1531 replies to this topic

[coco1997]

Interesting developments. I didn't imagine this to be the direction Lucia's character would go but it certainly makes her a more exciting character.

Also, Captain, Rusty is being used in the PTS, not Chicago. We need a way to make her into some sort of contact for 007--she passes on some information to him but things go awry resulting in the ensuing shootout/fistfight/Bond being poisoned.

San Diego is a questionable location at this point. I'm not averse to the idea of grounding the film in the U.S. but I don't really think the location fits for what we're going to do with it--it doesn't really take advantage of the environment. Perhaps a better idea would be to relocate this segment of the story to the Sierra Nevada, the mountainous region between California and Nevada? I'll PM theMoorethemerrier and see if he wouldn't mind adjusting his idea.

Chicago needs to be fleshed out a bit. I know dinovelvet had a rather clever idea at one point about Bond meeting Felix on a street corner somewhere with Bond's CIA partner offering him a Chicago style hot dog--Bond takes one bite and disgustedly tosses it into a nearby trashcan. Does anyone have any idea what else needs to occur in Chicago besides what I mentioned above? Terminus alluded to Chicago accounting for about twenty minutes' worth of screen time for the film.

[tdalton]

Chicago needs to be fleshed out a bit. I know dinovelvet had a rather clever idea at one point about Bond meeting Felix on a street corner somewhere with Bond's CIA partner offering him a Chicago style hot dog--Bond takes one bite and disgustedly tosses it into a nearby trashcan. Does anyone have any idea what else needs to occur in Chicago besides what I mentioned above? Terminus alluded to Chicago accounting for about twenty minutes' worth of screen time for the film.

I think, if my memory is serving me correctly, that there was some kind of action scene to try to destroy another one of the supercomputers, with Quinn and Marcus escaping, and Bond and Felix arresting the James Woods' played "Damien Blanc".

I think that there would be some great potential in a scene with the Woods' character being interrogated by Bond and Felix, with them thinking that he actually knows something (or is actually the man they've been looking for), and having them slowly realize that, even throughout all the boasting and theatrics put on by "Blanc", that he doesn't know a whole lot and that he isn't actually "Damien Blanc".

[coco1997]

Feel free to help flesh out these scenes, t.

[tdalton]

Feel free to help flesh out these scenes, t.

What exactly are you looking for in terms of fleshing out certain scenes? Are you looking for something along the lines of a write-up of how we see the scene going and then kind of incorporating what works out of that into the final product or something else?

I only ask because, to this point and after several different projects within the game, I haven't really ventured too far into the whole fleshing out the story process.

[coco1997]

Feel free to help flesh out these scenes, t.

What exactly are you looking for in terms of fleshing out certain scenes? Are you looking for something along the lines of a write-up of how we see the scene going and then kind of incorporating what works out of that into the final product or something else?

Well, the Chicago, San Diego and Senegal sequences are a bit bare bones as they currently stand. Any scenes between Quinn and Woods' and Haley's characters could be developed if you see fit.

We also need a car chase in Oak Ridge--mind you, this is only a matter of adding a few lines just to detail things a bit.

[tdalton]

Feel free to help flesh out these scenes, t.

What exactly are you looking for in terms of fleshing out certain scenes? Are you looking for something along the lines of a write-up of how we see the scene going and then kind of incorporating what works out of that into the final product or something else?

Well, the Chicago, San Diego and Senegal sequences are a bit bare bones as they currently stand. Any scenes between Quinn and Woods' and Haley's characters could be developed if you see fit.

We also need a car chase in Oak Ridge--mind you, this is only a matter of adding a few lines just to detail things a bit.

Sounds good.

I'll start working through a few ideas for the Chicago section of the project. I do have a framework in mind for what could be a pretty good interrogation scene between Bond, Felix, and Woods' character, which could take place in Chicago after they've taken him into custody and Quinn and Marcus have escaped.

I think I'll also take a crack at some scenes between Marcus and Quinn to try to develop that relationship a bit so that it can end up being something like a villainous version of the Bond/Agent XXX relationship in TSWLM. I think that the scene that would come near the end of the story with her having to decide whether or not to eliminate Marcus would be (especially if it were put on film and performed by the two people that were "cast" for the parts in this project) one of the most intense and emotional scenes in the series that didn't involve James Bond.

Edited by tdalton, 13 October 2010 - 02:51 AM.

[coco1997]

Very much looking forward to seeing what you come up with, t.

[Captain Tightpants]

Also, Captain, Rusty is being used in the PTS, not Chicago. We need a way to make her into some sort of contact for 007--she passes on some information to him but things go awry resulting in the ensuing shootout/fistfight/Bond being poisoned.

You want Chicago fleshed out, don't you? Rusty works better here than in New York. Bond can encounter her during reconnaisance of the nightclub.

[coco1997]

If you feel that would work better, then so be it. I believe terminus originally envisioned her part being in Chicago anyway. Any ideas on what her role should be, if anything, besides just a pretty face in the background?

[Captain Tightpants]

Well, terminus suggested her name be the butt of a joke. I don't like it, since she's so obviously a one-note character (seriously, Dita von Teese!?); I thought we were past giving characters names that are set-ups for sexual innuendo, but whatever. I wouldn't blink twice if she disappeared from the write-up.

[coco1997]

Well, terminus suggested her name be the butt of a joke. I don't like it, since she's so obviously a one-note character (seriously, Dita von Teese!?); I thought we were past giving characters names that are set-ups for sexual innuendo, but whatever. I wouldn't blink twice if she disappeared from the write-up.

But that goes against the entire point of this game. The spirit of the project is lost if we randomly start picking and choosing which ideas we decide to use. You may not like an idea or two, but the fun of the game is in finding ways to make everything work organically.

As far as 'being past character names that are set-ups for sexual innuendo,' don't forget that Honey Ryder, Pussy Galore, Mary Goodnight and Octopussy are all Fleming originals.

[Mr. Blofeld]

coco, you're from Chicago; surely, you know the layout of Oak Street, and can help with the logistics of the proceedings?

Also, I think I'd like to help tdalton with the "interrogation in the woods"; I can see it being a very good, tense little scene...

[coco1997]

coco, you're from Chicago; surely, you know the layout of Oak Street, and can help with the logistics of the proceedings?

Also, I think I'd like to help tdalton with the "interrogation in the woods"; I can see it being a very good, tense little scene...

I am from Chicago, true, but I'm not sure what things people want to see in that segment of the story, i.e. what events should transpire before the raid on the Trump Tower. I would ask dinovelvet, since he's the one who initially proposed the Chicago location, but he's apparently disappeared off the face of the Earth.

[Mr. Blofeld]

I would ask dinovelvet, since he's the one who initially proposed the Chicago location, but he's apparently disappeared off the face of the Earth.

What do you mean? He only posted here just yesterday...

[coco1997]

He hasn't posted in this thread in a long time.

[coco1997]

Just received the all-clear from theMoorethemerrier to relocate his submission to the Sierra Nevada, which I feel will provide a much more exciting backdrop to the events that will transpire there.

Here is the updated treatment with some of the recent ideas/developments incorporated. I have highlighted the bits which I feel need to be fleshed out a bit to give you a better understanding of their context.

---------------------------------------------------------------------------------------------------------------------------------------

NEW YORK CITY - The gunbarrel opens in New York City, where James Bond has infiltrated a meeting between a group of underworld thugs and Senegalese rebels; the rebels are planning to purchase weapons from the thugs. However, Bond's identity is uncovered and his drink is laced with a drug cocktail. He tries to escape but collapses on the subway after being shot. Bond lies on the floor in a pool of blood. The camera centered above looking directly down at Bond's body at 90 degrees, begins to spin as it descends. With each revolution becoming more violent, it now resembles a rotating board from a standard circus knife-throwing act. Here this blurred impression begins to morph into Bond wandering through a nightmarish landscape of beautiful and simultaneously hideous women, flowers, giant frogs, scorpions, skulls with roses in their mouths, conch shells and skeletons playing cards--all various morbid, yet colorful imagery, of course derived from the classic Fleming first edition covers...


CB.n PRESENTS

DANIEL CRAIG
as Ian Fleming's James Bond 007

in

CBN MEMBERS'
UNTITLED PROJECT UB26

Ashley Greene
Natalia Paris

James Woods

Melanie Laurent
Jackie Earle Hailey

Dita Von Teese

Jeffrey Wright
Emily Blunt
Jesper Christensen

and Timothy Dalton as M



"TBC" sung by Pink
"TBC" composed by Pink and Don Davis

Soundtrack by Don Davis

Directed by Kar Wai Wong

Written by Joe Carnahan, Brian Bloom & Skip Woods with David Wolstoncroft

As the credits draw to an end, the nightmareish landscape lessens - becomes more traditional as we segue to...

BARCELONA, SPAIN - ....where Bond has been placed on recuperative leave. He awakens from a night's sleep, goes through his usual routine and takes breakfast on the balcony of his room. He wanders the city, taking in the sights and meets a beautiful salsa dancer called Lucia Rojos at the Parc Guell garden complex in Gracia. Lucia is a Spanish woman who longs to travel. Earthly and pure, Bond quickly finds himself falling in love with her amidst a passionate series of bedroom based interludes. Feeling emotions for the girl, he decides to try to live a normal life as any woman he has become involved with in the course of being a spy have either been killed or traumatized. Using a cover story of a travel writer, Bond finds himself surprising Lucia with a pair of train tickets on a new train route from Barcelona to Paris. Lucia, who has never been to Paris, is overjoyed, and we realize that Bond has been pondering proposing to her under the Eiffel Tower. He carries a wedding ring with him as they board the train. However, the journey gets targeted by a fringe group of Basque terrorists. Bond stops the attack and saves the passengers, the carriage being blasted off a bridge over a valley and landing in water. Bond drags passengers to safety on the banks of the river, almost losing Lucia when she is trapped (giving him flashbacks to the death of Vesper) which makes him realize he can't live a normal life as he does so. It is suggested that the fringe group of terrorists have been armed by the same people who were involved in the deal to arm the fringe Senegalese rebels - a shiny silver pin settling into the murky riverbed intimates the involvement of Quantum. Little does Bond know that the separatists' intended target was Lucia, who is the mistress of an ETA commander, currently in league with the Guardia Civil in an attempt to surrender when she learns of plans to arm the Senegalese rebels.

MI6 HEADQUARTERS, LONDON - Bond enters MI6 and demands to be returned to active service; this unending enforced sabbatical MUST end. M uhms and ahhs about it but eventually agrees after Bond is given clearance for field duty by James Molony, the service's medical officer. He is given a simple mission - to prevent the abduction of Mercedes Baines, a computer programmer and person of extreme interest, in Oak Ridge, Tennessee. (If anyone feels anything else needs to be added to this scene, please say so)

INTERCUT WITH MI6 - Mr. White is seen standing in front of a picture window speaking on a phone - outside the window appears to be a lush tropical landscape. In the discussion, he explains that 'Our endeavors in the Far East have proven to be an embarrassment, our finances have been damaged - we need to recoup our losses' - a subsequent call suggests to someone that 'the services of Monsier Blanc might be needed ...' As the phone is hung up, the lush tropical landscape changes to a frozen tundra - it becomes clear that we have no idea where we are, that the 'picture window' is a floor to ceiling digital picture frame.

OAK RIDGE, TENNESSEE - Bond arrives in Oak Ridge at the ORNL where he seeks out Mercedes Baines, a beautiful computer programmer who is working on the LEGION, a next level computer system, more advanced than the ORNL's own Jaguar. Mercedes is being forced to wear the 'Spark Suit', a bioelectric garment needed to power the supercomputers developed at Oak Ridge. Bond saves Mercedes and is impressed with her knowledge and convinces her to accompany him to a safe house - but as they are leaving, the sprinklers go off and the power is cut; chaos erupts as people flee labs and attempt escape. Bond realizes this is a trap and tries to seek out the threat - which turns out to be a beautiful woman (whom we will come to know as Quinn) - in a cat and mouse chase through the white walled corridors and tree lined avenues of the campus. Bond uses a briefcase that folds out into a remote-controlled gun turret, whch he acquired in Barcelona, to delay Quinn as he and Mercedes attempt to escape Oak Ridge. (Tightpants, how does Bond come to acquire the suitcase from Lucia?). Just as Bond thinks he has saved Mercedes, he finds her bundled into the back of a Humvee. He gives chase in his Lotus Elite - only to lose them in a set-up traffic jam. Bond decides to travel to California to meet with Mercedes' mentor, to understand what she was working on.

SIERRA NEVADA, U.S. - After meeting with Felix Leiter and discussing the person who kidnapped Mercedes in Oak Ridge - identified as "Quinn". "Quinn" is a French national who, after several rebellious teenage years was sent to a military school to straighten her up. After graduation, she enlisted in the armed forces and was deployed to Afghanistan as a part of the US-led operation within that country. She was part of a convoy that was attacked while on a routine mission, and is the only one to survive and is taken captive, but is presumed dead by her superiors and is never found.

Going to meet with Mercedes' mentor, Professor Banks, Bond discovers that Mercedes was working on a method to hack the world's online banking system using the LEGION computer in Oak Ridge. However, it transpires (to us, but maybe not to Bond) that the mentor is the person who leaked the method to Quantum). The mentor is 'kidnapped' which results in Bond and Felix breaking in to an abandoned power station. However, Quinn has since abandoned the station. Bond tries to flee the station with Banks in a glider (as Banks realizes he's outlived his usefulness now) - but the glider and Quinn, in a pursuing helicopter, enter a field of electricity pylons - amidst a thunderstorm - leading to the glider crashing. Banks is assassinated, as a liability, by Quinn, and Bond barely escapes with his life.

CHICAGO - Evidence in California about the construction of a duplicate of the LEGION points Bond to a shell company which holds offices in the Trump Tower. In the tower, Marcus oversees the construction and operation of a duplicate of the LEGION. Bond, with the help of Felix, leads a team of Navy SEALS to the building and, although they rescue Mercedes and destroy the duplicate LEGION, Quinn and Marcus escape. Also rescued is 'Damien Blanc' - or, at least, the actor that Quinn has hired to 'play' Damien Blanc. He doesn't know much, but he knows enough to help Bond and Mercedes to piece together what Quinn and Marcus were doing. (Insert tdalton's interrogation scene write-up here)

After Quinn's disappearance, Bond and Leiter go to a topless bar to relax and take the stress off their minds. Upon soliciting one of the women - a raven-haired burlesque dancer named Rusty Shafts - and going into a corner booth with her, lights dim and another dancer comes out to distract Bond -- just as a black sack is pulled over Felix's head from behind, and he is pulled through the wall. Bond does not realize this until after the other dancer has performed, calling Felix's name and walking over to the now-empty booth... where a coded message sits, slowly decrypting to reveal Felix's location. Bond immediately jumps into action, calling up MI6 and Chicago authorities, while Felix is finally un-blinded to reveal he is out on the shores of Lake Michigan -- and it's the dead of winter. Quinn, though now with a disturbingly gray face, is alive, and rips off Leiter's pants; after telling him he should have known that "Monsieur Blanc" owns all the brothels around the Great Lakes, she tells her goons to drag him to the lake...and wait.

A small transmitter sewn into Leiter's coat eventually pinpoints the location before the decrypting message does; cross-cutting between technicians telling Bond through an earpiece that Leiter is moving, Bond's frantic drive to the location, and Quinn and her henchman peeling off eventually ends on Bond finding the coat wrapped around a log caught on a sandbar. Meanwhile, the final portion of the message decrypts, revealing Leiter to be several hundred feet to the north of where Bond is. Bond runs to Felix, but it's too late; Leiter's legs are completely frostbitten under the ice, and his body core temperature is dangerously low. As the Illinois state police rush to the scene, Bond finds a note stuffed into Felix's shirt: HE COULD HAVE USED SEA LEGS.

DAKAR, SENEGAL - Mercedes has knowledge that the duplicate LEGION was used to siphon money from the world's bank accounts in order to fund rebel Casamance separatist actions in Senegal. Having tried to pull the plug in Chicago and failed, Bond and Mercedes travel there (she'd be the only one with the skills to return the money to the original accounts) and are tracked through a river delta with all sorts of nasties and goons out to get them and confront Quinn in a luxurious, but abandoned, resort - designed by the Haus of Gaga specifically for this film - with a battle between three helicopter gunships. During this confrontation, Quinn makes a remark about Lucia's involvement with the Guardia Civil. (We need to flesh out this sequence a bit--we don't know how Bond and Mercedes get to Dakar or how the confrontation between Bond and Quinn ends)

EPILOGUE:

- Mercedes, who has never been attracted to Bond, though she appreciates his abilities and skills, walks off into the sunset.

- Quinn, who has killed Marcus and escaped the destruction of the resort in Senegal, makes a selection on the replacement of the person to 'play' Damien Blanc (this part will also be extrapolated by tdalton).

- After Bond watches Felix in hospital at a CIA installation in Spain on prosthetic legs and a pair of Lofstrand crutches, we start from above a small Spanish village, then cut down to Lucia buying some fruit in a marketplace; we refocus on a higher angle, where Bond, standing alongside his parked Lotus Elite on a road above the village, is looking at her through a single riflescope, separated from the rest of the mechanism. Lucia suddenly gets a chill - she looks up; all of a sudden, the Guardia Civil arrive and make an arrest. As she is driven along the road, she sees Bond's Lotus. Bond shuts the scope back into his specially-made under-dashboard compartment, turns the key in the ignition, and drives up the road; from a view adjacent to the hill, we tilt up from the Lotus revving offscreen to the cluster of trees behind, to the bluest of blue skies, and, finally, into the sun, continuing to shine on this scene of life, before fading, slowly, to black -- and credits.

----------------------------------

We also need to figure out where to use terminus' shaving kit gadget.

[QOS007]

dont mind the briefcase turret but it sure does scream nightfire

[tdalton]

- Quinn, who has killed Marcus and escaped the destruction of the resort in Senegal, makes a selection on the replacement of the person to 'play' Damien Blanc (this part will also be extrapolated by tdalton).

This is the part that I'll probably post first, hopefully sometime tonight or tomorrow. I've already got a great idea for the scene in which she eliminates Marcus (getting the dialogue right will be the hardest part, but everything else, as I kind of imagine it now is, at the very least, rather emotionally intense).

As far as the setting for these epilogue scenes, I was wondering if we're OK to pick our own locations for them or if they have to be tied to locations already put forth for the project. I've got something I think is pretty good in mind for this epilogue scene between Quinn and Marcus and between her and the new "Damien Blanc" that, as they stand now, wouldn't take place in a location we already have listed.

[coco1997]

This is the part that I'll probably post first, hopefully sometime tonight or tomorrow. I've already got a great idea for the scene in which she eliminates Marcus (getting the dialogue right will be the hardest part, but everything else, as I kind of imagine it now is, at the very least, rather emotionally intense).

As far as the setting for these epilogue scenes, I was wondering if we're OK to pick our own locations for them or if they have to be tied to locations already put forth for the project. I've got something I think is pretty good in mind for this epilogue scene between Quinn and Marcus and between her and the new "Damien Blanc" that, as they stand now, wouldn't take place in a location we already have listed.

T-Since the epilogue does not account for a major chunk of the story, feel free to utilize a previously unused location.

Also, don't feel obligated to go into great deal with regards to the dialogue during your epilogue scene. Remember, we're writing a treatment, not a script, but if you've got some great ideas in mind, far be it from me to hold you back.

[tdalton]

This is the part that I'll probably post first, hopefully sometime tonight or tomorrow. I've already got a great idea for the scene in which she eliminates Marcus (getting the dialogue right will be the hardest part, but everything else, as I kind of imagine it now is, at the very least, rather emotionally intense).

As far as the setting for these epilogue scenes, I was wondering if we're OK to pick our own locations for them or if they have to be tied to locations already put forth for the project. I've got something I think is pretty good in mind for this epilogue scene between Quinn and Marcus and between her and the new "Damien Blanc" that, as they stand now, wouldn't take place in a location we already have listed.

T-Since the epilogue does not account for a major chunk of the story, feel free to utilize a previously unused location.

Also, don't feel obligated to go into great deal with regards to the dialogue during your epilogue scene. Remember, we're writing a treatment, not a script, but if you've got some great ideas in mind, far be it from me to hold you back.

Sounds good.

I'm going to try to be somewhat detailed with it, since I figure that it's easier to subtract details from something rather than add them in after the fact. I've got (what I think is, anyway) a pretty good and intense scene in my mind for the Quinn/Marcus scene at the end, which I'm going to set on a remote beach somewhere in the Caribbean. Like I said, hopefully it'll be posted here sometime tomorrow, but I want to make sure that it's up to the standard that I think we've set with this round, which (as good as the last project was) I think is our best so far.

Once I get finished with this epilogue scene, I'll start putting the Bond/Felix/"Blanc" interrogation scene together.

Edited by tdalton, 14 October 2010 - 03:04 AM.

[coco1997]

Looking forward to it. Now Senegal and Chicago need to be beefed up a bit and we're inching closer to in the finish line.

Also, t, if you can think of a way to incorporate more of Quinn's backstory that you developed into the outline, let's hear it.

[tdalton]

Looking forward to it. Now Senegal and Chicago need to be beefed up a bit and we're inching closer to in the finish line.

Also, t, if you can think of a way to incorporate more of Quinn's backstory that you developed into the outline, let's hear it.

I'll start thinking about it. I'm thinking that I'll work some of it into the interrogation scene, with perhaps "Blanc" knowing enough to help Bond and Felix piece together a few things from her personnel files while in the military.

Also, I'm close to finishing the epilogue scene between Marcus and Quinn, which I'll hopefully post here in the next few minutes.

[coco1997]

Great! And I think working her backstory into the interrogation scene sounds like a fantastic idea.

[tdalton]

OK, here's the epilogue scene I came up with between Marcus and Quinn. The scene that I have actually written out is somewhat long (2 1/2 pages) and would be much more appropriate for a script format, so I'm going to condense it a bit here for a format more appropriate for a treatment.

Some of it may be a bit cliche, but I think it's a scene that incorporates just how ruthless the Quinn character had been over the course of the film while also showing that she (as well as the Marcus character) isn't just an arch-type villain.

Setting: A remote beach in the Grenadines

Marcus emerges from a bungalow that he and Quinn have been sharing for the past couple of days and watches as she emerges from the ocean. She walks over to where he's standing and grabs the towel that she had hung on the back of one of the patio chairs and began to dry herself off. As she's doing this, Marcus talks to her about how beautiful the beach and bungalow are and about how much he's enjoying himself after having to go through the events of the previous few days.

He begins to talk to her about the prospect of leaving the spy game and taking refuge in a bungalow much like the one they're currently living in and just living together as a normal "retired" couple enjoying life in the Caribbean.

This talk about the future makes Quinn become rather uncomfortable, which Marcus begins to pick up on, but he's not really sure why. She tells him that she can't leave the spy game, stating that there's still a lot of work to do. Marcus continues to talk, eventually causing Quinn to flee the conversation and take refuge inside the bungalow.

Marcus reaches into his pocket and retrieves a small black box, making sure that its contents are still inside. He makes his way into the bungalow, calling out for Quinn. She's nowhere to be found. He checks the bedroom, which appears to be vacant until he hears the sound of a gun being cocked.

"I told you not to get involved with the people I work for," she says shakily.

Marcus tries to convince her that they can run away together and hide from Quantum and the people that she works for. She turns down each attempt on his part, although she finds herself having trouble completing the job that she knows has to be done to preserve the anonymity that she has worked so hard to protect for several years.

With one last attempt, Marcus tells her that he loves her. She pauses for a moment, for the first time seriously contemplating leaving Quantum behind and going on the run. She then tells him, "You can't run from us. We're everywhere."

CUT TO AN OUTSIDE SHOT OF THE BUNGALOW

Quinn emerges from the bungalow, which is bathed in the light of a setting sun at this point. She stands there, looking out at the waves crashing up on the beach, her eyes welling up. She drops to her knees, burying her head in her hands and sobbing uncontrollably. She drops the small black box that she had found on Marcus. It's open, and in it is a beautiful diamond ring. She continues to cry more and more before looking up at the sky and screaming at the top of her lungs.

Edited by tdalton, 14 October 2010 - 04:44 AM.

[coco1997]

Fantastic, t. After that emotional scene, your participation will be integral into developing Quinn's character even further in UB27, and possibly 28--depending on when it's decided she will meet her demise.

[tdalton]

Fantastic, t. After that emotional scene, your participation will be integral into developing Quinn's character even further in UB27, and possibly 28--depending on when it's decided she will meet her demise.

Thanks.

I've got a few ideas for how her character progresses in at least the next project. I definitely see her character wanting another shot at taking out Bond, and I think that she would be present at the scene we've been talking about for a while in which Bond, Goodnight, and the third Double-oh agent are ambushed while on a joint operation together.

I'm also kind of toying with the idea of giving Goodnight a very brief appearance in the interrogation scene in Chicago (if it's allowed, of course. I think that, in the original proforma for this project, terminus provided a bit of a loophole for her appearance by saying something to the effect that Goodnight and the head of Quantum were a given for the trilogy and wouldn't really occupy a space on the proforma) . I think that it can work quite well in the manner I'm thinking about. Since she's on her own mission that will eventually tie into the joint operation in the next project, her investigation leads her to the name "Damien Blanc", when she's alerted that Blanc has been taken into US custody in Chicago. She would come in and have a brief moment with Bond and get a few questions in with "Blanc" (I can only imagine how awesome a scene with such brilliant actors as Craig, Wright, Woods, and Strahovski would actually turn out) before exiting the story to appear in the next project. I think that it would be a good way of bringing the idea to Bond (and the "audience") that there's something much bigger going on than just what we're being shown in this particular story (which would allow for the building of an ominous tone for the next project), and that there are many different parts in motion heading towards the ultimate demise of Quantum later on.

Edited by tdalton, 14 October 2010 - 05:01 AM.

[coco1997]

Brilliant idea, t. Cameo roles are not forbidden, and a role like that would not justify taking up space on the pro forma, so yes, by all means include her in that scene.

I'm also thinking it would be quite easy to insert dino's little idea with Felix buying Bond a hot dog in between the Trump Tower raid and before they pay their visit to the topless bar.

[tdalton]

Brilliant idea, t. Cameo roles are not forbidden, and a role like that would not justify taking up space on the pro forma, so yes, by all means include her in that scene.

I'm also thinking it would be quite easy to insert dino's little idea with Felix buying Bond a hot dog in between the Trump Tower raid and before they pay their visit to the topless bar.

That sounds like a nice way of incorporating that idea, which I think would be something that the EON franchise ought to work into one of their films if Bond were to make his way back to the US. Such a scene between Craig and Wright would be nothing short of brilliant.

[coco1997]

That sounds like a nice way of incorporating that idea, which I think would be something that the EON franchise ought to work into one of their films if Bond were to make his way back to the US. Such a scene between Craig and Wright would be nothing short of brilliant.

Another thing you might consider thinking about, t--the confrontation between Bond, Quinn and (presumably) Mercedes before the epilogue scenes. I know you weren't the one to propose the Senegal locale or final action sequence but considering Quinn was your creation, I think it would be appropriate if you helped craft how this scene would go down. Obviously it needs to end with Quinn escaping, but I'm not sure what should happen outside of that.

[tdalton]

That sounds like a nice way of incorporating that idea, which I think would be something that the EON franchise ought to work into one of their films if Bond were to make his way back to the US. Such a scene between Craig and Wright would be nothing short of brilliant.

Another thing you might consider thinking about, t--the confrontation between Bond, Quinn and (presumably) Mercedes before the epilogue scenes. I know you weren't the one to propose the Senegal locale or final action sequence but considering Quinn was your creation, I think it would be appropriate if you helped craft how this scene would go down. Obviously it needs to end with Quinn escaping, but I'm not sure what should happen outside of that.

I'd be more than happy to take a crack at it. I'll go back and re-read everything that we've got so far and get to work on some ideas for it. Hopefully I'll have that and the interrogation scene both done within the next day or so.

I might go ahead with that part next and kind of work my way back from the epilogue to the interrogation scene so that I'll have a better idea of where the story is headed before writing up how the Bond/Felix/"Blanc"/Goodnight scene goes down.

EDIT: On a different note, after reading through the latest plot outline after having already written the epilogue scene, I thought it was kind of interesting that we have Bond contemplating proposing to Lucia near the beginning of the film (I hadn't picked up on that up to this point), and then we have Marcus trying to do the same with Quinn right at the end of the story, with neither attempt going particularly well for anyone involved. It's a nice bit of symmetry, IMO, that was, on my end, completely unintentional, but still something that kind of pulls the project even further into a more realistic territory (as opposed to the more over-the-top entries in the series) in terms of showing that the villains of the story are just as human as the heroes.

Edited by tdalton, 14 October 2010 - 05:56 AM.