Sweet Smell of Success Page #34

D'ANGELO

(fondly)

Press this in your friendship

book...Love is a crooked thing,

friendship not...

(then, sheepishly)

You see, it comes out in the wash

of a few drinks -- I'm a very

sentimental guy.

RESUME ROBARD'S CLUB

Steve is touched.

STEVE:

I like it that way, Frank...don't

change.

He picks up his guitar case and makes for the door. D'Angelo

goes a few paces with him, CAMERA TRACKING. Then it moves

past D'Angelo, following Steve out onto the sidewalk, where

he stands under the light of the club framed against the

dark background of the square.

FROM THE BRIDGE:

CAMERA PANS from the small figure of Steve to include Sidney

big in foreground. Below him Kello and Murph turn towards

the club.

KELLO:

CLOSER ANGLE downward from Sidney's viewpoint. Kello turns

deliberately to look at the bridge above.

RESUME BRIDGE:

Sidney sees Kello's look; he nods deliberately. Below him

we see Kello and Murphy move swiftly to get into the car.

Sidney, as if shrinking from a sight from which he doesn't

wish to witness, draws back from the balustrade. He turns

and begins to walk towards CAMERA.

POLICE CAR:

A LOW ANGLE SHOOTING upwards at the car, the stairs to the

bridge in background. As the doors of the car slam, it

starts to move forward and, abruptly, its headlamps are

switched on, glaring into the lens.

EXT. ROBARD'S CLUB - NIGHT

Steve, concerned only with his only melancholy thoughts,

walks down the sidewalk under the bridge. The car headlamps

illuminate him in their glare as they move across him.

Steve, without undue, interest, glances back but continues

on his way.

CAMERA SHOOTS eastward towards the silhouette of the bridge.

The Police Car turns as it comes out of the square under the

bridge towards CAMERA. It moves slowly; again its headlamps

flare into the lens. CAMERA PULLING BACK includes Steve in

foreground. Behind him the Police Car slows down at the

curb; it barely stops as Kello slips out of the off-side

door; then the car moves forward along the curb leaving him

behind Steve. As the car goes out of picture past CAMERA,

Kello strolls across the sidewalk, following Steve. Steve,

looking past CAMERA, notices...

REVERSE ANGLE:

CAMERA SHOOTS toward 2nd Avenue. The Police Car slows down

again at the curb and Murph gets out of it, turning to face

Steve.

RESUME:

Steve, seeing the man ahead of him, notes something slightly

menacing in his manner and slows down in his walk. Then,

instinctively, he realizes that there is a second man behind

him, turns to look at Kello. Kello approaches.

KELLO:

Hey, fella...!

CAMERA MOVES CLOSER and CLOSER on Steve. In his face we see

a growing sense of something wrong...

INT. ROBARD'S CLUB

A JUMP CUT. Loud noise, Chico Hamilton on the drums...

INT. BAR

Another jump cut in the sound track. Silence. It is an

empty saloon, occupied only by a solitary drinker at one end

of the long bar, nursing a beer, and by the bartender who is

making out a dope sheet. Sidney enters, strides to the bar

and throws down a jangling half dollar.

SIDNEY:

A bunch of nickels, mister!

While the change is made, Sidney stands with cocked head,

listening in reality or imagination to what is happening

down the street. As the barman supplies the change, Sidney

goes to the juke box and loads it with nickels saying over

his shoulder:

SIDNEY:

A double Johnny Walker Black. Or

whatever you got. Scotch.

Sidney puts both hands on the juke box as if leaning on it.

With a click, drop and whirl, the music box comes to life;

music blares out. Pausing a moment, Sidney turns back

toward the bar.

SIDNEY:

He reaches for his drink, downs it. He is shivering.

INT. ROBARD'S CLUB - NIGHT

Once more, an abrupt sound transition: the jam session at

full blast. CAMERA FRAMES the musicians in foreground, but

moves away from them towards the entrance in background.

Near the doorway there is some activity; an attendant

beckons to Robard who is drinking with D'Angelo. Robard

moves toward the entrance.

INT/EXT. ROBARD'S CLUB - NIGHT

CAMERA STARTS on D'Angelo at the bar. He looks off after

Robard. There is little concern in his face, but as he

watches, curiosity grows. He strolls out after the

proprietor. CAMERA TRACKS with him as D'Angelo comes to

join the little mob of two or three people on the sidewalk.

PANNING, THE CAMERA now SHOOTS TOWARDS 2nd Avenue. Beyond

the bridge we can see the Police Car. Kello and Murphy are

beside one of the open doors (into which Steve has been

carried). Murphy turns back, walks a few paces across the

sidewalk and picks up Steve's music case, which he carries

back to the Squad Car. He gets in and the car drives off.

BOUNCER:

Hey, Robard, somebody just picked

up one of your boys.

ROBARD:

What sa -- Wha --

REVERSE ANGLE:

D'Angelo's face shows a bewildered astonishment and dismay

as he turns back to the couple of people who are talking to

Robard. D'Angelo is a little befuddled with drink. He

pushes towards Robard.

D'ANGELO

(dazed)

Whatsa matter, Lou?

ROBARD:

(turning to D'Angelo)

I'm trying to find out myself.

They just picked up Steve.

LOITERER:

(blankly)

Some fat guy...

2ND LOITERER

A cop, a couple of cops.

LOITERER:

They smeared him all over the lot.

D'ANGELO

He turns to look back towards the direction in which the

Police Car has departed. He seems unable to comprehend what

he has heard; but a slow and terrible fear is dawning on

him...

LAP DISSOLVE TO:

Susan opens the door to discover Frank D'Angelo in lobby.

He speaks at once:

D'ANGELO

I'm looking for your brother. Is

he home?

SUSAN:

No.

(sensing the

seriousness of his manner)

Mr. D'Angelo - is something wrong?

D'Angelo has no wish to become involved with the girl; he

doesn't reply.

D'ANGELO

When does he usually gets in, your

night-owl brother?

SUSAN:

Seldom before five.

(again)

What's the matter? Would you care

to come in a minute?

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