Category: Quorum

This article excerpt, part of a series entitled The Quorum Chronicle, appears in full — along with expanded audio content — exclusively for our Patreon backers. See our Patreon page for further details.

When developing the concept for what became The Harbor Pilot’s Tale, I knew it would be a step removed from the tone and storyline of The Gambler’s Tale, though at first I didn’t know exactly what it would entail. But as I fleshed out the “story bible” for the overall series, I started jotting down the critical elements I’d want to include. First, I knew this was a story that would be told in a single episode — like The Messenger’s Tale before it, this would be an “interlude” between two longer Quorum seasons. Second, I wanted to showcase the broader scope of the Quorum’s influence; since both previous seasons of The Gambler’s Tale and The Messenger’s Tale had taken place in the United States, I was eager to move beyond America’s borders. And third, I wanted to introduce a tonal shift to the story; yes, it would still identifiably be a Quorum story, but it would have its own flavor. I wasn’t going to upend the format, but I wanted this to feel different.

Having long since worked out one of the major plot elements in what would become the third season of The Gambler’s Tale, this interlude story had a natural focus: setting that series of events into motion. (And rest assured, I’m not about to spoil anything else here.) In an odd turn of events, because of cast scheduling constraints, I actually had to script all of the Quorum bookend scenes through the end of that third season well in advance (unless I wanted to recast roles partway through the series) — so the fact that I’d mapped out the broad strokes of the overall story worked to my advantage now. While I wasn’t committed to any particular story for this episode, I had a framing template within which to operate: the Quorum was having to make some late changes to their plans, and they would involve European shipping operations.

The first thing I did was study cargo routes throughout Europe (and ultimately, across the globe). Since I knew that the Quorum’s quote-unquote “cargo” originated in Switzerland, it was a question of figuring out what the optimal transit route would be to its final destination. I had initially assumed that route would be via train or truck down to the Mediterranean Sea. But if this cargo was intended for overseas delivery — which this was — it was more likely that it would depart from a port on the North Sea, such as Rotterdam, in the Netherlands. From there, assuming our couriers would want to keep their charge secure, and not risk being stopped en route, I deduced that a plausible (not to mention entertaining) method of transportation would be via cargo ship, along the Rhine river.

Which brought me to Basel. Home to numerous museums, Basel is often considered the cultural center of Switzerland. While not as populous as Geneva or Zürich, it does have significant banking and chemical production industries — and happens to be home to Switzerland’s only cargo port. In effect, all shipments traveling along the Rhine go through Basel. Switzerland actually has a surprisingly robust naval history. The Merchant Marine of Switzerland is the largest merchant navy of any landlocked country on Earth, and the ports of Basel are dependent on the expertise of these sailors.

Be sure to check out the complete article, in both text and enhanced audio formats, along with the rest of The Quorum Chronicle series, at our Patreon page. And thanks so much for your continuing support of Jabberwocky Audio Theater!

— William R. Coughlan, writer/director of Quorum

This article excerpt, part of a series entitled The Quorum Chronicle, appears in full — along with expanded audio content — exclusively for our Patreon backers. See our Patreon page for further details.

I first heard about entertainer Brian Brushwood when he was interviewed for the Skepticality podcast back in 2009. A sort of cross between magician, comedian, and sideshow performer, Brushwood had an ongoing stage show called Bizarre Magic, appearing regularly at college campuses across the country. He also hosted a YouTube show called Scam School, in which he would good-naturedly perform close-up magic or brain teasers at various San Francisco-area bars and restaurants, soliciting drinks in exchange for explaining the mystifying secret behind the trick or puzzle. His bizarre, spiked hairstyle and gregarious personality made for entertaining viewing, and I learned quite a few tricks from him — even teaching my then-nine-year-old daughter some of them so she could amaze the whole family with her magical talents.

In 2012, after Discovery Networks purchased Division3, the publisher of Scam School, Brushwood took advantage of the transition to move the show’s base of operations from San Francisco to his home city of Austin, Texas. Once there, Brushwood was more regularly able to bring occasional guests onto the show, frequently other magicians who would demonstrate their close-up magic skills. But in addition to magicians, he brought in experts with skills in other areas — notably picking locks.

Brushwood had discussed lockpicking before, likely a logical outgrowth of the “escape artist” school of magic, during the San Francisco run of Scam School. In fact, I first learned about using the “bump keys” Jimmy makes passing mention of back in a 2010 episode. But it turns out there is an entire community in Austin — the Longhorn Lockpicking Club, led by lockpicking champion JGor — that picks locks competitively. JGor and other members appeared several times on the show, demonstrating how to pick everything from door locks to bicycle locks to padlocks and even handcuffs with simple, everyday items. (One thing that became abundantly clear was just how inaccurately the process of lockpicking is normally depicted in the movies — but for the record, Linda Hamilton gets it pretty close to right in Terminator 2). Brushwood would eventually open an online merchandise shop — called, appropriately enough, Scam Stuff — where he would make available many of the tools of the lockpicking trade, including not just bump keys and lockpick sets, but transparent padlocks and full lockpick-training setups. (I may or may not have availed myself of some of those learning opportunities.)

Be sure to check out the complete article, in both text and enhanced audio formats, along with the rest of The Quorum Chronicle series, at our Patreon page. And thanks so much for your continuing support of Jabberwocky Audio Theater!

— William R. Coughlan, writer/director of Quorum

This article excerpt, part of a series entitled The Quorum Chronicle, appears in full — along with expanded audio content — exclusively for our Patreon backers. See our Patreon page for further details.

The primary character-naming convention of “All That Glitters” started as a kind of inside joke. By way of background, the scene where Jimmy impresses a big-time L.A. venture capitalist — initially named “Bob Lawrence” — appeared in the very first draft of The Gambler’s Tale, way back in early 2011. At the time, the story had Jimmy hastily departing Las Vegas for Los Angeles — with Big Mike, no less — immediately following the car bomb that apparently took Will Archer’s life. At the time, I was envisioning the tale as a single story arc, as opposed to subdividing it into separate “seasons.” But once I opted to keep the action in Las Vegas for the inaugural story arc, now called “Outstanding Debts,” this scene quickly ended up on the cutting room floor. But I knew I’d be bringing the character back in season two.

Even before I finished that initial script, I worked up a “story bible” for the series, a sort of master blueprint to make sure I kept the plot and characters consistent. Not a complete script, or even a full outline, but mapping out the major beats for each season and defining the key characters. So now, I started developing this investor character in greater depth, working out his key personality traits. He had to be engaging and personable, but with a ruthless quality — something lurking beneath the surface that would only come to the fore when he was crossed. Not quite so simple as turning a switch on or off, but still a transition that could happen surprisingly quickly. At the risk of going into some vague spoilers, while we see hints of that transformation in “All That Glitters,” it promises to become more evident in our third-season story arc.

For some reason, an old Cheers episode popped into my head, 1989’s “The Two Faces of Norm,” in which barfly Norm Peterson is taken advantage of by his painting-business staff, who see him as a lovable pushover. To whip his team into shape, he invents a fictional “business partner,” Anton Kreitzer, who can be the hard-nosed taskmaster while Norm remains the affable, good-natured buddy. At one point, Norm even has to adopt the Kreitzer persona in an attempt to keep up the ruse — which naturally falls apart in typical sitcom fashion. Amused, I penciled in the name “Anton Kreitzer” for my venture capitalist and didn’t think much more about it. Later, rewriting his introduction to the story, and having already added Eleanor Wallis to the scene, I realized I needed another character in the mix, to provide an additional point of potential conflict. And if I had one character named for Norm, why not name this new character for Norm’s near-constant barstool companion? So Cliff — short for Clifford — became Ford.

From there, throughout the entire writing process, I started sticking in Cheers character names. Malone, Chambers, Boyd, Pantusso — that’s Coach’s last name, by the way — and even a bunch of secondary characters, like Tom, Paul, Drake, and Gittes, who’s actually named for Harry Anderson’s flim-flam character rather than for Jack Nicholson’s Chinatown protagonist. None of the Quorum characters are really anything like their Cheers namesakes, but once I got rolling, it just sort of stuck. I even threw in a reference to a “Screaming Viking,” a fictional drink featured in the show.

Be sure to check out the complete article, in both text and enhanced audio formats, along with the rest of The Quorum Chronicle series, at our Patreon page. And thanks so much for your continuing support of Jabberwocky Audio Theater!

— William R. Coughlan, writer/director of Quorum

This article excerpt, part of a series entitled The Quorum Chronicle, appears in full — along with expanded audio content — exclusively for our Patreon backers. See our Patreon page for further details.

One critical step in building a story’s environment — at least for those taking place in the real world — is familiarizing yourself with the location as much as possible. The last thing you want is for someone to be taken out of the story because of some obvious detail you’ve overlooked. But for “All That Glitters,” not living in Los Angeles meant that I was left making a fair number of assumptions and relying on more than a little educated guesswork.

All of which led to an unusual source for exploring the City of Angels in detail: video games. Stick with me here.

I’ve never been a hardcore gamer — honestly, I bought a PlayStation 3 less for its gaming capabilities than because it was the least expensive Blu-Ray player on the market at the time. But one day, I happened to be perusing a Time magazine article on the top 10 video games of 2010, and I was struck by an image for a game called Red Dead Redemption: a lone cowboy astride his horse, framed against a gorgeous desert sunset. Intrigued, I picked up a copy of the game, and was immediately hooked by the stunning western vistas, playing the game through to the end, exploring every nook and cranny of this phenomenally detailed open world in the process. (I’m kind of obsessive that way.)

A short time later — in the spring of 2011 — I was at a local GameStop when the clerk commented that the studio that published Red Dead Redemption had another open-world game due to be released that month: a 1940s-set detective story called L.A. Noire. I preordered it on the spot.

Produced by Australia’s Team Bondi and published by Rockstar Games, L.A. Noire is set in Los Angeles in 1947, one of the deadliest years on record for violent crime at that point (including the infamous “Black Dahlia” murder, which is referenced heavily within the game). Players take on the role of Marine veteran Cole Phelps, now a member of the Los Angeles Police Department, as he works his way through several different desks — from Traffic to Homicide, Vice and Arson — solving a series of cases inspired both by real-world events and classic film noir stories.

Be sure to check out the complete article, in both text and enhanced audio formats, along with the rest of The Quorum Chronicle series, at our Patreon page. And thanks so much for your continuing support of Jabberwocky Audio Theater!

— William R. Coughlan, writer/director of Quorum

This article excerpt, part of a series entitled The Quorum Chronicle, appears in full — along with expanded audio content — exclusively for our Patreon backers. See our Patreon page for further details.

The film influences that went into crafting the Los Angeles of “All That Glitters” are too numerous to mention. (Or at least too numerous to iterate in a single Chronicle entry.) After all, many of the signature characteristics of the city — at least within the crime genre — are common to nearly the entirety of the noir ouvre. Not that The Gambler’s Tale fits definitively in the noir model: I like to think the world we portray isn’t quite as irredeemable as is the case in true noir, which is why I tend to refer to our story as a hardboiled crime drama — a subtle distinction, but distinct nonetheless. I’ve always thought of it as a sort of hybrid with roots in film noir or hardboiled crime fiction in general. With that in mind, it’s only right to at least attempt to highlight a few memorable standouts.

Two of Billy Wilder’s classics immediately come to mind. First, 1944’s Double Indemnity, which presents L.A. as a place where otherwise appealing people are willing to do terrible things, executing an intricate, cold-blooded fraud and murder scheme in the service of all-consuming ambition. Second, 1950’s Sunset Blvd. throws into sharp relief the ultimate futility of ignoring reality in favor of a preferred fantasy, as well as the dissonance between the utter corruption and moral bankruptcy of Hollywood and its irresistible appeal. And both of them highlight the sharp divide between the way things work for the rich and powerful and the less well-connected among us.

That same divide comes through in Howard Hawks’s 1946 classic The Big Sleep, which also deserves credit for explicitly portraying an illicit gambling operation — The Cypress Club — that villain Eddie Mars operates without the slightest fear of legal complications. Of course, we can only hope to recapture a fraction of the chemistry between Humphrey Bogart and Lauren Bacall in that film — though I do think we manage to resolve our mysteries a bit more cleanly. The Big Sleep also features a memorable scene where the protagonist, Philip Marlowe, attempts to decode a mysterious cipher, a task Jimmy also tackles in “All That Glitters” (and which may be of particular interest to anyone who listens all the way through Quorum’s end credits).

Be sure to check out the complete article, in both text and enhanced audio formats, along with the rest of The Quorum Chronicle series, at our Patreon page. And thanks so much for your continuing support of Jabberwocky Audio Theater!

— William R. Coughlan, writer/director of Quorum