187 replies to this topic

[Mr_Wint]

(...) but just because Forster actually produced a more precise film where the audience were not spoon-fed every plot point doesn't mean QUANTUM OF SOLACE is lacking in content, nuance or class.

In what way is QOS more precise? I can't recall a single Bondfilm where they spoon-fed every plot point. Compared to previous films, the thin plot in QOS is easy to get. Is this what you call 'precise'? It's more like Bond for dummies.

[DamnCoffee]

Can anyone explain this?
Was it a deleted scene?

[byline]

Some very plausible observations, SecretAgentFan!

[Tybre]

Can anyone explain this?
Was it a deleted scene?

Looks to me like it's probably the pap.

[Judo chop]

Going in, I wanted Mathis’ innocence shoved into a much greyer area. I wanted QOS to deal with the event of CR, not just on a emo-psycho level, but on a more tangible, plot-driven level. I’d wanted Mathis to be unknowingly involved in aiding Quantum during the course of CR (and thus indirectly involved in Vesper’s death), and I wanted Bond have to deal with that as well. The Bond-Mathis friendship would have to be earned. In hindsight, I still want to see that. Obviously then, Mathis-Bond scenes would have to be expanded, particularly @ Mathis’ house. To make room for it, I’d cut a bunch of the action.

Boat Chase – GONE! Of course, something would happen here to transition the information from Camille to Bond, but it wouldn’t be more than a few seconds. Elvis would still hand Greene over to Bond, Bond would still interrupt Medrano, and there’d be some kind of fight. Perhaps even on the boats, to maintain Forster’s “Action on the 4 elements” theme. I suppose Bond could snag a boat, ram it right into Medrano (that part I love), and that’s it; he escapes with Camille.

Airplane Chase – GONE! Don’t need an ‘air battle’ when we’ve got the ropes sequence, which is waaay underappreciated, I think probably thanks to a relative lack of suspense.

Other details:

As just implicitly stated, I’d like to see the ropes fight shot less frenetically. I think we need to have a clear understanding of the action here to gain a clear sense of the danger. The stuntwork needs to be appreciated. Real men doing very real and very dangerous things speaks for itself. The crazy editing in the Bourne films is a cover up for average choreography. This is REAL action. It doesn’t need camera help.

Tosca would have been given another 1-2 minutes of ‘soaking’ time. It’s a marvelous piece. One of the best in Bond. It deserves more attention.

Greene’s party needs to be expanded as well. Specifically, I’d like to see some more distance in the shots. The party feels very crammed which is not at all what the production was built to convey, I don’t think. It’s an outdoor, coastal, “airy” setting. Perfect, really. Yet, the way the scenes play, it might as well have been studio.

Bond and Camille need to get out of the frickin’ car for their final discussion. Maybe Forster was thinking “bookends” here? Bond and Camille first meet in a car, and they say good-bye in a car. Maybe. Bottom line is that it basically ruins the scene.

Final scene: ugh. Performances are great, but production feels fake. Russia does NOT feel like Russia. I don’t really care for M waiting there for Bond either, though I’m not sure what can be done about it.

[DamnCoffee]

Brilliant Judo!

I enjoyed reading that. So you'd like the boat and plane chases gone? I could live with that.

I mentioned earlier that Bond and Camille need to be out of the car in their last scene together, too. Glad someone agrees.

[DamnCoffee]

Guys. I've came up with an Alternate Opening for Quantum of Solace. Please read and enjoy.

MGM/SONY LOGO

After a few seconds silence, we here a new upbeat version of the JAMES BOND THEME, it’s classic but gritty. A dozen white dots flow across the screen, a circle stops in the middle, the other 5 dots quickly fade out.

The words ‘ALBERT R BROCCOLI’S EON PRODUCTIONS ltd Presents” appear on the screen. The single dot begins to move, it reaches the end of the screen and dissapears. JAMES BOND walks across the screen, he is dressed in an open necked tuxedo. He is accompanied by the gunbarrel design from CASINO ROYALE. Bond, holding his Walther PPK, turns sharply and fires at the screen, with a determined look on his face. Red Blood starts to drop from the top of the screen. Bond, waiting a few seconds, lowers his gun and walks out of the Gunbarrel. As the BOND THEME comes to an end, the gunbarrel opens up on:

EXT: The Shores of Lake Como, Italy.

It is a calm, tranquil day. We find ourselves where we left off at the end of CASINO ROYALE, but this time, there is no car in the driveway. We cut to the sea, gently lapping against the rocks, at the bottom of the villa. It’s calm. Too calm. Something is wrong. We cut to a tree, near the Villa blowing lightly in the breeze. At this point, we cut inside the Villa. Someone is there, there is no light on. The only light is that of the sunshine shining through the open window.

We cut to a hand, slowly tapping on the table. The camera pulls back, we see a glass of whisky, the hand slowly grabs the glass and picks it up. THE MAN takes a drink, but we don’t see his face, just his mouth & chin. There is no music track, just silence. Just then, we hear the distant sounds of a car engine. The glass is slammed down on the table. And THE MAN stands up and walks over to the window. We only see the back of THE MAN. Outside the Villa we see a car pull in the driveway. MR WHITE opens the door and get’s out. An alternate shot shows WHITE walking around the car and calmly admiring the view.

Inside the Villa, we see THE MAN’s hand, he takes a phone out of his pocket, and dial. He leaves the phone on the window sill, puts it on speaker. He grabs his silenced Heckler and Koch from the nearby sofa and goes back to the window. We still haven’t seen his face. We cut to WHITE, still standing, his phone rings.

WHITE picks it up.

We see WHITE through a cross hair, that’s aimed at his head.

WHITE: Hello?

The cross hair moves to his left leg...

THE MAN: Mr White? We need to talk

WHITE: Who is this?

A MUSIC CUE starts up. it’s kind of a dark Bond theme, The Bond theme is there, but is disguised. It’s called ‘We Need To Talk’

THE MAN pulls the trigger, a silenced shot shatters WHITE’s kneecap. WHITE falls to the floor in pain. WHITE attempts to crawl towards the Villa doors. We see THE MAN's hand grab the phome and run off. White continues to crawl this is intercut with THE MAN running down the stairs. His phone in one hand, his gun in the other. We only see his lower legs and shoes. From a first person view, the side door to the villa is kicked open. THE MAN runs out. We cut to a shot, looking over THE MAN’s shoulder. He calmly walks over to an injured WHITE, who’s trying frantically to get up the steps.

From an Alternate Angle, THE MAN walks next to him, and climbs the steps. WHITE looks up, horrified. THE MAN turns his phone off, and puts it in his pocket. He looks down angrilly at WHITE, THE MAN is revealed to be JAMES BOND, he looks tired, but still, calm and collected.

BOND: The Names Bond.... James Bond.

WHITE quickly presses a button on the side of his WATCH, it starts to bleep.

BOND’s cocky smile soon turns sour. He quickly grabs Whites arm, ripping his watch off in the process, he runs across to the lake and throws it in.

WHITE: (laughing manically) The signal’s already been sent, you have about 20 seconds.

He grabs WHITE by the collar, and drags him around to the other side of the Villla, We see an ASTON MARTIN DBS. BOND throws WHITE into a wall, who lets out a yelp. BOND, not taking his eyes off WHITE, pulls a key out of his pocket, and presses the key chain, the ASTON MARTIN unlocks. BOND grabs WHITE, and throws him down on the floor, smashing his body off the ASTON MARTIN in the process. BOND steps over WHITE and opens the boot.

BOND: (calmly) Get in....

WHITE: (laughing coldly) What!?

BOND: GET IN THE BLOODY BOOT!

BOND grabs WHITE and throws him in the boot of the car, WHITE screaming and cursing in pain. WHITE then starts to laugh creepily, we see BOND look down at the camera, shutting the boot in the process.

THE SCREEN FADES TO BLACK.

We hear the echoe’d voice of BOND & M, as well as the car engine.

BOND: Yeahh... I’ve got him, I’m bringing him in now...

M: Well make sure you do....

BOND: Oh S***!

M: What?

BOND: It looks like they’ve caught up with me... I GOTTA GO!

THE SCREEN IS STIILL BLACK

Quick images flash on the screen. – NO MUSIC just some dramatic sound effect.

BOND looking in the mirror of the car.
3 or 4 black ALFA ROMERO’S pulling out of a driveway.
The wheels of the DBS turning rapidly on the rocky road.

We see the DBS begin to get faster and faster, BOND looks determined as a GUARD leans out of the window of the ALFA, holding a machine gun. His plans are ruined, as Bond enters a long tunnel.

We then cut to the mountains of Italy, and an exterior shot of the tunnel BOND has entered, we intercut with the outside of the tunnel and the inside, as BOND gets ready for battle...

This is where we pick up in Quantum of Solace.

It was pretty fun to write actually.

Edited by Mharkin, 06 December 2011 - 08:10 PM.

[Jim]

Oh.

[Judo chop]

Make that a double-Oh.

[DamnCoffee]

Hm. Ah well. I tried to entertain.

[The Shark]

Yusef nods. Traces of sweat on the Algerian forehead crawled like Muslim worshippers.

Wanting her supple body to be penetrated and raped by the rugged British agent.

x2

Obviously, The Shark has issues.

Sharky, if you want to watch sex so badly, you're at the wrong site, my friend. I'm a little tired of reading your posts regarding your desire to see more sex in the Bond films and then backing up your desire by posting "Ian Fleming."

No, I prefer the term - libido.

I just think in terms of sex, Quantum of Solace felt pretty sterile in comparison to Fleming's novels. I'm also getting a little tired of the lack of humour, wit and imagination from some members on this board. I post a risky piece of Fleming inspired pulp, and all I seem to get is shocked smilies and prudent responses. If you prefer violence, to sex and class, then why you here on a James Bond forum?

You'd think I posted a picture of my **** or something. Jesus, loosen up folks, you'll give yourself a Syncope.

[Jim]

Hm. Ah well. I tried to entertain.

No, you're right. Unfair of me to take out my boredom on you. You've been creative and original and it was hardly a sensible response from me.

Sorry about that.

Anyone else feeling a bit bored lately?

[Judo chop]

Anyone else feeling a bit bored lately?

What on earth would give you that idea?

[Tybre]

Hm. Ah well. I tried to entertain.

No, you're right. Unfair of me to take out my boredom on you. You've been creative and original and it was hardly a sensible response from me.

Sorry about that.

Anyone else feeling a bit bored lately?

Nah, it's loads of fun over here with our sofas and diet cokes and...cripes I need to get out of this house.

[Mr. Blofeld]

A sort of spiritual accidie, wouldn't you agree?

[DAN LIGHTER]

Mharkin I like your ideas, keep it up fella !

[DamnCoffee]

Mharkin I like your ideas, keep it up fella !

Thank you!

[DAN LIGHTER]

I could not come up with one idea. My imagination has become stale. Keep being creative Mharkin and dont lose your imagination.

[Nicolas Suszczyk]

Ahh nevermind. I'll just stay ignored, then.

How could you ignore Ian Fleming

[The Shark]

Precisely:

[DamnCoffee]

Urghh.

[The Shark]

All right I 'll stop.

[DaveBond21]

Tosca would have been given another 1-2 minutes of ‘soaking’ time. It’s a marvelous piece. One of the best in Bond. It deserves more attention.

Greene’s party needs to be expanded as well. Specifically, I’d like to see some more distance in the shots. The party feels very crammed which is not at all what the production was built to convey, I don’t think. It’s an outdoor, coastal, “airy” setting. Perfect, really. Yet, the way the scenes play, it might as well have been studio.

Bond and Camille need to get out of the frickin’ car for their final discussion. Maybe Forster was thinking “bookends” here? Bond and Camille first meet in a car, and they say good-bye in a car. Maybe. Bottom line is that it basically ruins the scene.

Final scene: ugh. Performances are great, but production feels fake. Russia does NOT feel like Russia. I don’t really care for M waiting there for Bond either, though I’m not sure what can be done about it.

I agree with all these points, Judo.

I have said on a previous post that, although I like the scene itself, I don't really understand why M is waiting for Bond in Russia. It's almost like a parent who has come to pick up a child after a birthday party.

[DamnCoffee]

I agree, it would've been brilliant to see more of Tosca. It's a real shame that probably the most stylish and visualy stunning locale in the movie was reduced to around 5 minutes screentime.

Now, the question is, what would you do to extend the sequence to give the location more breathing time?

[DaveBond21]

I agree, it would've been brilliant to see more of Tosca. It's a real shame that probably the most stylish and visualy stunning locale in the movie was reduced to around 5 minutes screentime.

Now, the question is, what would you do to extend the sequence to give the location more breathing time?

Maybe a fight with a henchman dangling from ropes and pulleys in front of the huge eye. This would mean interrupting the performance, but would provide the audience with an even more excting experience than Tosca itself.

[Mr. Blofeld]

I agree, it would've been brilliant to see more of Tosca. It's a real shame that probably the most stylish and visualy stunning locale in the movie was reduced to around 5 minutes screentime.

Now, the question is, what would you do to extend the sequence to give the location more breathing time?

Maybe a fight with a henchman dangling from ropes and pulleys in front of the huge eye. This would mean interrupting the performance, but would provide the audience with an even more excting experience than Tosca itself.

I know I'm one of the biggest defenders of QOS, but once I read that a part of the Tosca performance involved a character from the opera falling into the enormous manmade lake under the stage, I would have loved to see that aspect applied to the film; what if, after a quick swing on the ropes off a catwalk (say, fifteen seconds), Bond manages to push the guy he's fighting off of his rope? The guy then falls hundreds of feet into the lake below the stage as it opens to let the cast member fall, except that the henchman has fallen much farther and therefore dies on impact. This is what alerts the wider security force to Bond's presence, meaning that we get a more exciting lead-in to the Leone-style stare-off in the lobby and, subsequently, the chase and shoot-out, and also give Bond's wider attraction-gaining at the opera a little more of a splash.

[SecretAgentFan]

Guys. I've came up with an Alternate Opening for Quantum of Solace. Please read and enjoy.


Firstly, I want you to imagine you sitting in the cinema. How the colours are not quite right. They're not quite there, but they still look cool. You're waiting for Quantum of Solace to start, and this happens...

MGM/SONY LOGO

After a few seconds silence, we here a new upbeat version of the JAMES BOND THEME, it’s classic but gritty. A dozen white dots flow across the screen, a circle stops in the middle, the other 5 dots quickly fade out.

The words ‘ALBERT R BROCCOLI’S EON PRODUCTIONS ltd Presents” appear on the screen. The single dot begins to move, it reaches the end of the screen and dissapears. JAMES BOND walks across the screen, he is dressed in an open necked tuxedo. He is accompanied by the gunbarrel design from CASINO ROYALE. Bond, holding his Walther PPK, turns sharply and fires at the screen, with a determined look on his face. Red Blood starts to drop from the top of the screen. Bond, waiting a few seconds, lowers his gun and walks out of the Gunbarrel. As the BOND THEME comes to an end, the gunbarrel opens up on:

EXT: The Shores of Lake Como, Italy.

It is a calm, tranquil day. We find ourselves where we left off at the end of CASINO ROYALE, but this time, there is no car in the driveway. We cut to the sea, gently lapping against the rocks, at the bottom of the villa. It’s calm. Too calm. Something is wrong. We cut to a tree, near the Villa blowing lightly in the breeze. At this point, we cut inside the Villa. Someone is there, there is no light on. The only light is that of the sunshine shining through the open window.

We cut to a hand, slowly tapping on the table. The camera pulls back, we see a glass of whisky, the hand slowly grabs the glass and picks it up. THE MAN takes a drink, but we don’t see his face, just his mouth & chin. There is no music track, just silence. Just then, we hear the distant sounds of a car engine. The glass is slammed down on the table. And THE MAN stands up and walks over to the window. We only see the back of THE MAN. Outside the Villa we see a car pull in the driveway. MR WHITE opens the door and get’s out. An alternate shot shows WHITE walking around the car and calmly admiring the view.

Inside the Villa, we see THE MAN’s hand, he takes a phone out of his pocket, and dial. He leaves the phone on the window sill, puts it on speaker. He grabs his silenced Heckler and Koch from the nearby sofa and goes back to the window. We still haven’t seen his face. We cut to WHITE, still standing, his phone rings.

WHITE picks it up.

We see WHITE through a cross hair, that’s aimed at his head.

WHITE: Hello?

The cross hair moves to his left leg...

THE MAN: Mr White? We need to talk

WHITE: Who is this?

A MUSIC CUE starts up. it’s kind of a dark Bond theme, The Bond theme is there, but is disguised. It’s called ‘We Need To Talk’

THE MAN pulls the trigger, a silenced shot shatters WHITE’s kneecap. WHITE falls to the floor in pain. WHITE attempts to crawl towards the Villa doors. We see THE MAN's hand grab the phome and run off. White continues to crawl this is intercut with THE MAN running down the stairs. His phone in one hand, his gun in the other. We only see his lower legs and shoes. From a first person view, the side door to the villa is kicked open. THE MAN runs out. We cut to a shot, looking over THE MAN’s shoulder. He calmly walks over to an injured WHITE, who’s trying frantically to get up the steps.

From an Alternate Angle, THE MAN walks next to him, and climbs the steps. WHITE looks up, horrified. THE MAN turns his phone off, and puts it in his pocket. He looks down angrilly at WHITE, THE MAN is revealed to be JAMES BOND, he looks tired, but still, calm and collected.

BOND: The Names Bond.... James Bond.

WHITE quickly presses a button on the side of his WATCH, it starts to bleep.

BOND’s cocky smile soon turns sour. He quickly grabs Whites arm, ripping his watch off in the process, he runs across to the lake and throws it in.

WHITE: (laughing manically) The signal’s already been sent, you have about 20 seconds.

He grabs WHITE by the collar, and drags him around to the other side of the Villla, We see an ASTON MARTIN DBS. BOND throws WHITE into a wall, who lets out a yelp. BOND, not taking his eyes off WHITE, pulls a key out of his pocket, and presses the key chain, the ASTON MARTIN unlocks. BOND grabs WHITE, and throws him down on the floor, smashing his body off the ASTON MARTIN in the process. BOND steps over WHITE and opens the boot.

BOND: (calmly) Get in....

WHITE: (laughing coldly) What!?

BOND: GET IN THE BLOODY BOOT!

BOND grabs WHITE and throws him in the boot of the car, WHITE screaming and cursing in pain. WHITE then starts to laugh creepily, we see BOND look down at the camera, shutting the boot in the process.

THE SCREEN FADES TO BLACK.

We hear the echoe’d voice of BOND & M, as well as the car engine.

BOND: Yeahh... I’ve got him, I’m bringing him in now...

M: Well make sure you do....

BOND: Oh S***!

M: What?

BOND: It looks like they’ve caught up with me... I GOTTA GO!

THE SCREEN IS STIILL BLACK

Quick images flash on the screen. – NO MUSIC just some dramatic sound effect.

BOND looking in the mirror of the car.
3 or 4 black ALFA ROMERO’S pulling out of a driveway.
The wheels of the DBS turning rapidly on the rocky road.

We see the DBS begin to get faster and faster, BOND looks determined as a GUARD leans out of the window of the ALFA, holding a machine gun. His plans are ruined, as Bond enters a long tunnel.

We then cut to the mountains of Italy, and an exterior shot of the tunnel BOND has entered, we intercut with the outside of the tunnel and the inside, as BOND gets ready for battle...

This is where we pick up in Quantum of Solace.

It was pretty fun to write actually.

Got that feeling from reading it, too, Sir! And man, you are productive!

Let me tell you this: this beginning is written very, very well. And I think this could have been easily the original written start of Haggis´ screenplay.

I would cut some parts here and there (remember the clichéd but true screenplay rule: get in late, get out early). But your version would have been the Campbell version. And Forster boiled everything down to its absolute essentials.

While you´re at it, Mharkin - why don´t you re-write the Tosca sequence just as you re-wrote this beginning? I´d love to read that!

[coco1997]

I agree, it would've been brilliant to see more of Tosca. It's a real shame that probably the most stylish and visualy stunning locale in the movie was reduced to around 5 minutes screentime.

Now, the question is, what would you do to extend the sequence to give the location more breathing time?

Maybe a fight with a henchman dangling from ropes and pulleys in front of the huge eye. This would mean interrupting the performance, but would provide the audience with an even more excting experience than Tosca itself.

I know I'm one of the biggest defenders of QOS, but once I read that a part of the Tosca performance involved a character from the opera falling into the enormous manmade lake under the stage, I would have loved to see that aspect applied to the film; what if, after a quick swing on the ropes off a catwalk (say, fifteen seconds), Bond manages to push the guy he's fighting off of his rope? The guy then falls hundreds of feet into the lake below the stage as it opens to let the cast member fall, except that the henchman has fallen much farther and therefore dies on impact. This is what alerts the wider security force to Bond's presence, meaning that we get a more exciting lead-in to the Leone-style stare-off in the lobby and, subsequently, the chase and shoot-out, and also give Bond's wider attraction-gaining at the opera a little more of a splash.

[TraceyBond007]

Guys. I've came up with an Alternate Opening for Quantum of Solace. Please read and enjoy.


Firstly, I want you to imagine you sitting in the cinema. How the colours are not quite right. They're not quite there, but they still look cool. You're waiting for Quantum of Solace to start, and this happens...

MGM/SONY LOGO

After a few seconds silence, we here a new upbeat version of the JAMES BOND THEME, it’s classic but gritty. A dozen white dots flow across the screen, a circle stops in the middle, the other 5 dots quickly fade out.

The words ‘ALBERT R BROCCOLI’S EON PRODUCTIONS ltd Presents” appear on the screen. The single dot begins to move, it reaches the end of the screen and dissapears. JAMES BOND walks across the screen, he is dressed in an open necked tuxedo. He is accompanied by the gunbarrel design from CASINO ROYALE. Bond, holding his Walther PPK, turns sharply and fires at the screen, with a determined look on his face. Red Blood starts to drop from the top of the screen. Bond, waiting a few seconds, lowers his gun and walks out of the Gunbarrel. As the BOND THEME comes to an end, the gunbarrel opens up on:

EXT: The Shores of Lake Como, Italy.

It is a calm, tranquil day. We find ourselves where we left off at the end of CASINO ROYALE, but this time, there is no car in the driveway. We cut to the sea, gently lapping against the rocks, at the bottom of the villa. It’s calm. Too calm. Something is wrong. We cut to a tree, near the Villa blowing lightly in the breeze. At this point, we cut inside the Villa. Someone is there, there is no light on. The only light is that of the sunshine shining through the open window.

We cut to a hand, slowly tapping on the table. The camera pulls back, we see a glass of whisky, the hand slowly grabs the glass and picks it up. THE MAN takes a drink, but we don’t see his face, just his mouth & chin. There is no music track, just silence. Just then, we hear the distant sounds of a car engine. The glass is slammed down on the table. And THE MAN stands up and walks over to the window. We only see the back of THE MAN. Outside the Villa we see a car pull in the driveway. MR WHITE opens the door and get’s out. An alternate shot shows WHITE walking around the car and calmly admiring the view.

Inside the Villa, we see THE MAN’s hand, he takes a phone out of his pocket, and dial. He leaves the phone on the window sill, puts it on speaker. He grabs his silenced Heckler and Koch from the nearby sofa and goes back to the window. We still haven’t seen his face. We cut to WHITE, still standing, his phone rings.

WHITE picks it up.

We see WHITE through a cross hair, that’s aimed at his head.

WHITE: Hello?

The cross hair moves to his left leg...

THE MAN: Mr White? We need to talk

WHITE: Who is this?

A MUSIC CUE starts up. it’s kind of a dark Bond theme, The Bond theme is there, but is disguised. It’s called ‘We Need To Talk’

THE MAN pulls the trigger, a silenced shot shatters WHITE’s kneecap. WHITE falls to the floor in pain. WHITE attempts to crawl towards the Villa doors. We see THE MAN's hand grab the phome and run off. White continues to crawl this is intercut with THE MAN running down the stairs. His phone in one hand, his gun in the other. We only see his lower legs and shoes. From a first person view, the side door to the villa is kicked open. THE MAN runs out. We cut to a shot, looking over THE MAN’s shoulder. He calmly walks over to an injured WHITE, who’s trying frantically to get up the steps.

From an Alternate Angle, THE MAN walks next to him, and climbs the steps. WHITE looks up, horrified. THE MAN turns his phone off, and puts it in his pocket. He looks down angrilly at WHITE, THE MAN is revealed to be JAMES BOND, he looks tired, but still, calm and collected.

BOND: The Names Bond.... James Bond.

WHITE quickly presses a button on the side of his WATCH, it starts to bleep.

BOND’s cocky smile soon turns sour. He quickly grabs Whites arm, ripping his watch off in the process, he runs across to the lake and throws it in.

WHITE: (laughing manically) The signal’s already been sent, you have about 20 seconds.

He grabs WHITE by the collar, and drags him around to the other side of the Villla, We see an ASTON MARTIN DBS. BOND throws WHITE into a wall, who lets out a yelp. BOND, not taking his eyes off WHITE, pulls a key out of his pocket, and presses the key chain, the ASTON MARTIN unlocks. BOND grabs WHITE, and throws him down on the floor, smashing his body off the ASTON MARTIN in the process. BOND steps over WHITE and opens the boot.

BOND: (calmly) Get in....

WHITE: (laughing coldly) What!?

BOND: GET IN THE BLOODY BOOT!

BOND grabs WHITE and throws him in the boot of the car, WHITE screaming and cursing in pain. WHITE then starts to laugh creepily, we see BOND look down at the camera, shutting the boot in the process.

THE SCREEN FADES TO BLACK.

We hear the echoe’d voice of BOND & M, as well as the car engine.

BOND: Yeahh... I’ve got him, I’m bringing him in now...

M: Well make sure you do....

BOND: Oh S***!

M: What?

BOND: It looks like they’ve caught up with me... I GOTTA GO!

THE SCREEN IS STIILL BLACK

Quick images flash on the screen. – NO MUSIC just some dramatic sound effect.

BOND looking in the mirror of the car.
3 or 4 black ALFA ROMERO’S pulling out of a driveway.
The wheels of the DBS turning rapidly on the rocky road.

We see the DBS begin to get faster and faster, BOND looks determined as a GUARD leans out of the window of the ALFA, holding a machine gun. His plans are ruined, as Bond enters a long tunnel.

We then cut to the mountains of Italy, and an exterior shot of the tunnel BOND has entered, we intercut with the outside of the tunnel and the inside, as BOND gets ready for battle...

This is where we pick up in Quantum of Solace.

It was pretty fun to write actually.

Got that feeling from reading it, too, Sir! And man, you are productive!

Let me tell you this: this beginning is written very, very well. And I think this could have been easily the original written start of Haggis´ screenplay.

I would cut some parts here and there (remember the clichéd but true screenplay rule: get in late, get out early). But your version would have been the Campbell version. And Forster boiled everything down to its absolute essentials.

While you´re at it, Mharkin - why don´t you re-write the Tosca sequence just as you re-wrote this beginning? I´d love to read that!

God, are you being serious. I found that an utter drag to be honest. I mean, Quantum of Solace is a bad Bond film, but for it to start like that would make it a lot worst.

Mharkin. You are a CRAP writer, and I can't stress that enough. Please don't give up your day job, you'll need it.


Some Bond fan HE is.

Oh, as for your ideas. They're literally horrible. They make me sick!

[byline]

Oh, as for your ideas. They're literally horrible. They make me sick!

Everybody's a critic.