Dog Day Afternoon Page #10

SONNY:

What if I take you with me?

MULVANEY:

(stopping to rest for

a beat, thinking)

If you take anybody, please take me.

SONNY:

They'll shoot you; the f***ing cops'll

shoot you... they don't give a damn.

In spite of that bank insurance.

You see what they did in Attica,

they shot everybody, the hostages,

prisoners, cops, guards, forty-two

people they killed, the innocent

with the guilty.

They have the machine almost to the door now, with Mulvaney

almost pinned between the machine and the door. He eases

himself out. Looks at the gun, then at Sonny, then they

shove the machine against the door. Sonny then gives Mulvaney

his jacket to put on again.

SONNY:

Anyway, I'm not gonna take you.

I'm gonna take one of the girls, a

married one with a couple of kids.

The cops don't like it in the papers

when they kill a mother, especially

if she's got young kids.

Finished with the task, Sonny takes his gun and with Mulvaney,

they start to cross back toward Sal and the rest of the group.

SONNY:

You're just a nice guy, Mr. Mulvaney.

Only don't f*** around with me, you

know what I mean?

MULVANEY:

I don't fool around with you.

Mulvaney crosses back to his desk and sits down. At this

point, all the phones are off the hooks.

EXT. (AERIAL) ANGLE FROM INT. POLICE HELICOPTER (OVER BANK)

As it banks steeply we can see past Pilot to bank, and cops

around car. We see a small crowd being held back by a few

police still setting up barricades. It is the first

indication of the crowd event it became. It also sets the

geography for us, but very quickly another copter swims into

view and the two circle each other. The other copter --

only feet away -- is a TV news helicopter, with a big camera

sticking out the open door on our side.

It is turned down by the Cameraman to focus on the bank. A

COP in the police helicopter yells through his bullhorn at

the TV Cameraman.

BULLHORN COP:

This is a restricted area. You are

flying in a restricted area...

The TV Cameraman swivels his camera up to focus on the Cop,

and as the lens hits us dead center...

INT. APARTMENT NEAR BANK

Though an open window a fire escape can be seen and beyond

it an angle of street and the bank. Near the window in a

corner is a TV set, and on the TV set we are seeing the shot

of the police helicopter and the Cop yelling on the bullhorn

as seen from the TV copter. A couple of Elderly Men are

sitting watching the TV set, ignoring the bank, which they

can see in the flesh, as it were. Outside we are HEARING

the copters, and on the TV set likewise, and the voice of

the Announcer.

ANNOUNCER (V.O.)

...police as yet have made no contact

with the bank robbers who are locked

in the bank...

There is a HAMMERING at the door, and the men at the TV set

barely have time to look around before several burly Cops

wearing flak vests and helmets and carrying sniper rifles

with telescopic slights move through the room, ignoring the

men. They move out onto the fire escape, a couple going up

higher, settling themselves down to aim in their rifles on

the front of the bank. A lot of AD LIB dialogue, but what

we note is the Cops, as a man, take a look at themselves on

the TV.

EXT. BANK - DAY

The FRAME is full of cop faces... tough, mesomorphic faces

with a layer of fat under the skin, increasing as age. They

have the look of cops: alert, curious, weighing. They are

city cops; they don't have that old-fashioned condemnatory

expression, there is an element of playfulness in their nature --

the fact is they love their work, which is criminals. There

is a peculiar delight in ferreting out the criminal impulse

in everybody, and a matching fury in punishing it -- which

is the action of repressing their own strongly developed

criminal unconscious. These are tense, funny, violent, and

rigidly controlled men.

MORETTI is an old-line cop, a lot more relaxed than the

younger men and the cold professionals of the FBI, who as a

group resemble astronauts, and like them hide (but do not

deny) the psychic chaos underneath.

Right now they are looking at the sky. We HEAR a heavy

helicopter track.

We feature SHELDON, the silver-haired FBI Agent-in-Charge,

who looks like an accountant, and Moretti, with hat and cigar,

and a face out of Warner Brothers movies of the Forties. In

spite of Sheldon's age, Moretti plays though he's a smart

kid who still needs a little help.

Sheldon is getting out of a gray car, wears a gray suit.

Three men with him are carbon copies of him at younger ages.

The three hang around him. They approach Moretti who looks

at them without moving.

MORETTI:

(to no one)

Here comes the FBI.

(to Sheldon)

You men lookin' for protection? We

got all the police right here.

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