shanerjedi said:I'd rather have the boba/plans plot remain anominous so the audience could figure it out for themselves rather than sponfed like lucas's prequels.
I agree with this. You could still have the Fett/Vader conversation, but make it sound like Fett gave the plans to the Bothans, a third party.
Thats' really sinister to have him basically covering his tracks like that.
Maybe have Vader ask him: "Have the plans been delivered to the Bothans?"
Then when Mothma is talking about it the audeince would go "Oh no, a setup!"
Could be the tension we'd need.
The problem with Fett giving it to the Bothan's is nobody knows who the Bothans are you'd have to be an EU fan to know what they look like and even then the number of people who have Bothan outfits is practically zero.
DarthBo said:I don't like this idea of having Vader leak the plans to Boba Fett -> the Rebels.
a) Boba Fett shouldn't be in ROTJ
b) and why would you spoil the "it's a trap" plotline so soon?!
That would totally ruin Palpatine's lines because we'd already know he set it all up...
The only reason Fett doesn't work in ROTJ is he isn't doing what he was designed to do. Having Fett just cooling his heels in Jabba's palace, waiting to be killed off a couple of scenes later is a bit like having a man in a space suit walking into a coffee shop. It doesn't make sense. Boba Fett is a bounty hunter, he finds people or information and he sells it to anyone with the cash.
This storyline gives him a legitmate reason for being in this film (beyond just dying and tying up all the loose ends).
It doesn't spoil the trap plot line it creates tension from it.
We know it's a trap all along and out heroes are about to step right into it and from our side of the screen there is nothing we can do to stop them.
The trap storyline is never going to be a surprise in any viewing of this film, the Empire are always laying traps for the Rebels but now we know there is a trap and the tension comes from how the hell will the Rebels get out of it.
We don't even know the full nature of the trap so it could come from anywhere at anytime.
We have information the characters on screen do not have.
Like Hitchcock said :
There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.