Sweet Smell of Success Page #33

SIDNEY:

As D'Angelo moves away again Sidney looks after him. Once

more his face goes tense. (He asks himself, does this

development - which he himself anticipated - change the

situation?) He turns away, moving out of shot.

ANOTHER ANGLE:

CAMERA moves with Sidney as he walks towards the doorway.

There he hesitates again; he looks back into the club.

DALLAS:

From Sidney's viewpoint. A LONG SHOT of Steve on the

bandstand. CAMERA PANS deliberately towards the coatrack in

f.g. A group of newly arrived musicians walk into the shot,

setting down their instrument cases and starting to hang up

their coats. (Clearly, Sidney could not now return to the

coat rack - even if he decided that he did want to undo his

handiwork.)

RESUME SIDNEY:

CAMERA, shooting out across the square, frames Sidney in f.g.

Facing the inevitable, Sidney turns away, walks across the

sidewalk. On the other side of the square the headlamps of

the car blink twice. Sidney walks towards it.

POLICE CAR:

A big man gets out of the seat next to the driver. As he

comes round the hood of the car, the headlamps of a passing

truck illuminate him, identifying HARRY KELLO. CAMERA PANS

as he walks to meet Sidney.

CLOSER ANGLE:

Kello pauses as Sidney comes up to him, asks affably:

KELLO:

What's all the rush? You said

three o'clock.

SIDNEY:

(glancing back

towards club)

He's leaving early. After this

"set". He'll be out in a couple of

minutes...

They wait for a moment, listening to the sound of the music

in the distance. It is a blues number (GOODBYE BABY) Kello

hums nonchalantly; Sidney glances at him with irritation,

finding something gruesome in his relaxed manner.

INT. POLICE CAR

There are two plainclothes policemen inside, one at the

wheel, the other in the back seat. The latter leans forward

to ask the former:

1ST POLICEMAN

What's this deal tonight?

MURPH:

(the 2nd policeman)

One of the lieutenant's "surprise

parties", I think.

Murph's tone shows obvious repugnance. The 1st Policeman

broods for a moment; he adds in a quiet, but viciously

resentful manner:

1ST POLICEMAN

One of these days I'd like to turn

in my badge and tangle with "POPSIE"

myself - he's no good.

RESUME KELLO AND SIDNEY

Sidney, increasingly uncomfortable, turns to Kello.

SIDNEY:

Can't you wait up the block? It's

not going to look so good, right in

front of the club...

To Kello this is a great joke. He laughs, enjoying Sidney's

uneasiness. He begins to "cat and mouse" Sidney.

KELLO:

(heavily humorous)

It's nice, Sidney, that you give me

this tip...

SIDNEY:

(interjecting)

- He's got them on him.

KELLO:

(solemnly nodding his approval)

...And he's got them on him. I

appreciate a thing like that - I

appreciate where you are looking

out for the virtue of the city.

Sidney, annoyed at this sarcasm, moves past Kello, not

deigning to respond. As he goes by, Kello grasps him

forcibly by the arm.

KELLO:

What's your hurry, Snooks?

CAMERA HAS PANNED to SHOOT towards the car out of which

emerges a second detective.

SIDNEY:

(revolted)

Take your hands off, Kello...

Kello, holding Sidney, turns towards the second detective in

background.

KELLO:

Murph, how do you like this face?

Why, I'll be darned -- it's melting!

Something got you scared, Sidney...?

Listen, rectify me a certain thing.

Wasn't you kidding, Snooks, when

you told J.J. I was fat...?

Sidney jerks his arm away, rapidly retreats a few yards, a

safe distance from Kello. CAMERA PANS with him to the

bottom of the steps.

SIDNEY:

Sleep in peace, Kello -- you're

skinny -- but J.J. says you sweat!

ANOTHER ANGLE:

Sidney in foreground, Kello and Murph beyond. Kello laughs;

but obviously he would like to be nearer to Sidney. Perhaps

to detain Sidney, Kello drawls:

KELLO:

Is that a fact? He's a dilly,

ain't he? By the by, what did he

have against this boy?

SIDNEY:

He goes out with girls.

KELLO:

Well, I'll be darned. And what

does J.J. think he SHOULD do?

SIDNEY:

(impudently)

Go out with DIFFERENT girls!

KELLO:

He moves forward a little.

KELLO:

(softly now)

I get the peculiar impression,

Snooks, that you don't like me.

Could I be wrong?

SIDNEY:

He turns swiftly and goes up the stairs out of Kello's reach.

SIDNEY:

(as he goes)

You could be right, you fat slob?

ANOTHER ANGLE:

From half-way up the stairs. Sidney comes up the steps two

at a time. Kello and Murphy are seen beyond.

KELLO:

(with a guffaw)

Come back here, Sidney...I wanna

chastise you!...

FROM THE BRIDGE:

Sidney reaches the top. He comes along the pedestrian walk

up to CAMERA, slowing down he turns across the rail and

looks down towards the square. CAMERA MOVES to take in the

scene in WIDE ANGLE: Sidney in foreground, the police car

and detectives below, the entrance to Robard's across the

square. Sidney waits. In the distance we can hear the

music of Dallas' last number coming to an end.

INT. ROBARD'S CLUB

The last bars of the number. Enthusiastic applause.

STEVE:

He responds to the ovation, nicely but a little wearily. He

gets down off the stand. There is too much noise to hear

his parting words to his fellow musicians, but it is clear

that he is urging them to stay without him. He walks off

towards the entrance to the club.

D'ANGELO

D'Angelo leaves the bar, in search of Steve. He sees...

INT/EXT. ROBARD'S CLUB - NIGHT

Steve is putting his guitar away in the case, collecting his

overcoat. In this gesture he is arrested by the sound of

D'Angelo's voice over scene.

D'ANGELO (O.S.)

(urgently)

Steve!

Steve, mildly startled, looks up.

REVERSE ANGLE:

Shooting into the club. D'Angelo comes forward from the bar.

He is a little drunk, a little emotional. He waddles toward

Steve, then takes the white carnation out of his buttonhole

and puts it in the buttonhole of Steve's coat, saying:

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