Dog day Afternoon
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INT. BANK - DAY A slightly seedy little branch bank, old yellow brick, varnished wood, a rubber plant, an American flag. Through the windows we SEE HOWARD, the aged black bank guard, in uniform, taking down the American flag from outside. Past him comes Sal carrying an attache case. He passes Howard coming toward us through the door into the bank. BANK CLOCK - as it CLICKS from 2:57 to 2:58 PM. MOVING SHOT WITH SAL as he moves toward the left-hand deposit-slips desks. He picks out a car-loan application slip, then walks toward the manager's desk (as the sign on the desk proclaims) of PATRICK MULVANEY. Sal sits down, his back to Mulvaney, facing the front door of the bank. Mulvaney is on the phone. ON DOOR as Sonny bustles through in his bouncy dancer's walk. He carries the large florist box. He moves toward the left- hand deposit-slips desks, takes one out and begins to fill one out. ON HOWARD as he pulls out the keys, attached to the belt of his uniform. Jackie approaches the door of the bank and stops, neither in nor out, as though he can't make up his mind. Howard watches him, waiting patiently, keys in hand, folded flag under his arm. 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 Okay, this is a stickup! Nobody move! 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... you asshole... (turns to Sal) He can't make it. SAL 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. act out- odgrywać, grać (rolę) afterthought- refleksja aghast- osłupiały apologetic- przepraszający asshole- dupek (wulg) attach- przypinać, przyczepiać, umocować blank- pusty, bez wyrazu bouncy- pełen werwy bushy- krzaczasty bustle- spieszyć się, krzątać się car-loan application- wniosek o kredyt na samochód courtesy- uprzejmość deposit-slip- formularz bankowy, lokata fill sth out- wypełniać (druk) florid- rumiany fold- składać freeze- zastygać frisk- dokonywać rewizji osobistej gesture- robić gest, wskazywać gestem glance- zerkać. spoglądać; spojrzenie grab- chwytać grin- uśmiechać się, szczerzyć zęby; uśmiech indicate- wskazywać left-hand- z lewej strony level on- nakierować na lollipop- lizak momentarily- momentalnie, w jednej chwili out of sight- poza zasięgiem wzroku outspokenness- szczerość, otwartość pre-arranged- ustalony wcześniej prevent- zapobiegać, nie dopuszczać proclaim- obwieszczać, głosić rear- tył recede- oddalać się rip open- rozrywać, gwałtownie otwierać seedy- podniszczony stare- wpatryać się, gapić się stickup- napad stroller- wózek dziecięcy sweltering- upalny vanish- znikać varnished vibes- przeczucia TEST
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