Actor Point >> Movie Scripts >> Dog Day Afternoon Film Script

Dog Day Afternoon Movie Script

Writer(s) : Frank Pierson

Genres : Comedy, Drama, Thriller

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                                   "DOG DAY AFTERNOON"

                                            by

                                      Frank Pierson

                                       Final Draft

                

               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
                         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
                         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 it?... 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
                         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
                         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
                         ...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
                         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
                         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 
                         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
                         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
                         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
                         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
                         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.  Maybe 
                         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
                         ...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
                         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 man 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
                         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
                         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
                         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
                         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