[Quick Summary: A thief is blackmailed into one last heist, which is full of crosses and double-crosses.]
This script has all the Mamet razzle dazzle: cross/double crosses, magic, heists, and complex characters.
However, it left me feeling sad and worn.
Perhaps that's apt because although these characters are motivated, loyal, and smart, their mood is jaded and tinged with sadness.
It bleeds into their actions, as seen in the example below.
Watch how these characters are motivated, loyal, and smart (all pro-active traits), but the mood, i.e., "distinctive emotional quality or character," is wearied, seen-it-all.
ex. "On Blane, as a car runs into him.
Blane hits the hood of the car.
ANGLE
On his hand, as it comes down, with a thump, on the hood of the car.
He rolls off the hood, and onto the ground.
ANGLE
On the two policeman, turning to the sound of the accident.
In the b.g. we see Moore, turning the corner.
ANGLE
On Blane, on the ground, holding his leg.
BLANE:...oh god...oh god...
ANGLE on the crowd of onlookers, as the policemen kneel to Blane. Blane starts to his feet. In the back of the crowd we see Pincus, who looks on for a second, and then melts away.
ANGLE
Sidewalk, passerby. Moore walking in the street. Pincus comes up behind him.
PINCUS (sotto): ...he's okay.
MOORE: Yeah, well, you know, that was his road game.
PINCUS: He's too old for that.
MOORE (shrugs): It's his job. Let's get to work."
WHAT I'VE LEARNED: I saw how mood was like another layer on top of the story. It's similar to a sustained attitude.
Heist (2001)(draft dated Mar. 1999)
by David Mamet
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