- 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:
- 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
- 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)
REVEREND LEE, SHE SAID, LORD KNOWS
I LOVE YOU, REVEREND LEE - DO IT TO
- 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-
- 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
AND SHE DREAMS OF CRYSTAL STREAMS
OF DAYS GONE BY WHEN WE COULD LEAN
LAUGHING FIT TO BURST UPON EACH
- 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
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
- 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
- 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:
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.
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
- 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...