Dog Day Afternoon Page #6

REVERSE ON SAL AND MULVANEY

Sal brings the gun up so he can shoot the man, at the same

time, crabbing himself aside so he is concealed behind

Mulvaney and the desk. Mulvaney sees the approaching man

and cups his hand over the phone.

MULVANEY:

It's the insurance guy across the

street. He probably saw the goddamn

smoke!

(motions toward smoking

register)

Please! Put out the fire!

ON MAN:

The last few feet from the door.

ON SONNY:

who rushes through the teller's cages gate toward the

register, grabs the smoking register, throws it onto the

floor near Edna's desk, and starts to stamp it out.

MARGARET:

I'll get some water!

Before anyone can move, Sonny grabs the gun on them all.

SONNY:

Nobody move! Freeze!

The women now begin to scream as real hysteria sets in.

Deborah screams, collapses.

CLOSE - ON SAL

BRINGING GUN UP ON:

DOOR:

The man actually kicks the glass with his foot, then leans

against the glass, shades his eyes, trying to see in.

MULVANEY (O.S.)

Sorry... I can't talk now... I'll

call you back.

SOUND of hanging up. The man is looking all around.

SAL AND MULVANEY

SAL:

Get rid of him.

MULVANEY:

Howard, wave him off. Tell him we're

closed. Whatever...

ON HOWARD:

who is useless.

ON MULVANEY:

who starts to move toward the front door, looking over at

Sonny trying to put out the fire.

CAMERA FOLLOWS MULVANEY TO THE FRONT DOOR; Sonny moves with

him, covering him all the time.

ANGLE ON FRONT DOOR

as Sonny stands behind closed venetian blinds to listen to

the conversation and to cover Mulvaney.

SONNY:

The gun's right on your back...

MULVANEY:

Give me the keys...

Sonny hands him the keys.

VERY CLOSE SHOT - SAL

He raises the gun and sights it now, and in this moment, we

should sense a kind of luxurious relaxation into anticipation

on Sal's part. He is smiling a little, and for the first

time, looks happy, and that's what makes him seem dangerous.

He's looking forward to an excuse to kill. It's here now:

survival. There is something almost sexual about the way he

settles his body down behind the weapon, getting ready for

the squeeze on the trigger, the report, the violent shove of

recoil against his muscles and sinews.

In the background, we see Sylvia bringing Howard a cup of

water.

ANGLE ON DOOR:

emphasizing the small of Mulvaney's back. The man is somebody

he knows from across the street. He looks worried and

mystified...

MULVANEY:

(unlocking door)

What is it, Sam?

SAM:

Everything's all right? You okay?

MULVANEY:

Yeah, just a cigarette got in a

wastebasket.

Silence. Sam stares around... thinking.

SAM:

You all right?

MULVANEY:

Little smoke:
like a Polish four-

alarm fire, is all.

SAM:

Yeah. Well, you're okay?

MULVANEY:

Yeah, thanks for keeping an eye out.

SAM:

Okay.

He's not satisfied, but he can't see anything and he can't

think of anything more to say, so...

MULVANEY:

Thanks again, Sam.

SAM:

I'm glad it's okay.

MULVANEY:

It's okay. [Regards to the family,

Sam.]

Mulvaney locks the door and walks inside the bank, giving

the keys back to Sonny.

MULVANEY:

For God's sake, will you please go

now? We gave you every nickel we

got.

SONNY:

You're goin' outside with me. If

there's no cops around, we just split.

Otherwise, you go with us.

Mulvaney and Sonny starts to walk back toward Sal. As they

do, the PHONE BEGINS TO RING AGAIN (#3).

SONNY:

(to Mulvaney)

Answer it.

Mulvaney shrugs helplessly. Picks up the phone, standing at

desk opposite his.

ON SAL:

SAL:

He's gone?

SONNY:

Yeah - it's all right... let's go.

MULVANEY ON PHONE

MULVANEY:

Hello, Mulvaney here...

TWO SHOT - SONNY & SAL

SONNY:

Sal, get 'em in the vault.

SAL:

Where's the money?

SONNY:

Get 'em in the vault!

As Sal starts to herd them into the vault (Sylvia helping

Howard, still with the cup of water), Mulvaney is still on

the phone. Sonny moves down to get the money bag atop the

teller's cages and we hear Mulvaney on phone.

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