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bedlamsbardI'm leaving for Rhode Island -- Providence, specifically -- on Saturday, right? For a month at Brown University for a creative writing summer program. Well, my mom is freaking out. "Do you have clothes? Do you have toiletries? Don't forget you can't take liquids through airport security! Do you have enough underwear?" My responses: "Mom, I'm going to Providence. It's a big city. I can buy stuff there. Providence is ten times bigger than Ellensburg! It's been around for three hundred and fifty years longer!"
*sigh*
Now, besides the snapshots, there are maybe three novel-lengths left in the Bardverse. One would be the plot that revolves around "Drought" and some of the snapshots: D.J. Pratt's murder, the attempted assassination of Frankie Messer, the Constantine civil war. The other two take place some time later.
Maybe a year or so following "Drought", a major politico is horribly murdered in New York. The whole NYPD is searching for the murderer -- including, obviously, the Crime Lab -- when a guy walks into the precinct, walks up to the detective who now has Flack's old desk, and says, "I have information about the Kreviazak murder. I'll only talk to Detective Flack." Well, he bumps around from Homicide to the Crime Lab to Homicide to the Crime Lab to Homicide again, and despite Mac's earnest protests and dark threats, Gerrard finally calls up the NOPD to borrow Flack.
Flack agrees on one condition: he gets to bring his partner, and they handle the case his way. Gerrard agrees because seriously, the guy with the info is not talking and the NYPD has to solve this murder REALLY SOON because it's looking pretty damn bad on them. Mac is still protesting Flack's "interference", so after Flack and LaMontagne arrive in New York there are actually parallel investigations running: Flack and LaMontagne, with the assistance of a couple of NYPD homicide cops, chasing it down the old fashioned way, and Mac and the Crime Lab, who are doing it the scientific way, with actual evidence. (It's canon that eyewitnesses suck.) The two teams are going to have to work together to solve the case.
Guest appearances by: Gerrard, who tells Flack off for basically not telling anyone when he left, Papa Flack, who tells Flack off for having to hear about leaving the NYPD from Gerrard, and strangely enough, probably not Danny or Aiden.
And, of course, the Very Last Bardverse Story Ever.
Ten to fifteen years after Bloody Sunday. This is really Stella's story and Mac's in absentia, no one else's. Mac is found dead in his apartment, single gunshot wound to the head, and Stella has to try and solve his murder. It's a very detached, almost claustrophobic kind of story. The rest of the lab -- Lindsay, Hawkes, Angell, Adam, the new CSIs -- are only tangential, and Danny and Flack probably barely appear at all. It's really Stella trapped in her own head, along with -- more or less -- ghost Mac (strangely enough, not actually literally this time), relying on recreating him as she knew him to solve his murder.
The obvious assumption would be that Mac's murder has something to do with the case he's working, which Stella starts out with and then turns away from. Meanwhile, she has to deal with department politics -- there's a promotion in the works for her, from Detective Sergeant to Lieutenant, possibly -- and she has to run the Crime Lab, and make Mac's funeral arrangements -- guest-starring Mac's mother, Evelyn Taylor, who shows up to try and collect Mac's body to take back to Chicago even though Stella has power of attorney and also, Mac's will.
This is one of those very visually and aurally arresting stories that would probably work equally well slotted into a forty-five minute or hour-and-a-half slot -- Stella breaking down, occasionally, kneeling next to Mac's body and wiping the tears from her eyes as she tries to process the scene, Stella sitting in Mac's office going through his desk and finding a handful of old photographs from when they very first started working together, the scene where Stella finally arrests the guy who shot Mac, the way her voice is trembling when she puts the cuffs on -- and, of course, the end scene, Mac's funeral. (Although I can't for the life of me figure out whether he'd want to be buried in New York or in Arlington. Probably New York, but there's that corner of me that's going, "But he's a Marine! He'll be a Marine till the day he dies! He'd want to be buried in Arlington!") NYPD officers in dress uniform -- Flack showing up, and possibly LaMontagne -- Danny and a bunch of Mafioso in dark suits, so that the NYPD and the Mafioso can look threateningly at each other, possibly Mac's old friends from the Corps in Marine dress uniform, and most importantly, bagpipes playing "Amazing Grace", the traditional salute for a fallen police officer.
Also, it kind of breaks my heart just thinking about it, just for that image of Stella sitting behind Mac's desk going through his papers and finding those old photographs -- young and innocent, and all right with the world -- thinking they can still change it.
Also, possibly through watching SGA and then trying to work on PotC fic, I think a PotC/SGA crossover would be an excellent idea. Come on! Norrington in Pegasus! Where does it go wrong?
*sigh*
Now, besides the snapshots, there are maybe three novel-lengths left in the Bardverse. One would be the plot that revolves around "Drought" and some of the snapshots: D.J. Pratt's murder, the attempted assassination of Frankie Messer, the Constantine civil war. The other two take place some time later.
Maybe a year or so following "Drought", a major politico is horribly murdered in New York. The whole NYPD is searching for the murderer -- including, obviously, the Crime Lab -- when a guy walks into the precinct, walks up to the detective who now has Flack's old desk, and says, "I have information about the Kreviazak murder. I'll only talk to Detective Flack." Well, he bumps around from Homicide to the Crime Lab to Homicide to the Crime Lab to Homicide again, and despite Mac's earnest protests and dark threats, Gerrard finally calls up the NOPD to borrow Flack.
Flack agrees on one condition: he gets to bring his partner, and they handle the case his way. Gerrard agrees because seriously, the guy with the info is not talking and the NYPD has to solve this murder REALLY SOON because it's looking pretty damn bad on them. Mac is still protesting Flack's "interference", so after Flack and LaMontagne arrive in New York there are actually parallel investigations running: Flack and LaMontagne, with the assistance of a couple of NYPD homicide cops, chasing it down the old fashioned way, and Mac and the Crime Lab, who are doing it the scientific way, with actual evidence. (It's canon that eyewitnesses suck.) The two teams are going to have to work together to solve the case.
Guest appearances by: Gerrard, who tells Flack off for basically not telling anyone when he left, Papa Flack, who tells Flack off for having to hear about leaving the NYPD from Gerrard, and strangely enough, probably not Danny or Aiden.
And, of course, the Very Last Bardverse Story Ever.
Ten to fifteen years after Bloody Sunday. This is really Stella's story and Mac's in absentia, no one else's. Mac is found dead in his apartment, single gunshot wound to the head, and Stella has to try and solve his murder. It's a very detached, almost claustrophobic kind of story. The rest of the lab -- Lindsay, Hawkes, Angell, Adam, the new CSIs -- are only tangential, and Danny and Flack probably barely appear at all. It's really Stella trapped in her own head, along with -- more or less -- ghost Mac (strangely enough, not actually literally this time), relying on recreating him as she knew him to solve his murder.
The obvious assumption would be that Mac's murder has something to do with the case he's working, which Stella starts out with and then turns away from. Meanwhile, she has to deal with department politics -- there's a promotion in the works for her, from Detective Sergeant to Lieutenant, possibly -- and she has to run the Crime Lab, and make Mac's funeral arrangements -- guest-starring Mac's mother, Evelyn Taylor, who shows up to try and collect Mac's body to take back to Chicago even though Stella has power of attorney and also, Mac's will.
This is one of those very visually and aurally arresting stories that would probably work equally well slotted into a forty-five minute or hour-and-a-half slot -- Stella breaking down, occasionally, kneeling next to Mac's body and wiping the tears from her eyes as she tries to process the scene, Stella sitting in Mac's office going through his desk and finding a handful of old photographs from when they very first started working together, the scene where Stella finally arrests the guy who shot Mac, the way her voice is trembling when she puts the cuffs on -- and, of course, the end scene, Mac's funeral. (Although I can't for the life of me figure out whether he'd want to be buried in New York or in Arlington. Probably New York, but there's that corner of me that's going, "But he's a Marine! He'll be a Marine till the day he dies! He'd want to be buried in Arlington!") NYPD officers in dress uniform -- Flack showing up, and possibly LaMontagne -- Danny and a bunch of Mafioso in dark suits, so that the NYPD and the Mafioso can look threateningly at each other, possibly Mac's old friends from the Corps in Marine dress uniform, and most importantly, bagpipes playing "Amazing Grace", the traditional salute for a fallen police officer.
Also, it kind of breaks my heart just thinking about it, just for that image of Stella sitting behind Mac's desk going through his papers and finding those old photographs -- young and innocent, and all right with the world -- thinking they can still change it.
Also, possibly through watching SGA and then trying to work on PotC fic, I think a PotC/SGA crossover would be an excellent idea. Come on! Norrington in Pegasus! Where does it go wrong?
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(no subject)
Date: 2007-06-21 03:04 am (UTC)(no subject)
Date: 2007-06-21 03:46 am (UTC)The original plan for the Flack comes back to New York story was one where a dead Marine turned up in New Orleans -- well, a Marine that died twenty years ago, and his corpse just turned up -- and he ties back to Mac, so he and LaMontagne go to New York to basically do what Scotty from Cold Case did to Stella. Only with added tension. And LaMontagne going hardass on Mac and also using the phrase "murder cop" at him.
Hmm. Clearly I need to be writing slightly more sympathetic Mac. Thinking about "Amazing Grace" makes me want to cry, just because it's not about Mac, it's about Stella, and at that point they've been partners for twenty years and she's working his murder and his job and just...*weeps*
(no subject)
Date: 2007-06-21 04:56 pm (UTC)Oooh, I like that idea for the Flack fic, although the other idea is just as awesome. Either way, the tension between Flack and Mac is just going to be fantastic!
Theoretically, would Stella actually work his murder? Wouldn't there be, like, emotional conflicts?
(no subject)
Date: 2007-06-21 11:33 pm (UTC)Too bad I can't pull 'em both, but that'd be overkill.
YOUR LOGIC HAS NO PLACE IN THIS WORLD. The lab worked Aiden's murder; that's emotional conflict. And I think Stella would rather get shot than let someone else work Mac's murder.
Quick: what are the most important points of Snafu? What I've got so far is Tanglewood, Danny's relation to Tanglewood, Flack's emotional trauma, and the Danny/Flack. Does that more or less sum it up, because I can't keep writing in this universe and not substantially rewrite Snafu?
(no subject)
Date: 2007-06-21 11:48 pm (UTC)I'd like to see that, though! Would you never do a fic that's just about Danny in the Mafia, without including the Crime Lab at all?
The lab worked Aiden's murder because a) they didn't know who she was until the facial reconstruction came in, and b) she hadn't been working there in almost a year.
Snafu? Man, honestly, I don't really remember that... it's kinda overshadowed by Omerta. The connection to Tanglewood and the beginning of the Mac-and-Danny tension is really the basis, though, I think.
(no subject)
Date: 2007-06-22 12:03 am (UTC)Okay, let me think. They didn't work the case where Hawkes was accused of murder, but they did process the scene of Stella's apartment and Frankie's death, yes? And the S1 season finale, where Mac was a material witness. And the scene where Danny may or may not have shot the cop in "On the Job." But besides that...it's been a while. *sigh* I don't remember. Vegas worked Nick's kidnapping, though, but I don't know enough about it or Miami to say if they've done anything similar. Miami had one of its characters killed off, though, right?
Seriously, though, even if Stella wasn't working it officially, she'd still be working it unofficially.
Snafu is such a mess that I'm seriously considering streamlining it into something much shorter and much more sense-making and keeping the prurient points, because at the very least, I need continuity in my own damn universe.
(no subject)
Date: 2007-06-22 02:55 am (UTC)When Speed was killed off on Miami (INSERT ME CRYING BITTER ANGSTY TEARS HERE), it was on the job, and Horatio was there when it happened, so it wasn't a case that needed to be investigated. Vegas was a different story, too, because the messages were being left specifically for the Nightshift team, and so they had no choice but to work the case, especially since they knew the situation better than anyone else.
NY is weird in that they work cases they shouldn't, yeah, but still... they didn't work Hawkes' case, so...
I'd like to see Stella working it unofficially :D. And solving it, too!
Yeah, Snafu is great, but it seems like a bit of a black sheep compared to the rest of the 'verse.
(no subject)
Date: 2007-06-22 03:27 am (UTC)Probably because someone in the lab has political connections among the NYPD brass, which on second thought should totally be Flack with his NYPD background, and seriously, I would kill for more NYPD politics.
Let me think. Even if Stella didn't work the case officially, she was still working the case Mac was working when he died, so she'd work that and of course, the obvious assumption would be a connection between the two. Which there is not. (It's actually very tragic.) *sigh* Technicalities.
Probably because I was fifteen when I wrote it. That about covers it. Of course, I was also fifteen when I wrote NYM and Omerta, but I got much better organized by the time I got to Omerta. *winces*