He turns and yells at the Indians in Quechua, his anger giving an indication of his own fears.
There would be no, there was no, and there never is any, warning. With the room now dim he goes to a stack of magazines on a bookshelf. The Indians become increasingly nervous. Bosko's moving 90 degrees to the right, crossing the street.
We can see the carnage in our heads, and all in very little time and page space. You want the hero reeling so he has to dip into all his skills and he has to fight back on feel. Three quick moves and he's down- slumped against a wall- just another drunk to step over in the rush hour.
As long as you can balance action lines that only tells us what we need to know with the dialogue, keep that speeding script on full throttle. He sits down on the sofa — the magazine in his left hand while his right hand disappears towards his belt, below frame… Did that read better?
If you can use an arresting verb in place of a ho-hum or standard one, DO IT. It looks even more boring than the street.