TODAY'S NUGGET: No Time to Die (2021) - Upending Expectations with a Character with a Different Energy

[Quick Summary: After Bond leaves MI5, he's drawn back in by the disappearance of a scientist who has stolen "Heracles" that leads to a very personal connection.]

BAD NEWS: I simply did not connect with this film, despite an abundance of top tier writers, beautiful cinematography, locations, action stunts, and actors.

If I had to boil it down, I'd say the story was not fun or as suspenseful as others. With reliance on tech, there was no need for Bond to figure his way out of a corner.

GOOD NEWS: However, there was one fun bit that I did enjoy: Paloma and the Cuba scenario.

First, she's a new agent who is not polished and does not make perfect decisions.  She's competent, yet she's still learning on the job and isn't afraid to admit it. 

Second, she brought a different energy that was very welcome. She is impatient, eager to get on with things, and we like her all the better for it.

Third, the Cuba scene became more entertaining because I didn't know what to expect from this character. She upends Bond's expectations.

In the scene below, we see the difference she makes: 

INT. WINE CELLAR - SANTIAGO BUILDING - NIGHT

Paloma stops at a wine cellar. She takes out a key, nerves still have her shaking as she unlocks the door.

BOND: This your room?

PALOMA (clearly it's not): It's a wine cellar. Okay, come here.

She starts undoing his shirt.

BOND: Don't you think we ought to get to know each other just a little before we...

PALOMA: Oh! No, no, no, no. I'm sorry.

She steps back, unrolls a suit bag she had stowed. It's a tuxedo. He smiles.

BOND: Alright.

PALOMA: You do it.

BOND: Do you min... (signals for her to turn around)

She turns her back. Bond starts to undress.

BOND (CONT'D): This is going to go brilliantly.

PALOMA: I know. (smiling) I've done three weeks training.

WHAT I'VE LEARNED: Paloma has a very different energy than most agents in this series.  She's not jaded or smooth or experienced, and that's fun to watch.

No Time to Die (2021)(undated)
by Neal Purvis & Robert Wade and Cary Joji Fukunaga and Phoebe Waller-Bridge
Story by Neal Purvis & Robert Wade and Cary Joji Fukunaga

TODAY'S NUGGET: Spectre (2015) - When in Need of High Flying Action, Walk on a Wall

[Quick Summary: A message from the past sends Bond after an organization called SPECTRE, which has ties to his past.]

I've been reading Bond scripts because I want to figure out why some turn into good films and some do not.* 

For me, Spectre was very confusing, and somewhat boring.  

I think was because the story itself lacked ingenuity, despite a beautiful looking script. Going into Bond's past makes sense, but it wasn't enough.

(That must have been a terrible frustration to the creative team.  After all, what is still unexplored after 23 films of over-the-top adventures?)

I will cite my favorite scene below.  It combines the characteristic of the character (cleverly resourceful at getting to the rooftop) and high flying action that fans love.

INT. HOTEL ROOM - LATE DAY

...With her back to Bond, Estrella takes a sip of her drink, crawls onto the bed, and turns to see him opening the window:

ESTRELLA: But...where are you going?

BOND: To check out the view.

And we follow him OUT OF THE WINDOW.

EXT. HOTEL/ROOFTOP - LATE DAY

Dangerously high up, he jumps...

Lands on a rooftop.

He keeps low, walking coolly along the very edge of the roof, the street clearly visible below...In the distance we can see the crowded square. The drums more distant now...

He reaches his destination, and stops. Looks across the way at some apartments. Day of the Dead FLOATS and STILT-WALKERS passing between...Now he ducks behind a low wall on the rooftop.

Takes out his Walther PPK, and an additional piece of equipment. Clips the piece onto the hand grip of the gun with a satisfying clunk. Inserts the earpiece.

Bond now tests his gear - raises the gun, points it down into the crowd.

We wee a faint laser beam emanating from beneath the barrel.

A laser microphone.

WHAT I'VE LEARNED: I really liked how clever Bond was getting to the rooftop because it actively required him to utilize his skills, and was not merely coincidence.

Spectre (2015)(shooting script, 10/17/14)
by John Logan, Neal Purvis & Robert Wade

*So far, this is my running list of things I've learned about Bond scripts:

1) Though they may borrow something from the novels or short stories, there is no formula.  The writers essentially start from scratch, which is tough to replicate.

2) These films are intrinsically weird, outlandish, fanciful, and/or outrageous, but they have an internal logic that fans seem to like in varying degrees.

3) The films often follow (but not always) the scripts.  Even when they follow the script, it does not guarantee a good film.

4) Some scripts are horrible to read, but turn out good films. Other scripts are beautiful on the page, but turn out bad films.

TODAY'S NUGGET: Skyfall (2012) - Rising Action & Tension in Service of a Theme (Betrayal)

[Quick Summary: When someone from M's past threatens all of MI6, Bond tracks down the threat, but it gets very personal.]

Q: What have you learned about Bond scripts you've read (16 so far)?
A: The scripts are sprawling beasts unto themselves, often hard to wrangle.

Q: What's one of the difficulties?
A: The writers are always trying to deliver new spectacles, but it's not easy to sustain. I often go numb reading yet another action-packed, high stakes scene.  

Q: In this script, what does work on the page AND on screen?
A: I have not seen it often in Bond scripts but I think they're at their best when the mounting tension (due to conflicting emotion) is in service of a theme. 

Here, it is betrayal.

For example, Bond is betrayed in the scene below:
- Bond is fighting a guy on top of a train.
- Eve has a sniper gun, but can't get a shot.
- Back in the London, M orders the shot, effectively putting Bond at risk. 
- Note how each character is shown with emotional conflict (see below).

ON THE TRAIN:

Bond and Patrice struggle. Below the train, a treacherous fall the waterfall and river far below --

Bond can hear Eve and M on his earpiece:

EVE (V.O.): There's a tunnel ahead...I'm going to lose them...

AT MI-6: 

M is isolated. [This shows M alone, likely feeling lonely, vulnerable.]

All the screens are down. Everyone watches M. [She's alone, shouldering responsibility.]

M (V.O.): Can you get into a better position?

ON THE OVERPASS: 

Eve's POV through the scope: Bond and Patrice locked together.

EVE: Negative. There's no time.

She blinks away sweat. Finger tensing on the trigger. [Eve's nervous, conflicted. She could kill 007.]

The train's about to disappear.

ON THE TRAIN: 

Bond and Patrice roll across the train roof --

Bond can hear M and Eve on his earpiece -- [He has no idea if M will sacrifice him.]

The train's starting to go into the tunnel!

ON THE OVERPASS:

Eve still has the gun trained on them.

Seconds left now.  [This increases tension. Audience wonders if she'll take the shot.]

AT MI-6:

It's now or never.

M: Take the shot...I said, take the shot.

EVE: I can't. I may hit Bond-- [She's conflicted.]

M: Take the bloody shot. [She makes a decision, for better or worse.]

SIMULTANEOUSLY:

Eve fires--

Bond and Patrice twist--

Eve's shot slams into Bond!

His whole body recoils violently -- shot in the side and ribs -- blood sprays -- the impact is huge -- sending him sailing from the car --

Bond flies through the air--

Off the train--

He falls, past the train, past the tracks--

Down toward the river and waterfall below--

WHAT I'VE LEARNED: To improve meaningless action, consider if it's related to the theme.  If not, can it be reframed so it is? Or is it tangential?

Skyfall (2012)(undated)
by Neal Purvis & Robert Wade, and John Logan

TODAY'S NUGGET: Casino Royale (2006) - How to Introduce a New Bond

[Quick Summary: After getting his 00 license, Bond has to enter a high stakes poker game to stop a banker who is financing terrorists.]

As I read these Bond scripts and hear complaints about the films,  I begin to grasp how difficult it is to get the alchemy right.  Each film is truly a bespoke effort.

This script begins the Daniel Craig era, whose scripts are markedly more pleasurable to read on the page, compared to previous eras.* 

It tackles one of the greatest pressures, i.e., introducing a new actor to play Bond, with real flair.

In this scene:
- I really liked how this introduction included the usual (danger, proficiency on the job) but also an emotional layer (grappling with his first kills).

- I also like how easy they make it for a non-Bond fan to comprehend.  Everyone understands playing games and one-upmanship, which are strong themes here.

- Finally, Dryden and Bond are trading verbal punches.  Note how the flashback doesn't interrupt the flow. It adds weight behind Dryden's "made you feel it" line.

INT. MODERN OFFICE -- NIGHT

Dryden grabs the pistol, levels it -- Bond still hasn't moved.

DRYDEN: Shame, we barely got to know each other.

He pulls the trigger. Click. Bond holds up the magazine.

BOND (with humor): I knew where you hid your gun, I suppose that's something.

DRYDEN (has to smile): True. (lays gun down) How did he die?

BOND: Your contact?

INT. CRICKET GROUND - CLUB HOUSE -- DAY

Fisher backs up to a washbasin, turns on the tap, throws water on his sweating face - his eyes never leave the door. Suddenly, a burst of cheering from outside. Fisher instinctively brings the gun up. A second door, behind him, crashes open. Bond. He spins but James grabs him, knocks the gun out of his hand.

Fisher attacks. The two tumble into the stalls. The fight is chaotic, both men trying to hit each other in a confined space until the stall partitions fold like dominoes. They fall into the shower room. Fisher fights like a madman until finally Bond forces his head into the basin, now overflowing with water. James holds him under until the body stops writhing and kicking. Not a clean kill by any means. He lets the body slide to the floor, steps back, considering the dead man. Hating him for making this feel so much like...killing. 

INT. MODERN OFFICE -- NIGHT

BOND: Not well.

DRYDEN: Made you feel it, did he? (sees the truth in Bond's eyes) Well, no worries, the second is --

Bond raises his silenced Walther and fires, cutting off the words before they reach Dryden's lips.

BOND: Yes. Considerably.

Bond holsters his weapon and heads for the door.

WHAT I'VE LEARNED: I was surprised by how much Bond was feeling the pathos (sadness, sympathy, compassion). It surprised me and made a deeper impact.

Casino Royale (2006)(2nd revisions by Haggis, 12/13/05)
by Neal Purvis & Robert Wade, and Paul Haggis
Based on the novel by Ian Fleming

*I will not say that Craig era scripts are "better", just more readable.  The reason that these films have been great are their creativity, imaginativity, originality, and inventiveness, which do often look very messy on the page.

TODAY'S NUGGET: The World is Not Enough (1999) - If You're Going to Put "M" in a Cage...

[Quick Summary: Bond delves into threats against an oil heiress, and uncovers a plot involving nuclear warheads.]

In this script, I found the stakes somewhat confusing (not surprised), the plot very action-y (not surprised), but I was surprised that they put M in a cage.

Granted, it is dubious that the head of MI-6 would get so involved with a mission.* 

Also, it's rather convoluted how she gets to the remote location, i.e., request of the heiress, whom she's known since a child.

However, I give the writers props for  is something NEW and NEVER BEFORE SEEN in any of the previous 19 Bond films (out of 25 films).  

In the scene below:
- I really liked how efficiently the writers described M's cell (it was shot as written). 
- I like how close quarters were used to increase a sense of menace.
- I also liked that this scene doesn't just increase tension and stakes, but it's also Elektra's emotional blood-letting too.  She's been wanting this purge. 
- The film was also helped immensely by Judi Dench's performance as M, as her blistering delivery gave the scene a thrilling frisson.

INT. ROOM - MAIDEN'S TOWER - MOMENTS LATER

Elektra opens a heavy door, she and Renard pass through to...

A SMALL ROOM...a window set in the stone on one side. The other side is divided off by a WALL OF BARS, creating a cell which now contains: M.

The cell is bare, except for a camp bed in the corner. M betrays no fear. A quiet defiance burns in her.

ELEKTRA: Just as I promised.

Renard steps forward. Bars separate him from M.

RENARD: My executioner.

M: Over-praise, I'm afraid. But my people will finish the job.

ELEKTRA: Your people? Your people will leave you here to rot just like you left me. You and my father. He didn't think my life was worth the chump change he spent on a day at the stock market.

M: Your father...

ELEKTRA: Is nothing. His kingdom he stole from my mother. The kingdom I will rightly take back.

ELEKTRA leaves. Renard is left alone with M.

M: She's insane. Is that what you did to her?

RENARD: No. I'm afraid it is what you did.

He crosses close to the bars.

WHAT I'VE LEARNED: If you're going to cage the head of MI-6 (and Judi Dench), it can't be a gimmick. Give her something meaningful to play against, like Elektra's rage.

The World is Not Enough (1999)(undated draft)
by Neal Purvis, Robert Wade, & Bruce Feirstein

**I've heard that Bond fans grouse, "Why is M out in the field? Isn't she more valuable at headquarters?"

TODAY'S NUGGET: Tomorrow Never Dies (1997) - The Writer's Job is To Find Ideas

[Quick Summary: Bond faces off with a media mogul who provokes a UK-China war for the benefit of his media empire.]

Q: You don't like reading first drafts, so what's the point here?
A: It's the only draft widely available.

Q: But the final script is so, so different. Isn't this a waste of time?
A: Not if you want to know WHY stories work (or not).

Q: I don't need to. I know the screenplay format.
A: The technical stuff is only part of the job. And in my opinion, the easiest.

Q: Fine, fine. What are you looking for?
A: The sifting of ideas.* 

Q: Huh? I have a bazillion ideas!
A: But how do you know if it's the right idea? And how to best execute it? 

This script is the beginning of that sifting process.  

It lays out a potential villain, a manipulating media mogul out to cause a shipwreck and steal 1/3 of the UK's gold reserves. Good idea, right?

But along the way, I simply stopped caring.  The execution in this early draft didn't deliver mogul vs. Bond thrills, despite a lot of action scenes. 

However, it did flesh out a villain and his wife (ex-lover of Bond's).  Here is one line which I thought made clear the villain** is the manipulative type:

HARMSWAY: I give this boat to mankind - selflessly - in pure charity - asking nothing for myself...But the cable TV rights.

WHAT I'VE LEARNED: This early draft got the tone and action pacing right.  However, it is searching for better situations, which is the endless job of the writer.

Tomorrow Never Dies (1997)(1st draft, 8/23/96)
by Bruce Feirstein

*Screenwriter Jean-Claude Carriere, who has thought a lot about screenwriting, said it much better in an interview:

The work of a screenwriter is not only to write a film and to know all about the technical side of things: the sound, the images, the editing. His work, his function, is to look for new ideas. That is very important. To be able to offer a bouquet of different ideas. Not only one.

** For Bond fans: He is re-named Elliott Carver in the films.

TODAY'S NUGGET: Goldeneye (1995) - Improving a Villain from Early to Later Drafts (Betrayal)

[Quick Summary: After Russians have stolen plans for the Goldeneye weapons program, Bond must stop them.]

Generally, I don't tend to read early drafts unless:
1) There are no other drafts available; and/or
2) I'm particularly interested in how the writer(s) solved problems. 

Today's script meet both of these criteria.  It was written by Michael France, who eventually received "story by" credit on the final film. 

BEST THING OF THIS EARLY DRAFT: It lays out the dynamic between Bond and an antagonist Trevelyan, who defected to Russia. Not much motive, stakes.

BEST THING THAT LATER DRAFTS DID: The writers upped Trevelyan from mere 'defector' to 006 and added a betrayal which increased motive and stakes.  

Now Trevelyan is agent 006 --> he and Bond team up for a botched mission --> Bond thinks 006 is dead --> 006 survives, works for Russia, comes after Bond.

You can see how a baseline antagonism in the scene below (early draft) would be heightened by the addition of a personal betrayal (later draft): 

EXT. AN OUTER PART OF THE PALACE - BOND

...BOND

walks toward Trevelyan, regaining his aplomb as he does. Two things are crystal clear. One is that bond want to kill this man very much. The other is that it's taking all his self-discipline to avoid attempting it here.

Trevelyan, on the other hand, wears the smirking armor of a man who feels he's already decisively vanquished his opponent.

BOND: Augustus Trevelyan --

TREVELYAN (indicates reception): I'll miss this particular struggle -- won't you, James? As Frederick the Great once said -- "Diplomacy without armaments is like music without instruments." (points to Kremlin wall) Now that it's over, I can tell you -- part of my charade is that I'm buried right over there -- three plots down from Khrushchev. Seems childish now. (offers his hand) You are surprised to find me still alive, I suppose?

BOND: More than that -- I'm delighted. (doesn't take hand) It's always been a great disappointment to me that I wasn't able to kill you personally.

Trevelyan laughs genuinely, as is this were a bon mot instead of the very real threat it is. He withdraws his hand.

TREVELYAN: Don't be ridiculous, Bond. It was a schoolboy's game that we played a long time ago. Two empires, battling to change the world. The battle is over -- (gestures around) -- and it seems to me that the world has not changed so much for it. Now, men like  you and I look for new games. That is all.

BOND (with quiet contempt): Is that how you live with betrayal and murder, Trevelyan? By calling it a game?

New Trevelyan seems genuinely disappointed in Bond.

TREVELYAN: That question is beneath both of us, James. I might as well ask yo if the vodka martinis ever completely still the voices of all the men you've killed. (still conversational) OR if you ever find forgiveness, in the arms of all those women, for the one that you failed to protect (dismissing him) My conscience is clean, James. Yours, I think, is rather crowded.

Bond's fury is silent -- controlled -- but unmistakable -- 

BOND: Certainly there's room for one more --

TREVELYAN (ice): Please, James, no embarrassing bravado, no vows to kill me -- you had your opportunity some time ago. (starting a certainty) You won't get another.

WHAT I'VE LEARNED: I liked how the writers turned the Trevelyan character from a mere villain to one who has real personal issues with Bond. 

He was one of many (early draft) and became a stand out (later drafts).

Goldeneye (1995)(1st draft, 1/94)
by Michael France

TODAY'S NUGGET: Licence to Kill (1988) - When a "Romantic" Scene Lacks Believeability

[Quick Summary: When a drug lord kills the bride and maims the groom (Leiter), groomsman Bond goes on an unsanctioned hunt for the villain.]

Pam, a CIA contract pilot and one of Leiter's informants, was to meet him at a bar. After Leiter is wounded, Bond decides to meet with her instead.   

There's a shootout at the bar with drug lord's henchmen. Pam and Bond escape onto a cigarette boat (scene below).

So what is this scene about? A business deal.  Even grudging admiration.

But ROMANCE? PASSION? Any HEAT whatsoever? Certainly not enough to justify twinkle in eye --> kiss --> kiss --> "presses her passionately" at the end.

There's no baiting of the hook, and tug of the line.  Where's the fun if it's all one sided, no back-and-forth? How can I buy the romance if there's no chemistry?

INT. CIGARETTE COCKPIT  PAM AND BOND

at the controls, working them  he looks at dials.

INSERT GAS GAUGES

indicate empty.

BOND

He looks toward the shore, still irate.

BOND: They must have hit a fuel line.

PAM steps up next to him.

PAM: Out of gas? I haven't heard that one in a long time.
BOND (calming down): Take us a couple of hours to drift in. Look, I'm going to need your help. I want a complete rundown on Sanchez' operation...and a private charter to Isthmus City. No one must know I've left.

She looks at him steadily.

PAM: What do you want to go there for?
BOND: I'll pay you very well.
PAM: You're going after Sanchez, aren't you?
BOND: Will you help me?
PAM: How many men you got?
BOND: Just you and me.
PAM (a disbelieving laugh): You crazy? Sanchez has a whole army protecting him down there.
BOND: Then just drop me there and leave. Fifty thousand.

She steps between Bond and the dashboard of the boat. The wind blows her hair. She looks up at him, a twinkle in her eye.

PAM (ticking off on her fingers): It's not that easy. A false flight plan. I'll have to pay-off people at Isthmus City Airport...A job like that is going to cost at least a Hundred.
BOND: Alright. Sixty.
PAM: Ninety.
BOND: Seventy.
PAM: Eighty.
BOND: Seventy-five.
PAM: You pay the fuel?
BOND: We use your plane.
PAM: Deal.

She reaches up and kisses him fully on the lips to seal the bargain. They part.

BOND: Why don't you want 'til you're asked?
PAM: Why don't you ask me.

She kisses him again. He presses her passionately back against the wheel.

WHAT I'VE LEARNED: In fly fishing circles, there's a saying, "The tug is the drug."  

In this scene, the fisherman doesn't even have to cast a line out. Fish are throwing themselves into the boat. This is NOT romantic.

Licence to Kill (1988)(final draft)
by Michael G. Wilson and Richard Maibaum

TODAY'S NUGGET: Octopussy (1983) - Show, Not Tell, Through Sequencing (Time Jump, POV Shot)

[Quick Summary: After a fellow agent dies carrying a Fabrege egg, Bond's search uncovers a plot to unleash nuclear weapons.]

I started reading Bond scripts after reading an interview with writer Richard Maibaum.*  How did he deliver what were fans looking for?

One key is keeping the audience surprised and off guard, which is quite a feat.

I am amazed how much Octopussy still stands out amongst the Roger Moore era films,** which tend to be more fantastical and campy than the others.***

I watched the film before reading the script, and this opening scene (below) caught me off guard because it is quite tense and ramps up quickly.

Upon reading the script, I was particularly impressed how the writers did this all with a discreet time jump + clown's POV shot.  

It "shows, not tell" and relies on the audience to put 1 + 1 together.

NOTE:
- A clown (yes, a clown) is running from twin knife throwers in East Berlin at night.
- One twin threw a knife, which hit the clown in the back. He fell into the river.
- Notice how efficiently the writers move us from man in the river --> out of river --> embassy.  It is all POV and what we think we've seen.
- Weir = small dam in a stream or river.

TWINS ON CONCRETE PLATFORM

Looking O.S.

THEIR POV

Between PILLARS. CLOWN, apparently dead, being carried away by the current on the other side of the weir. His clown's coat, ballooning out, keeps him afloat.

TWINS

VOPOS above and beyond them on SPAN OF WEIR. TWINS whisper, turn, scramble from platform to riverbank, scurry up it and out of scene.

EAST BERLIN - IMPRESSIVE BUILDING - NIGHT

MUSIC from within. Cars with formally dressed GUESTS arriving for reception at brightly lit main entrance. CAMERA MOVES IN CLOSE ON PILLARED GATE POST, PLAQUE identifies BRITISH EMBASSY. 

NEW ANGLE - MAIN ENTRANCE

CAMERA SHOOTING FROM LANDSCAPED GARDEN. SOUND of heavy gasping, then a moan. CAMERA, lurching, weaving, is now someone moving labouredly toward FRENCH DOORS in building wing.

INSIDE EMBASSY ANTE-ROOM

CAMERA CLOSE ON AMBASSADOR'S REFLECTION IN MIRROR as he straightens Order on shirtfront. ANGLE WIDENS when he turns for approval to HIS WIFE who smiles and adjusts his white tie. O.S. MUSIC AND CONVERSATION HUM, suddenly louder as door opens and ATTACHE enters, then stands beside it. AMBASSADOR offers arm to his wife. She takes it. They start toward the door to greet guests. She stops suddenly, her eyes widening apprehensively. She gasps.

HER POV ACROSS THE ROOM

FRENCH DOORS. Pressed against it outside is the ghastly face of THE CLOWN. ZOOM TO GLASS DOOR which smashes as he falls through it, still drenched and bloody, into the room.

GROUP

AMBASSADOR, WIFE, and ATTACHE, stunned and horriifed, stare down at CLOWN lying with one arm outflung toward them. CAMERA IN CLOSE ON HIS HAND. As he dies it opens and a glittering FABERGE EGG rolls out. CAMERA PANS WITH IT until it comes to rest against the Ambassador's foot.

WHAT I'VE LEARNED: Really think outside the box of how to show, not tell.

Here, the writers sped up the boring parts (ex. clown getting out of river --> finding way into embassy) with a clean time jump (embassy exterior --> clown POV).

Octopussy (1983)(rev. 8/19/82)
by George MacDonald Fraser and Richard Maibaum & Michael G. Wilson

*Maibaum wrote on the first 13 (of 26) Bond films. 

**This film is the 6th of 7 films with Roger Moore as James Bond (13th of 26 films).

***Tangentially, I've quickly learned that Bond fans: 1) love, love, love to rank the films in a bazillion different way; and 2) generally categorize the films by the actor era (Connery, Lazenby, Moore, Dalton, Bronan, Craig). 

TODAY'S NUGGET: For Your Eyes Only (1981) - Avoiding Deus Ex Machina (Just Barely) in Rescuing Bond

[Quick Summary: After vessel goes missing, Bond must find a stolen coded transmitter for submarines.]

This is the 5th of 7 films with Roger Moore as James Bond (12th of 26 films). 

In short, the story isn't the strongest. I wasn't very worried for Bond, as he seemed to get in and out of situations too easily, i.e., there was no real peril.

However, in the scene below, I did wonder, "How is going to get out of this?"  

I will note that it seems "very convenient" that a crossbow bolt was there to save Bond.  Is this a "deus ex machina* situation? Just barely. Why?

I think this one is borderline acceptable to me because the shooter (a woman bent on revenge for her parents' death) took the shot when she could.  

The shooter had her own agenda.  Though it saved Bond, it was unintentional and unplanned. Maybe a coincidence, but also within the realm of possibility.

EXT. VILLA - GROUP AROUND POOL

...One of the THUGS shows him BOND'S GUN.

GONZALES (affably): A Walther PPK. Standard Issue, British Secret Service. Licence to kill --

He glances at LOCQUE who nods.

GONZALES: Or be killed. (to thugs) Take him away.

He walks onto diving board. THUGS prod BOND. They start out.

POV SHOT - SOMEONE PARTING SHRUBBERY

to look through at GONZALES posing to dive as GIRLS and OTHERS WATCH.

REVERSE ANGLE - GONZALES

as he dives a METALLIC TWANG is audible from O.S. He does not immediately surface.

SURFACE OF POOL - GONZALES' DEAD BODY

floating up. A CROSSBOW BOLT sticks out of the side of his chest. A large blood stain spreads on surface around body. ANGLE WIDENS TO INCLUDE GIRLS IN POOL, reacting, momentarily shocked, then excitedly. Commotion among people standing around pool.

BOND AND THUGS

BOND takes advantage of general confusion to karate chop one thug and knee-lift the other...

WHAT I'VE LEARNED: Funny enough, I wouldn't have bought this rescue as a plot device, but did buy it because of shooter had a real motive.  Her actions were independent of him.

For Your Eyes Only (1981)
by Richard Maibaum and Michael G. Wilson

* Deus ex machina = Latin for "god from the machine") a person or thing that appears or is introduced into a situation suddenly and unexpectedly into a situation suddenly and unexpectedly and provides an artificial or contrived solution to an apparently insoluble difficulty.

TODAY'S NUGGET: Live and Let Die (1973) - Avoid Monotony in Action: A Clever, Unusual Way to Use a Location

[Quick Summary: Bond tries to stop a heroin ring with the help of psychic tarot card reader.]

As I read through these Bond scripts, I tend to get bored at the monotony of action. 

So when I see something clever or unusual, I pay attention.

One of these is the pre-title sequence below.  It's fresh and unexpected because:
- It takes advantage of its location (New Orleans) and its unusual customs.
- There is a double twist:  The black gentleman and parade seem unconnected, but are actually in cahoots. It seems to be a funeral, but it's a cover.
- I love the use of the coffin as a facade and camouflage.
- It sets up the spy world for the audience: expect the unexpected.
- FYI: Hamilton is a British agent whose disappearance will cause Bond to go to New Orleans.

ANGLE ON FILLET OF SOUL - HAMILTON'S POV

The Fillet of Soul Restaurant. A garishly-coloured building with neon sign in front: CONTINUOUS ENTERTAINMENT. As CAMERA HOLDS, a slow, dearth, jazz blues is heard in b.g.

BACK TO HAMILTON

He looks off towards the increasingly louder sound of the music. CAMERA PANS. From around the corner: A funeral procession, in true New Orleans style. MUSICIANS lead the parade, marching to a slow cadence. Behind them, PALL BEARERS carry a coffin. FRIENDS and RELATIVES string out behind. The group is all black. CAMERA PANS with PARADE as it approaches HAMILTON.

CLOSER ON HAMILTON

He stands, watching. A wizened, little old BLACK GENTLEMAN with white hair suddenly appears next to him, watches the procession solemnly. Tears form in his eyes - he wipes one away, shakes his head sadly. HAMILTON removes his hat.

HAMILTON (nicely): Whose funeral is it?

BLACK GENTLEMAN: Yours....

A switchblade flashes out from the BLACK GENTLEMAN'S hand, plunges into HAMILTON'S side. The parade marches past as HAMILTON falls to the street. PALL BEARERS stop, lower the coffin over HAMILTON'S body, pick it up again. The body has disappeared. The process breaks out into a happy, ragtime tune, struts up the street.

WHAT I'VE LEARNED: Find a location with unusual customs and/or culture (ex. funeral parade), then put a twist (or two) on even what is typical there (ex. funeral parade as a cover).

Live and Let Die (1973)(10/2/72)
by Tom Mankiewicz

TODAY'S NUGGET: Thunderball (1965) - Transition In & Out of a Bond Torture Scene (Tone)

[Quick Summary: Bond travels to the Bahamas to stop Largo who is extorting the world with nuclear weapons.]

Have we seen this story before?  Why, yes!

It's based on the novel, Thunderball, which was made into two different films by two different sets of producers.*  To me, this is clearly the better script of the two.

I find that Bond torture scenes are not too graphic (probably unlike the books) and end with panache and a quip.  

How do the writers make that turn in tone believable? I think it's the acknowledgment that he's hurt and is deliberately trying to lighten the moment.

In the scene below:
- Bond is at a health clinic.
- He is lying on a Motorised Traction Table to stretch the spine. 
- His hands are above his head in hand grips and his legs strapped down.  The motor below the table tightens and loosens the grips.
- He has encountered suspicious man with Piaget watch in the hall.
- Pay particular attention to #59b where I've bolded the turn in tone.

55. WALL CLOCK

Now reading 28 minutes after ten. CAMERA ANGLE WIDENS TO INCLUDE BOND ON COUCH, his eyes closed, the straps operating rhythmically. He hears a sound outside curtains, turns his head toward them, opens his eyes. Slowly a tanned, muscular arm reaches through curtains toward lever near dial.

56. INSERT: HAND DEPRESSING DIAL

On the wrist is the distinctive Piaget watch covering the tattoo. The needle on the dial starts moving up. The hand draws back out of shot.

57. INT. ALCOVE. BOND

Whine of motor builds, the straps tightening and loosening more rapidly and with increasing violence. BOND struggles desperately as his back is racked by powerful wrenches. He tries to shout, but can only manage choked, intermittent gasps.

58. INSERT: DIAL

Needle rises to 200, stays there.

59. INT. ALCOVE. BOND

His features contort agonizedly as the couch seems to go beserk.

59a.  EFFECTS SHOT. PATRICIA

The face is coming and going in great jerks and then suddenly the sound ceases.

59b. INT. ALCOVE. BOND. PATRICIA

Her hand comes away from the switch, goes up nervously to her mouth.

PATRICIA: My God....my God....you could've been killed.....

She helps him up. He straightens himself painfully. Then with an effort. [my emphasis]

BOND: I feel like I've grown about six inches.

PATRICIA (very upset): Can't think how it could've happened....and I can tell you it's a miracle I came back when I did...I'd left my watch behind.

She is wiping the sweat off his body with a towel, for he is soaking wet.

BOND: I'll buy you another one tomorrow....solid diamond.

WHAT I'VE LEARNED:  It's transitions like this (capturing the tone switch) elevate this script above the other one. Same story, but the level of craft is higher.

Thunderball (1965)(1/19/65 revised)
by Richard Maibaum and John Hopkins
Based on the original story by Kevin McClory, Jack Whittingham, and Ian Fleming

*After the initial success of the Bond franchise with EON Productions, Ian Fleming worked with another producer, Kevin McClory, and writer Jack Whittingham on script.  It didn't get made, so Fleming turned it into a novel, Thunderball, under his own name. 

McClory sued Fleming for copyright and settled. 

Then EON was afraid of competition, so it made a deal with McClory that would allow EON to produce Thunderball, with McClory as producer.

In the 1970s, McClory wanted to bring his version of Thunderball to the screen. This became Never Say Never Again (1983). 

In 2013, EON Productions finally settled all the rights to Thunderball with the McClory estate.

TODAY'S NUGGET: Never Say Never Again (1983) - When You Need a Good Villain

[Quick Summary: When S.P.E.C.T.R.E steals American nuclear warheads, Bond investigates.]

THREE THOUGHTS:

1) HISTORY. For those who might not know this film's history, it's another adaption of the book Thunderball, and one of two Bond films not produced by EON Productions.

2) BORED? Having read 5 other EON produced scripts, I find this one lacks ...heart? Despite the danger, quips, gadgets, Bond feels mechanical, and uh, bored?

3) GOOD VILLAIN. However, this script does have a good villain, Fatima, a S.P.E.C.T.R.E. henchman, who has Jack, an American, in her clutches.

In the scene below:
- I felt real emotion for poor Jack as I see him suffer (vs. being told of it).
- Fatima holds the upper hand on his life (via his drug addiction) and his sister's life (real stakes).
- Fatima identifies his weaknesses and uses them against him.  This is one reason why we don't like her and she's a good villain.

INT. JACK'S ROOM - SHRUBLANDS - NIGHT

JACK sits on the BED. With shaking hands he reaches inside a SMALL OVERNIGHT BAG and takes out a pack of CIGARETTES and a small box of wooden MATCHES. His hands continue to shake as he struggles to ignite the match. Finally, it burns.

He inhales deeply. Beads of sweat are on his forehead. He inhales again; he beings to cough and shake. Hearing a sound from the corridor he quickly pitches the CIGARETTE into the fireplace and hides the cigarette PACK and MATCHES under the MATTRESS.  [The smoking = addicted to cigarettes. The sweating = likely addicted to some kind of drug.]

FATIMA enters. She stops short; locking the DOOR, she sniffs the air. JACK, his back to her, coughs weakly, unable to control himself. [His poor physical condition gives him away.]

FATIMA: Baby's been smoking again.

She slowly approaches JACK and turns his face to hers.

FATIMA (staring down at him): Baby was ordered not to smoke. Smoking is dirty, it gets into baby's eye.  [This baby talk is creepy.]

She suddenly yanks off the HEAD BANDAGE. It's METAL CLIP taking away a tuft of JACK'S hair and making him yell with pain. he bursts into a spasm of coughs and begins to hyperventilate. [Pulling of the hair is a good visceral detail.]

FATIMA: If baby wants his fix....

She takes a hypo needle attached to her thigh (garter belt). [Showing the audience her dominance.]

JACK takes a deep breath quieting his coughs.

FATIMA (continuing): Baby must do what he is told if baby wants his fast cars and pretty clothes, if baby wants to keep his sister alive, then baby's got to pay the price.

Suddenly violent, JACK rises and pushes FATIMA back, attacking her.

JACK: You leave DOMINO out of this....  [Jack still has fight in him! I root for you, Jack!]

WHAT I'VE LEARNED:  I liked that I knew exactly what Fatima wants, and how far she is willing to go (both physical and psychological).  

I also like that her approach, though creepy, is unusual.

Never Say Never Again (1983)(dated Dec., 1982)
by Lorenzo Semple, Jr.
Original story by Kevin McClory & Jack Whittingham & Ian Fleming

TODAY'S NUGGET: The Spy Who Loved Me (1977) - A Good Sight Gag Has Layered Meanings

[Quick Summary: Bond and a female Russian operative search for missing submarines with nuclear warheads, leading them to the villain's underwater lair.]

I like sight gags, especially when they can be combined with call backs and foreshadowing, so the audience knows more than the characters.

Early in this script, the villain Stromberg fed his traitorous assistant to the sharks.  

Later, when Bond meets Stromberg, there is a sight gag (below).  It is also:
- a call back to the early scene,
- a foreshadowing of what Stromberg has in store for Bond,
- a clue to Bond there is danger ahead (an increase in the stakes).

INT. SITTING ROOM - ATLANTIS - DAY

...STROMBERG moves slowly round the room. BOND goes with him.

STROMBERG: I'm somewhat of a recluse. I wish to conduct my life on my own terms - and in surroundings with which I can identify. That is a privilege of wealth. 

BOND: You don't miss the outside world?

STROMBERG: For me, this is all the world.

He points to a shoal of beautiful, brightly coloured fish in the tank they are opposite.

STROMBERG: There is beauty...

He points to a hideously ugly fish.

STROMBERG: There is ugliness.

We see a fish with a head of a small fish protruding from its mouth.

STROMBERG: And there is death.

As he turns away, the menacing grey shadow of a shark appears behind the glass with a glimpse of murderous teeth. BOND watches it as it swoops down and up again, seeming to direct BOND's attention to the bottom of the tank. Lying there is a female hand with, on it, the rings and bracelets we have seen worn by the ASSISTANT. BOND turns at the sound of STROMBERG'S VOICE behind him.

STROMBERG (overlaid): I think you will find this interesting, Mr. Sterling.

WHAT I'VE LEARNED: I liked the multiple layers of meaning to this one sight gag.

The Spy Who Loved Me (1977)(final shooting script, 8/23/76)
by Christopher Wood and Richard Maibaum
Based on the novel by Ian Fleming

TODAY'S NUGGET: Diamonds are Forever (1971) - Unusual Use of Props in Hand-to-Hand Combat Brings Delight

[Quick Summary: British super-spy 007 impersonates a diamond intermediary to investigate why a mysterious Mr. Whyte is hording the world's diamonds.]

I've heard a lot of Bond fans say they miss the hand-to-hand combat of older films. 

They have a point.  This example below is a stellar use of the props that Bond had at hand. Nothing electronic. No sudden solution to a problem (deus ex machina).

In the scene below:
- In a berth, two thugs (Wint and Kidd) have tied Tiffany to the bed and rigged a pot of boiling oil to the ceiling.
- Bond has climbed down a rope to look in through a porthole.
- Notice the unusual use of a soup toureen lid:  It seems like a weak move at first, but then, surprise! It shows Bond was thinking two steps ahead.

BACK TO SHIP SIDE

BOND has picked up momentum, now pushes off, sails through porthole feet first.

INT. CABIN

BOND sails in, makes a swipe at oil pot and rope, misses, lands in a pile at other side of bed.

CLOSE ON KIDD

He has seen - slams door shut just as MAID opens it, locks it, quickly grabs trembling rope.

KIDD: Careful, Mr. Bond!

CLOSE ON OIL POT

It teeters precariously back and forth.

WIDER ANGLE

BOND is stymied. All three are frozen for a minute - WINT advances slowly, carving knife in hand. BOND suddenly leaps for the top of the soup toureen, grabs it.

WINT; Pull, Mr. Kidd!

KIDD yanks on rope, oil pot turns over, BOND passes upside-down tureen lid over TIFFANY'S face, catches the oil, throws it into the advancing WINT - smoke rises from his face. He screams - BOND pushes him hard to one side, impaling him on sharp point of carved ice Cornucopia, killing him. KIDD has passed skewers through Sterno flame - they are now ablaze. He jumps BOND fro rear. BOND twists away, grabs brandy bottle, breaks neck of it on table, slings brandy at KIDD. Flames shoot up KIDD's arms - his whole body is on fire. BOND yanks blanket from bed, wraps it around KIDD, smothering flames. He picks up bundle, stuffs it through and out of porthole, turns, looks down at TIFFANY, still bound and gagged, tied to bed, legs spread apart.

BOND: A fine lot of help you turned out to be.

WHAT I'VE LEARNED: If you can find a way to disguise your protagonist's intent on how to use a prop in combat, go for it!

Diamonds are Forever (1971)(undated draft)
by Tom Mankiewicz
Adapted from the novel by Ian Fleming

TODAY'S NUGGET: Goldfinger (1964) - Give the Bad Guy a Memorable Entrance

[Quick Summary: After Goldfinger kills a traitor who has helped Bond, Bond hunts him down and discovers his nefarious plans for Fort Knox's gold.]

With no DVDs or VHS tapes in the 1960s, there were no repeat viewings of films unless you bought another ticket or caught them on tv.

Films were meant to be consumed in (and remembered from) one sitting. 

How you make the bad guy memorable? A clever entrance generally does the trick.

In the first 10 pgs. of this script, this one stood out to me. It makes the audience pay attention to the visuals:

INT. BONITA'S DRESSING ROOM - NIGHT

...He walks to a hook on the wall removing his holster.

BONITA: Why do you always wear that thing?

BOND (hanging his holster on the hook): I have a slight inferiority complex. (he turns to her) Where was I? --Oh, yes.

TRACK IN SLIGHTLY as he embraces her.

ANGLE OVER THEM

As Bond kisses her, an assailant -- CAPUNGO -- approaches from behind a wardrobe in b.g., brandishing a cosh.

FAVORING BONITA

She opens her eyes and looks at him over Bond's shoulder.

CAPUNGO 

approaches raising a cosh.

FAVORING BOND

He leans back from Bonita looking into her eyes.

BOND'S POV - BONITA'S LEFT EYE

The pupil reflects Capungo approaching with the raised cosh.

MEDIUM SHOT

Bond suddenly swings Bonita around. Capungo smashes her on the head.

WHAT I'VE LEARNED: I did not remember this bad guy's name...but I did remember his entrance via pupil reflection.

Goldfinger (1964)(undated)
by Richard Maibaum & Paul Dehn
Based on the novel by Ian Fleming

TODAY'S NUGGET: From Russia with Love (1963) - One Way to Intercut Locations While Spouting Exposition

[Quick Summary: Bond goes into Istanbul to retrieve a Russian defector and decoder machine.]

I find it difficult to maintain a story's rhythm and flow while intercutting between locations.  I also loathe exposition dumps.

So I was quite impressed when I read the scene below, which does BOTH SIMULTANEOUSLY.  It is a marvel of craft and hard work. 

NOTE:
- Watch closely as the scene moves from Istanbul ferry boat --> M's office --> Moneypenny's office --> Istanbul office. 
- Notice how the taped conversation is the common thread between scenes.
- Also note how well this scene suits cinema in particular.  The flow of dialogue + different locations = The audience sees the information is being transmitted to M without being told so.

ON THE FERRY BOAT

...Bond glances around then lowers the front flap of the camera case, revealing a tape recorder.

BOND: Talk into this. Answer my questions quietly but clearly. How long is the machine?

TANIA: Like...like a typewriter....

                                                                                         DISSOLVE TO:

A LARGE TAPE RECORDER

The reels are spinning. PULL BACK to reveal:

INT. 'M'S' OFFICE - DAY

The tape recorder is on "M's' desk and he sits listening. Moneypenny sits beside him taking notes. Across the desk sit a NAVAL OFFICER, an ARMY OFFICER and FOUR OTHER SUPERNUMERARIES. 'M' lights and puffs his pipe.

Bond and Tania's voices come through the speakers:

TANIA'S VOICE: There are twenty-four symbols, sixteen code keys. It is inserted in a slot. And the message comes out on a paper roll from another slot on the other side And the mechanism is...oh, James...James...will you make love to me all the time in England?

BOND'S VOICE: Day and night. Go on about the mechanism....

'M' shuts off the machine.

'M': Thank you, Miss Moneypenny. That's all, that's all.

She gets up and exits past the men. We hear a door close, then 'M' re-starts the tape recorder.

BOND'S VOICE: Later, later.

IN MISS MONEYPENNY'S OFFICE - SAME TIME

Miss Moneypenny flips on her intercom and sits down at her desk. She hears the tape playing in the other room.

...BOND'S VOICE: Go on with what you were telling me...No, not that! The mechanism!

'M's' VOICE (over intercom): Miss Moneypenny, as you're no doubt listening, perhaps you'd take this cable. Text reads...merchandise appears genuine...

                                                                                      DISSOLVE TO:

INT. KERIM'S OFFICE - DAY

Bond sits across from Kerim's desk reading the telegram aloud

BOND (overlapping 'M'): '..merchandise appears genuine. Stop. Go ahead with deal. Signed "M".'

WHAT I'VE LEARNED: I liked the use of the taped conversation as a common thread to "show, not tell" exposition while intercutting to locations.

From Russia with Love (1963)(undated)
by Richard Maibaum
Adapted by Johanna Harwood
Based on the novel by Ian Fleming

TODAY'S NUGGET: Dr. No (1962) - "The pictures are so much funnier than my books."

[Quick Summary: After henchmen kill and steal at MI-6's Jamaican HQ, MI-6 sends 007 to investigate a plan to interfere with American missiles.]

I was interested what Richard Maibaum said in an interview:

I met Ian Fleming several times while he was still alive, but I did not speak to him about screenwriting. He didn't seem very interested. He didn't have script approval, but as a matter of courtesy we gave him the scripts to read. He would make minimal notes in the margin, in very tiny handwriting, that usually dealt with questions of protocol - what Bond called M in the office as opposed to what he called him at their club, things like that.

He did say to me once, "The pictures are so much funnier than my books." He was a little bemused and a little obtuse about it, I thought, because he really didn't understand that we were trying to make them funnier. That was the thing we changed most about the books as far as the pictures were concerned. We made Bond more humorous, throwing away those one-liners that are now obligatory in Bond films. [my emphasis]

A good example is the first introduction below to Bond in this first film:
- The introduction to Bond starts with ..."a MAN holding the back has his back to the CAMERA" and we do not see his face until the moment below.
-  The writers took time to set up the spy world, so Bond doesn't appear until p. 10.
- Note this scene is amusing, but the writers also hid some character work in it (Bond is observant, chivalrous, polite, flirty).
- Also, note the dialogue's humor comes mostly from the subtext underneath.

INT. GAMING ROOM. TOP STAKES TABLE. MED. SHOT. NIGHT

... SYLVIA (glancing across at him enigmatically): Suivi....

BOND looks at her, frankly surprised this time.  His eyes drop to her small pile of chips.

SYLVIA: The house will cover the difference.

BOND glances at the CROUPIER, who nods almost imperceptibly. Again BOND (whom we have still not seen front-view) deals.

SYLVIA: Carte.

BOND gives her another card. It is five. BOND's cards are turned. he has two kings. He takes another. It is a seven. The CROUPIER rakes the chips over to him again. 

BOND deliberately breaks the tension by taking out his cigarette case and offering it to SYLVIA.  [This deliberate, subtle move puts Bond back in charge. Good character stuff.]

BOND: I admire your courage, Miss....?

SYLVIA (taking a cigarette): Trench....Sylvia Trench...

He lights her cigarette.

SYLVIA: And I admire your luck, Mr....?

BOND (as he brings the lighter up to his own cigarette, and for the first time we see his face): Bond....James Bond.

Their eyes meet, appraisingly. Then a man comes up behind BOND bends down to whisper something. BOND listens attentively, nods, rises.

BOND (to croupier): Afraid I'll have to pass the shoe. Andree. (to SYLVIA) Forgive me...an urgent matter.

He gets up - she gets up and joins him.

SYLVIA: Too bad. Just as it was getting interesting. [She flirts first, testing the waters.]

BOND (amused by her obvious pass): Do you play anything else but Chemin de Fer? [He picks up the gauntlet.]

SYLVIA: Golf occasionally.

BOND: How about a game tomorrow. (slight pause) and dinner afterwards? [He's not just talking about a game and dinner. Good subtext.]

SYLVIA: Its tempting. May I let you know in the morning? [Playing hard to get.]

BOND (taking a card from his pocket and handing it to her): Fine....Here's my card....give me a call... [He makes a move, but gives her a choice.]

He smiles, moves away. SYLVIA watches him go thoughtfully. 

SYLVIA (to herself): Maybe I will.... [She's impressed.]

WHAT I'VE LEARNED:  A lot of the humor is in the witty dialogue but also in the subtext. 

Dr. No (1962)(5th draft, 8/1/62)
by Richard Maibaum, Wolf Mankowitz, and J.M. Harwood
From the novel by Ian Fleming