Sweet Smell of Success Page #30

SIDNEY:

Sidney feels the chill of despair upon him.

HUNSECKER:

This crab gumbo - terrific!

HUNSECKER AND SIDNEY

SHOOTING ACROSS Hunsecker onto Sidney. A waiter has come to

serve the next course. Hunsecker appears relaxed, but

Sidney is sightlessly staring at the piece of paper in his

hand. He speaks with a quaver in his voice, for he has

worked hard to make a life which is now ready to relinquish:

SIDNEY:

J.J., it's one thing to wear your

dog collar...but when it gets to be

a noose...I'd rather have my freedom.

HUNSECKER:

The man in jail is always for

freedom.

Sidney begins to get up from the table.

SIDNEY:

(as he rises)

Except, if you'll excuse me, I'm

not in jail.

Hunsecker looks up at Sidney.

HUNSECKER:

From Sidney's viewpoint.

HUNSECKER:

(easily)

Sure you're in jail, Sidney.

You're a prisoner of your own

fears, of your own greed and

ambition; you're in jail.

SIDNEY:

From Hunsecker's viewpoint.

SIDNEY:

J.J. If you're trying to -

He leans over Hunsecker and the CAMERA PULLS BACK to include

Hunsecker in f.g.

HUNSECKER:

(interrupting)

You, little boy, don't know who you

are! Talking around corners with

the big shots, ten dollar dinners -

fourteen suits and cashmere coats -

you tell yourself THAT'S who you

are! Later you won't know who you

are without a penthouse on upper

Park! But underneath it all,

ratting around from day to day, you

DO know who you are! You're a

fearful, ignorant nobody - a poor

wop kid from the slums of Philly -

hoping nobody else finds it out!

SIDNEY:

A CLOSE UP. He knows the truth of what is said. But he

takes refuge in quiet retaliation:

SIDNEY:

A little hunch occurs to me - you

have just painted a self-portrait.

You know who YOU are because you

scare people - that's what you've

got against this boy. He -

HUNSECKER:

Hunsecker is prepared to give it out, but not take it.

HUNSECKER:

(cutting in)

I told you what I want you to do

tonight!

SIDNEY:

He looks down on Hunsecker, leans over the table.

SIDNEY:

You're blind, Mr. Magoo. This is a

crossroads for me. I won't get

Kello. Not for a life-time pass to

the Polo Grounds. Not if you serve

me Ingrid Bergman on a plate.

CAMERA has PULLED BACK to include Hunsecker, whose attention

has returned to his food.

HUNSECKER:

(over patient)

Sidney, I told you -

SIDNEY:

(continuing)

J.J., I swear to you on my mother's

life, I won't do it.

(he leans even closer)

If you gave me your COLUMN I

wouldn't do a thing like that...

But as he speaks the last words, Sidney's voice falters

because he has glanced down at the table...

SIDNEY:

We see that an idea has entered his head - an idea that

takes the wind out of his indignation. His eyes lift

rapidly to Hunsecker's face.

HUNSECKER:

(delicately touching

the envelope)

And who do you think writes the

column while Susie and I are away

for three months?...

RESUME SIDNEY:

He is quite speechless. Over scene Hunsecker's voice:

HUNSECKER (V.O.)

(continuing)

...The man in the moon?

HUNSECKER AND SIDNEY

CAMERA SHOOTS across Sidney again onto Hunsecker. Hunsecker

leans back, looks at Sidney.

Seeing that Sidney has accepted the proposition, he smiles.

HUNSECKER:

(softly)

Thank you, Sidney.

In a pleasantly affable way, he leans across the table to

tap the hand with which Sidney is leaning on the table.

HUNSECKER:

And, Sidney, I'll have that piece

of paper back...

Helplessly, Sidney unclenches a fist and reveals the slip of

paper which he had meant to keep. Hunsecker takes it. With

his eyes on Sidney, he slowly tears it up...

LAP DISSOLVE TO:

CIGAR STAND AND PHONE BOOTH - EVENING

D'Angelo is buying a cigar at the counter. He turns as

Steve opens the door of one of the booths and comes out.

Steve is in a gloomy, irksome mood; D'Angelo is sympathetic

and fatherly.

STEVE:

She'll be down in a minute.

CAMERA TRACKS with them as they come out into the hallway.

They move towards the side entrance, away from the elevators.

D'ANGELO

What does she wanna see you about?

The boy shrugs impatiently.

STEVE:

She didn't say.

Some passersby come down the hall and enter a waiting

elevator, barely glancing at D'Angelo and the boy. D'Angelo

feels uneasy.

D'ANGELO

I could think of better places to

meet her, instead of here. He

lives on the whole top floor.

STEVE:

(carelessly)

I doubt that it matters any more.

D'ANGELO

He addresses Steve soberly.

D'ANGELO

Steve. You made a very dangerous

enemy of him today. Matter of

fact, I'm very glad we got the tour

ahead. If I'm any judge, you hurt

him today where he lives... He

won't forget it and he won't

forgive...

RESUME STEVE AND D'ANGELO

Steve is silent. He hears the sound of the elevator door

opening and turns.

Susan comes out of the elevator, the one farthest from them,

and looks around.

SUSAN:

(as she comes forward

to join them)

Good evening, Mr. D'Angelo.

D'Angelo acknowledges her greeting, touches his hat and

retires tactfully. Susan faces Steve. It's an awkward

meeting. Each does not know where the other stands. She

has thrown her fur coat about her shoulders like a cloak; it

will keep slipping off. He is faintly embittered, a little

hurt and baffled, but he is sympathetic; he is involved and

concerned.

MED. CLOSE TWO SHOT OVER SHOULDER - SUSAN TO STEVE

SUSAN:

Hello, Steve. I'm glad you could

come.

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