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The Sopranos--final sequence
From Citizendium, the Citizens' Compendium
This is a transcription of the last sequence of The Sopranos, which runs 274 seconds before the final cut to black.
0) Tracking shot through the restaurant Holsten's front window of TONY, as the lyric on the soundtrack sings "all that you dream" and that song continues as we
1) Cut to medium long shot of TONY as he enters the front door, whose bell sounds.
2) 180 degree cut to long shot of restaurant interior from TONY's point of view. Waitresses and bus boys at work. About a dozen patrons seated at about nine tables. One table in the center background is empty, as are the counter's four stools in the foreground.
3) 180 degree cut to close-up of TONY.
4) 180 degree cut to TONY's point of view, showing a long shot of TONY seated at the table that was empty.
5) Cut to medium shot of TONY at his table, examining its jukebox.
6) Cut in to TONY, pondering.
7) Cut to close-up of jukebox's selections. Most prominently, we see the selections "Those Were the Days" and "Turn, Turn, Turn." TONY flips the page and we see "This Magic Moment" centered where "Those Were the Days" was.
8) Cut to another table's waitress taking order.
9) Cut to cooks at the grill inside the kitchen.
10) Cut to extreme close-up tracking down the jukebox's selection page, stopping on Heart's "Who Will You Run To" and "Magic Man (live)."
11) The door's bell sounds as we cut to medium close-up of TONY who looks up at the door.
12) Cut to long shot of 20's white female walking in the door.
13) Cut to medium close-up of TONY, who looks back down at the jukebox.
14) Cut to extreme close-up and linger a bit on jukebox selection, Journey's "Don't Stop Believing" and "Any Way You Want It."
15) Cut to medium close-up of TONY still looking over the jukebox.
16) Cut to extreme close-up of jukebox, tracking over the selections, settling on TONY Bennett's "I've Gotta Be Me" and "A Lonely Place."
17) The door's bell sounds as we cut to medium close-up of TONY who looks up at the door.
18) Cut to long shot of white male in his 50's wearing a baseball cap entering Holsten's.
19) Cut to medium close-up of TONY dropping a coin into the jukebox.
20) Cut to another angle of TONY dropping the coin into the jukebox and pressing the selection buttons.
21) The door's bell sounds as we cut to medium close-up of TONY who looks up at the door.
22) Journey's "Don't Stop Believing" begins to play as we cut to CARMELA opening the door and entering Holsten's. We hear the song, sometimes louder sometimes softer, through the rest of this sequence.
23) Cut to medium close-up of TONY, watching CARMELA enter.
24) 180 degree cut to TONY's point of view of CARMELA in medium long shot walking toward him.
25) Cut to medium close-up of TONY.
26) Cut to long shot of TONY's booth as TONY reaches for two menus, putting one down at the empty place across from him. We now see this booth can seat six.
27) Cut to long shot of 20's white male and female at another table, eating side by side, the woman's free hand rests on the man's shoulder.
28) Cut to gray-haired white male sitting with three white Cub Scouts at their table.
29) Journey's lyric begins with "Just a small town girl" as we cut to medium close-up of CARMELA arriving at TONY's table.
30) Cut to medium close-up of TONY looking up at CARMELA. TONY smiles and says "Hey."
31) Cut to close-up of CARMELA, who returns "Hey" and sits down as the lyric sings "living in a lonely world."
32) The lyric sings "you took the midnight train going anywhere" as we shot-reverse shot of TONY and CARMELA. They study their menus and the lyric sings "just a city boy" as we
33) Cut to medium close-up of TONY studying his menu. Shot-reverse shot: CARMELA: What looks good tonight? TONY: I don't know.
34) Cut to long two shot of TONY and CARMELA seated. TONY: Where's (A.J.)?
35) Cut to medium close-up of CARMELA. Shot-reverse shot: CARMELA: He just called. He's on his way. TONY: (nods) CARMELA: Med's coming separately. She had to go to the doctor. To switch birth control. TONY: (nods)
36) Cut to medium shot of BASEBALL CAP now seated at his booth.
37) Cut to two shot of TONY and CARMELA. Then shot-reverse shot: CARMELA: You talk to Mink again? TONY: It's Carlo. He's gonna testify. CARMELA: (shakes her head as the lyric sings "it goes on and on and on").
38) Cut to medium close-up of TONY as door's bell sounds.
39) Cut to white male, early 40's in a "Members Only" jacket entering doorway, with A.J. obscured behind him as the lyric sings "Strangers. Waiting."
40) Cut to medium close-up of TONY recognizing A.J.
41) Cut to medium shot of A.J. walking toward TONY's table.
42) Cut to long shot of booth as A.J. sits down next to CARMELA, stage right, closest to camera.
43) Cut to medium close-up of A.J. A.J.: Mmmm. Onion rings. TONY: Best in the state...
44) Cut to medium shot of TONY, with A.J. partially in the frame. TONY:...as far as I'm concerned.
45) Cut to long shot of booth as TONY grasps and shakes A.J.'s hand, which is on the table.
46) Cut to MEMBERS ONLY sitting at counter, turning his head to look in the direction of TONY's table.
47) Cut to medium close-up of A.J. studying menu.
48) Cut to long shot of Holsten's front door and street as MEADOW's car enters stage left and stops by a space to parallel park.
49) Several cuts to MEADOW, her car's tires, the curb, the car's gear shift as MEADOW has difficulty parallel parking.
50) Two cuts to TONY's table as all three Coke's arrive and all three pick up their glasses.
51) Cut to young man and woman at their table.
52) Cut to medium shot of "MEMBERS ONLY" stirring his coffee at the counter as he looks up and around in the direction of TONY's table.
53) Cut to medium close-up of TONY looking down at menu.
54) Cut to medium close-up of CARMELA looking down at menu. CARMELA: How was work today.
55) Cut to medium close-up of A.J. A.J.: All I'm doing is getting coffee and placing ()'s phone calls.
56) Cut to two shot of A.J. and CARMELA. CARMELA: You may not realize it, but you are making contacts.
57) Cut to long shot of booth. TONY: It's an entry level job.
58) Cut to medium close-up of A.J. as TONY throws a tiny bit of paper in his face. TONY: Buck up. A.J.: All right. Focus on the good times.
59) Cut to shot-reverse shot TONY: Don't be sarcastic. A.J.: Isn't that what you said one time? Try to remember the times that were good? TONY: I did? A.J.: Yeah. TONY: (nods) Well, it's true I guess.
60) Cut to medium close-up of CARMELA looking at TONY, rubbing her chin.
61) Cut to medium close-ups of TONY and A.J., then
62) Cut to three more shots of MEADOW's difficulty parallel parking.
63) Cut to medium shot of MEMBERS ONLY getting off his stool and walking in the direction of TONY's table.
64) Cut to medium close-up of TONY looking up at members only.
65) Cut to medium close-up of A.J. with MEMBERS ONLY partially visible coming toward TONY from behind A.J.
66) Cut to long shot of TONY's booth, 180 degrees opposite the previous three shots. The men's room door, marked "MEN," is visible beyond TONY. Enter MEMBERS ONLY stage left. As he walks past TONY's booth, his torso faces to his right, toward TONY as his head turns to his left to look at the men's room door.
67) Track out and left as MEMBERS ONLY turns the corner, his back now to TONY as he walks to the men's room, opens its door, and enters.
68) Cut to long shot of two black males in their 20's entering Holsten's front door and looking over food in a refrigerated case just inside the door.
69) Cut to medium close-up of TONY looking down at his menu.
70) Cut to long shot of MEADOW successfully parking her car.
71) Cut to medium shot of TONY over A.J.'s shoulder as the waitress puts a bowl of onion rings on the table by TONY. TONY: I went ahead and ordered something for the table.
72) Cut to medium close-up of Carmella reaching for an onion ring and popping a whole one into her mouth.
73) Cut to medium close-up of A.J. reaching for an onion ring and popping a whole one into his mouth.
74) Cut to medium close-up of TONY popping a whole onion ring into his mouth.
75) Cut to long shot of MEADOW slamming car door and running across street away from the camera toward Holsten's front door as a car comes down the street stage right, toward MEADOW.
76) Cut 180 degrees to medium shot of MEADOW from the point of view of Holsten's front door, running toward camera. She is about to open the door to enter Holsten's
77) Cut to long shot of TONY's booth, everyone chewing their onion rings. The door's bell sounds as we
78) Cut to medium close-up of TONY who looks up at the door. The lyric sings "Don't stop..."
79) Cut to black screen and silence. Hold black and silence 10 seconds, then fade in sequence of credits over silence. The credits run in silence for 120 seconds.
