INT. BANK - DAY

A slightly seedy little branch bank, old yellow brick,
varnished wood, a rubber plant, an American flag. Through
the windows we SEE HOWARD, the aged black bank guard, in
uniform, taking down the American flag from outside. Past
him comes Sal carrying an attache case. He passes Howard
coming toward us through the door into the bank.

BANK CLOCK - as it CLICKS from 2:57 to 2:58 PM.

MOVING SHOT WITH SAL

as he moves toward the left-hand deposit-slips desks.

He picks out a car-loan application slip, then walks toward
the manager's desk (as the sign on the desk proclaims) of
PATRICK MULVANEY. Sal sits down, his back to Mulvaney,
facing the front door of the bank. Mulvaney is on the phone.

ON DOOR

as Sonny bustles through in his bouncy dancer's walk. He
carries the large florist box. He moves toward the left-
hand deposit-slips desks, takes one out and begins to fill
one out.

ON HOWARD

as he pulls out the keys, attached to the belt of his
uniform. Jackie approaches the door of the bank and stops,
neither in nor out, as though he can't make up his mind.
Howard watches him, waiting patiently, keys in hand, folded
flag under his arm.

CLOSE - SAL

still sitting, back to Mulvaney, watching Jackie's approach
and entrance, ready to move on cue.

ON DOOR

on Howard as he looks at Jackie, still half in, half out.
Howard speaks to him:

HOWARD
Closing time; you want in or out?

Jackie steps in and as Howard locks the door to prevent more
customers from entering, Jackie walks toward Sonny, filling
out a slip at the left-hand area. CAMERA FOLLOWS Jackie.
He stops at deposit-slips desk, next to Sonny.

CLOSE - SAL

as if by pre-arranged signal, Sal now stands up, moves to
the side of Mulvaney's desk.

SAL
You the manager?

ON MULVANEY

who is still on the phone. He gestures at the sign on his
desk that says so, and gestures for Sal to sit down.

ON SAL

as he sits, producing as he does a machine pistol, which he
holds on Mulvaney's chest, out of sight from others in the
bank.

MULVANEY

His mouth simply stops, and he stares at the gun. Mulvaney
is a comic opera Irishman in his early fifties, florid ...
cheerful, bushy eyebrows; he acts out everything he says...

SAL
Just go on talking, like nothing
was happening, okay?

MULVANEY
(into phone)
Listen, lemme call you back.

He hangs up, and looks from the gun up to Sal's blank hard
face. To his own amazement, he grins: a hopeful grin that
says: "Like me - don't hurt me." And he's embarrassed by it.
As we watch, his smile turns sour.

HIS POV - FLASH

Sal's absolutely unmoved face.

TWO SHOT - SONNY AND JACKIE

Jackie moves over to Sonny.

JACKIE
Sonny, I'm gettin' real bad vibes.

SONNY
Jackie - what are you talking about?

JACKIE
Maybe we can take something
smaller... like a Spanish grocery.

SONNY
(indicating what's
happening with Sal
and Mulvaney)
It's too late - just get away from
me - don't talk to me now - go over
to your place...

Jackie moves to another deposit-slips desk - takes one out
and begins to fill it out.

ON TELLER'S CAGE AREA

as a LADY with a BABY in a stroller moves away from the
Teller and starts to walk toward the front door. DEBORAH is
marking figures on a piece of paper at 1st Teller's cage.
SYLVIA and MIRIAM stand behind her - their backs to Sonny.
Howard, who has put the folded flag in a plastic bag in a
front desk, follows Lady toward the door. He unlocks the
door and hands the Baby a lollipop, courtesy of the bank,
and she exits the bank.

CLOSE - NEW ANGLE - SONNY

glancing at clock, taking a sharp deep breath...

SAL

staring at Mulvaney.

MULVANEY

the ruins of his smile still on his face.

HOWARD

straightens up from locking the door; the figure of the Lady
and the Baby can be seen receding outside...

SONNY

seeing that the bank is closed, locked in, with no customers,
crosses toward the front teller's cage area, carrying the
florist box. As he reaches the other side, he rips open the
box and takes the rifle out and aims it level onto SYLVIA
BALL, the teller, who automatically takes the "closed" sign
and holds it in front of her face as though to protect
herself from the rifle.

SYLVIA
(holding sign in
front of her face)
Sorry, this window is shut...

TWO SHOT - MULVANEY AND SAL

as Mulvaney stands and yells to Sylvia...

ANGLE ON BACK OF BANK, REST ROOM AREA

as MARGARET, an accountant, comes out of the ladies' room,
starts to cross downstage toward her desk, sees what is
happening, and momentarily freezes in her tracks.


SONNY
Okay, this is a stickup! Nobody
move! Just freeze now, goddammit! Get
away from your desk... get in the
center - get in the center!

Sylvia and Edna start to move toward the rear of the bank,
toward Margaret's desk.

MULVANEY

aghast at his own outspokenness ... Sal holding the gun
levelled on him.

MULVANEY
Okay, okay... we know it's a stickup!

SONNY
(to Jackie, re: Howard)
If he moves - blow his guts out...
Cover him!

TWO SHOT - SONNY & JACKIE

Jackie, staring at the real guns, turns to Sonny...

JACKIE
I'm sorry, Sonny... I can't make
it...

Jackie starts to move toward the front door.

SONNY
Hey, for Christ's sake... now...
you asshole...
(turns to Sal)
He can't make it.

SAL
Let him out!

Sonny yells out at frozen Howard.

SONNY
Hey... let him out!

MULVANEY
(yells)
Do what the gentleman says, Howard.

Sonny sees that Howard is useless, so he runs to Howard,
grabbing the keys from him and pulls Howard along with him
to the front door. Jackie unlocks the door, and Jackie,
with a last apologetic glance, gives his gun to Sonny and
vanishes into the sweltering afternoon. Sonny then frisks Howard and has a sudden afterthought as he locks the door again. He quickly unlocks it and shouts out at Jackie.


act out- odgrywać, grać (rolę)
afterthought- refleksja
aghast- osłupiały
apologetic- przepraszający
asshole- dupek (wulg)
attach- przypinać, przyczepiać, umocować
blank- pusty, bez wyrazu
bouncy- pełen werwy
bushy- krzaczasty
bustle- spieszyć się, krzątać się
car-loan application- wniosek o kredyt na samochód
courtesy- uprzejmość
deposit-slip- formularz bankowy, lokata
fill sth out- wypełniać (druk)
florid- rumiany
fold- składać
freeze- zastygać
frisk- dokonywać rewizji osobistej
gesture- robić gest, wskazywać gestem
glance- zerkać. spoglądać; spojrzenie
grab- chwytać
grin- uśmiechać się, szczerzyć zęby; uśmiech
indicate- wskazywać
left-hand- z lewej strony
level on- nakierować na
lollipop- lizak
momentarily- momentalnie, w jednej chwili
out of sight- poza zasięgiem wzroku
outspokenness- szczerość, otwartość
pre-arranged- ustalony wcześniej
prevent- zapobiegać, nie dopuszczać
proclaim- obwieszczać, głosić
rear- tył
recede- oddalać się
rip open- rozrywać, gwałtownie otwierać
seedy- podniszczony
stare- wpatryać się, gapić się
stickup- napad
stroller- wózek dziecięcy
sweltering- upalny
vanish- znikać
varnished vibes- przeczucia


TEST

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