Script

The Job Offer

 

INT.  inside the bar – Late

 

Open on a bar, in south, central Boston, Camera establishing the scene with a medium-long shot, looking at the barman cleaning glasses, when a large, brooding man wearing a sharp suit under a trench coat enters the shot and sits at the bar, on the right half of a front on medium shot.

 

Usual.

 

[Cut to a medium shot of the barman]

 

BARMAN

Give me two minutes.

 

before he can go out the back, a scrawny man, wearing a polo top and a cheap jacket enters the frame. He obnoxiously announces his presence in the bar.

[Cut to a medium-long shot of the door]

 

KEATON

Yo, barman! whip me up a whiskey, sharpish!

 

The Barman sighs, annoyed by the man’s rude entrance to his establishment and answers in a bored manner.

 

BARMAN

Put your gun in the box behind the bar, and ill “whip up” a whiskey for you when I get back.

 

The barman disappears out the back of the bar.

 

KEATON

(Acknowledging) Alright boss.

 

‘KEATON’ looks round the bar, and focus’ his sight on the first man, who is already at the bar.

 

KEATON (cont’d)

Hey, buddy! Mind if i sit with you?

 

Directing his question to the man at the bar. The man does not turn to meet the eye of his new found acquaintance.

I do.

 

KEATON

(jokingly) Too bad, I’m coming over.

 

[Cut to a medium shot, facing the man sitting at the bar, who occupies the right of the shot]

 

KETON sits next to the first man, occupying the left half of the shot.

 

‘KEATON’ looks around, ending up staring at the first man, who does not react to the curious leer of ‘KEATON’

 

[Cut to close up of KEATON, whose face is visible]

KEATON

 

Hey, I recognise you.

 

[Cut to close up of the first man, whose face is covered in shadow]

Really? I don’t recognise you.

[Cut to second man]

KEATON

Yeah, you were down by the docks, when we were unloading the shipment last week. Hard to miss you.

 

[Cut to first man, whose face comes out of the shadow]

Yeah?

[Cut to second man]

KEATON

Yeah. Didn’t know why I was there, looked like you could have unloaded the whole thing by yourself.

 

[Cut to square shot of both men]

 

The first man blanks KEATONS question, and has a fed up look on his face, trying to ignore KEATON, whilst KEATON looks anxious, and keen to fill the awkward silence.

KEATON

Well… I’m Keaton by the way, Keaton Miles…

 

[Cut to medium shot of the first man]

 

There is an ugly pause as the first man doesn’t reply.

 

[Cut to a parallel shot of Keaton]

 

KEATON

So… how’d you get drafted in with Costello’s Guys?

 

[Cut back to first man]

…Family

[Cut back to Keaton]

KEATON

Ok… um, so you got a history with the Costello’s?

[Cut back to first man]

You could say that.

[Cut back to Keaton]

KEATON

Yeah, looks like I’m doing most of the saying here.

 

light pause, while ‘KEATON’ plays at taking a serious tone,  but then laughs at his own joke, making the first man crack a small smile.

 

[cut back to first man]

So you like working for Costello?

[cut back to Keaton]

 

Slight pause before Keaton answers. He looks happy at the turn in the conversation.

 

KEATON

Yeah… a jobs a job… they’re alright. Nothing like working for McGuire though.

 

[shot slides over so that the first man is in view, behind Keaton]

 

(inquisitively) Really?

 

Keaton looks over to see the first man smiling. He is relieved, and becomes more relaxed.

 

KEATON

Yeah, wish I was still there, it was wicked, he was so stupid he had me doing his books!

 

You? must have been stupid.

 

The First man cracks a slight condescending smile.

 

KEATON

(laughing) Oi! I ended up stealing so much money off of him, and guess what?

 

tell me.

 

KEATON

When he finally found out, I just walked away, joined Costello’s people, and he can’t touch me, haha, no one’s messin’ with Costello; not after what he did to Boyle, and his guys hahaha.

 

[cut to a face on shot of Keaton]

 

Lower key lighting with a slightly brighter light coming from the other man’s angle, who’s voice has a more of an echo-y feel now.

 

How… interesting. So you been taking a little from Costello on the side as well?

 

KEATON

Just the odd buck, I ain’t crazy.

 

…I can see.

 

KEATON

Haha, although saying that, might a little more than that soon…

 

Keaton seems to be considering something, hesitating before he speaks.

 

KEATON

… hey, I’ll let you in on a job if you want. We’re looking for an extra guy, and you could be perfect. There’s big bucks involved?

 

There is another hesitation before the first man speaks, suggesting that he is pondering his options.

 

[the shot pans over revealing the first man, sat next to KEATON]

I’m interested, go on…

 

[the shot and back to a close up pf KEATON, but slowly pans backwards as he speaks, moving to a position where both men are equal in the frame]

 

As the shot pans backward, KEATON tries to hide his emotions, but fails and becomes more animated due to his excitement at the topic of convocation, whilst the first man slowly rotates his shoulders, inviting KEATON to speak more.

 

KEATON

Well basically me and a few of the other guys got someone on the inner circle who’s got a key to Costello’s personal safe, I don’t really know much as I’m new, heck I’ve never even seen Costello, and I’m robbing him. Anyway, they said they needed some muscle; and well, I can’t see us finding more muscle than you, what’d say?

 

[cut to an angled shot with both men in, but

the first man in the foreground]

 

I’d say tell me more about the man you’ve got on the inner circle…

 

[Camera pan round to an extreme close up shot of Keaton]

 

KEATON

You’d never believe this, but its Jimmy…

 

[cut to square on extreme close up of the first man]

 

The first man is shocked for half a second, but controls his facial expressions so that KEATON doesn’t notice.

What?

 

[cut to square on extreme close up of KEATON, mirroring the shot before of the first man]

 

KEATON looks to find the answer funny, chuckling at the first man.

 

KEATON

…as in Costigan. Costello’s cousin! Haha

 

[Cut back to the extreme cause up of the first man]

 

The first man has a sly smile with a hint of humour and confusion at KEATON’S answer.

What’s he doing this for?

 

[Camera pans quickly to revel KEATON in the shot]

 

KEATON

Fuck if I know, but he seemed really pissed at something when I met him.

 

[cut to a medium shot of the first man]

 

The first man turns back to face the bar, and starts to stare into space, with a ponderous look on his face.

And when was this?

 

[cut to a medium shot of KEATON, again mirroring the shpt of the first man]

 

KEATON

I can’t remember. Last Tuesday, I think. You know, I reckon he was the guy who planned this whole thing in the first place; seemed to really want to get revenge for something. But hey, whatever the reason, I’m glad it’s making me rich hahaha. Where’s this barman gone anyway?

 

The first man seems unconcerned by the question of the barman whereabouts, and becomes inquisitive.

He stepped out for a bit, do you know what he’s pissed about?

 

KEATON

Nah, only that it’s something to do with him getting even, something like that.

 

How Petty.

 

KEATON

Yeah… Anyway, can I count on your loyalty?

 

Loyalty? hahaha

 

The barman comes back, interrupting the conversation, so that the first man doesn’t get a chance to answer.

 

BARMAN

Sorry ‘bout the wait, had to hide the bottle from the other barmen. They’d sell this to anyone. Idiots, couldn’t tell their Glenfiddich form their Glenmorange.

 

KEATON

Wheres my whiskey

 

 

Make the barman ask for Keaton’s gun, but not Costello’s.

 

 

(camera blur and fade out when the barman reviews the secret)

 

Make Costello tell the barman to put a sedative in Keaton’s drink (offer to pay for KEATON’S drink, and order his ‘speciality’), so that’s why Keaton goes unconscious.

 

Make Keaton wake up from the blur being tortured by Costello, who kills him for giving away the names too easily.

 

As KEATON takes a sip off his drugged drink, the first man asks for a whiskey, and the barman replies, “yes, Mr. Costello” – KEATON is shocked and says “What!?” as the camera fades and he blacks out.

 

Start with an establishing shot – Fenway park, northeastern uni, MIT, Harvard bridge, docks – time-lapse from light to dark.

 

Start at the dock

 

Voice over?

 

Outside of the bar?

 

call him Costello

 

more descriptions

 

make Costello get it out of him – or show how much of an idiot Keaton it – keaton is on drugs?

 

what is keaton doing in the bar anyway?

 

Give the flashback the same idea

 

costello says what are you doing here? – and he looking

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