29^th April 1959

"The trouble about writing something specially for a film is that I haven’t got a single idea in my head".

Ian Fleming to Kevin McClory

27^th May 1959

Ernest Cuneo writes brief outline of story.

June/August 1959

Ian Fleming writes a memo of his version of Cuneo story.

July/August 1959

Fleming writes more detailed treatment of story.

September 1959

Leigh Aman telephones to say that Kevin McClory would like to get in touch with Jack Whittingham.

22^nd September 1959

Jack’s first meeting with Kevin McClory.

25^th September 1959

"Ian is meeting another writer called Jack Whittingham on Monday. I have had talks with him and gave him Ian’s first rough treatment, which he is extremely enthusiastic about, he also came back with some highly interesting and intelligent constructive story points".

Kevin McClory to Ivor Bryce

28^th September 1959

"BRIGHTON STOP EXCELLENT MEETING IAN AND WHITTINGHAM STOP IAN WOULD LIKE WHITTINGHAM START WORK IMMEDIATELY. MEETING HIS AGENT MONDAY REGARDS KEVIN"

Kevin McClory to Ivor Bryce

1^st October 1959

"Meanwhile, Whittingham, whom I think I told you I greatly liked, is fiddling about most creatively with the story. I’m much impressed by Whittingham and he has some excellent ideas which cut out a lot of the muck at the beginning of my story".

Ian Fleming to Ivor Bryce

2^nd October. 1959

First dated Whittingham notes on new opening sequence written and sent to Kevin McClory.

7^th October 1959

"No news from Hitchcock. Meanwhile, the script writer is busily writing the script, and I gather, coming up with some excellent ideas, so no time is being wasted".

Ian Fleming to Ivor Bryce

9^th October 1959

"I do feel sure that the sooner we can give a definite go ahead to Jack Whittingham, the better, as he is a most sort after writer in England, and will obviously not be idle for long"

"I enclose a very rough outline covering our suggested take over of an aircraft which was written by Jack Whittingham".

Kevin McClory to Ivor Bryce

14^th October 1959

"For a thousand reasons I cannot be more than your shadow Chief of Staff. Annie, rightly, is terrified by the prospect of me being constantly away on the film and imagines heaven knows what, but at any rate she imagines it all, and I’m having much trouble with her on this account.

As to my help over the script, it will of course be forthcoming in full measure but simply must take second place to the rest of my rather complicated life. In any case, Whittingham will have to be number one on the script, because he is a script writer and I am not, and this is a professional job on which total concentration is necessary".

Ian Fleming to Ivor Bryce

14^th October 1959

"DELIGHTED NEW SCRIPT VERSION STOP"

Ivor Bryce to Ian Fleming

17^th October 1959

"I have a feeling that we should sign up Jack Whittingham forthwith. The only qualm is that, that is - for the first time, really sinking the landing craft behind you. Like deciding to give a party, & then actually putting the first invitation in the post. Not that I am faltering in any way. Still it is a milestone.

Would that Kevin was more reliable and businesslike. If Kevin was different though, he would no doubt be unable to make movies".

Ian Fleming to Ivor Bryce

20^th October 1959

"Leigh & I had a meeting this morning with Jack Whittingham’s agent and we think we can get him to write the script for £5000 (today’s equivalent £150,000). This, for a writer of his experience, is less than he normally takes and I think we should make an immediate decision on this, and I do know that Walt Disney want very much to put him under contract. I will cable you as soon as I hear definitely that he can be obtained for this".

Kevin McClory to Ivor Bryce

21^st October 1959

Fleming delivers second treatment of story incorporating work with Whittingham.

21^st October 1959

"Timetable – I don’t think the film timetable will suit any of our conveniences quite as nicely, as you see it. The time you are essential is obviously during preparation of the script. Even if Whittingham writes every word, you really must be within reach for overall decisions. I think once that is over, you needn’t be there at all, except for fun. I personally think the Nassau shooting should be from mid-April to June when the weather is the most reliable".

"I like the new script better and better: so does Ernie".

Ivor Bryce to Ian Fleming

23^rd October 1959

"So far as making a profit is concerned, I’m personally of the opinion that we have a financial winner in this film, whether done in colour or monochrome, so long as we have a couple of good stars, though J. de B. should remember, I think, that Bond must be an Englishman.

With Kevin as producer, X as Director, Aman perhaps as manager, Whittingham as script writer and you as general energiser, assisted as much as possible by me, I don’t see why the vehicle shouldn’t roll".

Ian Fleming to Ivor Bryce

24^th October 1959

"HAVE MANAGED REDUCE WHITTINGHAM FEE FOM SIX TO FIVE THOUSAND POUNDS STOP IAN THINKS WE SHOULD ENGAGE HIM IMMEDIATELY I KNOW WE SHALL LOOSE HIM IS WE DON’T WILL FUNDS BE AVAILABLE ME SIGN CONTRACT REGARDS".

Jack’s normal fee reduced on the understanding that this would be the first of a series of Bond screenplays. (See reference to first James Bond screenplay 27^th October).

27^th October 1959

Agreement drawn up between Xanadu Production and Jack Whittingham to complete first James Bond Screenplay later to be entitled "THUNDERBALL".

10 November 1959

Whittingham outline with temporary title "James Bond of the Secret Service"

24^th November 1959

26^th November 1959

7^th December 1959

December - February 1960

5^th February 1960

15^th February 1960

19??

Summer 1960

28^th October 1960

19^th December 1960

21^st March 1961

27^th March 1961

6th -10th May 1961

June 1961

18^th August 1961

First Richard Maibaum version of Thunderball hastily withdrawn.

"Actually, Cubby Broccoli, in his autobiography, When the Snow Melts, discusses this at some length. Originally, Broccoli, Saltzman, and Fleming all thought Kevin (and your father, although he is not mentioned by those I spoke to) would likely settle the matter. Maibaum’s script was withdrawn when everyone realized the matter would not be settled quickly. Maibaum also wrote about the first Thunderball script for Esquire magazine in 1965".(John Cork)

4^th September 1961

1962

20^th November 1963

THUNDERBALL TRIAL COMMENCES

At Chancery Division of the High Court, London. Initially McCLORY & WHITTINGHAM v FLEMING & BRYCE Then McCLORY solo with WHITTINGHAM as principal witness

Jack & Margot at Law Courts   

3^rd December 1963

Case settled after 10 days in court. Due to brilliantly & meticulously prepared 999 document case by top copyright lawyer, Peter Carter-Ruck, a settlement was reached on this potentially lengthy trial and Kevin McClory was awarded film rights to ‘THUNDERBALL’ and £50,000 damages. Kevin abandons Jack Whittingham and eventually goes into production with Broccoli & Saltzman. He received a sole producer credit; Broccoli & Saltzman [who do produce] take a ‘presented by’ credit.

Peter Carter-Ruck 

10^th December 1963

11^th August 1964

29^th December 1965

Grateful acknowledgements for their help to the following people:
Aimi Whittingham Mason.  Jeremy Vaughan.  John Cork – Ian Fleming Foundation

See Part Three - POST THUNDERBALL

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