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Sweet Smell of Success Page #35
- NOT RATED
- Year:
- 1957
- 96 min
- 740 Views
D'Angelo backs away, shaking his head.
D'ANGELO
No...no. Thanks.
He turns back to the elevator. Susan closes the door, but
slowly; she is watching D'Angelo. CAMERA MOVES WITH D'Angelo
as he goes to the bell of the elevator and rings it. He
remains in this position, waiting for the elevator, but now
(believing himself to be alone) he leans his head against
the wall and begins to weep, quietly. Surprisingly, Susan
is abruptly at his elbow, she seizes him forcibly by the
arm, demanding:
SUSAN:
(taut)
Something's happened. To Steve.
D'Angelo, with his face contorted in grief and bitterness,
can no longer refuse to answer her.
D'ANGELO
(in a broken voice)
He's in the hospital...He's under
arrest, too... They planted reefer
cigarettes on him...in his overcoat
pocket.
Susan is becoming hysterical.
SUSAN:
(wildly)
Where is he...I want to go to him...
D'Angelo recovers his self control. There is force and
authority in his voice as he insists:
D'ANGELO
Miss Hunsecker, if you see him
again they might...might kill him.
Susan is sobered by his seriousness.
SUSAN:
(slowly)
Who is "they"?
D'ANGELO
Don't ask foolish questions.
(then)
Tell your brother I'm a sensible
man. He understands only two
things - power-politics and homage -
tell him I came tonight to pay
homage!
INT. HALLWAY - HUNSECKER'S PENTHOUSE
The elevator door opens and Sidney steps out: He crosses to
the door of the apartment, pushes the button. The bell is
heard ringing inside. While he waits, Sidney produces a
handkerchief, dabs his face, straightens his tie; clearly he
is trying to sober up. He goes to the bell push to ring
again. Now he notices something that had escaped him
before:
the door is not quite shut. He pushes it open.INT. HUNSECKER'S PENTHOUSE
From inside. Sidney hesitates, enters tentatively.
LONGER ANGLE:
The apartment appears empty. Only one light is lit; the
place is eerie.
RESUME SIDNEY:
Sidney closes the door, goes into the main living room,
CAMERA pans with him. Something chills him, he calls
softly, "J.J.?"
ANOTHER ANGLE:
Sidney walks towards the study, there is nobody there either.
He goes back towards the stairs to the upper floor; in doing
so he repasses the door of Susan's bedroom, sees that it is
half open, goes to look in.
INT. BEDROOM
From Sidney's viewpoint. The bed has been slept in but is
unoccupied. The room is empty.
On the seat at the foot of the bed is a drawer that has been
pulled out of the wardrobe; it contains a collection of
miscellaneous objects, a snapshot album, letters, souvenirs,
disarranged as if someone had been looking at them.
SIDNEY:
He looks at the empty room, disturbed.
RESUME BEDROOM:
The curtains of the window onto the terrace are blowing: the
window is open. Sidney walks into shot form behind CAMERA.
He calls:
SIDNEY:
Susan?
Susan steps into the room from the terrace, confronting
Sidney. She is dressed, wearing the fur coat over a skirt
and blouse. Her manner is very strange; the effect of the
drugs, no doubt.
RESUME SIDNEY:
Sidney is very uncomfortable in her presence; Susan is the
last person he wants to have conversation with.
SIDNEY:
Where's J.J.?
He retreats across the threshold of the bedroom, into the
outer room.
She walks forwards.
SUSAN:
He isn't here...
INT. LIVING ROOM
Sidney stands back to let her pass.
SIDNEY:
But he called and said...
Susan comes out of the bedroom, walks past CAMERA.
SUSAN:
No, I called...
He studies the girl, says nothing.
LONGER ANGLE:
She walks listlessly across the room, moving like a
somnambulist.
SUSAN:
Mr. D'Angelo phoned about Steve...I
went down to the hospital, but they
wouldn't let me in. He promised to
keep in touch with me - Mr.
D'Angelo, I mean...
RESUME SIDNEY:
He watches her cautiously, not sure of how to deal with her.
SIDNEY:
(carefully)
It's all over town about Dallas...
(moving towards her)
How is he?
SUSAN:
A CLOSE UP. Susan's expression is blank; her eyes are
unseeing.
SUSAN:
He's...unconscious...
There is a tone of great despair in her voice. Presently,
she recovers, CAMERA eases back to include Sidney beyond.
She glances at him.
SUSAN:
I...I gave Steve up...
(then)
Why did you and J.J. do it?
RESUME SIDNEY:
Sidney looks at her, tensely. Her voice is so calm, so
certain that Sidney finds it difficult to play-act innocence.
He protests a little too loudly:
SIDNEY:
Susie, if I get your meaning,
you're pitching very wild balls.
What -
Susan interrupts, with a simplicity which is damaging.
SUSAN:
Don't bother to lie, Sidney.
(moving away)
I don't care anymore.
LONGER ANGLE:
Sidney decides that it is wiser not to argue. He assumes a
tolerant sympathy. He moves towards her.
SIDNEY:
Listen, get a good night's sleep -
tomorrow's another day. Feeling
sorry for yourself won't help.
SUSAN:
(shaking her head)
I'm sorry about Steve, not myself.
I'm even sorry for my brother. To
be so lonely, without one real
friend in the world - to have to
hang on to a worthless rag of a
girl like me because she's his only
real family -
SIDNEY:
(moving towards her again)
Come on now, chickie, why don't you
go to bed...?
Now she turns to him.
SUSAN:
And I'm sorry for you, too, Sidney.
You're going down with the ship.
SIDNEY:
What ship?
She walks past him, still aimlessly wandering about the
room; then she turns back, indicates herself.
SUSAN:
THIS ship.
She studies Sidney.
SUSAN:
Don't you know how my brother will
see you after tonight? You'll be
the man who drove his little
stainless sister to suicide...
REVERSE ANGLE:
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"Sweet Smell of Success" Scripts.com. STANDS4 LLC, 2024. Web. 9 Sep. 2024. <https://www.scripts.com/script/sweet_smell_of_success_524>.
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