Dog Day Afternoon Page #3

SAL:

F*** him - let him out!

Sonny yells out at frozen Howard.

SONNY:

Hey... let him out!

MULVANEY:

(yells)

Do what the gentleman says, Howard.

Sonny sees that Howard is useless, so he runs to Howard,

grabbing the keys from him and pulls Howard along with him

to the front door. Jackie unlocks the door, and Jackie,

with a last apologetic glance, gives his gun to Sonny and

vanishes into the sweltering afternoon. Sonny then frisks

Howard and has a sudden afterthought as he locks the door

again. He quickly unlocks it and shouts out at Jackie.

EXT. BANK - DAY

SONNY:

Hey, don't take the car!

JACKIE:

(on sidewalk)

Well, how'll I get home?

SONNY:

Take the subway. We need the car.

(as Jackie starts to

walk away)

Hey, gimme the keys - the keys!

Jackie stops, fumbles for keys, crosses back to Sonny with

them.

JACKIE:

(points to fig. desk)

Sonny, there's somebody under that

desk over there... I'm sorry...

SONNY:

It's okay... it's okay...

Sonny turns into the bank once more, as Jackie walks off

toward the subway, pointing inside at a desk near the window

as he does, to point something out to Sonny.

INT. BANK - DAY

Sonny, re-entering the bank, speaks to Howard.

SONNY:

Lock it.

Sonny now crosses to desk that Jackie indicated, as everyone

watches him, as though it's all in the game.

SONNY:

(taps loudly on top

of desk)

Hey... get outta there! Nobody's

gonna hurt you.

JENNY, a young, frightened girl, peeks out from under the

desk, obviously afraid to reveal herself.

Sonny starts to move toward the front of the bank. Sal turns

so he can cover everyone. Sonny turns to order Howard.

SONNY:

Pull the drapes.

Howard doesn't move.

SONNY:

Pulla drapes!

Howard belatedly leaps to work, pulling drapes that screen

off the interior from outside. The door has no drapes or

blinds and thus when the drapes are closed there is a corridor

of space across the street we will always be able to see.

And from which people outside will always be able to see in.

As Howard finishes the task, he then walks back to the huddled

group on the rear.

SONNY:

on his way to the back of the bank, is digging into his jacket

pocket; he swings around as he passes the camera that is

bolted to a wall bracket covering the tellers' area. He

whips out a spray can and gives the lens a shot of red paint.

There are three cameras in all, each of which he sprays.

SONNY:

(grinning)

No replay, folks... no alarms...

After spraying the three cameras, he has reached Mulvaney's

desk area. The girls are scattering to group farther back

and Sonny and Mulvaney are heading for the vault.

MULVANEY:

(on cross to vault

with Sonny)

We're hip... let's just get you all

fixed up and on your way!

MIRIAM, a young, awkward, overweight Jewish girl, chewing

gum with nervous machine-like rapidity, moving toward the

vault. The gate is closed, and she holds one key and Mulvaney

the other. They pass Sal, who now holds the others in the

bank under his gun while at the vault gate.

SONNY:

Okay, is the vault open?

MULVANEY:

I can take care of that.

NEW ANGLE:

Mulvaney is about to insert his key in his lock. Sonny

quickly reaches out and grabs Mulvaney's hand, and looks at

the key he has extended. He explodes.

SONNY:

Son of a b*tch!

He almost hits Mulvaney with his fist.

SONNY:

What the f*** you tryin' to do?

Trip the alarm? Use the spur key?

Use the other one...

He's grabbed the keys from Mulvaney and holds up the key

Mulvaney was going to use... we're in a:

VERY TIGHT TWO SHOT - MULVANEY AND SONNY'S HEADS

Sonny holds the key right in the middle of the FRAME where

Mulvaney and the audience can SEE the key has a tiny

projection or spur at the end. If this key is used, the

spur triggers a silent alarm.

MULVANEY:

I must of been outta my mind.

SONNY:

(furious)

Well, you get your mind right. I'm

a Catholic and I don't wanna hurt

nobody, but goddamn it, don't you

play no games with me. Unnastand?!?

Mulvaney nods and picks out a key that is identical except

for the spur. He shows it to Sonny. Sonny nods.

NEW ANGLE:

as Mulvaney carefully uses the safe key to unlock the gate.

Miriam is crying as she unlocks her side. The gate swings

open. Sonny shoves Mulvaney inside and, as he passes Miriam,

notices her tears.

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