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Dog Day Afternoon (1975)

by Frank Pierson. Final Draft.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


FADE IN:

EXT. ELECTRIC SIGN

It FILLS THE SCREEN (designed to exactly FILL THE FRAME size
of whatever ratio we're shooting in).  It says:

				 2:51

This message will be a little cryptic to the movie audience
on an essentially BLACK SCREEN.  HOLD for a beat, then it
changes: the lights flash this sign, which should explain it
to everyone:

				94

And a slow distant ROLL OF THUNDER in the far distance; now
the SOUND of media begin to come up loud, under:

EXT. FLATBUSH AVENUE - DAY

LONG SHOT down the Avenue, 400 mm lens, heat waves
shimmering, thousands of old people, and people with children
in strollers moving restlessly about in the heat on those
endless miles of benches.

The SHOT is ON SCREEN only for a beat or two, then gone...

SOUND TRACK COMES FROM A THOUSAND TRANSISTOR RADIOS, TV
SETS, AUTO RADIOS, BLENDED IN THE OPEN AIR...

			RADIO ANNOUNCER 1 (V.O.)
	... the situation continued tense
	in the Middle East today, as...

EXT. SHEA STADIUM (TV CLIP) - DAY

An unnamed player swings and hits a high pop up...

			ANNOUNCER 2 (V.O.)
	... hits a high inside pitch foul
	into the upper stands...

ANGLE ON CROWD

as the ball comes down they scramble and fight for it...

A touch of viciousness...

			ANNOUNCER 3 (V.O.)
	... B-52's meanwhile, unleashed the
	heaviest bombing of the war...

EXT. MOVIE HOUSE TO MACDONALD'S - DAY

We are SEEING HEIDI, though we don't know it yet - she's
just another pretty 175-pound Italian girl with two kids,
KIMMY, JIMMY, about four and five years old.  Right now she
is a lump of browning flesh, shining with oil among rows of
similar ladies (mostly thinner, but all with a certain
unhealthy softness about them) laid out in rows and groups
across the sand.  SHOOT LOW AND LONG, so heat shimmers rise,
as though the heat were baking the oil out of this mob,
visible suntan oil pollution...  Heidi's transistor blasts
ROCK MUSIC into the air.

			LYRICS (OVER)
		(Roberta Flack)
	REVEREND LEE, SHE SAID, LORD KNOWS
	I LOVE YOU, REVEREND LEE - DO IT TO
	ME
		(etc., etc.)


			ANNOUNCER 3 (V.O.)
	... the American High Command
	announced the famed 25th Cavalry
	Division would be coming home!  The
	25th Cavalry, long since afoot,
	hardened in battle in the jungles
	of World War II...

FAR DISTANT THUNDER ROLLS...

INT/EXT. SONNY'S CAR - STREET - DAY

It is parked in a drab Brooklyn street.  Beside the car
stands SAL, medium height, also good-looking in an intense
boyish way.  His eyes dart about suspiciously, the ever-
watchful Sal.

There is a watchful reserve in Sal that contrasts to Sonny's
outgoing bounciness: first impression is Sonny is all bark;
Sal is the bite.  Sal is dressed in impressive blue suit
style, he looks like a kid trying to impress the Godfather.
He even wears a hat.  Now, matching Sal's preparations
inside the car, he checks his tie's alignment, shoots his
cuffs and is ready...

Meanwhile, on their car radio:

			ELTON JOHN
		(Amoreena)
	AND SHE DREAMS OF CRYSTAL STREAMS
	OF DAYS GONE BY WHEN WE COULD LEAN
	LAUGHING FIT TO BURST UPON EACH
	OTHER...

ANOTHER ANGLE BY CAR

As he turns, from the back of the car, JACKIE appears with a
huge florist box, tied with ribbon.  Jackie is an eighteen
year old with bad complexion and in contrast to Sonny and
Sal is dressed in teenage sloppiness.  Adidas, T-shirt,
bowling jacket, jeans.  He is uncertain: waits for directions
from Sonny.  Sonny takes the florist box from him.

We see a water truck drive down the street, followed by
Sonny's car, which drives up near bank.  It stops, Jackie
gets out, crosses to bank window, peers through, then

ANGLE INSIDE CAR

returns to car.  Leans in, has fake conversation with Sonny.
They are waiting.  Sonny checks his watch, turns to Sal in
back seat:

			SONNY
	30 seconds, Sal...

They wait.  At appropriate moment, Sal exits car, walks
toward bank.  Slowly Sonny gets out.

INT. BANK - DAY

A slightly seedy little branch bank, old yellow brick, blond
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.  As he
passes CAMERA:

INSERT: 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

The cues have got all fucked 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 fucking 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...
	fuckin' asshole...
		(turns to Sal)
	He can't make it.

			SAL
	Fuck 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
		(continuing)
	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 bitch!

He almost hits Mulvaney with his fist.

			SONNY
	What the fuck 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.

She just stands there staring into his face like a hypnotized
chicken, the tears streaming down her face.

Sonny stops, staring at her.  Mulvaney, starting to open the
gate, moves inside the vault, impatient...

			MULVANEY
	Okay.  Let's get you on your way.
	Miriam - open the safe.

Miriam hesitates.

			SONNY
	What's the matter with you?

			MULVANEY
		(to Miriam)
	Come on, lemme load you up...

			MIRIAM
	There isn't any money...

Sonny looks at Mulvaney, alarmed...

			MIRIAM
	They picked it up this afternoon...

			SONNY
	No money?!
		(moves inside the vault)


			MIRIAM
	There's only about four thousand in
	singles, and maybe a few hundred in
	larger bills... he's going to kill
	us!

Sonny storms into the vault.

NEW ANGLE IN VAULT

as Mulvaney pulls a cash drawer out to show Sonny: even we
can see there isn't much there.  Sonny searches for more,
finds nothing.

			SONNY
	This is it?  What am I gonna do
	with this?  Holy shit!

			MULVANEY
	It's all we got.

			SONNY
	Okay, don't worry about it.  Stick
	it in the bag...

At this, Sonny pulls out a plastic bag from his pocket,
hands it to Miriam, who opens it and puts the money into it.
As he turns, we see that Miriam is still staring at him,
terrified, and as his rifle swings around, she reels back
with a little screech of terror...

			SONNY
		(continuing)
	Ah, Jesus...

			SAL
	Let's go, Sonny.

			SONNY
		(suddenly gentle)
	What are you crying for?  Jesus
	Christ.  It's not your fault
	there's no money...

			MULVANEY
	She's afraid you're gonna shoot...
		(hands Sonny the bag
		of money)


Sonny starts out of the vault toward the teller's area with
bag of money.  He speaks to Mulvaney.

			SONNY
	What the hell would I shoot her for?

Miriam follows Sonny to teller's cages gate.  He carries the
bag.

PHONE STARTS TO RING (#1)

			SONNY
	Answer the phone!

Mulvaney crosses to his desk, picks up the receiver.  Sal
follows him, yanks receiver from one ear to the other, so he
can hear conversation.

			SONNY
		(to Miriam)
	Okay... open this.

Miriam crosses to gate, presses the necessary button and the
gate opens from them.  Sonny watches this carefully, noting
where the buzzer button is.  He crosses in front of the
drawer at the first cage.  He tries to open the drawer.
It's obviously locked.

			SONNY
	Okay, who's the head teller here?

			SYLVIA
	I am.

			SONNY
	Open this up!

Sylvia comes forward and unlocks the first drawer, and
begins to remove the cash, but Sonny grabs her hands...
alarmed...

			SONNY
	Don't take it all out!

He grabs a piece of paper or cardboard...

CLOSE SHOT - SONNY'S HANDS AND CASH IN DRAWER

He takes all the singles but one out of the singles slot in
the drawer, leaving the bottom single in place.  It is held
there by a metal clip.  He carefully slips the paper under
the clip and then removes the single.

It is clear this is an automatic alarm - meanwhile...

			SONNY
	Boy, I can't trust a one of you...
	I worked in a bank, I know the
	alarms, so don't try to fool around
	with me!

BACK TO SHOT OF SONNY AND SYLVIA AND MIRIAM

as they move to 2nd cash drawer at 2nd teller's cage.
Sylvia unlocks the drawer and starts to reach in for the
cash, but Sonny pushes his hand into the drawer instead.  He
begins to stuff the money into the bag.  Some fives, packaged
with rubber bands, in the drawer, he holds up so Sal and all
can see them... He laughs!

			SONNY
	Decoy money, right, it's marked!
	Shit!

He throws it into the air so the bills flutter all around
him, gaily... In the background, Mulvaney, having finished
with the phone conversation, is moving to the rear with the
rest of the girls.  Sonny now moves to the 3rd cage's cash
drawer... Mulvaney ends phone conversation and Sal moves him
over to group at vault.

			SONNY
		(mimicking Sylvia)
	'This window is shut...'

Again, the same procedure begins.  Sylvia unlocks the cash
drawer and Sonny starts to scoop it out and put it into the
opened plastic bag that Miriam holds.

			SAL
	Cheer up, you'll be the veteran of
	a robbery, the bank sends you a
	dozen red roses, you know that?

At this point, THE PHONE BEGINS TO RING AGAIN (#2)

			SONNY
		(yelling to Sal)
	Sal, let him answer the goddamn
	phones, they're driving me crazy!
	Look at this chicken shit!

Again, Mulvaney starts to cross back to his desk, again
followed by Sal.  Sonny yells out to Mulvaney as he crosses
to answer the phone.

			SONNY
	Hey, you, manager... Don't get any
	ideas, fucker... See that man there?
	I bark and he bites!

			MULVANEY
	Believe me, I'm on your side.

			SONNY
	My side, shit!

They move to Drawer #4.

			SYLVIA
	Listen, we got young girls here...
	you could watch your language.

			SONNY
	I speak what I feel.

MULVANEY ON THE PHONE

			MULVANEY
	Hello... I'm sorry I can't talk to
	you right now... I suggest you call
	during banking hours tomorrow.
	What is your name?

BACK ON SONNY, SYLVIA AND MIRIAM

			SONNY
	Gimme the traveler's checks and the
	register.

They cross toward the last drawer area (#5).  Miriam is
still crying silently.  Sonny holds out the plastic bag for
the checks for her.  She drops it.

			SONNY
	Please... quit that.  It's not
	necessary.

With everything in the bag, Sonny now takes the register and
starts to move the two girls toward the rear near the vault.

			MULVANEY
	Can you hurry it up?

BACK TO SONNY

as he moves toward the rear (Sylvia and Miriam now re-
joining other women), to get a wastebasket.  Accomplishing
this, he starts to burn the pages of the register, tearing
out pages as he does so.  It's smokey as hell, but not
burning well.  He drops it, smoking, into the wastebasket.

			SONNY
		(to Howard)
	Hey, you!  Give me the keys...
	We're gettin' outta here.

			HOWARD
		(gasping for breath)
	Huh?

			MULVANEY
	Howard?

			HOWARD
	Huh?

ON HOWARD

The old man is panicked, great patches of sweat spreading
around his armpits.  He breathes in asthmatic gasps; now he
flinches at his name, as though he's been hit.

			MULVANEY
		(stands, receiver
		still to ear, then
		covering it with his hand)
	Howard, give him the keys...

			SONNY
	Gimme the keys to get outta here!

Howard is unable to move.  Seeing his predicament, Edna
moves to him and starts to unfasten his belt to remove the
keys.  Mulvaney continues with his phone conversation.

ON SONNY

who now crosses to Howard and Edna, losing patience with the
situation.  As he moves closer, Howard backs away from him,
frightened by his rifle.  Seeing that, Sonny puts it down
and looks over to Sal for coverage.

			SONNY
	Sal...

As Sonny approaches Howard, he realizes that he can't get
close enough.

			SONNY
	Take it easy... just gimme the keys.
	I'm not gonna hurt you.  Listen,
	calm down, huh?  You're gonna have
	a heart attack.  Just gimme the
	keys... that's all I want.

Howard gives him the keys and as Sonny starts to walk back
toward the burning register...

ON SAL

with Mulvaney still on the phone.

			SAL
		(looking past camera,
		falling onto the
		floor behind Mulvaney)
	Sonny... who's that?  Across the
	street.

ON SONNY

who now starts to move quickly toward the front of the bank,
being sure to hide behind the posts as he moves.

			MULVANEY (O.S.)
		(on phone)
	No, it was the credit rating.  The
	credit rating.  I don't know, you;d
	have to find that out from him.

Sonny has now reached the front of the bank.  He carefully
peeks out through the closed draperies to look outside.

ANGLE ON STREET - SONNY'S POV

A man, in a business suit, sweaty and harassed-looking, is
walking from an insurance office across the street directly
toward the bank... The man continues coming straight toward
them and us...

REVERSE

Sonny starts to run back to get his gun from Margaret's desk.
Mulvaney is still on the phone.

			MULVANEY
	It was something a couple of years
	ago in St. Louis, I don't know...

Sonny grabs the gun from the desk top and moves over to
Mulvaney.

ANGLE ON DOOR AT FRONT OF BANK

The man walks straight toward the glass door, already
lifting his hand to shadow his eyes, so when he reaches the
door, he'll be able to see inside.

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.

			MULVANEY
		(tired)
	What property is that, Mrs.  Anterio?
	The Third Avenue property - you
	already got a second mortgage on.
	We discussed it before...

ANGLE AT VAULT

The girls are afraid; Miriam unlocks the gate as Sonny uses
Mulvaney's keys to the matching lock.

			JENNY
		(from inside vault area)
	You won't close the vault?  How can
	we breathe?

			SONNY
	No, that's okay... just close the
	gate...

Sylvia, helping Howard, is the last to go through the gate.
As Sonny is about to lock the gate, she turns to him.

			SYLVIA
	Listen, I'll never make it.  I'll
	have to go to the toilet.

			SONNY
	What's the matter... they never
	housebroke you?

			SYLVIA
	It's not a joke.  I got this
	terrible fear of being locked in...

			SAL
	Goddamn women...

			SONNY
	Ah shit.  Okay... go ahead.  Anybody
	else have to go?

			EDNA
	Me, too, please.

			SAL
	You see... now they all gotta go.

As Sylvia starts to move out, Sonny starts to cross ahead of
her.

			SONNY
	Wait a minute - I want to check.

Mulvaney finishes his phone conversation.  He moves toward
the group at the vault.

NEW ANGLE

as Sonny sprints for the door to the Ladies' Room.

INSIDE LADIES' ROOM

It is a little lounge; sitting on a couch under the window,
making up her face (or painting her toenails) and listening
to her tiny transistor radio, oblivious to all that's
happened, is MARIA, heavily-painted and voluptuous Latin
girl.  Sylvia, following him in, is shocked.  She's forgotten
about Maria.  Now she runs over to her, puts her arms around
her.

			SYLVIA
	Oh - Maria!

			SONNY
	Who the hell is that?  God damn it!
	What the...

Maria is about to protest, but Sylvia grabs her and starts
to hustle her out.

			SONNY
	What are you trying to pull?

			SYLVIA
	I forgot she's in here.

			SONNY
	Come on, nobody's going to the
	bathroom - come on...

He moves with them back to the vault area, herds them into
it.  At this point, PHONE RINGS AGAIN (#4).  Sonny moves to
get the empty wastebasket, shoving it into the vault for the
girls to use in case of emergency.  Mulvaney moves to his
desk and phone.

Mulvaney has by this time answered the phone, and is now
holding it out to Sonny.  HOLD THE BEAT...

			MULVANEY
		(to Sonny)
	It's for you.

ON SONNY AND SAL

They both stare at Mulvaney.  Sonny slowly moves toward
Mulvaney.  For the first time since he entered the bank,
he's quiet and slow.  He takes the instrument and slowly
puts it to his ear.  The group from the vault now slowly
starts to move out to listen to the conversation.

			SONNY
		(into phone)
	Yeah.

			MORETTI (V.O.)
	What are you doin' in there?

			SONNY
	Who's this?

			MORETTI (V.O.)
	This is Detective Sergeant Moretti,
	asshole, we got you completely by
	the balls.  You don't believe me,
	I'm lookin' you right in the eye.
	Right now, I can see you...

			SAL
	Who is it?

Sonny turns and looks out through the door.  Sure enough, in
the window of the barbershop across the street, the dim
figure of a man on a telephone can be SEEN looking out
toward us.  He wears a hat in spite of the weather and a
cigar is clamped in his mouth.  He is an old-time, hard-
nosed, uneducated, street-wise, sarcastic New York cop,
outspoken, rude and sentimental.  Right now he's a distant
silhouette and a voice on the telephone.

CLOSE ON SONNY

holding the phone.  Listening to the voice of his death
speaking in New York accents.

			MORETTI (V.O.)
	Okay?  Let's be reasonable and not
	stupid and not get anybody hurt.
	You come to the front door with
	hands folded on your head, unnastand?
	Nobody's gonna shoot or...

Sonny slowly, almost sadly, puts the telephone receiver back
down, cutting off the little voice at the other end.  He
looks up at Mulvaney, then to Sal.

			SONNY
		(to Sal)
	It's the cops.  Shit!

			SAL
	How'd that happen?

			MULVANEY
		(backing away from Sonny)
	I swear to God... on my salary, I'm
	not gonna be any hero...

			SONNY
	I took too long.

			SAL
	It was the fire, asshole!

Sonny paces.

			MULVANEY
	I told you, just go, get out when
	you could, but no, you just got to
	hang around.

Sonny is pacing back and forth, trying to figure out what to
do.

			SONNY
	Oh, shit!  I gotta have time to
	think.

			SYLVIA
	What is it?  Did you just barge in
	here... He doesn't have plan.  It's
	all a whim.
		(sarcastic)
	'Rob a bank!  What not?'

			SONNY
	... Just give me time to think...

PHONE STARTS TO RING (#5).

			MULVANEY
	We're all in the barrel together...

Phone continues to ring.  Sonny finally grabs it (desk
opposite Mulvaney).

			SONNY
		(into phone)
	All right, bastards!  You keep away
	from the bank or we start throwing
	bodies out the front door one at a
	time.  You got that?

A startled apologetic man's voice speaks:
Now ANOTHER PHONE BEGINS TO RING (#6).

			MAN'S VOICE (V.O.)
	I just called to ask Jenny what
	time she's gonna get off.

			SONNY
	Who's this?

			MAN (V.O.)
	It's her husband.

Sonny abruptly holds the phone out from his body at arm's
length, disgusted.

			SONNY
	Is there a Jenny here?

Nobody moves.  They all stare at him.  Finally he singles
her out.

			SONNY
	It's your husband.

Jenny starts to move toward Sonny.

			JENNY
	What do I say?

			SONNY
	Tell him the truth!  Tell him
	whatever you tell him!

OTHER PHONE CONTINUES TO RING (#6).

As he puts down the phone for her to pick up, Sonny reaches
for the other phone that is RINGING.

			SONNY
	What a fuckin' comedy!
		(into phone)
	WNEW plays all the hits.

			MORETTI (V.O.)
	Listen, first off, is anybody hurt
	in there?

			SONNY
	... But you keep away from the bank
	or we start throwing bodies out the
	front door one at a time... You got
	it?  Okay?

He hangs up the phone.  Sal looks at him.

			SAL
	You mean that?

			SONNY
	What?

			SAL
	... The bodies out the door.

			SONNY
	I want him to think that.

			SAL
	But do you mean it?

At this moment, Jenny, phone in hand, is turned to him,
respectfully like a child in an authoritarian household,
addressing her father:

			JENNY
	He wants to know what time you
	think you'll be through.

ON SONNY

stares at her.  For the first time, he realizes how
frightened she is, how serious, grotesque, and funny it all
is.  He takes the time to be tender with her, as though she
were a not-too-bright child in the presence of a tragedy
she'll never understand.

			SONNY
	Tell him I don't know.

Now Sonny turns to speak to Mulvaney.

			SONNY
	Where's the back door?

			MULVANEY
	It's locked on the inside.
		(beat)
	It's through that passageway and to
	the right.

Sonny disappears toward the back door.  Jenny continues her
phone conversation.

			MAN (V.O.)
	Jenny?

			JENNY
	He says he doesn't know.  Why don't
	you cook whatever's there?

			MAN (V.O.)
	It looks like a whole roast.

			JENNY
	Honey, send out for Kentucky fried
	chicken.  The baby, just open a
	bottle of prunes, and one of the
	beef.  The bottles are in the fridge.

			MULVANEY
		(to Jenny)
	Hurry up!

			MAN (V.O.)
	I know how to fix the bottle.  They
	got guns?

			JENNY
		(with the baby on her mind)
	What guns?

			MAN (V.O.)
	The robbers in the bank.  They got
	guns?

			JENNY
	Yeah.  A lot of guns.

			MAN (V.O.)
	Well, stay away from them.  Don't
	get close.

			JENNY
	Oh, yeah, I will...

Now Sonny returns from the rear door area, sees that she's
still on the phone and signals to her to hurry up.

			SONNY
	Hey, Jenny - let's go...

			JENNY
	Hon?  I got to go.

			MAN (V.O.)
	I love you.

Jenny hesitates.  Everyone is looking at her.  They look
away, as though to give her privacy.

			JENNY
	Yeah.  Well, I got to go now...

A beat of silence.  Realizes she can't talk...

			MAN (V.O.)
	I'll kiss the baby for you.

			JENNY
		(past embarrassment)
	I love you.

She hangs up and then crosses to the group by the vault.

NEW ANGLE

on Sonny as he moves to Sal, to reassure Sal out of some
guiltiness about trapping him in this situation.  His tone
apologetic... almost tender...

			SONNY
	Sal, I'm sorry about this.  But we
	can get outta this thing.  There's
	a way outta this.

			SAL
	Are you serious?  About throwin' a
	body outta here if we have to?

			SONNY
	Well, I stalled him for a while.
	When it comes the time, then we'll
	work it out.  Okay?

			SAL
	But do you mean in? ... But you
	just told him that if worse comes
	to worse...

			SONNY
	I want him to think that.

			SAL
	But I want to know what you think.

			SONNY
	We won't have to.

			SAL
	I'll tell you right now - that I'm
	ready to do it.

Now Sonny moves over to the group at the vault gate and
speaks to them.

			SONNY
	What I want to say is...
	everything's gonna be all right...
	if we all cooperate and we don't,
	you know... carry on... I don't
	know you and you don't know me...
	and what I'm tryin' to tell you is
	that if you stay cooled out, we can
	work this thing out and nobody's
	going to get hurt... believe me, I
	don't want to hurt anybody ...
	Everybody is going to have a chance
	to do what they have to do ...
	she's gotta go to the bathroom - so
	you go - and you can go after ...
	Everybody's gonna get a chance ...
	everybody's gonna get a chance to
	use the phone ... Let's just take
	it a step at a time.

Sonny now turns toward Mulvaney.  Howard lies down, head on
jacket, in the vault.

			SONNY
		(to Mulvaney)
	Now, you -- what's your name?

			MULVANEY
	Mulvaney...

			SONNY
	You and me are checking the other
	ways in and out.

Sal takes a position where he can cover the door and also
the girls and Howard.

NEW ANGLE

as Sonny and Mulvaney move toward the rear of the bank.

			SONNY
	Let's go to the back door.
		(referring to Howard)
	How'd that guy get to be a guard?

			MULVANEY
	Well, they go to guard school.

			SONNY
	To what ... learn how to shoot?
	They don't get a gun.

			MULVANEY
	They make $105 a week to start.
	They fold the flag, check the place
	out in the morning.  I don't know
	what they learn, Sonny.

At some point in their move toward the rear door, Sylvia
exits the Ladies' room and moves back toward the group.

			MULVANEY (CONT'D)
	Here we are ... the back door.

They look at it.  It is big, black, steel and seems solid.
Sonny tests it.

			SONNY
	They could shoot the lock ... I
	want to block it, so if they try
	comin' here, we're gonna hear it.
	Here, you pull on that side.
		(puts gun aside)


He has found a big office machine, a Xerox or whatever,
which he now starts to push toward the door.  On the opposite
side, Mulvaney starts to pull it toward the door.  It's very
heavy and they have to strain to budge it at all.  Meanwhile:

			SONNY (CONT'D)
	You got kids?

			MULVANEY
	I got two kids ... and I'd like to
	see them again.

			SONNY
	Ah, I know!  You're being very
	cooperative.  I got no complaint
	against you whatever; you got bank
	insurance?

Mulvaney has removed his suit jacket.

			MULVANEY
	You know I do.  You seem to know a
	lot about bank procedure.

Sonny laughs and pushes the machine.  Mulvaney pulls from
the opposite side.

			SONNY
	Don't ask me questions.  I got
	connections.  You find out who I
	am, you're cold meat.

			MULVANEY
	I don't care who you are ...
		(shove)
	I just want to get you outta here,
	safe, right?

			SONNY
	What if I take you with me?

			MULVANEY
		(stopping to rest for
		a beat, thinking)
	If you take anybody, please take me.

			SONNY
	They'll shoot you; the fucking
	cops'll shoot you ... they don't
	give a damn.  In spite of that bank
	insurance.  You see what they did
	in Attica, they shot everybody, the
	hostages, prisoners, cops, guards,
	forty-two people they killed, the
	innocent with the guilty.

They have the machine almost to the door now, with Mulvaney
almost pinned between the machine and the door.  He eases
himself out.  Looks at the gun, then at Sonny, then they
shove the machine against the door.  Sonny then gives
Mulvaney his jacket to put on again.

			SONNY
	Anyway, I'm not gonna take you.
	I'm gonna take one of the girls, a
	married one with a couple of kids.
	The cops don't like it in the
	papers when they kill a mother,
	especially if she's got young kids.

Finished with the task, Sonny takes his gun and with
Mulvaney, they start to cross back toward Sal and the rest
of the group.

			SONNY
	You're just a nice guy, Mr. Mulvaney.
	Only don't fuck around with me, you
	know what I mean?

			MULVANEY
	I don't fool around with you.

Mulvaney crosses back to his desk and sits down.  At this
point, all the phones are off the hooks.

EXT. (AERIAL) ANGLE FROM INT. POLICE HELICOPTER (OVER BANK)

As it banks steeply we can see past Pilot to bank, and cops
around car.  We see a small crowd being held back by a few
police still setting up barricades.  It is the first
indication of the crowd event it became.  It also sets the
geography for us, but very quickly another copter swims into
view and the two circle each other.  The other copter --
only feet away -- is a TV news helicopter, with a big camera
sticking out the open door on our side.

It is turned down by the Cameraman to focus on the bank.  A
COP in the police helicopter yells through his bullhorn at
the TV Cameraman.

			BULLHORN COP
	This is a restricted area.  You are
	flying in a restricted area ...

The TV Cameraman swivels his camera up to focus on the Cop,
and as the lens hits us dead center ...

INT. APARTMENT NEAR BANK

Though an open window a fire escape can be seen and beyond
it an angle of street and the bank.  Near the window in a
corner is a TV set, and on the TV set we are seeing the shot
of the police helicopter and the Cop yelling on the bullhorn
as seen from the TV copter.  A couple of Elderly Men are
sitting watching the TV set, ignoring the bank, which they
can see in the flesh, as it were.  Outside we are HEARING
the copters, and on the TV set likewise, and the voice of
the Announcer.

			ANNOUNCER (V.O.)
	... police as yet have made no
	contact with the bank robbers who
	are locked in the bank ...

There is a HAMMERING at the door, and the men at the TV set
barely have time to look around before several burly Cops
wearing flak vests and helmets and carrying sniper rifles
with telescopic slights move through the room, ignoring the
men.  They move out onto the fire escape, a couple going up
higher, settling themselves down to aim in their rifles on
the front of the bank.  A lot of AD LIB dialogue, but what
we note is the Cops, as a man, take a look at themselves on
the TV.

EXT. BANK - DAY

The FRAME is full of cop faces ... tough, mesomorphic faces
with a layer of fat under the skin, increasing as age.  They
have the look of cops: alert, curious, weighing.  They are
city cops; they don't have that old-fashioned condemnatory
expression, there is an element of playfulness in their
nature -- the fact is they love their work, which is
criminals.  There is a peculiar delight in ferreting out the
criminal impulse in everybody, and a matching fury in
punishing it -- which is the action of repressing their own
strongly developed criminal unconscious.  These are tense,
funny, violent, and rigidly controlled men.

MORETTI is an old-line cop, a lot more relaxed than the
younger men and the cold professionals of the FBI, who as a
group resemble astronauts, and like them hide (but do not
deny) the psychic chaos underneath.

Right now they are looking at the sky.  We HEAR a heavy
helicopter track.

We feature SHELDON, the silver-haired FBI Agent-in-Charge,
who looks like an accountant, and Moretti, with hat and
cigar, and a face out of Warner Brothers movies of the
Forties.  In spite of Sheldon's age, Moretti plays though
he's a smart kid who still needs a little help.

Sheldon is getting out of a gray car, wears a gray suit.
Three men with him are carbon copies of him at younger ages.
The three hang around him.  They approach Moretti who looks
at them without moving.

			MORETTI
		(to no one)
	Here comes the FBI.
		(to Sheldon)
	You men lookin' for protection?  We
	got all the police right here.

			SHELDON
	Why didn't you just wait and try to
	take 'em out there in the street?

Moretti looks at him, cheerfully sarcastic.

			MORETTI
	I made an error in judgment.  I
	thought the sons of bitches would
	be overwhelmed with remorse at the
	sight of a police officer.  And you
	know somethin'?  Nobody has said
	hostage yet.  Unnastan?

They are moving past Cops on the corner heading toward a
small barbershop across the street from the bank.  We now
sense the growing crowd, standing quietly, just staring not
yet knowing what's going on.

NEW ANGLE

From down the street come a group of odd-looking men in
suits, carrying all kinds of electric junk: The NEW REPORTERS.
They run heavily, sweating martinis and cigarette smoke ...
they run up to Moretti and Sheldon, who walk along, trying
not to catch an eye.

MOVING SHOT - MORETTI AND SHELDON AMONG NEWSMEN.

			VOICES
	How many in the bank?
	Have they got hostages?
	Any shots exchanged?
		(Etc., AD LIB)


			MORETTI
	No, we don't know that yet.  This
	young fella without the hat is FBI.
	I'm Detective Sergeant Eugene
	Moretti ... M-O-R-E-double-T-I.
	Eugene.  I don't give a shit, but
	my wife cries if you spell it wrong.

They have arrived at the barber shop where Moretti fights
his way inside.

INT. BARBER SHOP - DAY

A COP is talking on the wall phone as MORETTI, BAKER, etc.
are trying to get inside.

			COP
	... no, just get hold of Al, tell
	him to get the catering truck over
	to 26th and Avenue B, there's a
	bank robbery in progress and big
	crowd.  Big!  Tell him to bring ice
	cream -- I got to hang up.

He hangs up and immediately begins thumbing through a POCKET
PHONE BOOK.  Throughout this Cop is engaged in personal
business on the fringe of this affair, and though he's on
duty he hardly knows what's happening on the robbery.  He's
trying to get his brother-in-law with the ice cream truck
down here, etc.

Moretti has got the crowd cleared back, so that now we SEE
why this has been chosen as a tactical command post.  From
here, while talking on the phone, Moretti can see the bank,
and through the uncurtained door he can even see some
distance inside.

Moretti picks up the phone.

			MORETTI
		(to phone cop)
	You get the phone company?

			PHONE COP
	It's being set up ... this phone'll
	be a direct line into the bank.

Moretti is already dialing.  The phone is answered.

INT. BANK - DAY

(Re Moretti's 3rd conversation on phone with Sonny.)

The group inside the bank have now been waiting approximately
twelve minutes since anything last happened.  Sonny is
seated at Mulvaney's desk, all the phones off the hooks.
The rest of the group is huddled around the vault area where
Sal is keeping his eye on them.

Suddenly, Sonny jumps up and puts all the receivers back on
the hooks, crossing back to sit at Mulvaney's desk again.

PHONE STARTS TO RING and Sonny picks it up.

			MORETTI
	Okay, you're in there and we're out
	here.  What do we do now?

			SONNY
	I told you -- keep away.  I don't
	know what we do now.

			MORETTI
	Awright, but I wanna talk to you.
	First off, we wanna know if the
	people in the bank are okay.

			SONNY
	They're okay.

			MORETTI
	You alone, or you got confederates?

			SONNY
	I'm not alone.

			MORETTI
	How many you got in there?

			SONNY
	I got Sal.

			MORETTI
	Sal?  What's that for?  Salvatore?

			SONNY
	Sal.  He's the killer.  We're
	Vietnam veterans so killing don't
	mean anything to us, you understand?

A cop passing by presses a portable two-way radio into
Moretti's hand: He accepts it and holds as though he expected
it.  The Cop passes the same type of set to certain other
officers.  These sets are tuned in to each other, and
throughout the movie, there is a constant background talk on
these sets.  This is police procedure; the orders are for
everyone to talk about everything.  If anyone has a question,
has heard a rumor or a sound, whatever, it is immediately
responded to, so that there can be the fewest possible
surprises.  Sample dialogue might go: "Did I hear a shot?"
"Over here, by the bank, there was a report like a gunshot,
inside."  "Roger, we heard that from the barbershop ... it
was inside the bank."  "Barbershop, you can see inside?"
"Roger, we heard from the barbershop ... it was inside the
bank."  "Barbershop, you can see inside?"  "Roger, this is
the barbershop, we see inside, the perpetrator is moving
toward the rear of the bank."  "Who's that guy walking
through the barricade?"  "The blue suit?"  "Yeah."  "Off-
duty Inspector come down to see can you use him."  Etc.
They really do use the word Perpetrator, Felon, etc.  The
Cop handing out radios makes Moretti sign for it -- which
Moretti does during the following:

			MORETTI
	Right -- got ya.  Okay, so there's
	you -- what's your name?

			SONNY
	What do you want to know that for?

			MORETTI
	Give me a name, any name, just so I
	got somethin' to call you.

			SONNY
	Call me Sonny-boy.

			MORETTI
	Sonny-boy, one word?

			SONNY
	One word.  You won't find it in the
	phone book.

			MORETTI
	Listen, Sonny ... can I call you
	Sonny for short?

			SONNY
	Call me whatever you want.

			MORETTI
	Okay, Sonny, I want to see if the
	people in the bank are okay, then
	what I want to do is work out a way
	to get them out of there.  I want
	to come over there, without a gun
	... and you can frisk me.  So you
	can see you can trust me.  So we
	can talk and find a way outta this
	mess.

			SONNY
	I frisk you?

			MORETTI
	You frisk me.

			SONNY
	Right -- I'm with you, buddy.

			MORETTI
	I'd like just some sign I can trust
	you too, Sonny.  I don't want to
	trust my body out where you could
	just shoot me.  Some sight ... right?

			SONNY
	Sure ... like ... I'm not gonna
	shoot you.

			MORETTI
	How about letting the people out of
	the bank.  Why put them in this
	position?

			SONNY
	They're what's keeping me alive.
	You think you're dealing with an
	idiot?  Talk to me then.

			MORETTI
	Okay, give us the women.

			SONNY
	Oh, no ... Women is all we got.

			MORETTI
	You're all one way!  I'm bein'
	reasonable with you; give me
	somethin' ... Give me one of them,
	anyway ... Just one ...

			SONNY
	So -- you want me to send one out
	there ... Okay.  I'll see what I
	can do.

Sonny hangs up and moves over to Sal.  The rest of the group
has been trying to make out what's being said at the other
end of the conversation.

			SONNY
		(to Sal)
	He wants one.

			SAL
	Dead or alive?

			SONNY
	Alive.

Now Sonny looks at the group.

			SONNY
	Okay ... who's gonna go first?

Mulvaney now stands up at his desk, looks over at the group
near the vault.  They look back at him, waiting for some
instructions.

			MULVANEY
	It's up to you ladies.

			SYLVIA
	Howard!

They are now unified.  Sonny whispers something to Sal.

			SONNY
	To show that we're negotiating.

			SAL
	All right ... send them the guard.

			SONNY
	All right ... let's go.

Sylvia takes Howard by the arms and starts to lead him
toward the front door.  Sal watches as they move toward
front door.

			SAL
	Cover her, Sonny.

Sonny moves with them toward the front door, his gun aimed
at them during the walk.

Finally they arrive, and Howard moves toward the door by
himself.  But the door is obviously locked.

			SYLVIA
	He needs the keys.

Sonny gives her the keys.

			SAL
		(from the rear)
	Only one, Sonny.

Sonny covers Sylvia as she moves to unlock the front door
for Howard.

			SYLVIA
	Go along, Howard.

ANGLE OUTSIDE DOOR

As Howard is pushed out the door by Sylvia, a cop from a
nearby car rushes up to him and shoves him to a curbside car
where he bends Howard over the car, putting his hands behind
him for handcuffs and starts to frisk him.

HOWARD'S POV - QUICK CUTS

About 100 weapons ranging from machine guns to hand guns to
sniper rifles are whipped up and pointed straight at his
chest and head.  The effect is as though he is about to be
blown entirely away.

ANGLE ON THE BARBER SHOP

Moretti rushes out, screaming to the cop with Howard.

			MORETTI
	Don't fire!

The radio network SCREAMS

			RADIO VOICES
	Did he say fire?  What fire?  Do we
	fire or what?  Who fired?
		(Etc.)


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.

ANGLE IN DOOR OF BANK

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 ...

ANGLE ON TV CAMERAMAN

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 ....

CLOSER - SONNY AND SYLVIA

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' fucked, I like to be
	kissed a lot.
		(bursting out)
	Who the fuck 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!

He takes a defiant step into the street.  The crowd SCREAMS
as they get their first view, which is of Sonny telling the
Cops off.  They don't need to hear the words, they can see it.

			SONNY
		(screaming)
	Attica!  Attica!  Go ahead!  Blow
	off the front of the whole God damn
	bank!

He holds his hands wide offering himself as a target to the
hulking officer.

			SONNY
		(to the TV)
	If it wasn't for you guys they'd
	kill everybody and say it was me
	and Sal.
		(to Moretti)
	You tell 'em to put the guns down.
	I can't stand it.

He means it.  Moretti gestures to the officers to back away,
lower the guns.  The crowd YELLS: Sonny has beat the Cops.
He is momentarily their hero.

It's a breaking point.  Moretti makes a decision.

			MORETTI
		(Cop language command
		to put gun away)
	All right - put the guns down!

He has to YELL it twice before the Cop slowly, angrily,
stuffs the gun into his holster.

SOUND: The crowd screams.

ON SONNY

hearing the Crowd APPLAUSE.  He turns and grins and waves to
them.  They SCREAM more.  He turns and waves to the media.
They've been YELLING.

			MEDIA
	Hey, over here!  Give us a wave!

It is at this point that newsman leans out a window of the
second floor of the bank, quickly lowering a mike boom.
Sylvia sees this above her head.

ON MORETTI

unhappy, looking around at Sheldon, who shrugs.  He did what
he had to do.

ON SONNY

Suddenly realizing what control he has, enjoying it.  He
turns mockingly his left and his right profile to cameras.

INT. TENEMENT HALLWAY

A FAT WOMAN runs heavily, stumbling, a delighted grin on her
face, up the stairs PAST CAMERA, yelling to someone unseen
upstairs.

			FAT WOMAN
	Vi!  Oh, Jesus.  Vi!  Turn on the
	TV, turn the TV on, you can see
	it's him.

INT. VI'S APARTMENT - DAY

Small, jammed with little things of sentimental value and
cheap furniture, clean, but well-worn.  VI, a small woman in
her fifties, with a perpetual smile, and the sweating Fat
Woman trot in, just as Vi's HUSBAND, a dour man in his
fifties, is exiting.

			FAT WOMAN
	... I swear to God it looked just
	like him!

He hesitates in the doorway as the two women rush to the TV
which is already on, the station showing live coverage of
the bank robbery.  On SCREEN, Sonny can be seen ordering the
cops around.  Moretti looks furious.

ON THE TV SET

			VI
		(as the recognizes Sonny)
	Oh, My God in Heaven!

			TV NEWSMAN
	... the robber, whose identity is
	not known, came out of the bank,
	with a hostage, Mrs. Sylvia Ball...

			FAT WOMAN
		(proud)
	Did I tell you?  He looks good!

IMAGE OF SYLVIA ON TV

			VI
	What's he doin' this for?  He
	didn't tell me he needed money.  He
	would of told me.

			TV NEWSMAN
		(continuing)
	... Mrs. Ball, is everyone all
	right in the bank?

			HUSBAND
	Why rob a bank when you got a
	sucker for a mother?

			SYLVIA
	Oh, yeah, the one girl was cryin',
	but we're havin' a ball, so far, if
	just nobody shoots...

			VI
	Why didn't he tell me?

			NEWSMAN
	What about the man inside the bank?
	What is he doing?

			HUSBAND
	I just hope he gives the wrong name.

He reaches for TV to turn it off.  Vi stops him.

			SYLVIA
	Sal?  He never talks, only goes:
	'Sonny, you want me to shoot that
	one, this one.'

			HUSBAND
	Is that all there is -- that little
	bastard down there in the bank?

			TV NEWSMAN
	Mrs. Ball, do you think they might
	shoot, if they get desperate?

			VI
	You got money for the subway?

			SYLVIA
	Hey, wait, he's goin' back in.
		(she turns OUT OF PICTURE)


			FAT WOMAN
	Subway!  It's a special occasion --
	take a cab, for God's sake!

NEW IMAGE

Sonny returning toward bank.

EXT. BANK - DAY

TWO SHOT - SONNY AND MORETTI

as they shake hands.  As Sonny starts into the bank first,
he holds the door open, waiting for Sylvia.  In the meantime,
the 2nd-floor media man yells down to her.

			SYLVIA
		(looking up toward them)
	I gotta go now.

			MEDIA (2ND FLOOR)
	Hey, lady ... you're out now.  Stay
	out!

Sonny, waiting patiently, holds door open for her.

			SYLVIA
	They're my girls.  They need me in
	there.

And she walks through the door past Sonny and into the bank.
Moretti yells up at the media to get the hell away and at
the same time, turns to a nearby cop and gives orders for
the air conditioning to be turned off inside the bank.

As the crowd realizes what has happened, they APPLAUD and
SCREAM.  At the door:

ANGLE IN BANK DOOR

as Sonny turns to grin and wave back at crowd.

							CUT TO:

INT. BANK - DAY

as Sonny and Sylvia walk into bank and head for the group at
the rear.  Mulvaney is seated at his desk, but the rest of
the girls are standing around the vault area.

Sylvia heads for the girls as Sonny walks toward Sal.

			SYLVIA
	Hey, girls -- I was on television...

			MULVANEY
		(to passing Sonny)
	What about Howard?

Sonny makes reassuring gesture to let him know Howard is safe.

			SONNY
		(to Mulvaney)
	Turn on the TV.

Mulvaney turns on the TV set.  In the meantime, Sylvia has
reached the other girls.

			GIRLS
	What happened?

And Sylvia begins to recount the events out on the street,
mainly about herself as a television celebrity.

ANGLE ON TV SET

as we see the image of a TV NEWSMAN across the street.
Then, as his director CUTS, we will see on the TV set an
angle on the bank as seen from across the street.  The TV
Cameraman ZOOMS and the TV image ZEROES IN through the door
to show a partially-screened but quite clear image of Sonny,
talking to Sal.

			SONNY
		(to Sal)
	The whole media is out there ... it
	looks a lot better for us than it
	did before ...

ON SAL

absorbing this ...

			TV NEWSMAN'S VOICE (V.O.)
	We can see the robbers inside the
	bank, and we're trying now to
	establish contact.

THE PHONE BEGINS TO RING.

			TV NEWSMAN'S VOICE (V.O.)
	We're on the telephone to the bank
	manager, Patrick J. Mulvaney ...
	Mister Mulvaney ...

Mulvaney answers the phone.

			MULVANEY'S VOICE (V.O.)
	Yes, I can hear you.

SONNY

serious, nodding to Sal.

			TV NEWSMAN'S VOICE (V.O.)
	Can you put the robber on the phone?
	Will he talk to us?

			MULVANEY'S VOICE (V.O.)
	You wanna talk to him ... Sonny ...

Sonny turns, trying to understand ...

NEW ANGLE

			SONNY
	What?

			MULVANEY
	The TV ... they want to talk to you
	...

He holds out the phone.  Sonny walks over to him and takes
the receiver.  On the TV screen, we can see him doing this.

			SONNY
		(into phone)
	Yeah?  Who's this?

			WABC TV NEWSMAN
	Sir, you're on the air.  I wonder
	if you'd answer a few questions.

			SONNY
		(to Sal)
	Hey, Sal ...
		(to phone)
	Sure.

			TV NEWSMAN
	Why are you doing this?

			SONNY
	Doing what?

			TV NEWSMAN
	Robbing a bank.

			SONNY
	I don't know ... It's where they
	got the money.  I mean, if you want
	to steal, you go to where they got
	the money, right?

Jenny now edges over and sits on top of Edna's desk.

			TV NEWSMAN
	But I mean, why do you need to
	steal?  Couldn't you get a job?

			SONNY
	Get a job doing what?  You gotta be
	a member of a union, no union
	card - no job.  To join the union,
	you gotta get the job, but you
	don't get the job without the card.

			TV NEWSMAN
	What about, ah, non-union
	occupations?

			SONNY
	Like what?  Bank teller?  What do
	they get paid -
		(now looks over at
		girls who offer the
		information - $135.37)
	... they pay one hundred thirty-
	five dollars and thirty-seven cents
	to start.  I got a wife and kids.
	I can't live on that -- You want to
	live on that?  What do you make a
	week?

			TV NEWSMAN
		(swiftly, evasive)
	I'm here to talk to you, Sonny, not
	...

			SONNY
	Wait a minute ... I'm talkin' to
	you.  I'm askin' you a question ...

			TV NEWSMAN
	The audience is interested in you,
	Sonny ... not me.

			SONNY
	Yeah!  We're hot entertainment,
	right?  You got me and Sal on TV ...
	we're entertainment you sell, right?

			TV NEWSMAN
	You're news, Sonny ...

			SONNY
	How much you have to pay an
	entertainer to fill this slot?

			TV NEWSMAN
	Newsman, not ...

			SONNY
	Okay, newsman.  How much you make a
	week?
		(beat)
	You're not talkin'.  You payin' me?
	What have you got for me?  We're
	givin' you entertainment ... what
	are you givin' us?

			TV NEWSMAN
	What do you want us to give you?
	You want to be paid for ...

			SONNY
	I don't want to be paid.  I'm here
	with Sal and eight other people ...
	and we're dyin'!  They're gonna
	blow our guts out, man!  You're
	gonna see our brains onna sidewalk!
	How's that for all you shut-ins and
	housewives to look at!  You gonna
	help, or you just put it on instead
	of AS THE WORLD TURNS?  We're dyin'
	here!  What have you got for me?

			TV NEWSMAN
	You could give up.

			SONNY
	Oh yeah?  Give up?  You ever been
	in prison?

			TV NEWSMAN
	Of course not ...

			SONNY
	Then talk about somethin' you
	fuckin' know about ...

At that instant, the TV screen switches to a PLEASE STAND BY
card and we hear an announcer's voice over:

			ANNOUNCER (V.O.)
	Ladies and gentlemen, our
	transmission has been temporarily
	interrupted.  Please stand by.

Sonny hangs up the phone, looks at Mulvaney, puzzled at the
outcome of the conversation.

			SONNY
	Why the hell did he do that?  What
	the hell did I do?

			MULVANEY
	I guess he didn't appreciate your
	use of language.  They don't speak
	that way on television.  It's a
	rule.  Do you realize you've cut
	off a valuable source of
	communication?

Sonny now moves over to Sal.

			SONNY
	Okay, Sal ... what do we do?

			SAL
		(no answer)

			SONNY
	I figure maybe we can get the FBI
	to make a deal ...

			SAL
	What kind of a deal?

			SONNY
	Maybe we can get outta this thing
	alive ... get 'em to drop the
	kidnapping charges ...

			SAL
	What do you mean?  You talkin'
	about coppin a plea?

			SONNY
		(starts to speak, but
		Sal interrupts)

			SAL
	... because if you're talking about
	coppin' a plea, I'm tellin' you
	right now, there's no deal ... I'm
	never going back to prison ... We
	got our own deal already ... Do you
	remember the pact we made?  You and
	me and Jackie - that night in the
	bar ... we were talkin' about if we
	get trapped in the bank, what are
	you gonna do ... Right?  What did
	we say?  What did we say!

			SONNY
	We'd kill ourselves.

			SAL
	Does that still go?

PHONE RINGS.

			SONNY
	We're not there yet.

PHONE CONTINUES TO RING.

Sonny now walks over to the ringing phone on Edna's desk.
Jenny, sitting on top of the desk, thinks the call is from
her husband, starts to reach for it but as she does, Sonny
grabs it away from her.

			SONNY
	You're on the phone!

			1ST CRANK (V.O.)
	Kill them all.  Now.

It's a heavy adhesive voice that can be heard clearly
throughout the bank.

			SONNY
	Kill them all now?  You fuckin'
	creep!  Don't call here again!

Sonny slams down the receiver, looks around at the group.

			SONNY
	You see what we're dealing with?
	They want me to kill all of you!

			MULVANEY
	What now, Sonny?

			SONNY
	Wait a minute ... I've been looking
	at this all wrong ... Let's look at
	it the other way ...

He crosses over to Sal.

			SONNY (CONTD)
	Look, we gotta get a jet outta here
	... outta the country.  We gotta
	get a helicopter.  Okay, Sal?  We
	get a helicopter on the roof to
	take us to the jet and we fly to
	the sunny Caribbean.  Algeria.  We
	got to look at the bright side.  We
	got 'em by the balls, we got the
	hostages, we can get anything we
	want.  They gotta give it to us.

Edna exits ladies room as Sonny crosses back to the phone,
picks it up.

			SONNY
		(into phone)
	Get me Moretti.

Now Sonny turns and speaks to the group.

			SONNY
	We're all gonna get outta here.
	You're all gonna be all right.  I'm
	gonna ask for a helicopter and a
	jet ... and we're gonna get outta
	here alive ... You've all been all
	right with me and as long as it
	stays that way, then things are
	gonna be all right - as long as you
	cooperate ...
		(into phone)
	Moretti, I want to talk to you.
	I'm comin' out.

Sonny slams the phone down and walks over to Sal, rifle
still in his hands.

			SONNY
	You realize, Sal, that we're gonna
	get outta the country, so if you
	wanna talk to somebody, do it now
	... You gotta Mother or a Father?
	Friends?
		(Sal nods no)
	If we gotta be outside the country,
	where do you wanna go?  Any country.
	Just name a country.

			SAL
	Wyoming.

			SONNY
		(stopped for a moment)
	Wyoming ... That's not out of the
	country -- that's in the United
	States ... Look, I'll be back.

Sonny starts to walk toward the door.  As he does, Sal calls
back to him.

			SAL
	Sonny!  Gimme the gun.  You don't
	need that.

Sonny realizes what he's saying and crosses back to Sal and
hands him the gun, then moves toward the front door.

EXT. BANK - DAY

Much as before.  Sonny steps out.  The guns start to come up.

			SONNY
	Put them down.

The Cops lower their weapons.  Moretti comes out on the
sidewalk.  He's eating an ice cream bar, and stands seemingly
at ease, an island of calm control in a storm of passion
about to be let loose.  The Cops are always about to explode.

			MORETTI
	Sonny, ya want somethin'?

Sonny is about to open his mouth when a medium-size dark-
haired Man who has been standing among people behind the
barriers puts his head down and runs at astonishing speed
right across the street towards Sonny.  He catches everybody
so by surprise he is already on Sonny before anyone can do
more than start to yell at him to stop.  Sonny, himself,
can't believe it!  He is slammed to the ground and the Man
begins to punch him and beat him viciously.  Cops charge in
and with great difficulty pull him off.

YELLING on the radio network; TV Reporters and the crowd up
and SCREAMING for blood!

CLOSE ANGLE

as Moretti steps in.  Sonny gets up, dazed.  The Man goes on
kicking and fighting Cops...

			MORETTI
	Who the hell is that?

ANGLE SHOWING DOOR OF BANK

Mulvaney stands in the door...

			MORETTI
		(to Maria's boy friend)
	Hey!  What the fuck you tryin' to
	do?  You don't think the whole
	police department can do the job?

			MARIA'S BOY FRIEND
	I think he's got Maria in there,
	and I see blood, man!  I wanta jam
	him up...

			MORETTI
	Jesus, the Spanish!  You gotta do
	it yourself, right?  Eye for an eye!
	Go wan get outa here, we'll take
	care of her.
		(turns to Sonny)
	You okay, Sonny?  Boy, he hung a
	couple good ones on you there!

			MULVANEY
		(from door; alarmed)
	Sal wants to see Sonny.  He says
	he'll shoot unless he can see Sonny.

He means Sal.  Sonny, dazed and bleeding, reels to the door
and calls in... Sal now stands alone behind 3rd pillar.

			SONNY
	It's okay, Sal.

He turns back to face Moretti, Sylvia, Mulvaney.

			SONNY
		(continuing; hurt, wondering)
	He wanted to kill me!

			MORETTI
	It's okay, you got a lot of
	protection.

CLOSE - SONNY

Looking around, bewildered, the crowd is YELLING and now it
sounds unfriendly.  He is really shaken up... He shakes
himself -- stops that line and starts over in a business-
like tone.

			SONNY
	I want a helicopter to get outa
	here!  And a jet to take us to...
		(cagey)
	... wherever we want to go.  Outa
	the country, so no little jets.  A
	big one with a bar and a piano
	lounge.

			MORETTI
	I don't know, Sonny.  I don't know
	if the helicopters can land in here.
	I'll have to check it out.  I got
	superiors, unnerstan?  They don't
	always see eye to eye with me.
	I'll do what I can.

Sonny looks him in the eye.  Suddenly he makes kissing
motions and sounds with his lips.  We know what he's
referring to: he thinks Moretti's trying to fuck him over.

			MORETTI
		(continuing)
	Sonny, be reasonable!

			SONNY
	I want to see my wife.  I want you
	to bring her down here.

			MORETTI
	Okay, what do you give me?

			SONNY
	What do you want?

			MORETTI
	The girl hostages.

			SONNY
	Nothin' doin'.  I give you one
	hostage when you bring my wife, and
	one for the helicopter, one for the
	jet, and the rest can come home on
	the jet.

			MORETTI
		(kiss)
	I'll see what they'll do.

Sonny smiles and pantomimes kissing.

			MORETTI
	Okay, you pick out who you're gonna
	give us.  Where's your wife?

EXT. ROCKAWAY BEACH - DAY

There's Heidi.  Her body lies exactly as before, baking in
the sun.  The transistor RADIO plays... she seems to be
asleep...

			RADIO
	... the leader of the pair, a
	Vietnam veteran, Sonny Abramowicz,
	has demanded in return for releasing
	one of the hostages that police
	allow his wife to visit him at the
	bank.  Police spokesman...

Heidi sits bolt upright, stares at the radio, which continues
to blather on.  Abruptly she begins to gather up her things,
her children, in a characteristically scatter-brained and
hyperactive sort of way.  Heidi is a one woman panic:  she
hustles away across the broiling sand carrying the radio
wadded up in towels, and lugging a child, crying helplessly,
by one elbow, as though it were a handle, a silhouette
against the late afternoon sun, out of Fellini... meanwhile
on the SOUND TRACK we are hearing her voice.  It is a
breathless, harsh childish voice that pours out the words in
a torrent:

			HEIDI (V.O.)
	The transistor goes Sonny what?  I
	couldn't believe my ears, so I shut
	the transistor, get outta here, who
	needs this?  I say Sonny didn't do
	it.  It's not him to rob a bank.
	It's not him to hurt anybody, to
	threaten anybody, to steal or do
	anything wrong.  'Cause he's never
	done nothin' wrong from the day I
	know him.

She is stumping off into the sunset as she says these words
and we

							CUT TO:

EXT. BROOKLYN STREET - DAY

Out of a subway crowd, she struggles, pulling the two kids
by the hand, a very ordinary woman in a most ordinary New
York scene...

			HEIDI (V.O.)
	... Only he tells me this and he
	tells me that, he's with the Mafia,
	I say, Sonny, where do you get the
	money, you're on welfare, how can
	you rent a new Eldorado, red, you
	don't like the color you rent a
	yellow.

EXT. HEIDI'S APARTMENT HOUSE - DAY

A working class block, dirty, shops in the first floor,
three story walk-ups above... Heidi appears and runs up the
stoop.  TWO COPS get out of a squad car where they've been
staked out and move up to her.  They never really get in a
word edgewise.  They follow her into the hall... Now as we
CUT CLOSER to her, we will SEE Heidi's mouth in SYNC with
the words...

			HEIDI
	So night before last we're at Coney
	Island, he's on the rides with the
	kids, an' I have this habit of
	goin' in glove compartments an'
	all, an' I see...

INT. HALL - DAY

Heidi struggles up the stairs, dragging the kids -- the cops
following...

			HEIDI
	- this gun with bullets in there,
	an' I go to myself, oh God, Sonny!
	That's all I had to see, I didn't
	say anything.

She's got her door unlocked.  Below and on the stairs behind
the Cops, curious neighbors peer in...

INT. HEIDI'S APARTMENT - DAY

Chaos out of cut-rate furniture stores.  Full of unwashed
glasses, kids' clutter.  Throughout, the children rush
around unchecked.  Neighbors enter without ceremony and
listen.  The Cops stand, trying vainly to communicate... As
they enter...

			HEIDI
		(continuing)
	And things are adding in my head,
	how crazy he's been acting, and in
	with a bad crowd, an' I look at
	him, he's yellin' at the kids like
	a madman.  So inna car I said to
	him, Sonny, what you gonna do with
	the gun?  You gonna shoot me and
	dump my body inna river or what?  I
	was so scared of him, I never been
	scared of Sonny never.  You know,
	his mother says the cops was always
	at our house, we was always fighting.
	I hit him with the jack in the car
	once, but I only missed and hit
	myself, you should of seen my leg.
	And all he would ever do is put on
	his coat and go out.  So they say
	it's Sonny but I don't believe it.

			COP 1
	Lady, you saw him.  You saw his gun.

			HEIDI
	He might of done it, his body
	functions might of done it, but not
	he himself.

INT. BANK - LATE AFTERNOON - APPROX. 5 PM

The group is now situated like this:

1) MULVANEY'S DESK - the TV is on; seated in his chair,
 filing her nails is MIRIAM.

 Seated to her left, having pulled the chair a patron
 uses, is MARIA, watching TV and listening to her
 transistor radio, against her left ear, at the same time.

 MULVANEY (at back water cooler - will eventually move
 back to his desk, sit down to Miriam's right.)

2) EDNA - is now behind the Tellers' cages, straightening up
 the mess; she picks up the loose money that Sonny had
 scattered thru the air, puts them into packets and ties
 them with rubber bands.

3) SAL - is seated in the rear Conference room, still
 holding his rifle, feet up on the table.

4) MULVANEY & DEBORAH - at the rear water cooler (from which
 she will move to see what's wrong with Margaret)

5) MARGARET - seated at her desk, obviously ill, wiping her
 forehead, head bowed.

6) SYLVIA and JENNY - at far right table, doing a crossword
 puzzle.

7) SONNY - pacing back and forth Mulvaney's desk, posing a
legal puzzle for Maria.

Sonny, his gun now lying across the top of Mulvaney's desk,
is pacing back and forth between the desk areas.  He's
talking to Maria in particular, but anyone in earshot in
general.

			SONNY
	Let's say I put a gun to your head
	and I tell you to kill a cop ...
	and you did.  Who'd go to the
	electric chair ... you or me?

			MARIA
	You would ... you told me to do it.

			SONNY
	But you shot him.

			MIRIAM
		(joining in)
	But you told her to.

			SONNY
	Yeah - But you did it.

Deborah crosses to Margaret who is ill.  Deborah goes to
Sylvia - who returns with her her to Margaret.

It should begin getting dark in through here.  It is very
hot and sweaty in the bank.  OPEN SCENE ON:

CLOSE MULVANEY ON PHONE

He is sweating, worried.  He is listening to a conversation
we can HEAR...as it goes on SHOT WIDENS to reveal the others
in various postures of waiting.  Sal more disheveled,
Sonny's restlessness is unabated; he paces about like a
caged animal.  The voice on the phone is breathy and
youthful: Sonny has been listening for a long time.

			JESUS FREAK (V.O.)
	Jesus Christ is coming back and
	he's really pissed.

			SONNY
		(gently)
	Yeah, well I don't blame him.

			JESUS FREAK (V.O.)
	You know, Sonny, I used to dope a
	lot, and I was into dipping?  And I
	did a couple bank jobs, and the
	Lord Jesus in his everlasting mercy
	saved me, you know how?

Sonny is desperate to get off the phone but doesn't dare
risk the wrath of God by hanging up on this guy.  He might
have the secret after all.

			SONNY
	No.  Look, we're kind of....

			JESUS FREAK (V.O.)
	That's why I can talk to you, as an
	equal, Sonny.  You got to merge
	your whole soul with God.  And then
	you are Him and one with the Holy
	Ghost.

			SONNY
	Yeah, well...maybe you better talk
	to one of these others, okay?

			JESUS FREAK (V.O.)
	Sonny?  Don't send me away!  I can
	help you save your soul ...

Sonny hangs up.  Deborah moves to Margaret, who is ill.  She
goes to tell Sylvia who immediately crosses to Margaret.

ANGLE ON MARGARET & SYLVIA

			SYLVIA
	The air conditioning is off or
	something.  Looks at Margaret -
	she's sick.

Sonny runs around, notices her - sees that air conditioner
is off.

			SONNY
	Where's the air conditioning?

			MULVANEY
	I don't know, Sonny ... on the roof
	somewhere I guess.

			SONNY
		(improv. about going
		out back to find the
		air conditioning mechanism)

Sonny moves toward Sal in the Conference room.  Mulvaney
follows discreetly behind him.

			SONNY
	Sal, I'm gonna take a look at the
	air conditioning.

Sonny and Mulvaney start to move out toward the back door
area.

			SONNY
		(to Mulvaney)
	Do you think we can turn it on?

			MULVANEY
	I don't know.

At this point, Sal calls out to Sonny, and gets up to move
to him.

			SAL
	Sonny -

			SONNY
	Yeah ...

			SAL
	I never been up in a plane before.

			SONNY
	It's nothing - it just goes up -
	it's the safest thing in the world.
	Safer than a car.  Don't worry
	about it, Sal - it'll be all right
	... they're great ...

And Sonny and Mulvaney exit toward rear of bank.

INT. BANK - BACK DOOR AREA - LATE AFTERNOON (APPROX. 5 PM)

Sonny and Mulvaney move toward the back door and stop under
a trap door in the ceiling.  Mulvaney looks up at it.

			MULVANEY
	It's gonna be up there.

As Sonny is staring up at the trap door, thinking about what
to do, he hears a tiny scratching SOUND.

			SONNY
	What's that?

Sonny, tensing like an animal, peers around wildly to locate
the source of the little scratching SOUND: like mice at a
steel door.

ON SONNY

who quickly runs back toward the desk area.

ON GROUP - DESKS' AREA

Sonny races back in, grabs the gun from atop Mulvaney's
desk, and with the cartridge in the other hand, runs back
toward the back door again, jamming cartridge into rifle.

At this point, Sal runs in from the Conference room, covering
everyone point-blank again, yelling for Edna to join the
rest of the group.

			SONNY
		(whispering)
	They're trying to come through the
	door!

			SAL
		(to Edna)
	Everybody!  Back here!

Edna quickly obeys, moving quickly to the rest of the group.

ON BACK DOOR AREA

as Sonny races toward Mulvaney and back door with gun.

ANGLE ON MULVANEY

Somebody or something is working on the other side of the
door!

NEW ANGLE ON SONNY

as he moves back from the door, turns and levels the rifle
on the back door ...

			MULVANEY
	Sonny, if you shoot, shoot high ...
	my car's parked out there.

ON SONNY

staring at the door.  He hears the continued scratching
noise and might even see the door knob move.

Abruptly he swings the rifle up so the bullet going through
will clearly go over the head of any man, out through the
transom.

He FIRES.

ANGLE ON INSIDE - SAL AND GROUP

They all scream, some of them falling to the floor, huddling
together in terror.

SONNY - AND GROUP

Sonny races back into main area where Sal covers group.

			SAL
		(to group)
	Get over here!  Get over here!

EXT. BANK - REAR DOOR - LATE DAY

A knot of half a dozen police are working at the door.  Two
were trying to work tubes under it to pump in gas, others
were trying a nylon line to the doorknob, the idea being
that if Sonny came out that way, the moment he began to open
the door the cops would yank it open, exposing him completely
and gun him down.  The cops SCREAM as the SHOT comes through
the door, showering them with brick fragments.  They scramble
over cars, over each other, over fences, running into other
cops, who also, not knowing what's happening, turn and flee,
running into the crowd, which panics.

VARIOUS ANGLES

on men, women, children, cops, detectives, dogs, cats,
reporters, all in the area of the rear of the bank fleeing
in waves over fences, cars, etc.  A flood of people like
lemmings.  This is INTERCUT BY:

INT. BANK

1) MARGARET fainting.

2) SAL herds group into vault area.

3) SONNY dashing back and forth into rear bank area.

ANGLE ON BARBER SHOP

Moretti, Sheldon, others come charging out, wondering what
the hell, pulling guns out.

BACK OF BANK

The cops, safely distanced and back in cover, peek out at:

BANK DOOR

It is okay.

			RADIO NETWORK (V.O.)
	What's happening?
	He shot through the door.
	Is he coming out?
	Can you see in...
		(Etc., etc.)


ON MORETTI

reaches out his hand for a bullhorn that is thrust into it
immediately.

			MORETTI
		(on bullhorn)
	Sonny!

A few louts in the crowd yell out in imitation:

			LOUTS
	Sonny!

			MORETTI
	Sonny!

			CROWD
		(echoing)
	Sonny!

Moretti shrugs off his irritation and raises the bullhorn
one more time: the crowd is ready and SCREAMS in unison as
Moretti says:

			MORETTI & CROWD
	Sonny!

You could hear it for a half a mile!

Sonny starts to yell at Moretti.

			SONNY
		(inside bank)
	What the hell you doin' back there?

			MORETTI
	Sonny, come on out!

Sonny walks over to Sal, gives him the rifle.

			SONNY
	Sal, watch 'em ... I'm goin' out.

ANGLE ON BANK

as Sonny comes charging out.

			SONNY
	What the fuck do you want?

			MORETTI
	They were ...

			SONNY
	You tryin' to fuck me?

			MORETTI
	No, I'm not tryin' to fuck you.

			SONNY
	So, what were they doin'?  You're
	tellin' me you had nothin' to do
	with that back there?

			MORETTI
	I swear to God I had nothing to do
	with it ...

			SONNY
	Bullshit ... I don't walk to talk
	to you ...

			MORETTI
	Wait a minute ... everything you
	asked for is on the way ...

			SONNY
	Yeah ...

			MORETTI
	Is on its way ... The helicopter
	can't land but we got a bus ... the
	jet's on its way to Kennedy ... we
	got a bus coming here ...

			SONNY
	You're full of shit ...

			MORETTI
	Sonny, your wife's on the way ...
	We reached her ... your wife's on
	the way ... everything you asked
	for, you got.

			SONNY
	Well, what were you doin' back there?

			MORETTI
	It can't happen again ... I'll do
	everything I can to stop anything I
	can ...

			SONNY
	You know, you're telling me that a
	helicopter can't land here ...

			MORETTI
	Can't land ... you'd kill people ...

			SONNY
	Don't fuck with me ...

			MORETTI
	I'm not ... I'm not ... you're
	gettin' a bus ... you're gettin' a
	bus ... the jet's comin' into
	Kennedy ... and your wife's on the
	way ... what else do you need?
	What else can I get you?  Listen, I
	don't know how you can do better ...
	see that man over there ... the FBI
	guy ...

			SONNY
	Just one more explosion like that
	and you're gonna see a dead body ...

			MORETTI
	There won't be ... there won't be
	... What else do you need?  How
	else can we help you?

			SONNY
	All right ... I got some hungry
	people in there ... I want to get
	some pizza ... some stuff like that
	...

			MORETTI
	What else?

			SONNY
	Cokes, seven-ups ...
		(Moretti repeats)
	also some aspirin ...

			MORETTI
	Aspirins ... okay you got it.
		(turns behind him to
		a near-by cop)
	Charlie!  Six pizzas!

			SONNY
	Okay ...

Sonny turns and walks back into the bank.

INT. BANK - DAY

ANGLE ON SAL WITH THE GROUP

as Sonny enters and walks toward Sal.

			SONNY
	Okay ... okay ... all right, Sal,
	it's okay.  I got everything
	straightened out ... it's gonna be
	okay.

			SAL
	Get over there!

			SONNY
	Look, I talked to him and it's not
	going to be a helicopter - they
	can't land on top of the roof - so
	they're comin' with a big ...
	limousine bus and they'll take us
	to the airport - and they're gonna
	get a jet ... so things are rollin'
	... they're movin' ... I also
	ordered some food ... I got some
	pizzas for us, all right?  I got
	some things to drink - I got sodas
	... I even asked them for aspirins
	... I'm doin' what I can ... now I
	gotta pay for the pizza ... where
	are the marked bills?

He now walks behind Tellers' cages and picks up some of the
decoy money that Edna had started to clean up and re-stack.
Mulvaney walks over to him.

			MULVANEY
	Are we going to get the ball rolling?

			SONNY
	What are you talking about?  What
	do you think I'm doin'?  I'm
	gettin' the ball rollin'.  I'm
	keeping these people happy ... I'm
	keeping you happy ... I gotta keep
	the cops cooled out ... I gotta do
	everything ... I gotta pay for the
	pizza ... I'm workin' on it, do you
	know what I mean?  I'm workin' on
	it ... Jesus Christ!  I gotta do it
	all ... I got all the ideas ... you
	want me to give you the gun?  You
	want to take it over?

Sonny walks to the front door with the money.

EXT. BANK DOOR - DAY

as Sonny appears in it.

NEW ANGLE TO REVEAL THE DELIVERY BOY

guarded by a couple of cops.

			DELIVERY BOY
	You the guy wanted the pizza?

Sonny grabs bills from the wad he holds and thrusts them at
him.

			DELIVERY BOY
	It's paid for.
		(looks at Moretti;
		Moretti nods)


			SONNY
	Keep the change...

As the cops reach for the money, knowing it's bank money,
people in the crowd yell:

			CROWD AD LIBS
	Hey, over here!  Hey, robber!  How
	about a thousand!  Throw some over
	here!  Hey, no shit, I need an
	operation, I don't even have a
	job...
		(Etc.)

Sonny holds up the money.  The crowd cheers.  He throws the
wad of bills and it scatters in the air.

The WIND is blowing now.  Even some cops join the ensuing
melee to gather it up...

VARIOUS ANGLES

as cops move forward and try to catch the bills.  Some blow
into the crowd.  Fights break out in the crowd as they
scramble for the money.  The crowd breaks the barriers and
swarms after the cash.  Cops try to retrieve bills; fist
fights, arrests.

MORETTI

staring at the mess.

Sonny also watching the people.

There is in both of them the same reaction of faint disgust
at the greed unleashed.  Sonny angrily hurls another bundle
after the first... then laughs as he watches the people
fighting.

Moretti nods ironically at him.  Sonny turns and enters the
bank with the food.  The fighting goes on in the street.

INT. BANK - DAY

as Sonny enters carrying food.

			SONNY
	Okay - Chow!

He puts it down in front of Mulvaney, on Mulvaney's desk.
Mulvaney looks at it, sickly.  As Mulvaney looks up at Sonny:

			SONNY
		(continuing)
	You eat it first.  I don't know if
	they put something in it.

EXT. SIDEWALK NEAR BANK - DAY

Moretti, Sheldon, other top cops march fast-time toward the
barrier where uniformed cops stand around a limousine that
has drawn up to the barrier.  It is full of white-haired
officials, one of them the COMMISSIONER.  He has a voice
broken by whiskey, cigars, good food and yelling at football
games.

DOLLY AT A LOW DRAMATIC ANGLE WITH MORETTI AND ETC.

It looks like they may be going into action.  Moretti's
attitude is not that subtly different now he's talking to
brass.  Commissioner doesn't get out; he talks through window.

The Commissioner's hand, pudgy and freckled with age, covers
Moretti's where it rests on the door: he massages Moretti's
hand fondly.

			COMMISSIONER
	Gene -- you smilin'?

			MORETTI
	No.  I never smile any more.

			COMMISSIONER
	Whattaya think: we gonna kill any
	civilians tonight, Gene?

			MORETTI
	I never make bets or guesses, that
	way I'm never wrong and I never
	have to pay out.

			COMMISSIONER
	Gene, Jesus, what a bull he is!

A lot of comfortable CHUCKLES inside the limo.  The
Commissioner's hand lingers on Moretti's -- they are fond of
each other, these men, linked in a relationship of a lifetime
of shared experience, of attitudes, of maleness -- an
accumulation of years of jokes about being late for dinner,
of women waiting and women panting with desire, men secure
in the bastion of their roles.  What is being passed on here
is a purely emotional force of approval and acceptance from
top to bottom of a social institution that is the last
totally masculine society: police.  The homosexual content
of this should not be lost: it lies in the comfortable fit
of their feelings, in the fact, simply, that they love each
other, for what they share.

			MORETTI
	So whatsa deal?

			COMMISSIONER
	They jet's comin' out.  But don't
	let 'em off the ground.

			MORETTI
	What if we gotta kill a whole lot
	of people?

			COMMISSIONER
	Don't let 'em off the ground.

			MORETTI
	Listen.

He leans down to get close to his commissioner, because he's
not fooled by the camaraderie into a false sense of security.

TIGHTER TWO SHOT - MORETTI AND COMMISSIONER

			COMMISSIONER
		(anticipating)
	If you're right I'm gonna back you
	a hundred percent, you know that.

			MORETTI
		(pleasantly)
	Fuck you, sir - if I'm right, I
	don't need you.  What I want is -
	if I make an honest mistake I want
	help.

The Commissioner nods - presses a button and the window goes
up to keep the air conditioning in and the heat out.

INT. BANK - LATE AFTERNOON - APPROX. 5 PM - MAIN BANK AREA

as we hear Jenny on the phone with her husband.  Sonny is
doing the manual of arms with his rifle.

			JENNY
	... well, just pick him up and hold
	him.  No, he's not spoiled, he's
	just got to settle his stomach
	after eating.  He's used to me
	feeding me, that's all.

At one point, Sonny starts to show Miriam how to hold the
gun and in mock seriousness, she tries to do the manual of
arms.

WE DRIFT TOWARD THE BACK CONFERENCE ROOM

where Sal is seated at the Conference table, rifle on the
table.  Edna and Sylvia are also seated there.  Maria enters.

			SYLVIA
	Somebody give me a cigarette.

Maria walks over to her, offering her one, then remembers:

			MARIA
	Sylvia, you don't smoke.

			SYLVIA
	I never smoked before in my life
	but I got a right to start now if I
	want to.

			SAL
	You don't smoke ... why do you want
	to start now.

			SYLVIA
	Because I'm scared, that's why.
	You never smoked?

			SAL
	I used to, but I stopped.

			SYLVIA
	You stopped?  Why?

			SAL
	Because I don't want cancer.

			SYLVIA
	You don't want cancer?  You're
	about to get your head blown off,
	you're worried about cancer.
		(to Maria)
	Gimme the cigarette.

Maria starts to hand one to her.

			SAL
	No!  I'm not kidding.  Don't you
	understand?  You're pure!

			SYLVIA
	Pure?

			SAL
	You shouldn't start now.

			SYLVIA
	For God's sake!  As soon as I'm
	outta this bank robbery, I'm gonna
	stop ... okay?

			SAL
	Go ahead.  Do what you want to do.
	I hate to see you break a perfect
	record.  You oughta take care of
	your body.

			SYLVIA
	My body?  What for?

			SAL
	Your body is the temple of the Lord.

			SYLVIA
		(staring at him)
	You're serious!

			SAL
	You're really pure, you know?  You
	got a perfect record.  You never
	used that stuff to ruin your body,
	why start now?

			SYLVIA
	You know, you remind me of my 19-
	year-old brother - only he's got
	his hair down to his knees - he
	looks like something that eats
	berries and roots out of the ground.
	God forbid I should say something
	to him like, 'Listen, if you ever
	smoke marijuana, just remember that
	it's illegal' and he storms outta
	the house.  You rob a bank, but you
	keep your body pure, is that it?

			SAL
	You gonna smoke the cigarette?

			SYLVIA
	Yes...

Sal gets up and starts to leave the room...

			SYLVIA
		(calling to him)
	Sal ... If I die of cancer it's
	going to be half your fault.

Sylvia grabs the cigarette from Maria.

			SAL
		(exiting)
	No - it's because you're weak.

Sonny continues with "Manual of Arms" business with rifle.
Mulvaney is on the phone.

			MULVANEY
		(overlapping Janet
		into phone)
	Mulvaney...
		(listens)

			JANET
		(into phone)
	I don't know.

			MULVANEY
		(to Sonny)
	It's for you.  Moretti.

Sonny takes the phone...

			SONNY
	Yeah?

			MORETTI
	We're bringing in your wife...

ON SONNY

He comes alert, looks around at Sal, nods, and starts for
the door of the bank, turns to Sal.

			SONNY
		(gives him gun)
	They've got my wife.  They're
	bringing her in.

He exits bank.  Sal walks toward the door, stops behind the
first post.

EXT. FRONT OF APARTMENT HOUSE - DAY

The fire escape with the old lady and her jigsaw puzzle, the
flak vested snipers, etc.  Below in the street a police car
plows through the crowd with red lights flashing but no
sirens -- or perhaps just a low growl to help move the human
sea aside.  People are leaning over trying to see inside.

BARBER SHOP

Moretti and Sheldon and staff move out into the street.  The
cop car is moving through police lines, cops lifting
barricades aside to let it pass.

MOVING SHOT

with Moretti and others as they move to intercept the police
car where it will stop on the corner.  As they stop, we can
see Sonny step into the door of the bank, in the distance.
He is greeted with CHEERS from the crowd.  But is intent on
the car.

We are NOW SHOOTING ACROSS THE CAR, OVER MORETTI'S BACK
TOWARD THE BANK and Sonny.

The DRIVER of the police car gets out, with a huge grin on
his face and nods to Moretti.  The back door opens and
another cop gets out, also grinning.  They look around
toward Sonny, as his wife gets out of the police car, on
this side.  She is spectacularly good looking in a lithe
cruel sort of way, like Lauren Bacall, but right now she is
a mess.

							CUT TO:

EXT. BANK

as Sonny sees Leon get out of the car.

			SONNY
	Leon!  Leon!  Over here!  Happy
	Birthday, Leon!

ON LEON

who doesn't hear Sonny calling, the detectives and Moretti
start to take him to the barbershop.

			MORETTI
		(to cop driver)
	What's that?

			COP DRIVER
	We went to the hospital, where he
	told us - and asked for his wife.
	He...
		(indicates Leon)
	...says they got married in a church.

			MORETTI
	Jesus!

They continue along the sidewalk.  Leon, coming to, starts
to look around him.  He sees Sonny.

ON SONNY

as he yells again to Leon.

			SONNY
	Leon!  Happy Birthday!

ON LEON

who faints.

FULL SHOT

The crowd yelling in increasing waves of SOUND; Moretti and
cops pick up Leon and rush him toward the barbershop.

ANGLE ON SONNY

who dashes toward the bank door, enters.

INT. BANK - DAY

as Sonny comes running in.  Sylvia is now showing off her
new-found expertise with a cigarette to Miriam, Jenny and
Deborah, seated around Edna's desk.  (Deborah is talking on
the phone.)  Meanwhile, Edna is back in the Conference Room
with Mulvaney; Margaret is seated at her desk, speaking on
the phone; Maria, speaking on phone, is seated at Mulvaney's
desk - where television is still on.

Sonny, wanting to use a phone, realizes that all are in use,
rushes to a desk at the front of the bank.  Sal follows him
there.  Sonny grabs a phone.

			SONNY
		(into phone)
	Get me Moretti!

INT. BARBERSHOP

where Moretti and cops are trying to revive Leon.  A cop at
the phone turns to Moretti.

			COP ON PHONE
	Moretti - he wants to talk to you.

Moretti walks over to phone, takes receiver from cop.

INT. BANK

Sonny waiting for Moretti to answer phone.

			SONNY
	Is he all right?  Is he all right?

			MORETTI (V.O.)
	He's all doped up.

			SONNY
	I want to talk to him.

			MORETTI (V.O.)
	He's groggy, Sonny.  Let me get him
	on his feet and he'll call you back.
		(hangs up)

INT. BARBERSHOP

as Moretti hangs up phone and walks over to Leon, who now
has a glass of water and a cold towel.

			MORETTI
	Leon?  Whatsa matter?  They give
	you a shot down the hospital or what?

			LEON
	Oh, God, they shot me with like
	unreal!

			MORETTI
	Well, you got to get hold of
	yourself.  You got to talk to him,
	tell him to give himself up.

			LEON
	Oh no!

			MORETTI
	He's got eight people in there with
	him.  He's got this kid with him ...
	they're gonna shoot the people.

			LEON
	I can't help it.  I can't stop him
	from anything.

			MORETTI
	If he won't listen to you, who will
	he listen to?

			LEON
	He won't listen to anybody.  He's
	been very crazy all summer.  Since
	June he's been trying to kill me.

			MORETTI
	You try calling the police?

			LEON
	What good is that?  They couldn't
	stop him.  And it'd just make him
	mad.  They don't know him.

			MORETTI
	Somebody's got to stop him, Leon.

			LEON
	He was under great strain: you
	don't understand, he's a very mixed
	up person.

			MORETTI
	He's makin' threats in there.

			LEON
	He's scared.  It's crazy.  I never
	met anyone like him.  His wife,
	he's a wonderful father to his
	children.  His mother - you should
	see her - his mother and father
	together are like a bad car wreck -
	he lets it all slide off his back,
	he sees them, he pays their rent.
	Unbelievable.  I wanted to get
	married ... He didn't really want
	it ... he's married already!  But
	he did it.  I don't know why.  I
	thought it would help me, but it
	didn't.  I was just as confused and
	unhappy was before; I did terrible
	things.

			MORETTI
	What kind of things, Leon?

			LEON
	Ten days I spent in Atlantic City -
	Sonny was frantic - he knew I was
	drinking; he didn't know where I
	was ... who I was with.  I couldn't
	explain why I did the things I did.
	So I went to this psychiatrist who
	explained to me I was a woman in a
	man's body.  So Sonny right away
	wanted to get me money for a sex
	change operation: but where was he
	to get that?  2500 dollars!  My
	God, he's in hock up to his ears
	already.

			MORETTI
	He needed money?  For the operation
	for you?

			LEON
	It made him crazy - so much demand,
	he'd fly into this rages.  And I
	got more depressed than ever; I saw
	I'd never get the operation.  So I
	tried to take my life - I swallowed
	about a half pound of pills ...
	blues, reds, yellows, downers,
	uppers, screamers ... you name it.
	But I just threw them up and wound
	up in the hospital.  Sonny comes
	there and looks at me and just
	says: 'Wow!'  So when I hear he's
	in the bank, I almost go crazy
	because I know he's doin' it for me.

			MORETTI
	Well, don't you figure you owe to
	him to get him out of there?

			LEON
	I can't talk to him.

			MORETTI
	You're in it up to your ass, Leon.
	You're an accessory.  You talk him
	out of there and they might be a
	little more understanding of your
	case.

			LEON
	I'm afraid.

			MORETTI
	How is he gonna hurt you on the
	telephone?

			LEON
	I don't know what to say to him.  I
	can't.

			MORETTI
	You think it over, Leon.

Moretti walks over to the wall phone, picks up the receiver,
and waits to be connected with the bank and Sonny.

ON LEON

Terrified.  He really can't do it.

ON MORETTI

waiting.

OMITTED

INT. BANK - TURNING DARK NOW

as the phone rings.  Sonny picks it up, hears Moretti's voice.

			MORETTI (V.O.)
	He won't talk to you.  Let me work
	on it.

Sonny hangs up.  He and Sal walk toward the group at the
rear, around the desks.

ANGLE ON TELEVISION SCREEN

as we see TV newsman speaking.

			TV NEWSMAN
	... police are questioning Leon, a
	26-year-old admitted homosexual,
	who claims to have been married to
	one of the bank robbers in a
	ceremony last November ... [etc.] ...

During the speech, Sylvia and her group wander toward
Mulvaney's desk to listen, as Edna wanders down from the
Conference Room, crosses to the set and turns up the volume.

ON SONNY

pacing back and forth.  They all stare at him.  Slowly the
group shifts to other positions, without a word being said.

ANGLE ON TV SCREEN

			TV NEWSMAN
	Our coverage of the Brooklyn
	robbery where two homosexuals are
	holding hostages for their demands
	of a helicopter, a jet, and safe
	passage out of the country ...

ANGLE ON SONNY AND SAL

			SAL
	Sonny, you hear that?

			SONNY
	What?

			SAL
	They keep sayin' two homosexuals.
	I'm not a homosexual.  I want you
	to stop them saying that.

			SONNY
	That's all they're interested in -
	it's a freak show to them.  I can't
	control it, Sal - let'em say what
	they want.  Forget it.  It don't
	matter.

SOUND OF JET

			SONNY (CONTD)
	Where's the god-damn jet?  They're
	always flying overhead - going
	somewhere.

OMITTED

EXT. KENNEDY AIRPORT - NIGHT

FBI snipers area at positions, waiting.  A small group of
men make a last check.  A signal is given.  They get in
their car and drive away.  An FBI sniper lights a cigarette
and settles down to wait, moving his rifle to a comfortable
position.

EXT. APARTMENT HOUSE FIRE ESCAPE - NIGHT

The old lady dozes over her puzzle.  The police agents are
being relieved.  Light floods the front of the bank.

INT. BANK - NIGHT (APPROX. 8 P.M.)

Sonny paces back and forth (with ad-lib dialogue to group).
Margaret, seated at her desk, has feet up on another chair
while Jenny sits on top of her desk.  Mulvaney is back at
water cooler, starting to feel very ill.  Miriam and Deborah
are seated at Mulvaney's desk.  Edna is seated at her desk,
while Sylvia sits on top of desk, talking on phone.

Suddenly, the lights go out, leaving only emergency lights
on (4 in the main area and 2 at back door area).  Sylvia
immediately moves over toward the vault area and turns on 2
hand lamps.

			SAL
	That's it, Sonny.

Both rush toward the front of the bank.  They see that even
the flood lights are now out, but across the street can
still be seen lights in the store windows.  Sonny rushes to
a near-by phone to try to reach Moretti, but even the phones
are dead.  They hear Moretti's voice over a bull-horn
outside:

			MORETTI (V.O.)
	Sonny ... Sonny ... Come out a
	minute ... Come out a minute ...

Sonny moves toward the front door.

INT. BARBERSHOP - DUSK/NIGHT

Moretti and Sheldon are in the barbershop.

			SHELDON
	We're all set at Kennedy.

			MORETTI
	What makes you think you'll be able
	to control it?

			SHELDON
	He's totally unstable.  He'll make
	a mistake.

			MORETTI
	He hasn't so far.  I'm the one who
	can make a mistake.  That's what
	scares the shit out of me.

			SHELDON
	Eugene, at 3:07, this became
	Federal.  Why don't I take it over
	now?

							CUT TO:

EXT. BANK - NIGHT

as the door opens and Sonny peeks out, the once-illuminating
floodlights now out.

			SONNY
	Moretti?  What the fuck is goin' on?

There's no answer.  Sonny steps out into the street.  He
can't see anything anymore.  The atmosphere is suddenly
chillingly dangerous: the crowd SHOTS "come out of the dark"
and "we can't see from here".  The street seems empty except
for a few threatening silhouettes of heavily-armed cops.
Sonny responds with bluster.

			SONNY (CONTD)
	Get the lights back on!

He steps out farther into the street.  From behind him,
SHELDON, the FBI man, approaches.  He is alone.  Unsmiling.
Sonny dashes back into the bank.

INT. BANK - NIGHT

as Sonny rushes in, warns Sal about the FBI confrontation
he's about to have.

			SONNY
	Sal - it's the FBI ... I'm goin'
	back out to talk to him.

At this, he walks back toward the door and exits the bank
again.

EXT. BANK - NIGHT

Sheldon is walking toward Sonny as the latter exits the bank.

			SONNY
	What is this?  The FBI?  Jesus, now
	we're talkin', maybe we can get
	this thing moving.

As Sheldon reaches him.

			SONNY (CONTD)
	First off, get the lights back on
	and the air conditioning.

			SHELDON
		(showing ID)
	No more favors.  That's all over,
	Sonny.

			SONNY
		(sarcastically)
	Aw, Jesus ... you been doin' us
	favors all night!

			SHELDON
	I've got a jet.  I'll have airport
	limousine here in a half hour.  I
	want the hostages.

			SONNY
	Bullshit!

			SHELDON
	I'd like to work with you on this,
	not against you.

Sonny comes around, looking for Moretti: can't see him.

			SONNY
	Well, Jesus, these hostages are
	keeping me alive.

			SHELDON
	Okay, when do I get them?

			SONNY
	At the airport.  We get on the
	plane, check it out, and if it's
	all okay we'll send them out.
	Except one.

			SHELDON
	I want them all.

			SONNY
	I want to talk to Leon.

Pause, while Sheldon thinks this over.

			SHELDON
	I want to come in, and see if
	everybody's okay.

			SONNY
	You got guts.  You think if Sal and
	me have cut their throats we're
	gonna let you out?

			SHELDON
	I have to see.

Sonny re-enters bank.

INT. BANK - NIGHT

Sonny goes over to Sal.

			SONNY
	It's the FBI.  He wants to come in.

			SAL
	Have him walk in backwards.

Sonny exits bank.

EXT. BANK - NIGHT

Sonny crosses to Sheldon, grins, grabs him and executes a
very professional-looking pat-down search.

He removes Sheldon's .38 from a shoulder holster, producing
it for the crowd with a flourish like a magician: some of
the old playfulness returns for a moment.  He carefully and
with showbiz flourishes searches Sheldon's thighs and groin.
The crowd HOWLS.  Sheldon bears it with stoic calm.

CLOSE TWO SHOT

as Sonny stands up from the search and finds Sheldon's eyes
locked to his with flat calm.

			SONNY
	Jesus, you'd like to kill me, too.

			SHELDON
	I wouldn't like to, but I will, if
	I have to.

			SONNY
	Nothin' personal, huh?  The man
	that kills me, I want him to do it
	because he hates my guts.  Not
	because it's a job.  Okay, let's go
	... but you gotta walk in backwards.

The move toward the door of the bank, where Sonny opens the
door, preceding Sheldon, both men entering backwards.

INT. BANK - NIGHT

Except for the 4 emergency lights, it is very dark - and
very hot as Sonny and Sheldon enter the bank.  Sal now
stands behind the desks, covering Sheldon and the group
assembled at the vault.  Sheldon takes in every detail as he
walks toward the group in the rear, followed closely and
covered by Sonny.  As they near the desks, Sonny yells out
an order for the group:

			SONNY
	Nobody give their right name ...
	it's the FBI!

			SHELDON
	I just want to see all you young
	ladies are all all right in here.

TWO SHOT - SYLVIA AND SAL

She's pissed.

			SYLVIA
	Listen, we asked for the jet hours
	ago, what are you doin' out there?

Sheldon is watching Sal, trying to gauge him.  This is the
first time anyone from outside has seen Sal.

			SHELDON
		(his eyes on Sal)
	It's all being set up, we'll have
	you out of here in a couple of hours.

			SYLVIA
		(to Sheldon)
	Just give them what they want.

Sheldon now walks closer to group, looking into the two
small examining rooms as he moves.  Sonny covers him every
inch of the way.

			SHELDON
	They're getting what they want.  We
	just want to be sure we get what we
	want, which is to get all you
	ladies out safe.  And you two boys,
	too.

Sheldon is now standing very close to Sal.

			SAL
		(to Sheldon)
	You got to talk to the TV, tell
	them to stop talking about the two
	homosexuals.  I'm not gay ...
	that's the truth.  Tell 'em that.

			SHELDON
	I will.
		(he turns to Sonny)
	Sonny?  Outside for a minute?

			SONNY
	Sal?

			SAL
	They gotta stop sayin' that.

EXT. BANK - NIGHT

as they (Sheldon and Sonny) exit and stand in the doorway
out of earshot of the others.  Sheldon is matter-of-fact,
but insinuating and conspiratorial.

			SHELDON
	Sonny, you handled yourself real
	well.  A lot of men would have
	choked, and we'd have a lot of
	chaos and panic and maybe a death
	or a multiple death on our hands,
	but you handled it.  I respect that.
	Don't you try to take Sal.  We'll
	handle him.  You just sit tight and
	you won't get hurt.

He starts to go.  Sonny grabs him.

			SONNY
	Wait a minute!  What the fuck you
	tryin' to tell me?

			SHELDON
		(quiet)
	What I said.  You just sit quiet
	and we'll handle Sal.

And he turns and starts to walk away, leaving Sonny staring
after him.

INT. BARBER SHOP - NIGHT

as Sheldon steps into the door.  The place is jammed,
Moretti stands inside the door where Sonny could not have
possibly seen him.  Sheldon quietly turns and stands beside
him, both men looking back across the street.

			MORETTI
	The little bastard miss me?

Sheldon smiles the supercilious Ehrlichman smile of his.

INT. BANK - NIGHT

as Sonny re-enters.  He's restless, hyperactive, constantly
moving during this scene; a man with a potentially guilty
conscience.  Sal moves toward him and both men walk to area
in front of the Tellers' cages.

			SAL
	What'd he say?

			SONNY
	He was talkin' about arrangements
	... we were talkin' about the TV.

			SAL
	Why couldn't he talk about that here?

			SONNY
	He was showin' me how the airport
	bus is comin' in, like that, Sal.
		(notices Mulvaney
		start to faint)
	What's wrong with him?

In the rear, Mulvaney slumps into a chair beside Margaret's
desk.  Sylvia rushes to help him, untying his tie, etc.
Maria runs into the Conference room, hoping to find remains
of sugar as Deborah crosses to his desk, looking through the
drawers for medication.  Jenny simply can't cope with it and
walks away.

			SONNY (CONTD)
	Hey, you okay?

			SYLVIA
	He's got diabetes.  He's not a well
	person.

			SONNY
	Those bastards -- they poisoned the
	pizza!  Sal - you didn't eat any
	pizza!?

			MULVANEY
	I didn't eat any pizza.

			SYLVIA
	I told you, he's got diabetes.

			SONNY
	You're supposed to balance your
	sugar diet, right?

Sonny starts to move toward the front door.

EXT. BANK - NIGHT

Sonny rushes outside.

			SONNY
	Hey!  Is there a doctor over there?
	Get him over here!  Come on, on the
	double!

Sheldon and a young DOCTOR appear, concerned...

			SHELDON
	What's wrong?

			SONNY
	The manager, he's diabetic, he's
	lookin' bad.

Sheldon turns, calls out.

			SHELDON
	Doctor ....

A man comes forward - is frisked by Sonny, who then dumps
contents of his Black Bag and looks for weapons.  Sonny then
dashes inside bank.

INT. BANK - NIGHT

as Sonny comes in, walks over to Sal.

			SONNY
	Sal - the Doctor's coming in.

Sonny then rushes back outside bank again.

EXT. BANK - NIGHT

Sonny crosses to Doctor.

			SONNY
		(to Doctor)
	You go on in...

The Doctor hustles past.  HOLD on Sheldon.

			SHELDON
		(picks up the phone)
	I've convinced Leon to talk to you.
	He's on the phone now.

Sonny rushes back into Bank.

INT. BANK

Sonny rushes in.  The phone rings.  He picks it up.

			SONNY
	Hello.  Hello, Leon.

			LEON
	Hello, Sonny.

			SONNY
	How are you doing?

			LEON
	Well... I'm out of the hospital.

			SONNY
		(pleased)
	Yeah.  You said... I thought you
	were never getting out?

			LEON
	I never thought I'd get out this
	way.  I'll tell you.

			SONNY
	Well.... huh ...

			LEON
	Ooohh....

			SONNY
	Oh... huh ... how you feeling?

			LEON
	I'm really shakey.

			SONNY
	Well, you know ... Moretti told me
	before that you were drugged up.

			LEON
	Yeah.  It was terrible.

			SONNY
	That... huh... they just shoot you
	with drugs.

			LEON
	You come in and they say, right
	away, that you are crazy.  And they
	start putting things in your arm...
	you know.  How do they expect you
	to get uncrazy if you're asleep all
	the time?

			SONNY
	Yeah...

			LEON
	You can't talk or do anything.  You
	really feel... you know... I'm just
	sort of coming out of it now.

			SONNY
		(pensive)
	So... that sure is something.

			LEON
	Yeah.  So how are you?

			SONNY
		(chuckling)
	Fine, thank you.  I'm in trouble.
	That is... now I am!

			LEON
		(chuckling)
	Yeah... I know.

			SONNY
	I don't know what I'm gonna do...
	you know.  Boy... I'm dying.

			LEON
	What?  What are you talking about?
	You are dying?  Did you ever listen
	to yourself when you say that?

			SONNY
	What are you talking about?

			LEON
	What do you mean... what am I
	talking about?  Do you realize that
	you say that to me every day of
	your life?  I am dying.  Do you
	know... do you realize the death
	that you are spreading around to
	the people who are around you?

			SONNY
	Now don't give me that deep shit
	now.  Don't start with that shit.

			LEON
	No really... I don't think that you
	realize what it means.  The things
	that you do, Sonny.  You put a gun
	to somebody's head...

			SONNY
	I don't know what I'm doing.

			LEON
		(annoyed)
	Yeah... obviously you don't... when
	you put a gun to somebody's head...
	and you say go to sleep so that it
	won't hurt when I pull the trigger.
	Death?  Don't talk about death to
	me.  I have been living with death
	for the last six months.  Why do
	you think I'm in the hospital?  I
	take a handful of pills to get away
	from you.  And then here I am out
	of the hospital talking to you on
	the phone... again.  I have no
	friends left.  No job.  I can't
	live.  I have to live with people.
	This death business... I'm sorry!

			SONNY
	I'm not on the phone to talk to you
	about that.  Well, I don't know
	what to say, Leon.  When you gimme
	that... when you hit me with that
	shit.  I mean, what am I supposed
	to say?

			LEON
		(indifferent to Sonny)
	I'm sorry...

			SONNY
	I told you.  That I got a lot of
	pressures.  You said to me that you
	needed money, and I knew that you
	needed money!  I saw you there
	lying in the hospital like that...
	and I said... shit, man, I got to
	get this guy some money.

			LEON
		(excited)
	But I didn't ask you to go rob a
	bank.

			SONNY
		(getting louder)
	All right.  I know you didn't ask
	me.  You didn't ask me but I did it.

			LEON
	Well...

			SONNY
	I did it on my own.  I did this all
	on my own.  I ain't laying it on
	anybody.  Nothing on anybody.  I'll
	tell you something, though, it's
	about time that I squared away my
	accounts... you know.  I am squaring
	away my accounts with life.  Maye
	this whole thing is gonna end,
	somehow.  Maybe it'll just end!
	Maybe I'll just close my eyes and
	the whole fucken thing will be over.
	That would be all right too!  I
	said... I thought I would square it
	away with you... you know?  That I
	would get you down here and that I
	would say so long to you... or, if
	you wanted... you know, to take a
	trip...

			LEON
	What trip?

			SONNY
	I'm getting out of here, man.  I'm
	not going to stay here and I'm not
	giving up.  I mean, huh, they're
	going to kill me, anyway.  So fuck
	it!  But, if I can get out of
	this... I am going to get out.
	And, how I'm going to do it is to
	get a jet out of here and I'm
	flying the fuck out... That's all,
	Leon.  If you want to come with me,
	then you're entitled... you can
	come.  You're free to do what you
	want.

			LEON
	I'm free to do what I want?  And
	you think I would want to go with
	you some place on a plane?  Where?
	Where ya going?

			SONNY
	I gotta jet coming here and we're
	gonna try to get the fuck outta
	this thing.  And we're gonna go, man!

			LEON
	You're crazy.

			SONNY
	That's it.

			LEON
	You're really crazy.

			SONNY
	I know!

			LEON
	Where you gonna go?

			SONNY
	Who the fuck knows?  I think we're
	gonna go ... we worked it out to
	Algeria.  So, I don't know.  So
	I'll go to Algeria.

			LEON
	Why you going to Algeria?

			SONNY
	Huh ... I don't know.  They got
	Howard Johnson's there.  I don't
	know why the fuck I'm going there
	for.

			LEON
	Howard Johnson's... you're warped.
	You know that?  You're really warped!

			SONNY
	I know that.  I'm warped... I'm
	warped!

			LEON
		(stuttering)
	God, Algeria!  Do you know there's
	a bunch of... they walk around
	there... God!  People walk around
	with masks and things on their
	heads.  They're a bunch of crazy
	people there.

			SONNY
	What am I supposed to do?

			LEON
		(bitchy)
	I don't know... you could have
	picked a better place.

			SONNY
	Denmark?  Sweden?

			LEON
		(pleased)
	I like that... yeah!

			SONNY
	Sal wanted to go to Wyoming.  I
	told him it wasn't a country.  We
	gotta get outta the country!  To
	hell with a guy who doesn't know
	where Wyoming is.  Okay.  Can you
	imagine what kind of a shape I'm in?

Laughter from both Sonny and Leon.

			LEON
	So!  Sal is with you?

			SONNY
	Sal?  Yeah... Sal is with me.

			LEON
	Oh... wow!  Sonny, you're really
	into one mess now.

			SONNY
	I know I am.  I know!

			LEON
		(making fun of Sonny)
	Sal... Sal... Naturale, oh boy!

			SONNY
	He ain't going out.  And if I go
	out he's just gonna kill the people.
	There's a lot of lives that I'm
	responsible for... that's all.  So,
	I can't do anything.  I got myself
	into this mess and I'll get myself
	out of it... the best way I know
	how!  One of the ways is not giving
	up.  I'm telling ya!

			LEON
	Would you do something for me?
	Please?

			SONNY
	What?

			LEON
	These guys that got me down here,
	you know, huh... they think that
	I'm part of this whole thing.  They
	think I'm part of the plot to rob
	the bank!

			SONNY
	How did they think that?  What are
	they... crazy?  What do you mean.
	That's bullshit, Leon.  They're
	giving you a fucken story.

			LEON
	Well... they told me that I was an
	accomplice...

			SONNY
	Oh... they're fucken crazy.  That's
	a snow job.  Don't listen to that
	shit!

			LEON
	I gotta listen to it if they think...

			SONNY
	Shit...

			LEON
	I can't survive in prison, Sonny...

			SONNY
	All right.  Then what do you want
	me to say?

			LEON
	Sonny, would you please just tell
	them... please...

			SONNY
	Where are they now?  Just tell me...
	are they on the phone now?

			LEON
		(meekly)
	Yeah.

			SONNY
		(annoyed)
	That's great.  Just terrific.  You
	talk to me with them on the phone,
	right?  That is really smart.  And,
	you don't tell me?

			LEON
	I don't have a choice.

			SONNY
	You don't have a choice?

			LEON
	No!  They're standing all around me.
	Seven thousand fucken cops... all
	around me.

			SONNY
	Look... who's on the phone?

			LEON
	Look... don't throw that on me.

			SONNY
	Who's on the phone, now?  What do
	you mean... throw it on you?  You
	knew it, right?

			LEON
	Yeah... I knew it.  But, what
	choice do I have?  I'm in the
	hospital; they drag me out of the
	hospital... bring me down here...

			SONNY
	All right, enough!  Who the fuck is
	on the phone... anyway?  Is that
	you Moretti?
		(angrily into phone)
	You on the phone?  Will somebody
	talk to me?

			LEON
	They won't talk to you.

			SONNY
	Are they on the phone still?

			LEON
	Yeah... yeah!

			SONNY
		(still angry)
	All right!  He didn't do it.  All
	right?  Now... would you get the
	fuck off the phone?  I'll bet that
	really changed them, huh?
		(calmly to Leon)
	Anyway, Leon... did I do it for you?

			LEON
	Yeah... huh, thank you.  I'm going
	to go back, Sonny, to the hospital.
	They're really nice people.  They're
	really trying to help me.

			SONNY
	That's good then.  You've found
	something.

			LEON
	Well... I don't know if I have or
	not.

			SONNY
	Do you still want the operation?

			LEON
		(moody)
	Yeah... yeah.

			SONNY
	Well, then...

			LEON
	It's my only chance!

			SONNY
	I don't know what to say to ya!  I
	guess I just wanted to say I'll see
	ya... or whatever.

			LEON
	Thank you much... and huh, bon
	voyage.

			SONNY
	Right.  See you sometime.

			LEON
	Yeah... see ya in my dreams, huh?

			SONNY
	Yeah... I'll write a song.  Ha, ha.
	I don't know.  Life is funny!

			LEON
	You said a mouthful... sweetheart!

INT. BANK

Sonny hangs up, walks back toward rear of bank and picks up
receiver again on Edna's desk.

			SONNY
		(into phone)
	You cut off incoming, gimme a line.
	I want to talk to my wife, I want
	to say goodbye to my kids.
		(line is connected,
		he begins to dial;
		anguished; to the group)
	Here I am, I could call, and they'd
	put anybody on the phone, the Pope,
	an astronaut, the wisest of the
	wise and who do I have to call?
		(to phone; as she answers)
	Heidi?

HEIDI'S APARTMENT - NIGHT

The TV is on, the kids up and racing around, neighbors
pouring beer -- An event!

			HEIDI
		(on phone; excited)
	Hey, Sonny!  I'm watchin' it on TV!

ON SONNY

			SONNY
	What about the kids?

ON HEIDI

			HEIDI
	They don't know, I sent them to the
	neighbors.  Sonny, Jesus, it's not
	like you.  I can't believe, because
	you never hurt anybody since the
	day I knew you.

ON SONNY

			SONNY
	Heidi, I'm dying.

ON HEIDI

			HEIDI
		(oblivious)
	I blame myself, Sonny.  I notice
	you been tense, like something is
	happening; the night before last
	you're yellin' at the kids like a
	madman, believe me.  And then you
	wanted me to go on this ride with
	the kids, this caterpillar about
	from here to there - fulla one-
	year-old kids.  It's ridiculous.
	I'm not about to go on this ride,
	so you yell right there, 'You pig,
	get on the fuckin' ride!' Well,
	everything fell outta - me - my
	heart, my liver fell to the floor -
	you name it!  Yellin' at me in
	front of all those people.  Because
	you never talked and I never been
	scared of you, never.  I think:
	he's gonna shoot me and dump my
	body in the river.

ON SONNY

			SONNY
	Heidi, for Christ sake, shut up!
	Will you shut your fucking mouth
	and listen?!

ON HEIDI

			HEIDI
		(afraid)
	See?  You're screaming with the
	language and all!  A person can't
	communicate with you.  You become a
	stranger in your own home...

ON SONNY

he sits, dispiritedly listening to this rap: seeing her in a
clear and unambiguous light as before he saw Leon: what a
waste to live in the company of people like this!

ON HEIDI

			HEIDI
		(continuing)
	...because you hurt me, God how you
	hurt me.  Can you imagine, marrying
	another man?  Did I do something to
	make you do that?  Did I ever turn
	you down, or anything?  The only
	thing I couldn't do, you're gonna
	laugh, is go on top - I got this
	fear of high places!
		(giggles)
	And I let myself get fat.

ON SONNY

			SONNY
	Don't call yourself fat.

ON HEIDI

			HEIDI
	I know you can't stand me to say
	I'm fat.  Like I can't stand you
	being a bank robber.  I guess
	that's what love is -- huh, Sonny?

ON SONNY

			SONNY
		(weakly)
	Heidi - why didn't you come down
	here?

ON HEIDI

			HEIDI
	Jesus - what - I'm afraid - I'm
	gonna get shot or whatever.  You
	oughta see it on TV, the guns, the
	cops, they got cannon, machine
	guns, they're loaded with gear.

ON SONNY

			SONNY
	They're not after you, they're
	after me.

ON HEIDI

			HEIDI
	Listen, it's late already when I
	realize it's not just a couple of
	ordinary faggots, it's just you and
	Sal.  I couldn't get a baby sitter.

Heidi goes on and on, but Sonny just drops the phone on the
hook.  As he walks toward the rear of the bank, Sylvia,
seated atop Margaret's desk, gets off and follows Sonny
toward the Conference room.  At the same time, Edna is
lifting Margaret's feet up onto a chair and Jenny and
Deborah start to walk toward the Conference room, too.
Maria paces back and forth, transistor to her ear.

Sonny walks into the Conference room.  The doctor is through
examining Mulvaney.  Miriam is seated across the table from
him.

			DOCTOR
	Listen - I think I better take him
	back for a cardiac check ...

Mulvaney waves, protesting.  He's had a shot; he's rapidly
recovering.

SONNY

			SONNY
	Anything ... what's wrong?  Is he
	gonna die?

			DOCTOR
	No, I just think ...

			MULVANEY
	I'm okay ... I'm okay ...

			SONNY
	You know more than the Doctor?
	You're not okay, look at you.  Come
	on ...
		(to Doctor)
	... let's get him out ...

			MULVANEY
	I'm not going.  I'm okay.

As Sonny grabs him to try to help him up, Mulvaney wrenches
away.  A little physical here.

			SONNY
	Hey!  I'm tryin' to help you.

			MULVANEY
	I stay here.  Damn it.  I just
	needed the insulin.  I'm used to it.
	Go on.  Go on.

			SONNY
		(to Doctor)
	You tell me.  Is he endangering his
	health, because if you tell me he
	is, I'll get him out.

			MULVANEY
	I'll be God damned if you will.

			SONNY
	Oh, Jesus!  You want to be a martyr
	or a hero or what?

Maria and Miriam dance to transistor's music.  Edna walks
into Conference Room to tidy up.  Sal is still sitting there.
Deborah tries to comfort Jenny.

			MULVANEY
	I don't wanta be either, I just
	want to be left alone.  You
	understand that?  I wish the fuck
	you never came in my bank, that's
	all, don't try to act like you're
	some angel of human kindness!
		(he crosses toward
		Tellers' cages to
		start straightening up)


Sonny nods, staring at him.  As Doctor moves toward front
door Sonny walks with him.  Grabs marked bills and stuffs
them into the Doctor's pocket...

			SONNY
	Here, my man.  Whattayou get for a
	house call?

As Doctor tries to wave it away:

			SONNY
		(continuing)
	No, no!  I want a top specialist
	for my friend, I expect to pay top
	money.

He's hustled him to the door, where he ushers him out door.

OMITTED

EXT. BANK (HIS POV) - A BANNER - NEW ANGLE [1ST GAY DEMO]

hastily made, about 40 feet long, being raised above the
heads of crowd to where Sonny can see it.  We can't read it
until it's all the way up.  Then is reads:

		WE LOVE YOU LOVE YOU
				 SONNY

As the crowd reads it, fist fights break out and it totters
and staggers, but the defenders fight bravely... They are
ordinary looking people -- not freaks...

ON SONNY

looking at it, at them with mixed feelings.

ON SHELDON

standing across the street looking at him.  Sheldon indicates
his watch.  Holds up ten fingers: "ten minutes" ...

ON SONNY

He turns into the bank.

INT. BANK - NIGHT

Sonny comes back into bank, his face mad with pain.  He
walks over to Sylvia, standing at open gate of Tellers'
Cages, and brings out a wallet with pictures for her to see.
She takes it, smiles.

			SONNY
	My kids ... Kimmy and Jimmy.

			SYLVIA
	They're beautiful ...

She looks over toward Mulvaney, now behind the Tellers'
Cages, trying to tidy up, and walks over to show him the
pictures.  Sonny stands on the other side of the cages.

			SONNY
		(as Mulvaney looks at pictures)
	I'll never see them again, Mister
	Mulvaney.

			MULVANEY
	They look like good kids.

			SONNY
	They're like any others but they're
	special to me.  You got kids?  You
	told me; you got two.

			MULVANEY
	Special to me, too.

			SONNY
	You like me?

			MULVANEY
	Sure - we like you.

			SONNY
	No you don't.

			MULVANEY
	You seem like a likable enough guy.
	It's hard to judge.

Sonny walks back toward Sal, who is seated in Conference Room.

			SONNY
	Hey, Sal ... How you doin'?

			SAL
	Okay.

Sonny crosses back downstage again to Mulvaney and Sylvia.

			SONNY
		(referring to Sal)
	You know, I don't know him very
	well - but he's not gay ... and
	he's not going back to prison ...
	One time when he was in prison,
	they gang-banged him; 13 years old
	and eight guys gave it to him ...
	So Sal isn't goin' back to prison,
	no way.

			MULVANEY
	I'm sorry.

			SONNY
	You know ... I like you people ...
	I really do.

			MULVANEY
	We like you, too.

			SONNY
	You know - I had a job once.  I
	used to work in a bank.  I had been
	training ... I used to have a boss
	... Mr. Don Frio ... he wore a
	toupee ... I wonder if you'd hire
	me if I came in here and asked you
	for a job ...

			MULVANEY
	Would I hire you?

			SONNY
	Yeah.

			MULVANEY
	Why not?

			SONNY
		(grinning)
	I don't think so.

Sonny walks back toward Sal.

			SONNY
	I told you -- they're sending a jet.
	It's all worked out...

But doubt hangs in the air like a pall...

CLOSEUP - SAL

looking at him.  Implacable.  This tension between them over
the question of Sonny's loyalty must be kept constantly
alive with CUTS and looks, over dialogue...

SYLVIA & MULVANEY

			SYLVIA
	Somebody give me another cigarette.

Sal turns to look at her reproachfully.

ON SYLVIA

			SYLVIA
	I wish somebody would tell me I'm
	gonna live long enough for it to be
	a habit.  My parent, she'll be okay.
	My husband, he'll be okay.  I even
	know who the bum is gonna marry.
	Terrific.  She'll take good care of
	him.

			MULVANEY
	Girls, I wanta apologize.  For my
	language back there.

Embarrassed, he walks toward the rest of group in the rear,
stands by Edna's desk.

			MULVANEY
	Ladies ... I want to apologize for
	my language back there.
		(he walks over to his
		desk, sits down)

Sonny exits Conference Room and moves downstage.

			SYLVIA
		(amazed)
	What'd you say?  I didn't hear you
	say anything.

They think for a moment.

			JENNY
	He said the 'F' word.

They stare at her incredulously.

Someone giggles.

			EDNA
	What?

			JENNY
	The 'F' word.  He did.  He said the
	'F' word.

Edna crosses to her desk - disgusted - and starts to tidy up.

The giggle catches the edge of their panic and anxiety and
sweeps them into uncontrollable giggles and laughter: Sonny
roars.  Sal and Edna alone remain unsmiling.  After a few
seconds they force themselves to stop, to behave like they
should under the circumstances.  They are gasping and crying.
Then ...

			SONNY
	What's so funny?

			EDNA
	Well, I'm a Christian, and my ears
	are not garbage cans.

It sets them off again.  They howl and giggle and laugh.
Until at last they run down again.  At this point, Sal
rushes out of Conference Room.

			SAL
	Who's that?

He has seen something in the middle of the street, and now...

NEW ANGLE

as they all turn to look out through the door.

THEIR POV

Backlighted by the floodlights in the middle of street
escorted by Sheldon, stands a figure, dumpy and gray,
tentatively waving, a figure that bends over baby carriages
in the park, picks beans one by one out of supermarket bins,
lip reads get-well cards in pharmacies.

They hear Sheldon, outside, on bullhorn:

			SHELDON (V.O.)
	Sonny!  Could you come out, please?
	Could you come out, please?

			SONNY
	It's my mother.  Who needs this shit?

But as a dutiful son he starts for the front of the bank.

EXT. BANK - NIGHT

as Sonny walks to his MOTHER.  Baker tactfully moves away,
leaving the two of them in the center of the floodlighted
street.  Again the crowd can be HEARD but not seen; armed
police fringe the lights and shadows, in B.G.

			SONNY
	What do you want here, Ma?  You
	could of watched it on TV.

			VI
	My God, Sonny - you oughtta see -
	Alla Brooklyn is here!  On all 3
	networks!

			SONNY
	Mom - I got it all worked out; it's
	over.  The best thing is you go
	home.  Watch it on TV.

			VI
	I talked to the FBI, I told them
	about you, they said if you just
	come outta the bank it's gonna be
	okay.

			SONNY
	You did what?  Who did you talk to?
	What for?

			VI
	Well, I'm only trying to get you
	outta this.  I told them you were
	in Vietnam, you always had good
	jobs, you were with Goldwater at
	the '64 convention, but you had
	marital problems...

			SONNY
	Oh my God, mother!

			VI
	I said you were never a faggot.

			SONNY
	Don't talk to them anymore.  Sal
	and me are getting a jet, we're
	going to Algeria - I'll write you
	from there.

			VI
	He was very understanding - you
	ought to talk to him ... Algeria?

			SONNY
	We can't stay here.

			VI
	Oh my God!  I don't understand.  If
	you needed money, why couldn't you
	come to me?  Everything I got is
	yours.  I got two hundred and maybe
	twenty-five in the savings.  It's
	yours.  You know it.

Sonny abruptly realizes he is getting sidetracked by Mom -
like always.  Tries to get it back again.

			SONNY
	Mom - they're sending a bus to take
	us to the airport.  You understand?
	If you're here - they're not gonna
	send it.  They'll think I'm gonna
	come out with you.

			VI
	What's wrong with that?  The FBI
	was very understanding when I
	explained it to him.  Everybody
	knows it isn't you ... It's the
	pressures from your home life.

			SONNY
	For God's sake don't start in on
	Heidi again ...

			VI
	Did I say a thing against her?  God
	forbid I should say anything
	against that fat cunt.

			SONNY
	Mom.  Mom.  There are some things a
	mother shouldn't say in front of
	her son.

			VI
	If she comes down here, so help me
	I'm gonna mash her brains in.
	Everything in your life was sunlight
	and roses until you met her.  Since
	then, forget it.

			SONNY
	She doesn't have anything to do
	with it!  You understand that?
	Mother?  This is me!

			VI
	I know you wouldn't need Leon if
	Heidi was treating you right.  The
	thing I don't understand is why you
	come out and sleep with Heidi
	anyway?  You got two kids on
	welfare now.  What're you goin' to
	bed with her, you don't have enough
	with one wife and two kids on
	welfare, you want a wife and three
	kids on welfare?

			SONNY
		(this is old stuff)
	Not now, Mom, please.

			VI
	What'll you do?  Come out.

			SONNY
		(patiently - I told
		you a hundred times)
	I can't, Mom.  If I come out Sal
	will kill them.

			VI
	Oh.
		(she thinks for a moment)
	Run.

			SONNY
	What the hell for?  Twenty-five
	years in the pen?

			VI
	Maybe...

			SONNY
	Maybe!  Aw Christ, what dreams you
	live on!  Maybe what?

She stares at him.  He talks slowly and carefully to her.

			SONNY
	I'm a fuckup and an outcast.  There
	isn't one single person in my life
	I haven't hurt through my love.
	You understand that?  I'm the most
	dangerous person in the world,
	because if I love you, watch out,
	you're gonna get fucked, fucked
	over and fucked out!

			VI
	No!

			SONNY
	Did Pop come down?

			VI
	No.  This really pissed him off,
	Sonny.  He says you're dead.  He
	says he doesn't have a son.

			SONNY
	He's right.  You shoulda done what
	he did.  Go home.
		(embraces her)
	Don't talk to the FBI anymore.

He walks away and moves toward the bank door.

ON VI

Her desperate smile, apologetic and false at the same time,
glistens with a mother's tears.  After a long beat:

			VI
	I remember how beautiful you were.
	As a baby you were so beautiful.
	We had such hopes.

INT. BANK - CLOSE ON DOOR - NIGHT

as Sonny enters and stops, controlling his emotions.  He
walks toward Mulvaney, who is putting visitor's chair back
into position, then waters his plant.

Maria and Miriam are still dancing; Margaret is at her desk;
Sal, Jenny and Deborah are in the Conference Room; Sylvia is
still behind Tellers' Cages.

			SONNY
	Mister Mulvaney?

			MULVANEY
	Yeah?

			SONNY
	Are you a lawyer?

			MULVANEY
	No.  I had some legal training,
	but...

			SONNY
	I want to dictate my will.  I need
	a notary?

			SYLVIA
	I'm a notary.

She leaves Tellers' Cages area, crosses to Sonny, grabbing a
pen from Edna's desk on the way.  Sonny's urgent mood
reaches them.  Sylvia gets note pad from Mulvaney.  Takes
the dictation...

			SONNY
	Being of sound mind and body, and
	all that shit...

Sylvia nods: got it.

			SONNY
		(continuing)
	To my darling wife Leon whom I love
	as no other man has loved another
	man in all eternity, I leave $2,700
	from my $10,000 life insurance
	policy, to be used for your sex
	change operation.  If there is
	money left over it is to go to you
	on the first anniversary of my
	death, at my grave.  I expect you
	to be a real woman then, and your
	life full of happiness and joy.

	To my sweet wife, Heidi, five
	thousand from the same policy.  You
	are the only woman I have ever
	loved, and I re-pledge my love to
	you in this sad moment, and to
	little Kimmy and Jimmy.  I hope you
	remember me, Jimmy.  You are the
	little mad of the family now, and
	will have to look after them for
	me.

	To my mother I ask forgiveness.
	You don't understand the things I
	did and said, but I'm me, and I'm
	different.  I leave you, the rest
	of the policy and my stamp
	collection.  I want a military
	funeral and am entitled to one free
	of charge.

	Life and love are not easy and we
	have to bend a lot.  I hope you
	find the places and the people to
	make you all happy as I could not.
	God bless you and watch over you,
	as I shall, until we are joined in
	the hereafter, sweet Leon, my
	Heidi, dearest Kimmy and Jimmy, and
	my mother.  Sonny... here I'll
	spell the last name...

He sits and writes it for Sylvia.

			SONNY
	Type that up and I'll sign it.

Nobody says anything about this document.  What is there to
say?  Sylvia walks to her desk at the front of the bank,
near the window, and begins typing.

EXT. BANK - VARIOUS ANGLES - NIGHT

The restless crowd STIRS, sensing something happening.
Turning to see something coming.

APARTMENT FIRE ESCAPE

The Cops gear up their weapons: radios CRACKLE.  Something,
a vehicle, is moving through the crowd, Cops shoving people
aside to let it through.  The Old Lady pays no attention.
She is down to one of the very last pieces of the puzzle and
is searching for the spot for it.

LOW ANGLE IN CLEAR PLACE IN FRONT OF BANK

as the vehicle clears the crowd and slowly draws up in front.
It is a long airport limousine of the type with many doors.

It stops.  Everyone's attention is on it.  A black DRIVER
gets out, a gay Afro knit on his head, coke dealer's shades,
for the cognoscenti, one very long little finger nail, a
nifty Van Dyke style beard and one gold front tooth.  He
looks around, holding a sheet of paper.  Sheldon, others,
approach.  They are looking into the vehicles, opening
doors, checking tires, etc.

DOOR OF BANK

Sonny appears.  He strides to the limo.

			SONNY
	Okay.  Get away from it.

After a moment the Cops all move back.  Sonny opens the
front door and begins to check it out.  The Driver starts to
move away...

			SONNY
		(continuing)
	These seats come out?

			DRIVER
	Yeah.

INT. LIMO - CLOSE - SONNY AND DRIVER

Together they remove the seat so Sonny can check for guns
concealed below, etc.  Improvise to fit conditions of the car.

			DRIVER
		(dawning on him)
	Jesus, you're the man!

			SONNY
	Come on, what's under this?

They pry up a seat and look under, etc., all through:

			DRIVER
	I was lookin' at it.  I saw you,
	man!  Jesus!  You oughta see
	yourself!  You wouldn't believe it.

			SONNY
	Yes, I would.

			DRIVER
	God damn it, Sheila isn't gonna
	believe it.  They just call in and
	say gas up a stretchout and get it
	down to
		(address in Brooklyn)
	and I say, 'shit, another load of
	Elks for the massage parlors.'

			SONNY
		(finished)
	Okay.

Driver stands up, getting a good look at Sonny.

			DRIVER
	Well, by God I'm gonna remember you!

And he turns and walks away.

Driver stops, uncertainly.  Cops grab him to hustle him away.
Sheldon steps forward with a neat twenty-years-younger
carbon copy of himself...

			SHELDON
	Here's your driver, this is agent
	Murphy.

NEW ANGLE

Sonny and Murphy.  Sonny eyes Murphy, thinks, then begins to
frisk Murphy.  He finds nothing.

He stands up and eyes Murphy.  He just doesn't like it.

			SONNY
	I don't want him.

			SHELDON
	What can he do, he's clean...

			SONNY
	Gimme the black guy...

The Driver is still close enough to hear...

			DRIVER
	Aw, hey...

			SONNY
		(overlapping everybody)
	Come on, nobody's gonna get hurt.
	If they were gonna shoot, they'd
	shoot now.

			SHELDON
	I can't allow that, Sonny...

			SONNY
	You can't allow!  I'm running this
	thing, what gives you the idea you
	can say shit?
		(to Driver)
	Come on.  I'll pay you.  Whatta you
	want?  Two hundred?  A thousand?

The Driver looks around desperately to the FBI, to get him
out of this.

			SONNY
		(continuing)
	Don't look at him.  I'm running this.

Pause.  Sheldon finally reluctantly nods.  Sonny motions for
him (the Driver) to step forward.  Before he can get in the
car, Sonny stops him.  Signals to him to get ready.  Gives
him a thorough pat search.  Thighs, the whole bit.

CLOSE ANGLES AS HE SEARCHES

It is tense.  The Driver seems uptight.  Sonny finds nothing
until he touches a breast pocket.  The Driver is very
uptight.  Sonny reaches in, pulls out a -- tiny bottle, with
a coke spoon chained to the lid.  Before Sheldon can see it,
but the audience has, Sonny shoves it back, grins, slaps the
Driver on the buns.  The Driver laughs delightedly.

He was afraid he'd get busted for the dope: the drive will
be a cakewalk.

			SONNY
	You'll be okay.

			DRIVER
		(to FBI)
	You men shoot, aim for the white
	meat!

He loves the joke!  They act as though they hadn't heard.

Sonny slaps him playfully on the arm and smiling turns to
Sheldon.

			SONNY
	I want him.

He points at Murphy.  Sheldon stands there speechless.
Driver stares at Sonny, his smile fading.

			SONNY
		(delighted)
	What do you think you're dealing
	with, an idiot!

Sheldon nods to Driver and Murphy.  Murphy resumes role as
driver of the limo.  Driver gets out.

			SONNY
	So long, copper.

SONNY AND MURPHY

as they position the stretchout in front of the bank.  It
can be seen from inside.  The FBI men stand well back from
it.  Murphy stands by the door.  He also can be seen.

			SHELDON
	Okay, Sonny?  You follow my car.

Murphy nods.  Sonny is satisfied and turns to the bank,
takes Murphy into vestibule, indicating for him to stay
there.  Sonny continues toward group at rear.

INT. BANK - NIGHT

Sylvia is finishing her typing.  The girls and Mulvaney are
slowly getting ready.  Deborah is getting her purse out of
Margaret's desk drawer; Margaret gathering her own purse,
books, etc.; Jenny is getting her purse from Edna's desk as
Edna gathers up her belongings; Mulvaney is seated at his
desk; Miriam is at her desk, by the front door.

Sal stands with his gun ready.  [As Sonny enters and takes
up his gun, Sal carefully and methodically begins to redress
himself, comb his rumpled hair, knotting his tie carefully...]

ANGLES FAVORING SAL

as he rebuilds his sartorial image before the various
reflecting surfaces of the bank, knotting his tie in a glass
partition, checking his suit for wrinkles in a glass door,
etc.  Meanwhile we are seeing the following, which Sal
ignores:

SONNY ENTERING

			SONNY
	Hey, let's get ready!

			SYLVIA
		(gets up, walks to Sonny)
	Sonny - Here's your document.

ON SONNY

looking at the will, taking up pen.

ON SYLVIA, MULVANEY

watching him with compassion.

INSERT

Sonny signs fast and firmly...

INSERT

Sylvia's notary seal clamps and imprints the paper.

LOW CLOSE ANGLE - SONNY

			SONNY
	Okay, okay, okay!  What a bunch of
	cold fish.  It's an adventure!
	Everybody's gonna remember you the
	rest of your lives, the day you got
	held up and kidnapped ... hey!

His eye has struck some reminder.  They handle this.

			SONNY
		(continuing)
	You got Bank Americard?

			MULVANEY
		(tired)
	What now, Sonny?

			SONNY
		(gathers money from
		near-by money bag)
	Listen, I owe a couple hundred
	dollars!  I don't wanta leave owing
	anybody anything!  A clean slate, a
	new leaf...

He plunks his card down before Sylvia.

			SONNY
		(continuing)
	I paying off.
		(money from attached case)
	Here.  Two hundred should do it.

They start the action of filing the form and accepting the
money... Sonny stops them...

			SONNY
	Just give me a receipt.  Hey, Sal,
	you okay?

			SAL
		(deep in his hair or
		tie or?)
	Okay, Sonny.

			SONNY
	All right.
		(accepts receipt)


			SYLVIA
	Here's your document, Sonny.

			SONNY
	Yeah - it looks real official.

They are ready.  A moment in the dark.  Sonny holds out the
will to Mulvaney.

			SONNY
		(continuing)
	Hold it for me?

Mulvaney takes it.  Sonny shakes his hand.  Suddenly,
emotionally, he embraces Sylvia.  Suddenly they are all
saying silent goodbyes.  Shaking hands all around, formally.

Only Sal is left untouched, standing apart, watching them,
in the dark.

EXT. BANK - NIGHT

Everyone waits in silence.  The lights.  The limo.  The
Driver waiting in the driver's seat.  After a beat the door
begins to open.

VARIOUS ANGLES

as Cops' guns are brought to bear.  On the apartment fire
escape the Old Lady is asleep, her puzzle complete.  The
snipers raise their rifles.

FRONT OF BARBER SHOP - NIGHT

Sheldon stands there.  The police radio network CRACKLES:
"They're coming out.  Perpetrators and hostages together.
Only authorized personnel may previously authorized, and
etc."  Sheldon's eyes go to:

HIS POV - SNIPER

A middle-aged Man who looks like an overweight accountant,
in flak vest and helmet that seems too small, aiming through
a telescopic sight at:

DOOR OF BANK

			SONNY
		(letting Murphy out
		first; yells outside)
	Get away from the car!

Something that looks like a multi-legged animal emerges.  It
is Sonny and Sal in the center of a tight group of the girls
and Mulvaney, so they are completely protected on all sides
by hostages.  Over their heads is thrown some drapes from
the bank that further prevent the police from drawing a
clear head on Sonny or Sal without hitting a girl.  In fact
they can't be seen at all.  This weird apparition appears,
hesitates.  The crowd YELLS: "SHOOT!"  CHOREOGRAPH THE
ACTION so the group hesitates, takes a step forward, then
it's clear Sonny can't see well enough to go direct to the
car, and the girls are uncertain which direction to go in,
not having been briefed.  So they stumble about, make false
starts, and finally arrive at the car, where one girl gets
into the second row of seats behind the Driver.  Then Sonny
slides across next to Driver.

VARIOUS ANGLES TO COVER

The police have no chance to shoot.  The group looks like a
bewildered centipede finding its way.  Mulvaney detaches
himself from the group and slips into the front seat, on
Sonny's right.

ON EDNA

standing alone, outside filled-up limo.  Sheldon walks over
to Mulvaney's window.

			SONNY
		(to Sheldon)
	Okay - you got your one.

			SHELDON
		(to Murphy)
	You follow my car.
		(he moves off)


Maria gets in the rear-most row of seats.  Sal next to her
in the middle and then another girl.  One woman, Edna, a
plain middle-aged woman who has not said a word until now is
left over.  She stands by the side of the limo as the doors
close and this phase of the operation ends, without mishap.

			SONNY
		(elated)
	Fuck!  We did it!

			SYLVIA
		(to Edna)
	Goodbye, honey.  Wish us luck!

Edna pecks out dry little kisses to the nearest girls.

ANGLE THROUGH SONNY'S DOOR WINDOW

as Edna pecks... goodbye.

			SONNY
	I'll be a son of a bitch -- we're
	all okay!  Hey, man!  Honk the horn.
	Let's go!

Sal has his gun pointed on back of Driver's head.

			MURPHY
	Hey, Sal - do me a favor ... point
	that gun up, huh?  We hit a bump
	and the fuckin' gun'll go off.

The Driver honks the HORN: they're ready.  The crowd SCREAMS.
Cops keep jockeying for position, but there is no way to get
a shot in.

ON SHELDON

No emotion.  He steps into his car, a police car pulls up
behind, and the procession starts to pull slowly toward the
crowd.

ON EDNA AND BANK

As the limo pulls away, she is bewildered by the rush of
police, bank people, FBI men who stream past her, ignoring
her, all pouring into the bank.  TV crews move by and
finally -- one stops to interview her.

ON THE CARAVAN

being rammed through the jam of Cops and screaming people
trying to get a last look.  The hostages looking out, wan,
worried.  Sonny and Sal inside, alert, ready with guns.

INT. LIMO - NIGHT

			MURPHY
	Sal - please keep that gun pointed
	up, huh?

THEIR POV - MOVING SHOTS

from inside the limo.  The faces of the poor, the excited,
the vicious the curious, and in ONE SHOT some of the people
from the Gay Liberation Movement carrying hastily lettered
signs: one protesting Sonny:

			YOU ARE AN INSULT
			TO YOUR KIND

and another:

			WE LOVE LOVE LOVE
			YOU SONNY!

Their scared and wan faces swim past in the mob.  Sonny's
mother is briefly seen looking out of the barber shop
window, alone and forgotten.  The Cops stare heavily, sullen
with anger.

Now the limo is moving faster.  People are running alongside,
YELLING insults, trying to see in, asking for hand-outs, but
they are going faster.  Inside, they say nothing.  Up ahead,
Sheldon's car flashes a red light.  Behind, the police car
does the same.

VARIOUS EXT. AND INT. ANGLES - NIGHT

as the procession moves through Brooklyn.

MOVING VIEW FROM GROUND

A helicopter follows above them.

VIEWS IN STREETS

They move along, followed by a HONKING parade of kibitzing
cars, like a Mexican wedding.

ANGLE AT AIRPORT THRUWAY

They turn onto the thruway, trying to out-distance the cars
tagging along.

INT. LIMO

Silence.  Sonny and Sal hold their rifles ready between
their knees.

ANGLE N AIRPORT FENCE

as they veer off the thruway, a barely seen Guard swings
open a gate and they ROAR through.  The Guard pushes the
gate to, and the following caravan of cars brakes, skids and
a pile-up of fender bender accidents begin, cars going into
the fence and each other.

FULL SHOT - THRUWAY

Cars are strewn all around.  Doors open and Drivers leap out
ready to YELL and do battle.  The Cops guard the now closed
gate.

KENNEDY AIRPORT - NIGHT

Distant lights, some moving.  Total darkness.  The FBI car,
the limo, the following police car move across the darkness...

INT. LIMO - NIGHT

They sit quiet, following the FBI car.  The FBI car stops.
They stop.  Silence.

			SONNY
	Murphy, can you see what they're
	doing?

			MURPHY
	He's still got some arrangements to
	make.

Sheldon is getting out of the car up ahead.  Sonny and Sal
and all of them come alert.  As Sheldon and the other FBI
men get out of their car, a pair of aircraft landing lights
become visible, taxiing towards the limo.

			SONNY
	There it is, Sal.  Sal?

			SAL
	I'm here.

			SONNY
	Oh, Jesus!  Hey.  How about food?
	I forgot to ask to have food on
	board.

Sheldon has been walking down to the limo.  He stops beside
Mulvaney and KNOCKS on the window.  Mulvaney rolls it down.

			SHELDON
	That's the jet.  You give us one
	more, now.  That's the deal...

			SONNY
	Okay.  Which one goes?

There is silence inside the limo.  Mulvaney turns to Sylvia.

			MULVANEY
	Sylvia?

From a handkerchief, Sylvia draws a slip of paper.

			SYLVIA
	It's Maria.  Go on, honey.

They open the door.  They urge her out, and Maria goes with
a show of reluctance.

ON MARIA

As she stands up outside she is revealed to have a rosary
she's counting.  IMPROVISE goodbyes, tearful and fearful all
around.  Then:

			MARIA
	I pray for your safety...
		(meaning Sonny and Sal)
	... Sal?  Because I know it's your
	first plane trip.  Don't be scared,
	you know?
		(gives him her rosary)

And Maria walks away.  Now the plane has taxied into
position, where it can be seen in floodlights.  It looks big
and impressive.  We know the FBI has snipers ringing it.

			SONNY
	I ain't eaten all day.  I just
	realized it.

			SHELDON
	We'll have hamburgers on the plane.
	You ready?

			MURPHY
		(turns to Sal again)
	Sal, keep it up, huh?  The gun -
	please ...

CLOSE - SONNY

looking at the plane, grasping his money and his gun.  The
rifle stands straight up between his legs.  Sheldon leans
down, peering in at him.

			SONNY
	What do you think, Sal?  You ready
	to go?

ANGLE - SAL

in front of Sonny, behind Mulvaney.  For the first time he
smiles.  He realizes that escape is within their grasp.  The
smile transforms him from a formidable Mafia imitation into
an utterly sweet and defenseless youth.

			SAL
		(gun pointing high)
	Hey, Sonny - You did it!

CLOSE - SONNY

			SONNY
	Let's move it, goddamn it.

			SHELDON
		(to Driver)
	You ready to get out first?

			DRIVER
	Yes.

Driver starts to turn in the driver's seat!

Sheldon brings up his hands to reach through the open window
to grab Sonny's rifle barrel, pushes it away, aiming out
windshield.

Mulvaney sees them beginning their move and starts to duck.

Sal begins to see movement out of the corner of his eyes and
is barely beginning to react.

DRIVER TURNING HAS A GUN OVER THE BACK OF THE SEAT!

Sonny sees it, and Sheldon's hand grabbing the barrel of his
gun at the same moment.

Sheldon drives hard into the side of the limo, reaching in.

Mulvaney grabs the girl next to him and pulls her by the
hair down toward the floor.

Sal, open-mouthed with amazement, is a split-second late
bringing his gun up.

Driver completes his turn and has his gun leveled at Sal
between Miriam and Margaret in middle row.

Sheldon grabs his rifle barrel and pulls hard.  Sonny lets
it go.

Sal stares at the gun barrel, trying to get his gun up...

Driver FIRES.

Mulvaney hits the floor.

Sheldon holds Sonny's gun.

Sonny, CLOSE, watches.

Sal, hit, slams back into the seat; the gun flies upward.
Another SHOT hits him, flinging his head back.

Driver holds his third shot, turns to Sonny - holds gun to
his temple.

Sonny looks down so he can see fully as:

Sal's head snaps back for a split second and stares directly
into Sonny's eyes, upside down.

He stares sadly, into Sonny's eyes.  As though he knew it
all along -- betrayed.

And dies.

The SHOT is ECHOING.  Now SCREAMS, YELLS, SLAMMING doors,
panic... Sonny's voice:  "Shoot me!  For God's sake, shoot
me!"

FULL SHOT

They come pouring out of the limo, scrambling frantically
away from it.  The limo -- the people fleeing it.  Agents
pull people away from the car.

Driver and Sheldon and Cops peer into the back.  Sal's body
lies slumped.

Driver, Sheldon, other Cops stand about, recovering.  No one
makes the slightest sort of congratulatory move, it was just
another job.  Driver clears his weapon, hands it to Sheldon
to be filed in case of investigation.

ON SYLVIA, MULVANEY, HOSTAGES

They hug, cry, laugh, jump up and down: they're alive!

			SYLVIA
		(to Mulvaney)
	I been dying to do this for years!

And she kisses him hard in the mouth.  He laughs and kisses
back...

CLOSE - SONNY

Tears are beginning to flood past his defenses:

			SHELDON (V.O.)
	You are under arrest.  You have the
	right to remain silent.  You have
	the right to counsel to be present,
	during your interrogation.
		(etc.)

His voice is dry, as though he were reciting from memory
something he learned in a language he doesn't understand.

							LAP DISSOLVE TO:

CLOSE - LEON - HEAD ON SHOT

like a Warhol interview on TV.  Segue VOICE TRACK.

			LEON
	Well, I don't see how Sonny can
	survive in prison, he was very
	loud, very boisterous.  He was
	obnoxious.

CLOSE - HEAD SHOT - SONNY

being manipulated like so much beef by impersonal FBI
agents...

			LEON (V.O.)
	He was very hard to live with...

			HEIDI (V.O.)
	He made me laugh.

EXT. BARBER SHOP - NIGHT

Remnants of the crowd of sightseers, being interviewed by TV
men avid for more, more, more news... these are people among
the group that held up the big banner earlier: now we see
them up CLOSE.  They're folding up their banner.  A very
ordinary-looking YOUNG GUY.

			PROUD YOUNG MAN
	I love him.  He put an end to all
	that pansy limp wristed shit!

FBI AND SONNY

They're getting off his belt, his shoe laces...

			HEIDI (V.O.)
	Because he always had a way of
	getting out, always in the army he
	was AWOL...

OMITTED

BACK TO SONNY

manacled and helpless.  He is twisted into some yet more
uncomfortable position by the uncaring Agents.

			HEIDI (V.O.)
	I can't help thinking how he might
	ring the bell one of these days.
	That's why I'm nervous, because I'm
	always thinking some day he's gonna
	come along and ring the bell...

THROUGH THE SHOT Sal's body is carried, Sonny, seeing it out
of the corner of his eye.  He tries to look...

			FBI MAN
	Keep your eyes front.

PAULINE NATURILE - BEING INTERVIEWED

A faded, rattled woman, perhaps a little drunk...

			NEWSMAN
	How did you know your son was
	involved?

			PAULINE
	It was on the TV.

			NEWSMAN
	When was the last time you saw Sal?

			PAULINE
	Oh, a long time.  Because I kept
	asking my husband where the heck
	could Junior be?  He wasn't around
	here.  I thought maybe he was in
	prison or some place.

			NEWSMAN
	Did you know he was a homosexual?

			PAULINE
	No, not until after they killed him.

			NEWSMAN
	Did you always call him Junior.

			PAULINE
	Yeah.

			NEWSMAN
	Do you remember anything else about
	Sal?

			PAULINE
	No, that's all.

BACK TO SONNY - AT AIRPORT

Sonny isn't even listening... he sees something o.s.:

			SONNY
	Hey!

NEW ANGLE

The hostages moving toward a car to take them home are
passing nearby and turn to look at him...

			SONNY
	Goodbye!  You were terrific!  Mouth!
	You're beautiful!  See you!

THEIR REACTIONS

They stare at him; they've already begun to forget him: the
moment in the bank when they said their goodbyes is already
receding from their consciousness.  Their smiles are forced,
and they don't really know what to say.

			SYLVIA
	Ah, Sonny!  Good luck, you know?

			MULVANEY
	You were terrific, too!

			SYLVIA
	Hey.  It's raining.

And, as the first welcome drops of cooling rain fall, they
begin to move fast...

ON SONNY

looking after them.  The rain hitting his face... the
adventure is over.  But the everlasting smile overtakes him...

			LEON
	I'm glad.  Life is easier with him
	in prison.

			HEIDI
	It would be like always, the bell
	would ring, we'd have a ball.

OMITTED

BEGIN TITLE AND CREDITS:

SINCE THERE WILL BE NO BEGINNING TITLE OR CREDITS, THE
PICTURE LOGO WILL FLASH ON SCREEN NOW, AND END MUSIC UP:

AS PACINO'S CREDIT IS SEEN, OVER A STILL OF HIM FROM THE
PICTURE: THE FOLLOWING IS SUPERIMPOSED:

SONNY IS SERVING TWENTY-FIVE YEARS IN FEDERAL PRISON.

AS LEON IS SEEN:

LEON IS NOW A WOMAN NAMED LANA.

AS HEIDI IS SEEN:

HEIDI LIVES WITH HER CHILDREN ON WELFARE.

FADE OUT.

THE END
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