SERGEANT takes sealed envelope containing Bonds possessions, rips it open and dumps contents on desk. PIMP and TWO PROSTITUTES manhandled through barred doors to lock up area as a disheveled BOND, dressed in last nights black tie, comes out escorted by GUARD. INSIDE PARIS JAIL: GENDARMES PIMP TWO PROSTITUTES The script then moves along to Bond in a Parisian jail cell. Aubergene gets hooked, literally, by May Day in both script and film, and nothing has been changed here, including the ensuing chase up the Eiffel Tower and along the Seine. Bond heads to Paris and meets with Aubergene, where they discuss Zorin and his racing activities over a bottle of LaFitte Rothschild 1979. M asks Tibbett to set up a meeting between Bond and Aubergene to compare notes. ZORIN: Each times only makes me more grateful, Sir Aubrey. SIR AUBRY: This is becoming habitual, Mr Zorin. Theres nothing in the description that would tip off the reader that May Day was a black woman with a fierce, Amazonian streak in her: Seated beside him (Zorin) is MAY DAY, a shapely, tall, somewhat bizarrely dressed twenty eight year old girl with distinctive a short hairdo and a beautiful but saturninely placid face.Īlso cut was a short exchange between Sir Aubry (officiating the race) and Zorin after Zorin had won the race: The summary of May Day is somewhat non-descript and puzzling, especially when you consider that the role was written with Grace Jones in mind (see her Celebrity Profile for more information). Could he have been in mind while this was being written? David Bowie was reportedly offered the role of Zorin. Unusually handsome, he has one grey and one blue eye. Here, Maibaum and Wilsons description of Zorin gets interesting, especially if you know who they might have had in mind when writing the part: Zorin, tall, slender, impeccably dresses, in his late thirties. Bond and M have their binoculars trained on Zorins luxury box. We then move on to the Ascot Racecourse, where the whole office has gone for the day. The action then shifts to the MI6, where both script and film follow a parallel course with little to no differences. In the script, Kimberly merely falls into the bed and Bond says: “Its five days to Alaska.” In the film, Kimberly puts up a fey protest against Bonds not so subtle pass at her:īOND: Call me James. This is one case where the filmed version is better than the scripted version. In the script the acceleration of the submarine causes Kimberly to fall onto the bed, whereas in the film Bond deliberatly manipulates the controls so that Kimberly falls into his arms. KIMBERLY: I thought youd never get back.īOND: I ran into a few unfriendly natives. Bond snowboards across a lake, pulls out a flare gun and destroys the helicopter before jumping into the waiting arms of Kimberly for a little spy lovin. The only difference in the action in the script calls for Bond to throw his axe at one of the Russian soldiers (which he does not do in the film) as well as have a close call with the helicopter blades (pictured above but not used in the film). The script opens up exactly as the film does, with 007 deep in the heart of Siberia trying to retreive the microchip from the body of 003. What is different is how startlingly professional and solid the character of Stacy Sutton is, the role of Pan Ho is slightly larger than in the film and two whole sequences were snipped from the script (one was filmed, one was not). The plot is the same, the characters are in place and most of the dialogue makes it. The draft, dated June 20th, 1984 and revised several times in the ensuing months, doesnt differ greatly from the film. Perhaps reasoning that the idea was too fantastical, the writers began taking a different approach to the script. Halley`s comet would make its appearance later in 1985. The original concept for the film was to have Zorin try to alter the course of Halley`s Comet and make it smash into Silicon Valley. Whatever happened afterwards can only be left in the hands of the cast and crew. Reading the first draft and subsequent revisions leaves the reader with the impression of a serious, ambitious, tight and well thought out fun romp of a script by Richard Maibaum and Michael G. Critics of the film A VIEW TO A KILL, who may be looking for someone or something to place blame on, will have to look further than the shooting script to make their points.
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