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In creating the shadow images of the sequence, Kleinman digitized the footage of
Craig and the film’s stuntmen on the Inferno visual effects system, at Framestore CFC in London; the actors’
silhouettes were incorporated into more than 20 digitally animated scenes depicting intricate and innovative card patterns.
Rachel McAdams turned down a role in the film to focus on raising
her own family. Throughout the entire production period,
Internet campaigns such as “danielcraigisnotbond.com” expressed their dissatisfaction and threatened to boycott the film
in protest. He claims to have worked behind the scenes with
the Fleming family, and believed this was the reason why filmmakers finally
went ahead with Casino Royale.
Before he can, a fellow player reveals himself
as CIA agent Felix Leiter, who offers to stake Bond in exchange for custody of Le Chiffre.

Bond loses his initial stake and Vesper refuses
to give him $5 million to continue playing. Left with a huge loss and under pressure to recoup his terrorist
clients’ money, Le Chiffre sets up a high-stakes Texas hold ’em tournament at the Casino Royale
in Montenegro. In Miami, 007 kills Dimitrios and follows Le Chiffre’s henchman, Carlos, to Miami International Airport.

Joseph Heller (and his friend George Mandel) worked
on the project for a few weeks in early 1965, submitting more than 100 pages after Feldman offered Heller $150,000.
New characters appear such as Lili Wing, a brothel madam and former lover of
Bond whose ultimate fate is to be crushed in the back of a garbage truck,
and Gita, wife of Le Chiffre. The racy plot elements opened up by this change of background include a chase scene
through Hamburg’s red-light district that results in Bond escaping disguised as a female mud wrestler.

A draft from 1957 discovered in Hecht’s papers—but which does not identify the screenwriter—is a
direct adaptation of the novel, albeit with the Bond character absent, instead being
replaced by a poker-playing American gangster. By 1964, Feldman had invested
nearly $550,000 of his own money into pre-production. In January 1956, The New York Times reported Ratoff had set up a
production company with Michael Garrison to produce a film adaptation, but their pitch was rejected by 20th Century Fox and
they were unable to find financial backers before his death in December 1960.

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