Arms to meet with Sir Hilary Bray and Phidian, an artist. The latter leaves and Bond talks to Sir Hilary. What follows in the script is a major sequence that wouldn’t be in the film.

“Put on any new personnel lately?” Bond asks.

“Only Phidian — last week — poor chap was out of work so long he presented me with a token of his appreciation.” The token is a paperweight lion on Sir Hilary’s desk. “Carved it himself,”

Bond is immediately suspicious and picks up the paperweight.

“Talented, isn’t he?” Sir Hillary asks.

“BOND screws off lion’s head, revealing tiny MICROPHONE. His fingers remove it,” the stage directions read. “SIR HILARY dumbfounded as BOND shows him microphone.”

A chase ensues, including some on rooftops. Bond and Phidian end up in a train tunnel. Phidian ends up “STRIKING ELECTRIFIED RAIL. Blinding flash and PHIDIAN’s scream. An instant later TROLLEY hits him, hurling his body off track and smashing it against wall.”

Phidian at one point in the sequence had written a telegram and put it in his pocket. “BOND stares down at PHIDIAN, mericifully below CAMERA LINE, reaches down into his jacket pocket, takes TELEGRAM OUT OF IT.”

It had been a warning from Phidian to Blofeld. “CONSIGNMENT NOT AS SPECIFIED. PHIDIAN.” Bond blocks out the word “NOT” and sends the telegram.

Now, of course, Bond has to make sure Phidian’s death doesn’t appear suspicious. So Bond, assisted by Q (!), stages a train accident.

The dead Phidian and other corpses are put in a train coach. Here’s the description.

“CAMERA SHOOTING FROM COORDOR THROUGH GLASS OF COMPARTMENT DOOR. PHIDIAN is very dead, swaying slightly in motion of train. CAMERA PULLS BACK SLIGHTLY. He is seated between TWO OTHER CORPSES. THEN CAMERA DOLLIES BACK ALONG CORRIDOR SHOOTING INTO OTHER COMPARTMENTS. SIX PEOPLE IN EACH, ALL DEAD. CAMERA HOLDS ON LAST COMPARTMENT. BOND IS SEATED BETWEEN TWO STIFFS.”

The engine cab and coach full of bodies is switched off onto a siding. Bond and a motor man put on “crash-helmets and protective jackets.” They jump from the engine cab.

The engine then plows into some freight cars. “As ENGINE crashes into them. FREIGHT CARS telescope,” the script says. “(If on elevated stretch they plunge over side with Engine and Coach.”)

BOND

(turning to MOTORMAN)

Ghastly wreck —
(wryly)
At least they felt no pain —

The finished film may refer to all of this. Campbell, Bond’s MI6 contact in Switzerland, is reading a newspaper. It has a front-page headline referring to a fatal train crash.

Bond and Tracy Get Chatty

After that, we’re back into familiar territory. After all this buildup, the stage directions don’t make a big deal about Blofeld. He’s described as “an impressively and strongly-built man in his early fifties.”

Some scenes have more dialogue than in the final film.

After Tracy rescues Bond, she is driving her Bugati and they talk a bit more.

TRACY
(slowing slightly)
Shall I stop so can spank me?

BOND
Step on the gas, Countess. Business before pleasure.

Later, after the pair find a “typical Swiss farm two-level stone and wood building” to stay for the night they talk a lot more. In fact, they’re downright chatty.

TRACY
Did you miss me at all? Up there on the mountain?

BOND
I had…a lot to occupy me. Body and mind.

TRACY
I understand.

BOND
Not quite, you don’t. I was…using people, Tracy. Using women, for my job. And I enjoyed it.

TRACY
(level)
If you didn’t, you wouldn’t do it well.

BOND
You don’t mind?

TRACY
You forget, James. I’ve used people too. And without even the excuse of a job. Do you mind?

In this script, it’s Tracy who ends up proposing. Director Peter Hunt, in the documentary Inside On Her Majesty’s Secret Service, said he had it changed to Bond making the proposal. Hunt said in the documentary that Bond was the stronger character and therefore should be the one who proposes.

‘Your Double-O Man’

Much later, at the wedding there are some bits that wouldn’t make the final film.

M specifically tells Bond that all of the “angels of death” (the women Blofeld had programmed to distribute Virus Omega, which could wipe out grains and livestock) have been accounted for. Bond then begins to ask M if he’ll be godfather to his and Tracy’s first child.

Before he can complete the sentence, the “CAMERA ANGLE WIDENS TO INCLUDE MONEYPENNY, with Q.”

“You’ll find your Double-O man some day, dear girl,” Bond tells Moneypenny.

“Bless you, James,” she replies.

The scripts ends with Tracy’s death. One slight difference is in the stage directions.

“His head remains against TRACY’s, his face smeared with her blood.”

Bond 24 questions: the writers edition

Robert Wade, left, and Neal Purvis.

Robert Wade, left, and Neal Purvis.

Neal Purvis and Robert Wade are back? There’s been no official announcement but it was reported last month by The Daily Mail’s Baz Bamigboye that the writers were retained to rewrite John Logan’s efforts.

Bamigboye had a number of Skyfall and Bond 24 scoops proven correct. Example: he wrote that Purvis and Wade were initially not going to be back for Bond 24, while their Skyfall co-scribe John Logan would be the new 007 film’s writer. Purvis and Wade subsequently confirmed they were leaving the series. Until, it now seems, things changed.

How extensive will Purvis and Wade’s Bond 24 script work going to be? If the duo end up getting a credit, you’ll know it will have been substantial.

The Writer’s Guild has extensive guidelines on how much work a scribe (with a team of writers such as Purvis and Wade counted as a single entity) should do to get a screen credit. A writer or writing team must contribute more than 33 percent of the finished product for an adapted script, 50 percent for an original one. Bond 24 falls under the adapted category since it uses a character who originally appeared in a novel.

Getting a credit isn’t as simple as counting lines of dialogue. A credit is supposed to reflect “contributions to the screenplay as a whole,” according to the guild. It’s possible, for example, for a writer to change every line of dialogue but for the guild to determine there’s been no significant change to the screenplay.

In any case, if Bond 24’s credit reads something like, “Written by John Logan and Neal Purvis & Robert Wade,” Purvis and Wade will have done more than revamp some dialogue or tweak a scene or two.

Is this unusual?It’s the normal method of operation for both movies in general and James Bond movies in particular. Even 007 films that had only one writing credit had contributions from other writers. For example:

–From Russia With Love had a solo screenplay credit for Richard Maibaum, but also an “adapted by” credit for Johanna Harwood, while Len Deighton did work that didn’t earn a credit.
–You Only Live Twice had a “screenplay by” credit for Roald Dahl but an “additional story material” credit for Harold Jack Bloom, the film’s first writer.
–On Her Majesty’s Secret Service had a Maibaum solo credit for the screenplay but an “additional dialogue” credit for Simon Raven, who rewrote dialogue in some scenes.
–Tomorrow Never Dies had a “written by” credit for Bruce Feirstein. Other writers took a whirl without credit between Feirstein’s first draft and his final draft.

As far as anyone knows, Live And Let Die really represented the work of only one writer (Tom Mankiewicz), and he did plenty of rewrites himself.

Is this any reason to be concerned? The Daily Mail also reported the start of Bond 24 filming was pushed back to December from October. If true, that should still be enough time for Bond 24 to meet its release date of late October 2015 in the U.K. and early November 2015 in the U.S.

What should fans look for next? The date of the press conference announcing the start of Bond 24 filming. There should also be a press release. If Purvis and Wade get a mention in that press release along with John Logan, that’ll be a sign they did a fair amount of work on the script.

007 Fidelity Index: How close are the films to the books? Part I

An exchange of e-mails between James Bond fans referenced a range of faithfulness of the 007 films to Ian Fleming’s novels. That got us to thinking, what would a spectrum of 007 fidelity look like?

Here’s our try at it. To keep thing simple, we’re keeping it to the official series made by Eon Productions

THE ONE ABOVE THE REST

On Her Majesty’s Secret Service: The major components of Fleming’s novel, written in 1962 while filming of Dr. No was underway in Jamaica, are in Peter Hunt’s film version. Richard Maibuam (aided by Simon Raven’s dialogue polish) brings the books’s two storylines closer by having Blofeld capture Tracy, giving her a role in the cliamatic attack on Piz Gloria. The filmmakers may have considered further deviations, but the finished product is the closest to having Fleming’s world put up on the screen.

BEST OF THE REST

Dr. No: Some sequences, and even dialgoue, are taken directly from Fleming’s 1958 novel. But Dr. No now works for SPECTRE, rather than the Russians; the screenwriters add Felix Leither and a new character, Miss Taro; Bond’s trip through Dr. No’s obstacle course is removed and he just crawls through tunnels instead; and Dr. No’s demise is totally changed.

From Russia With Love: No. 2 in the series again transposes sequences and dialgoue. Still, some notable tinkering — including having SPECTRE organizing the plot instead of the Russians; Bond gets off the Orient Express much earlier, creating two new, outdoor action sequences; and Bond’s final faceoff with Klebb occurs in Venice, rather than Paris and the film lacks the cliffhanger ending of Fleming’s original. On the latter point, given the filmmakers changed the order of books they used, that’s just as well but it’s still a deviation.

Goldfinger: Makes changes that improve upon Fleming’s 1959 novel, including having the villain plot to irridate Fort Knox’s gold (to make his own more valuable) rather than stealing it. Screenwriter Maibuam felt the novel’s buzz saw corny and a cliche, so the laser beat was introduced instead. The Maibuam-Paul Dehn script also has Goldfinger in an alliance with China, rather than working for the Russians.

Thunderball: The film is not only based on Fleming’s novel but scripts that preceded the book. The novel introduced Blofeld and he’s still pulling the strings here, with Largo being the operational commander. Maibaum and co-screenwriter John Hopkins make things more complicated by having SPECTRE substitute a double for a NATO pilot, rather than just buying off the pilot. And the climatic underwater fight takes place in the middle of the day (probably to make things easier to film, a difficult enough undertaking in 1965) rather than at night.

Casino Royale: In the 21st Century, Eon adds considerably to the basic story of Fleming’s first novel. Also, Vesper’s suicide is transformed from just taking an overdose of pills to being part of a huge action set piece. Still, the main part of Fleming’s novel is there, including the torture sequence and “The bitch is dead” line.

TO BE CONTINUED