steve glancing at chico over the shoulder of the intellectual young woman. seeing that chico has something to say to him, he wriggles out of the young woman's clutches by passing the buck to the unfortunate to fred katz, who is descending from the bandstand behind him.
great relief and happiness can be seen in the boy's face. after a moment, he moves to her and she to him. they embrace swiftly, hold each other close and then kiss with passion. presently, when the kiss is over, susan speaks softly.
sidney quickly corrects himself, saying earnestly:
from sidney's viewpoint. shooting through the doorway into the restaurant, we can see the group at the table. camera pulls back to include sidney in foreground. he decides not to go into restaurant and turns away out of shot.
sidney comes across to the table, nervous but deliberate. camera pulls back to include hunsecker in foreground. sidney, without accosting him, stands a few feet from the columnist's elbow and deliberately lights a cigarette. hunsecker, barely turning his head, sees him. we have heard of hunsecker as a monster, but he is evidently in a mild phase of his metabolism, for he seems gentle, sad and quiet, as he turns his gaze casually to the senator, totally ignoring the young man who stands behind him.
shooting across sidney, onto hunsecker. j.j. turns - but not to sidney. he raises his hand in a small gesture which summons a passing captain, who steps into picture at sidney's elbow.
group shot. the senator in foreground, sidney beyond hunsecker in background, and the others on edge of shot.
to intercut with the above. the senator, the agent and the girl watching hunsecker. the agent's reaction to hunsecker's remark is a sickly smile.
across sidney and elwell. elwell is quietly enjoying sidney's display of hurt dignity.
sidney has rapidly resumed his manner of resentment .
three people are passing the table, squeezing their way past; a man with two very fetching young women. elwell's eyes are riveted to the anatomy that is temptingly displayed.
the nature of elwell's reading tastes is also not lost on sidney. with his eyes glancing at the magazine, sidney now accepts the original offer to sit down. he produces the slip of paper that bartha rejected, offering it as illustration.
shooting past sidney in foreground onto temple and evans beyond, they watch him, open-mouthed. sidney notes their reaction.
the comedian and the agent in foreground, sidney still on the phone beyond.
favoring sidney. he pauses.
hunsecker back to camera in foreground; he begins to whistle the wedding march to the rhythm of steve and susan's walk.
susan nervously makes the introduction - steve is nervous; d'angelo hangs behind warily; sidney is in background.
susan in foreground, steve, hunsecker and sidney beyond.
susan nods in the direction of the door into the little cafe.
camera shoots past d'angelo and robard in f.g. towards sidney, who overhears:
camera shoots past sidney in foreground towards d'angelo who advances on sidney. d'angelo's manner is unfriendly; for an instant we feel, like sidney, that d'angelo may have seen sidney tampering with steve's coat, but then we are reassured as d'angelo, deliberately using sidney's surname, says:
shooting across d'angelo onto sidney, who now relaxes, his fears ungrounded.
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:
camera shoots toward 2nd avenue. the police car slows down again at the curb and murph gets out of it, turning to face steve.
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.
shaken, sidney decides to ridicule the implied threat.
camera at floor level. susan is framed in foreground. the lower half of sidney can be seen beside her. hunsecker is on the terrace in background. shocked, he moves quickly into the room.
hunsecker stoops into shot. tenderly, he lifts the girl's body to get it into the arm chair. susan is quite lifeless, limp with the dead weight of a creature that has lost any instinct for self-preservation. but as she feels her brother's arms, and as she recognizes who it is, she breaks out in hysteria.
hunsecker comes forward to set down the telephone in front of her, on the footstool. hunsecker and sidney watch. she reaches a hand, which is still trembling, picks up the receiver. her voice as she speaks to the instrument is barely audible.
shooting across susan onto hunsecker. hunsecker turns away from her and walks to the telephone. he picks it up and begins to speak. while the scene continues, we hear his voice off screen, speaking to the phone, saying: "this is j.j. hunsecker. i want you to get a message through to lieutenant kello. ask him to ring me back. it's urgent." susan backs slowly away from hunsecker. then she turns into camera, which tracks with her and includes sidney. susan looks at sidney and then, ashamed, avoids his eye. but sidney comes nearer to her. susan is deeply distressed.
shooting across susan, towards hunsecker. hunsecker comes into the room.
kello, moving silently up behind sidney, slows down, amused at sidney's prescience.
shooting across kello onto sidney. sidney's smile is tired.
there is a dazed, incredulous look on his face. but, as he glances over his shoulder, camera zooms past him towards a little door in the wall behind him: it is ajar, showing a couple of inches of light.