Sweet Smell of Success Page #7

Synopsis: New York City newspaper writer J.J. Hunsecker (Burt Lancaster) holds considerable sway over public opinion with his Broadway column, but one thing that he can't control is his younger sister, Susan (Susan Harrison), who is in a relationship with aspiring jazz guitarist Steve Dallas (Marty Milner). Hunsecker strongly disproves of the romance and recruits publicist Sidney Falco (Tony Curtis) to find a way to split the couple, no matter how ruthless the method.
Genre: Drama, Film-Noir
Production: United Artists
  Nominated for 1 BAFTA Film Award. Another 3 wins & 2 nominations.
 
IMDB:
8.2
Metacritic:
100
Rotten Tomatoes:
98%
NOT RATED
Year:
1957
96 min
753 Views


Susan says nothing. Sidney, watching her closely, probes

further:

SIDNEY:

(gently)

You feel pretty strong about this

boy?

A pause. Then Susan nods. She is not looking at Sidney and

cannot see the watchfulness in his face. Sidney prompts

again:

SIDNEY:

Wedding bells, you mean?

Again Susan nods.

SUSAN:

He wants me to go on the road with

them. It's an eight month tour,

all the way to Oregon...

SIDNEY:

The news has considerable impact on him. But he hides it,

saying lightly:

SIDNEY:

Well, congratulations. But don't

go just for the ride! Or didn't

you accept the proposal?

RESUME SUSAN AND SIDNEY

Susan continues.

SUSAN:

I'm going to discuss it with J.J.

in the morning.

A pause. Each is concerned with private thoughts. Susan,

relaxed, adds quietly:

SUSAN:

(softly)

It's given me a big lift to know

that some people want me for

myself, not just because I'm my

brother's sister.

SIDNEY:

Chickie, I'll have to laugh at

that - an attractive girl like

you...!

Susan ignores his remark, continuing thoughtfully:

SUSAN:

I hope that J.J. really likes

Steve, that it isn't an act.

SIDNEY:

(with an indignant edge)

Why should he put on an act? Your

brother has told PRESIDENTS where

to go and what to do!

The taxi has pulled to a stop. Susan sits for a moment

before she remarks.

SUSAN:

The act would be for my sake, not

Steve's...

Realizing that they have come to their destination, Susan

gets up, moving out of CAMERA as she disembarks from the

taxi. CAMERA catches a glimpse of apprehension in Sidney's

eyes. Quickly, he decides to follow her.

EXT. BROADWAY

Susan, getting out of the taxi, moves past CAMERA. Sidney,

following her, instructs the driver.

SIDNEY:

(to cabbie)

Wait for me. I'll be right back.

LONGER SHOT:

Sidney moves after the girl, calling: "Susie!"

SUSAN:

Hearing him, Susan turns back. Sidney walks into shot to

join her.

SIDNEY:

(lightly)

It's not my nature, Susie, but I'll

talk to you like an uncle...

SUSAN:

(smiling)

But I don't need an uncle, Sidney.

They move through the doors.

REVERSE ANGLE:

Sidney quickly corrects himself, saying earnestly:

SIDNEY:

No, I mean because I admire you -

in fact, more than admire you -

although that's neither here nor

there.

(quickly skipping to

the important point)

Susie, don't sell your brother

short. Talk this over with him, I

mean - you'll find him a real friend.

SUSAN:

Susan looks thoughtful, making no comment.

RESUME SIDNEY AND SUSAN

Carefully (again probing) he prompts her:

SIDNEY:

Any message, in case I see J.J.

later?

Susan turns away and walks out past CAMERA. Sidney watches

her.

SUSAN:

She looks back at Sidney, quietly firm.

SUSAN:

Yes. Tell him for me that Steve

Dallas is the first real man I've

ever been in love with...

She turns away and walks through the inner door, going down

the corridor towards the elevators in background.

RESUME SIDNEY:

The sincerity of the girl's manner strikes home to Sidney.

Now that her back is turned we see the sharp twinge of pain

with which he hears the statement of her feelings for

another man. Angered, he wheels, striding out of the door

onto Broadway.

EXT. BROADWAY

Sidney returns to the cab, instructing the driver:

SIDNEY:

The Twenty One Club.

He climbs in and the taxi drives off down Broadway.

LAP DISSOLVE TO:

EXT. TWENTY ONE CLUB - NIGHT

CAMERA HIGH, SHOOTING WEST down 52nd Street, as Sidney's cab

pulls up, double parking in front of the 21 Club. Sidney

maneuvers his way between the parked cars towards the

entrance and the CAMERA DESCENDS to SHOOT ALONG the courtyard

towards the entrance. We see the figure of Jimmy Weldon and

his girl friend coming out of the Club.

CLOSER ANGLE - NIGHT

Jimmy Weldon is coming out of the Club accompanied by a

girl; he is slightly tight. As he steps through the outer

doors, Weldon again spies Sidney on the sidewalk; he steps

to one side of the entrance way.

Sidney slips through the congestion, but just as he tries to

enter the Club, Weldon's hand shoots out, neatly ambushing

him, pulling him aside into the narrow courtyard. Sidney is

instantly resentful of this manhandling, but has to adjust

himself, assuming a quick smile for the benefit of Weldon.

SIDNEY:

Jimmy! This is a coincidence. I

am just going -

WELDON:

(overlapping)

Yeah. A coincidence you should run

into the very man you've been

ducking all week!

(to the girl)

This is my press agent, Joan.

Weldon, jibing at Sidney, plays his remarks off the girl,

who is amused; Sidney, of course, is not.

SIDNEY:

(quickly)

I tried to reach you twice -

WELDON:

(overlapping)

What do you do for that hundred a

week. Fall out of bed?

SIDNEY:

Jimmy, I'm on my way inside right

now to talk to Hunsecker. I can

promise you -

WELDON:

(horsing)

Joan, call a cop! We'll arrest

this kid for larceny!

Sidney flinches, his pride touched.

SIDNEY:

Listen, when your band was playing

at Roseland -

WELDON:

(cutting in)

That was two months ago. Take your

hand out of my pocket, thief!

The girl tries to quiet Weldon, who has gone from horsing to

loud contempt.

THE GIRL:

Take it easy, Jimmy dear...

WELDON:

(indignantly)

Why? It's a dirty job, but I pay

clean money for it, don't I?

Abruptly Sidney bursts out, giving as good as he has taken:

Rate this script:3.0 / 3 votes

Ernest Lehman

Ernest Paul Lehman was an American screenwriter. He received six Academy Award nominations during his career, without a single win. more…

All Ernest Lehman scripts | Ernest Lehman Scripts

1 fan

Submitted by aviv on November 07, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Sweet Smell of Success" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/sweet_smell_of_success_524>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Sweet Smell of Success

    Sweet Smell of Success

    Soundtrack

    »

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "A/B story" refer to in screenwriting?
    A The main plot and a subplot
    B Two main characters
    C Two different genres in the same screenplay
    D Two different endings