DOOR OF BANK
Sonny back in the shadows with Sylvia, looking at Moretti, appalled.
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.
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!
— Dog Day Afternoon (1975), screenplay by Frank Pierson
The Daily Dialogue theme for the week is negotiations, suggested by JasperLamarCrab. Today’s suggestion by Teddy Pasternak.
Trivia: The entire film is mostly improvised, though around the script. After rehearsing the script for weeks with his cast, Sidney Lumet took the improvisations that were made while rehearsing and made that the official screenplay.
Dialogue On Dialogue: Negotiations gone bad.