DOG DAY AFTERNOON

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...

Final Draft