Sweet Smell of Success Page #17

RITA:

(in a small voice)

What would you think of me if -

SIDNEY:

(cutting in to

reassure her)

Nothing I didn't think of you before.

RITA:

(dryly, with significance)

- that's what I mean!

This attempt at humor signals to Sidney that he has brought

her round. He comes to her, pats her in an encouraging

manner - to which she does not respond.

He turns to the door, and picks up the glasses she has set

down on the table behind it.

SIDNEY:

(as he opens the door)

How many snorts does it take to put

you in that Tropical Island Mood?

Sidney goes out.

SIDNEY'S OFFICE

Elwell overhears the last remark and as Sidney passes him,

he winks. While Sidney pours another drink, Elwell faces

the doorway. Rita comes into it, stands on the threshold.

She is still far from enthusiastic.

ELWELL:

(an inspiration)

Havana! That's where we met!

Rita shakes her head morosely. Sidney comes and puts a

stiff drink into her hand. Elwell raises the glass toasting

the girl, encouraging her to drink. Rita responds dimly.

RITA:

(to Otis)

Here's mud in your column!

Sidney laughs, more from relief than from the joke.

SIDNEY:

Blessings on thee, the both...well...

Gotta run now. See you two kids

later!

ELWELL:

(lightly)

Hurry back.

At the door Sidney takes cheerful leave of them.

SIDNEY:

Don't do anything I wouldn't do.

That gives you lots of leeway.

HALLWAY OUTSIDE SIDNEY'S APARTMENT

Closing the door, Sidney seems pleased with himself. He

goes swiftly down the stairs.

INT. SIDNEY'S OFFICE

Rita remains on the threshold of the doorway between the two

rooms. There is an uncomfortable silence. Elwell carries

it off by coming to the girl, offering her a cigarette. She

accepts it. Elwell studies her, smiling affectionately.

Rita meets his eyes, avoids them again, then quietly offers

the information:

RITA:

Palm Springs. Two years ago.

Elwell begins to laugh. Whatever the memory, it seems to

amuse him vastly because he continues to laugh.

ELWELL:

(delighted)

That's right!

Rita drinks. She adds glumly:

RITA:

Don't tell Sidney.

Elwell continues to laugh as we...

CUT TO:

ORANGE JUICE STAND - NIGHT

Shooting east on 46th Street walks Sidney, coming out of the

entrance of his apartment, towards CAMERA. He is pleased

with himself, satisfied with his ingenuity in dealing with

Rita and Bartha.

The streets behind him are dark and empty (it is about 3:00

in the morning). CAMERA moves with Sidney as he steps

briskly into the orange juice stand and lifts the receiver

from the pay telephone. There are no other customers at the

counter, but the man behind is squeezing orange halves for

the day ahead, piling up a mountain of empties some of which

fall at Sidney's feet.

EXT. HUNSECKER'S PENTHOUSE - NIGHT

CAMERA shoots up at the penthouse on the roof of the Brill

Bldg. The Budweiser sign is extinguished, a black silhouette

against the sky. A light burns in the window of Hunsecker's

apartment.

INT. HUNSECKER'S PENTHOUSE - NIGHT

The ringing of the telephone is heard in the big room - an

impressively furnished apartment which has a decor indicating

that the owner thinks of himself in epic terms.

CAMERA moves to discover Hunsecker in robe and pajamas,

tapping at his typewriter. Taking his leisurely time, he

picks up the phone and eventually answers it.

HUNSECKER:

(to phone)

Yes...? You sound happy, Sidney.

Why should you be happy when I'm

not?

(then)

I'll see the papers when I get up.

How do you spell Picasso, the

French painter?

(languidly writes

down Picasso on his

scratch pad, answering

a query, dryly)

It's an item - I hear he goes out

with three-eyed girls.

ORANGE JUICE STAND - NIGHT

CAMERA shoots past Sidney at the phone toward Broadway,

which is now deserted. A street-flushing truck goes by,

moving through the dead city.

SIDNEY:

(to phone)

It would be nice if you mentioned

R-O-B-A-R-D - Robard's jazz joint --

it's his 20th anniversary. Don't

begrudge it to me, J.J. - I owe him

lots of favors.

(glancing toward the

attendant to see that

he has not overheard)

I think you understand, don't you,

that the Dallas skull is badly

dented? Oh, real bad... starting

today, you can play marbles with

his eyeballs.

(even coquetting)

Don't hold out on me, J.J., mention

Robard. R.O. -

(hangs up and walks

to street)

HUNSECKER'S PENTHOUSE - NIGHT

Hunsecker is writing Robard's name on his pad, but he says

into the phone:

HUNSECKER:

We shall see what we shall see...

(lazily)

And don't ever use this apartment

phone again; I have a nervous sister.

He cradles the phone, looks at it for a moment, switches his

eyes and then physically follows them, rising to stroll

towards the glass doors onto the terrace. He moves out and

turns aside to look in at the adjoining window, which

belongs to Susan's bedroom.

INT. SUSAN'S BEDROOM - NIGHT

CAMERA shoots across Susan in foreground; she is asleep, a

tired, helpless, sweet kid. The figure of her brother is

seen - a dark shape on the terrace outside. He moves away

across the terrace.

EXT. TERRACE - NIGHT

Hunsecker turns from the window. CAMERA is close on his

brooding face. CAMERA tracks with him as he crosses towards

the parapet. At this height there is a wind which blows his

hair and the movement of the camera emphasizes a remarkable

vista of the New York skyline. The buildings are now dark,

only a few of the electric signs are left on all night.

CAMERA comes to rest looking over Hunsecker's shoulder; it

tilts downward to a view of Broadway below, Duffy Square in

the distance.

HUNSECKER - NIGHT

A close-up; Hunsecker is looking down on his "kingdom". But

there is little love in the man's face, only authoritarian

power.

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