Dog Day Afternoon Page #2

CLOSE - SAL

still sitting, back to Mulvaney, watching Jackie's approach

and entrance, ready to move on cue.

ON DOOR:

on Howard as he looks at Jackie, still half in, half out.

Howard speaks to him:

HOWARD:

Closing time; you want in or out?

Jackie steps in and as Howard locks the door to prevent more

customers from entering, Jackie walks toward Sonny, filling

out a slip at the left-hand area. CAMERA FOLLOWS Jackie.

He stops at deposit-slips desk, next to Sonny.

CLOSE - SAL

as if by pre-arranged signal, Sal now stands up, moves to

the side of Mulvaney's desk.

SAL:

You the manager?

ON MULVANEY:

who is still on the phone. He gestures at the sign on his

desk that says so, and gestures for Sal to sit down.

ON SAL:

as he sits, producing as he does a machine pistol, which he

holds on Mulvaney's chest, out of sight from others in the

bank.

MULVANEY:

His mouth simply stops, and he stares at the gun. Mulvaney

is a comic opera Irishman in his early fifties, florid...

cheerful, bushy eyebrows; he acts out everything he says...

SAL:

Just go on talking, like nothing was

happening, okay?

MULVANEY:

(into phone)

Listen, lemme call you back.

He hangs up, and looks from the gun up to Sal's blank hard

face. To his own amazement, he grins: a hopeful grin that

says:
"Like me - don't hurt me." And he's embarrassed by

it. As we watch, his smile turns sour.

HIS POV - FLASH

Sal's absolutely unmoved face.

TWO SHOT - SONNY AND JACKIE

Jackie moves over to Sonny.

JACKIE:

Sonny, I'm gettin' real bad vibes.

SONNY:

Jackie - what are you talking about?

JACKIE:

Maybe we can take something smaller...

like a Spanish grocery.

SONNY:

(indicating what's

happening with Sal

and Mulvaney)

It's too late - just get away from

me - don't talk to me now - go over

to your place...

Jackie moves to another deposit-slips desk - takes one out

and begins to fill it out.

ON TELLER'S CAGE AREA

as a LADY with a BABY in a stroller moves away from the Teller

and starts to walk toward the front door. DEBORAH is marking

figures on a piece of paper at 1st Teller's cage.

SYLVIA and MIRIAM stand behind her - their backs to Sonny.

Howard, who has put the folded flag in a plastic bag in a

front desk, follows Lady toward the door. He unlocks the

door and hands the Baby a lollipop, courtesy of the bank,

and she exits the bank.

CLOSE - NEW ANGLE - SONNY

glancing at clock, taking a sharp deep breath...

SAL:

staring at Mulvaney.

MULVANEY:

the ruins of his smile still on his face.

HOWARD:

straightens up from locking the door; the figure of the Lady

and the Baby can be seen receding outside...

SONNY:

seeing that the bank is closed, locked in, with no customers,

crosses toward the front teller's cage area, carrying the

florist box. As he reaches the other side, he rips open the

box and takes the rifle out and aims it level onto SYLVIA

BALL, the teller, who automatically takes the "closed" sign

and holds it in front of her face as though to protect herself

from the rifle.

SYLVIA:

(holding sign in front

of her face)

Sorry, this window is shut...

TWO SHOT - MULVANEY AND SAL

as Mulvaney stands and yells to Sylvia...

ANGLE ON BACK OF BANK, REST ROOM AREA

as MARGARET, an accountant, comes out of the ladies' room,

starts to cross downstage toward her desk, sees what is

happening, and momentarily freezes in her tracks.

SONNY:

The cues have got all f***ed up, but he's so programmed and

ready, he can't adjust, so the speech he had ready comes out

now:

SONNY:

Okay, this is a stickup! Nobody

move! This is a f***ing stickup!

Just freeze now, goddammit! Get

away from your desk... get in the

center - get in the center!

Sylvia and Edna start to move toward the rear of the bank,

toward Margaret's desk.

MULVANEY:

aghast at his own outspokenness... Sal holding the gun

levelled on him.

MULVANEY:

Okay, okay... we know it's a stickup!

SONNY:

(to Jackie, re:
Howard)

If he moves - blow his guts out...

Cover him!

TWO SHOT - SONNY & JACKIE

Jackie, staring at the real guns, turns to Sonny...

JACKIE:

I'm sorry, Sonny... I can't make

it...

Jackie starts to move toward the front door.

SONNY:

Hey, for christ's sake... now...

f***in' a**hole...

(turns to Sal)

He can't make it.

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