Dog Day Afternoon Page #13
- R
- Year:
- 1975
- 125 min
- 665 Views
VARIOUS COPS:
Confusion reigns. They don't know if the perpetrator or
not, since they haven't yet seen Sal or Sonny. Guns are
up, aimed, being pushed down... Cops run for better vantage
points.
ANGLE ON HOWARD:
as Moretti reaches him. He pulls the cop away from him and
starts to give him hell for the rough treatment being given
the guard.
With Sylvia in doorway, staring wildly at the street scene.
Sonny is beside her covering her with his rifle.
SYLVIA:
My God! That's Howard! We voted to
send him out!
VARIOUS ANGLES:
as the cops slowly realize their mistake. They stand back
from Howard, who is virtually catatonic with fear and shock
now. They get him up, a reluctant to believe they could
have made such a mistake...
Near barber shop, across the street, jockeying, trying to
focus in on him, elbowing each other, they yell out:
CAMERAMAN:
Hey! Come out, get in the light.
Hey, out where we can get a shot,
huh? Who's the black guy?
(etc. AD LIBS)
LOW ANGLE - HELICOPTER (TO AND FROM)
swings in over street to try for a shot. Howard is being
taken in the direction of the barber shop.
MORETTI:
to Cops.
MORETTI:
Get him outta here!
DOOR OF BANK:
Sonny back in the shadows with Sylvia, looking at Moretti,
appalled.
ON MORETTI:
Behind him a mob scene. Howard is being led away, weeping.
Photographers, cops, a phalanx of cops have their weapons
levelled on Sonny like a firing squad. It is right on the
edge of violence... of blowing up. Sonny and Sylvia are in
the shelter of the doorway, Moretti stands on the sidewalk,
looking toward Sonny inside the bank.
MORETTI:
Sonny - come out here a minute.
At this point, he removes his jacket and drops it to the
ground, showing Sonny that he is unarmed.
SONNY:
You got these cops outta here.
They're comin' in too close.
MORETTI:
Come on. I want you to see something.
SONNY:
You want me to give up, huh? Look,
Sal's in back with the girls.
Anything happens to me - one move -
and Sal gives it to them. Boom boom.
How do I know you won't jump me?
MORETTI:
I don't forget about Sal and the
boom boom room. I want you to see
this.
Sonny turns back to tell Sal he's going outside. Moretti
stands well out in the street, to reassure Sonny nobody is
going to try to jump him. Sonny stares around; he nudges
Sylvia out ahead of him. As they edge into sight of the
Media across the street:
NEWSMEN AND PHOTOGRAPHERS
Out in the light. Hey, Lady! You're
on TV, Lady! Smile, any... god
damn thing...
ANGLES - SHOWING CROWDS
straining against police lines: this is where we begin to
sense the size of the event. People are eating popsicles
and ice cream. They are diverted and excited. Sonny and
Sylvia begin to emerge: CATCALLS and HOOTS of greeting...
as he looks around, and the impact of his situation really
hits him:
he's not only totally surrounded, he's an event.Some of the crowd CHEER him. An army of Cops, and guns all
levelled on Sonny.
MORETTI:
Let Sal come out, take a look. What
hope you got? Quit while you're
ahead. All you got is attempted
robbery.
SONNY:
...armed robbery...
MORETTI:
Well, armed, then. Nobody's been
hurt. Release the hostages, nobody
is gonna worry over kidnapping
charges, the worst you're gonna get
is five years -- you can be out in a
year.
Sonny stares at him, his face utterly blank.
SONNY:
Kiss me.
Moretti stops, stares back.
MORETTI:
What?
SONNY:
(deadpan)
When I'm bein' f***ed, I like to be
kissed a lot.
(bursting out)
Who the f*** are you tryin' to con
me into some deal? You're a city
cop, where's the FBI? This is a
federal offense, I got kidnapping,
armed robbery, they're gonna bury
me! You know it, you can't talk for
them, you're some flunky pig tryin'
to bullshit me. Now God damn it,
get somebody in charge here to talk
to me!
MORETTI:
Calm down, you're not...
SONNY:
Calm down... look at this, look at
him...!
Gestures at the cops, the wall of rifles and machine guns
levelled on him. It is incredible and terrifying...
SONNY:
(continuing)
They wanna kill me so bad they can
taste it!
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Dog Day Afternoon" Scripts.com. STANDS4 LLC, 2024. Web. 7 Nov. 2024. <https://www.scripts.com/script/dog_day_afternoon_169>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In