HERE WE ARE AGAIN, THIS TAKES US UP TO THE END OF CHAPTER ONE:
A 5 panel page. three running horizontally down the page, one long one on the right-hand side of the page and one filling the bottom part of the page.
P1: We are looking from behind the bar and slightly to FRANKS right it takes in the top of the bar FRANK from the chest up (because he’s sitting down ) and a little of the room behind him. FRANK has sat down at the bar, he’s placed his hat next to his elbow and raised his hand to get the bartender’s attention.
WELL, HERE WE GO. I HAD A FEELING THAT I WAS ALREADY MARKED, BEFORE I’D EVEN WALKED THROUGH THE DOOR OF THE BAR THAT NIGHT.
P2: The same but now the bartender is in front of FRANK, he has a towel in his hands.
THE BARTENDER LOOKED NERVOUS, I COULD SEE THE BEADS OF SWEAT ON HIS BALD PATE, HIS EYES KEPT SHIFTING TO COSTANZA OVER IN THE BOOTH.
BARTENDER: (YES, SEÑOR WHAT’LL IT BE?)
FRANK: (I’LL HAVE A WHISKEY–NO ROCKS)
P3: From behind FRANK looking toward the BARTENDER. FRANK is has his shoulders hunched, his feet are hooked onto the support bar between the legs of the bar stool. we can’t see his reflection in the mirror, but we can see the reflection of the back of the bartender’s head and the head and shoulders of the singer and the bass player with his double bass as the stage is slightly elevated.
I DON’T THINK THERE WOULD BE TOO MUCH GAINED BY PUSSY FOOTIN’ AROUND. SO I GOT STRAIGHT TO THE POINT.
FRANK: (HOW OFTEN DID BOBBIE JOE LONG COME INTO THIS JOINT?)
BARTENDER: (WHO WOULD THAT BE SEÑOR? WE HAVE MANY PEOPLE COME INTO OUR ESTABLISHMENT?)
FRANK: (C’MON RAMON. YOU KNOW WHO I’M TALKIN’ ABOUT. GUY ABOUT MY HEIGHT WITH CURLY BLOND HAIR AND BLUE EYES. HE LOOKED LIKE AN ANGEL!)
P4: This is the long panel on the right-hand side of the page. We are looking from the front up from a low angle so that it shows COSTANZA’S henchman–RAÚL–walking away from the booth and toward the bar. RAÚL is in the foreground and COSTANZA and the barfly are n the background. The man that the BARTENDER had been talking to is now talking to COSTANZA, he has obviously told COSTANZA what FRANK was after.
“Look at me, I’m as helpless as a kitten up a tree;
P5: This is a side on long very wide shot. we see the extent of the bar and RAÚL in profile as he’s striding toward FRANK we can see the entrance/exit door to our left and a couple of tables with patrons on the far right of the bar. The tables that are in front of the bar can also be seen though there is no one sitting at those.
and I feel like I’m clingin’ to a cloud,I can’t understand
I get misty holding your hand.
4 PANEL PAGE
P1: We are looking from behind the bar RAÚL is behind FRANK and we can see the bans behind him, a couple of couples are dancing on the small dance-floor in front of the band, obviously FRANK can see him in the mirror.
THE GEEK WAS BEHIND ME. WAS IT MY IMAGINATION OR DID THE SPACE AROUND ME JUST DROP A FEW DEGREES?
RAÚL:(MR. COSTANZA WOULD LIKE TO HAVE A WORD WITH YOU, SEÑOR.)
FRANK:(IZZAT SO? OK, I COULD DO WITH A NICE CHIT-CHAT!)
P2: We are looking from above down on the bar, FRANK and RAÚL are wending their way through the tables to the booth where COSTANZA is sitting. The angle is high, perhaps a “chandelier-eye-view”. FRANK is trailing slightly behind RAÚL.
THE BAND HAD NOW STRUCK UP SOME TORCH SONG, I THINK IT WAS A BILLIE HOLIDAY NUMBER, BUT THE CANARY DIDN’T HAVE THE EMOTION IN HER VOICE TO CARRY IT OFF. I THINK IT WAS ‘LOVER MAN’.
SFX: I don’t know why but I’m feeling so sad/I long to try something I never had
P3: FRANK and RAUL have now reached COSTANZA’S booth. We are looking from the side of the table, COSTANZA is framed by FRANK’s back in the foreground and RAÚL who is back at his side, we see COSTANZA sitting down, he is looking down at the newspaper that is spread on the table, without looking up at either RAÚL or FRANK.
COSTANZA:(SIT DOWN PLEASE MR. HOWARD.)
SFX: Never had no kissin’/Oh, what I’ve been missin’/ Lover man, oh, where can you be?
P4: FRANK has slid into the booth opposite COSTANZA, his hands crossed in front of him on the table top. COSTANZA takes no notice of him, he is reading the newspaper.
I HAD TO WATCH THIS ONE. I KNEW COSANZA WAS NO BOOB, BUT I’D HAFTA TREAD MORE LIGHTLY IF’N I WASN’T GONNA END UP BEHIND THE 8-BALL WITH THIS ONE.
SFX: the night is so cold and I’m so alone…
4 panel page, but the panels run the width of the page rather than normal format. This should give us the widescreen view.
P1: We are looking from COSTANZA’s side of the booth. COSTANZA now looks up at FRANK, he has a sly look, distrusting and hard, this is someone who has come up from the streets and knows how to fight dirty. He’s in his mid-50s, but his hair is still black and slicked back, he has a carnation in his buttonhole, His suit is double-breasted and dark with lighter pinstripes, he has a handkerchief poking out of his top pocket.
COSTANZA:(WELL MR. HOWARD. FINALLY WE MEET. TELL ME, HOW ARE THINKS DOWN AT THE PRECINT THESE DAYS? OH, EXCUSE ME I HAD FORGOTTEN THAT YOU ARE NO LONGER PART OF OUR FINE BODY OF LAW ENFORCERS.)
I KNEW THAT HE WAS GONNA TRY AND NEEDLE ME, BUT I WOULDN’T BITE. TOO MANY PEOPLE HAD WOUND UP IN THE DRINK WEARING A CHICAGO OVERCOATBECAUSE OF A QUICK TEMPER.
FRANK: (I’M GLAD WE COULD MEET MR. COSTANZA. IT’S ALWAYS A PLEASURE SITTING DOWN TO TALK WITH SOME OF OUR FINE ‘BUSINESSMEN‘.)
P2: Now we switch sides, we are looking from FRANK’s side of the booth, we can see COSTANZA full on from the bottom of his chest up, the paper is now folded in front of him he is fingering a pinky ring on his left hand. He looks with a smile at FRANK, though his smile is that of a shark.
COSTANZA: (SO. I THINK WE UNDERSTAND EACH OTHER VERY WELL THEN MR. HOWARD. MAY I CALL YOU FRANK?)
FRANK: (I THINK MR. HOWARD WILL DO FOR NOW MR. COSTANZA.YOU HARDLY KNOW ME. YES, WE UNDERSTAND EACH OTHER. BUT I’M A LITTLE INTRIGUED THAT YOU TAKE SUCH INTEREST IN THE DOINGS OF A GUMSHOE.)
I COULDN’T CRAB HOW MUCH HE KNEW, OR HOW HE KNEW IT FOR THAT MATTER. I’D ONLY PICKED THIS UP ON THE OFF-CHANCE. SEEMS THERE WAS A STOOLIE DOWN AT THE CLUBHOUSE.
P3: A close up on COSTANZA, we can see fine lines at his mouth and crow’s feet around his eyes, now we can see his real age just through those.
THIS WAS MAKING ME CURIOSER. WHY SHOULD A BIG FISH LIKE COSTANZA BE INTERETED IN WHAT HAPPENED TO BOBBIE JO? WHY SHOULD HE BE INTERESTED IN WHY I WAS HERE AT ALL?
COSTANZA: (I THINK YOU SHOULD NOT LOOK TOO CLOSELY INTO WHAT HAPPENED TO MR. LONG, MR. HOWARD. HE WAS–HOW CAN IS AY THIS—AHH YES, HE WAS “BITING OFF MORE THAN HE COULD CHEW” I THINK THE EXPRESSION IS.)
FRANK: (SO YOU’RE TELLING ME TO LAY OFF? WHY’S THAT MR. COSTANZA? WHY SHOULD A RESPECTED GENTLEMAN LIKE YOURSELF BE WORRIED ABOUT ME’N BOBBIE JOE?)
NOW I HAD RATTLED HIS CAGE, HE’S STOPPED FUCKING AROUND WITH HIS PINKY RING.
COSTANZA: (SEÑOR–BE VERY, VERY CAREFUL WHAT YOU SAY NEXT. I AM A PATIENT MAN…BUT MY PATIENCE HAS ITS LIMITS.)
P4: We go wide with this, in the mid-ground we see the booth, COSTANZA seated, RAÚL by his side and FRANK sitting across from them. We can see a couple dancing at the edge of the dance-floor. We can see the entrance and the end of the bar.
I’D PUSHED IT ABOUT AS FAR AS I COULD GO, I WAS GOING TO TAKE THE “BETTER PART OF VALOR” OPTION.” AND VAMOOS.
FRANK: (I GET THE MESSAGE MR. COSTANZA–LOUD AND CLEAR.)
COSTANZA: (GOOD, SEÑOR HOWARD. YOU MAY GO NOW.)
I HATED THAT HE THOUGHT THAT I COULD BE ORDERED AROUND. BUT NOW I WAS GETTIN’ THE EDGES OF THE PUZZLE. LIKE AN OLD COON HOUND, ONCE I GOT THE SCENT I WASN’T GIVING UP.
A FIVE PANEL PAGE: 4 thin panels along the top half of the page. The bottom half of the page is taken up by one big panel.
P1: We are outside the club, it’s a shot of FRANK he’s standing at the door of the club. We are looking up from a low angle we see him full body. We can see a bit of the sign of the club above his head. This is illuminating him from the back, his face is mostly in shadow under his hat, but he is lighting a cigarette, so part of his face is illuminated from the match which is cupped in his hand to keep it out of the wind. Behind him on his left(our right) is darkness, the pool of light from the door and sign only goes so far.
NOW MY ANTENNAE WERE UP. THERE WAS STILL SOMETHIN’ NIGGLIN’ AT THE BACK OF MY MIND.WANTING TO COME FORWARD.
P2: We are now looking a little from the right as we are looking at FRANK. We are now a little higher and we can see his face his hands are thrust into his coat pockets and his cigarette is hanging from the corner of his mouth. We can see a shape in the shadows behind him, its hand and right leg are in the pool of light cast by the sign above the door, we can see that it has a blackjack in its right hand. FRANK is still unaware of this.
I NEEDED TO SEE WANETA AGAIN. I HOPE SHE’D DONE WHAT I ASKED AND GOT BACK TO HER CRIB. SHE LIVED ON THE OTHER SIDE OF TOWN.
P3: We are now looking from a low angle again, this time in front of FRANK, we are looking at him from the knees up. Above his head we see the hand with the blackjack raised on high, ready to bring it down on the back of his head.
I STILL COULDN’T THINK OF WANETA, WITHOUT A FEELIN’ OF REGRET. STILL THAT LITTLE THOUGHT WAS WORMING ITS WAY TO THE FRONT OF MY BRAIN.
P4: A side shot, from the right hand side, FRANK is pitching forward, his cigarette has dropped from his mouth and his hat as gone flying as the blackjack smashes into the back of his skull, he is falling towards the pavement, his eyes closed in pain.
OH JEEZ! NOW I REMEMBER…
P5: ACROSS THE BOTTOM OF THE PAGE, ITS A PITCH BLACK PANEL. THE CAPTION BOX AND LETTERING ARE IN WHITE.
…NOW I REMEMBER WHO HERB BAUMEISTER IS ***
END OF CHAPTER 1