Shot 1:  Direct cut.  Close up of a lighter being taken out of a coat by a hand.  The lighter is lit.  Camera pans left following lighter as it is moved to light a cigarette and, ultimately, gives a close up of Mike O’Reilly’s face.  The camera tilts up following his head after the cigarette is lit.  Hard lighting.  Because there is no backlighting there is not much visible in the area surrounding the table.  The mise-en-scène consists mainly of the table that the men are sitting around and some papers and glasses that are spread on top of it.  (10 seconds).
 

Shot 2:  Direct cut.  Medium shot of Johnny Clay.  Straight angle.  The mise-en-scène consists of glasses on a table in front of him and a wall with dark shadows behind him.  Johnny picks up a glass and speaks.  Diegetic light from a lamp positioned above him and the absence of backlighting and other visible light creates hard lighting.  This is an over the shoulder shot between two bodies.  (5 seconds).
 

Shot 3:  Direct cut.  Medium shot of Mike O’Reilly, Randy Kennen, and George Peatty.  Straight angle.  Randy is in the centre and is the only one who speaks in this take.  There is diegetic light from a lamp above the table.  The mise-en-scène still includes bottles and glasses on the table in front of them.  Hard lighting creates deep shadows.  (6 seconds).
 

Shot 4:  Direct cut.  High angle shot of the entire group sitting around the table.  This is an establishing shot showing where the characters are located in relation to one another around the table.  Johnny and George both speak.  Diegetic light from the hanging lamp continues to create hard lighting.  Johnny is positioned opposite the camera.  (13 seconds).
 

Shot 5:  Direct cut.  Cut in to a medium shot of Johnny with a straight camera angle.  Diegetic light comes from the lamp in the top left of the frame.  Hard lighting.  Johnny is still holding a glass.  (8 seconds).
 

Shot 6:  Direct cut.  Medium shot of Randy and George.  The camera angle is straight on.  This is an over the shoulder shot between Unger and Johnny’s bodies.  The side of Johnny’s face is visible in this shot.  The lamp that provides the diegetic light is positioned directly above Randy’s head.  Randy, Johnny, and George all speak in this take.  Hard lighting.  (12 seconds).
 

Shot 7:  Direct cut.  Close up of Marv Unger’s head.  The presence of hard diegetic lighting from the lamp off screen and the absence of backlighting make his face and shirt the only things visible in the shot.  Slightly high camera angle.  Marv speaks and Johnny’s voice is heard from off screen.  (10 seconds).
 

Shot 8:  Direct cut.  Medium shot of Johnny.  Straight angle.  Diegetic light from hanging lamp in the top left of the framing.  Hard lighting.  Over the shoulder shot between Mike and Unger’s bodies.  Johnny and Mike present the dialogue in this take.  (6 seconds).
 

Shot 9:  Direct cut.  Medium shot of Mike, Randy, and close-up of George.  Diegetic light from the hanging lamp in the top left of the frame.  There is smoke drifting up from off screen on the left creating a hazy appearance around the lamp.  Mike asks Johnny a question in this shot and is positioned beneath the lamp in this framing.  Straight angle.  (18 seconds).
 

Shot 10:  Direct cut.  This is a re-establishing shot of the group.  A high camera angle looks down on the entire group of characters sitting around the table.  The camera is opposite Johnny.  Johnny is holding a pen, pointing at a map on the table, and speaking.  Hard lighting and deep shadows.  (18 seconds).
 

Shot 11  Direct cut.  Cut in to a medium shot of Johnny.  Diegetic light from the hanging lamp in the top left of the shot.  Over the shoulder shot that looks between Mike and Unger.  There is smoke coming from in front of Mike and Unger.  Johnny leans forward, backward, and then forward again as he continues to explain the plan.  Several diegetic whistles are heard from the characters when Johnny tells them the amount of the “payoff.”  (36 seconds).
 

Shot 12:  Direct cut.  Medium shot of Mike, Randy, and George.  All seem to be listening very closely to Johnny as he explains the plan.  Diegetic light from hanging lamp in the upper left continues to create deep shadows.  Straight on camera angle.  There is more smoke in this take.  (7 seconds).
 

Shot 13:  Direct cut to a medium shot of Johnny as he continues to explain the plan.  Diegetic light from the hanging lamp in the top left of the frame.  There is smoke rising toward the lamp.  Over the shoulder shot that looks between Mike and Unger.  (10 seconds).
 

Shot 14:  Direct cut.  Medium over the shoulder shot (over Johnny’s shoulder) of Mike, Randy, and George.  There is diegetic light from the hanging lamp in the top-centre portion of the initial framing of this take.  Johnny continues to explain the plan.  There is a diegetic noise from outside the room.  All of the characters turn their heads in surprise and look in the direction of the camera.  Johnny and Randy stand up.  Johnny stands up in front of the camera and briefly blocks about 2/3 of the picture with his body, causing the screen to be mostly black.  He leaves the camera’s view to the left.  Randy then walks from right to left in front of the camera, briefly causing the picture to go black again.  Marvin Unger enters the framing from the left and walks right around the table.  He bends over between Mike and George.  Non-diegetic music begins.  The music is very suspicious sounding; it adds to the tension of the moment.  (12 seconds).
 

Shot 15:  Direct Cut.  Unger is in the center of the initial framing of this take, between Mike and George.  Unger’s head is blocked slightly blocked by the hanging lamp (still the only diegetic light source).  The two sitting men rise and all three begin to move to the right.  The camera tracks their rightward movement.  As it tracks the camera passes behind furniture and doorframes.  The three men pause between rooms and the camera pauses with them.  There is an overhead lamp in the area that they stand that provides diegetic lighting and illuminates the men’s faces and creates deep shadows.  There is a diegetic sound of a woman gasping, thuds, and then someone being slapped.  The men then move right again and the camera resumes tracking.  They move through a living room with two windows and living room furniture.  The men finally stop when they enter a bedroom.  As the camera tracks their movement it moves behind chares, lamps, doorframes, bedposts, and other parts of the mise-en- scène.  These things briefly obstruct the camera’s view of the men as it tracks.  When the camera stops tracking in the bedroom it stops behind bars at the foot of a bed.  Past the bars all of the men join Johnny and Randy around the bed and gaze down at Sherry Peatty.  The non-diegetic music continues in this shot.  This music consists of horns, flutes, violins, and drums.  It sounds excited, but also adds a sense of danger to this sequence.  (30 seconds).
 

Shot 16:  Direct to a high angle close-up of Sherry’s face as she lies on the bed.  Diegetic lighting from above left (somewhere outside of the camera’s view) creates somewhat hard lighting and a few deep shadows on Sherry’s face.  The non-diegetic music continues.  (2 seconds).
 

Shot 17:  Direct cut.  Close up of a shocked George.  He turns around quickly to face Randy who is just out of the camera’s view on the right.  Randy speaks to George.  The camera follows George’s head movements by panning slightly and keeping his head somewhat centred in the shot.  George speaks and Randy replies.  Randy’s hand slaps George.  George grabs his face and Johnny moves into the shot from the left behind George.  Johnny begins speaking to George.  The non-diegetic music continues.  (13 seconds).
 

Shot 18:  Direct cut to a long shot.  The camera is one again placed behind the bars on the bed.  George is in the center of the frame.  He is facing Johnny on the left side of the picture and Randy is holding him from behind.  Unger and Mike are in the far left of the shot.  The lighting is still hard.  A single diegetic light source, a lamp behind Mike, creates deep shadows.  George looks up at Johnny and frantically explains his case.  Randy swings him around and speaks accusingly to George.  Johnny moves behind George toward Randy.  There is still non-diegetic music.  (15 seconds).
 

Shot 19:  Direct cut to a close up of George looking very worried.  Johnny is to his right looking at him and Mike is in the background between the two.  They are standing in front of a doorway.  There is a picture on the wall behind George on his right; Johnny is interrogating George.  George smiles and nervously tries to explain the situation to Johnny.  The non-diegetic music continues in this shot.  (17 seconds).
 

Shot 20:  Direct Cut.  Over the shoulder (George’s shoulder) close-up of Johnny looking very sternly at George.  A slightly low camera angle looks up at Johnny.  Johnny doesn’t speak at all.  There is a non-diegetic horn sound in this shot that seems to add to Johnny’s sternness.  (2 seconds).
 

Shot 21:  Direct cut back to a close up of a frantic George.  He turns his head and continues to try to convince Johnny that Sherry doesn’t know about the plan.  Johnny is to the left of George with part of his body in the frame.  Johnny turns and looks off screen to talk to Randy and Mike.  The excited sound of non-diegetic music continues.  (13 seconds).
 

Shot 22: Direct cut to another shot from behind the bars on the bed.  Mike and Randy grab George.  Johnny is behind them almost completely hidden.  Unger is still to the far left.  The shot pans right to follow Johnny to the door.  Both Mike and Randy speak to George.  Johnny opens the door and the two men lead George out of the apartment.  Unger moves toward the bed and Johnny.  The non-diegetic music continues through this shot.  (12 seconds).
 

Shot 23:  Direct cut to a high angle close up of Sherry Peatty lying on the bed.  Non-diegetic music continues and Sherry blinks her eyes.  (3 seconds).
 

Shot 24: Direct cut to a low angle of Johnny.  He is speaking to Mav.  There is hard diegetic light from a lamp placed to the right of his head.  The lamp causes deep shadows on Johnny’s face and body.  Non-diegetic music continues.  Johnny winks at Marv while making threats about Sherry.  (6 seconds).
 

Shot 25:  Direct cut back behind the bars on the bed.  Marv looks at Johnny and Sherry continues to rest on the bed.  Straight angle.  Both Johnny and Marv speak.  The non-diegetic music continues.  The same lamp from the previous shot continues to create hard lighting and casts deep shadows on the mise-en- scène.  The camera pans right following Marv to the door.  Johnny looks down at Sherry.  Diegetic sound of the door shutting after Marv leaves the room.  (11 seconds).

 

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