hello, chico. paul.
full house?
she looks up at steve.
steve. i'll. i'll try to make a good wife.
steve, i'd rather you didn't say anything for a day or two. until i tell my brother.
i'm telling him in the morning after breakfast.
steve, my brother isn't as bad as he's painted. he isn't perfect, but -
let's forget him and -
darling, i don't care - really i don't. sidney'd had a secret crush on me for years, but nothing we do is his business -
steve, dear, please forget all of this. what can it matter after tomorrow?
if the stores are open -
and on tuesday - hasenpfeffer.
i made you write a beautiful song.
steve, stop it please.
you're touchy, sidney - don't be so touchy.
not to me. sometimes, the world feels like a cage. then someone comes along and opens the door. and it's never monday night again.  i wish you and steve could like each other.
yes, but why?
quizzically, she studies sidney.
don't you?
i know. but someday i'd like to look into your clever mind and see what you really think of him -
who could love a man who keeps jumping through burning hoops, like a trained poodle?
do you think j.j. likes steve?
he wants me to go on the road with them. it's an eight month tour, all the way to oregon.
i'm going to discuss it with j.j. in the morning.
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.
i hope that j.j. really likes steve, that it isn't an act.
the act would be for my sake, not steve's.
hearing him, susan turns back. sidney walks into shot to join her.
but i don't need an uncle, sidney.
susan looks thoughtful, making no comment.
she looks back at sidney, quietly firm.
yes. tell him for me that steve dallas is the first real man i've ever been in love with.
a smear?. what. what kind of smear? where are you?
why?
did sidney tell you about it?
no, i'm not. i'm not!
history repeats itself. everything that happened to alan leslie. began with a smear like this.
it's just as if i've seen a ghost today.
then whose fault was it, j.j.? it was someone's fault, wasn't it?
alan was not. unbalanced when i married him. and he was not'indifferent to women' no matter what they said!
he never would have killed himself if i hadn't gone through with the annulment. don't you see that made all the rumors seem true? i should have stood up for him. not run out.
sidney is a liar!
i said sidney!.
i thought we were talking about sidney?
i haven't said anything yet, j.j., but if -
i'm taking up the situation with you now.
when i'm certain, i'll let you know.
susan is seen in the act of paying the driver. as the taxi pulls away, susan walks camera left.
steve, before we go in - i'd like to.
steve, you remember my brother.
j.j., steve isn't.
no.
she stares at the floor.
suddenly susan lets loose, with restrained nervous energy; she is near to tears.
steve, if only for my sake, i want this stopped! and the same goes for you, too, j.j.!
sometimes i think all men are fools!.
sensing the approach of hunsecker behind her, she moves away again; she is still crying, but is trying to recover. presently hunsecker approaches her again. he speaks very gently, soothingly, comforting.
no. i'm going home.
after a pause, she turns towards him; she looks him straight in the face.
i'll never see him again.
a very close shot. we see the effort with which she is controlling herself.
get away from me.
she has already opened the door of the taxi. she turns to see sidney come up behind her. as he enters shot, she repeats:
i told you to leave! i don't know if steve'll ever talk to me again and i'm ready to blame it all on you!
good evening, mr. d'angelo.
hello, steve. i'm glad you could come.
would you buy me a cup of coffee? in there.
steve. what you tried to do today. you tried to take me up on a high mountain. i couldn't go all the way. i failed you.  will you forgive me? have i lost you, steve? have i?
no one's ever stood up to my brother the way you did.
i just didn't think that i could antagonize him, steve -- for our sake, i mean.
this accusation is made lightly, in passing. but susan reacts to it, trying to interject:
steve, i.
after a pause, she says:
you're saying goodbye, aren't you?
but, please, steve, please - one step at a time! i was born only yesterday!.
steve, i feel exhausted. what do you want me to do?
you are saying goodbye, aren't you?
a despairing cry:
no, steve, i don't. i don't. not if it kills me i don't!.
let's not talk any more. you have to go.
goodbye, mr. d'angelo. take care of steve.
say something funny. mr. hasenfeffer.
she remains just in the attitude in which he left her.
from d'angelo's point of view. she is still standing where steve left her.
an angle, shooting sharply upwards against the night sky. wind blows the girl's hair, as she looks fixedly downwards. her face is blank, expressionless. but presently she lifts her head looking towards the horizon.
no. mr. d'angelo - is something wrong?
seldom before five. what's the matter? would you care to come in a minute?
something's happened. to steve.
where is he. i want to go to him.
who is "they"?
he isn't here.
no, i called.
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.
a close up. susan's expression is blank; her eyes are unseeing.
he's. unconscious.
i. i gave steve up.  why did you and j.j. do it?
don't bother to lie, sidney. i don't care anymore.
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 -
and i'm sorry for you, too, sidney. you're going down with the ship.
this ship.
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.
like you?
i'm not a man, sidney, i'm -
i could almost forgive you if what you did to steve came from jealousy and love.
but you did it for greed, sidney - and that's pathetic.
please, sidney, i can't stand this -
i called him.
she is staring at her brother. suddenly, she is unable to suffer his authoritative air; she goes to him; he ignores her.
her head comes up sharply at the insult.
don't explain, sidney.  it doesn't matter now.
a close up. susan rises to her feet, staring at the door. she begins to back away from it.
a close up. she comes forward past the blowing curtains. the wind whips at her hair. over scene we hear the rumble of the traffic on broadway far below.
no! no! don't touch me!
go away!. go away!.
go away!
a close up. it is she who first becomes aware of the telephone. her weeping has stopped now. slowly, she raises her head. camera eases back to include sidney beyond her; he notes this movement, seeing in it a revival of the girl's will to live; he is moved.
yes. yes. yes.
steve. is out of danger.
she does not look at him, she lowers her eyes but answers with a nod. and then, more positively:
yes.
she is looking at hunsecker.
he's sick.
go to steve.
unaware that her brother is watching her, she picks up the fur coat on the bed. she turns as she hears hunsecker speak.
i'm leaving, j.j.
a close up. she now realizes that there is no point in saying goodbye to him: she has already told him that she is leaving and, if she becomes involved in further argument with him, it can do no good. yet there is some emotion on her face as she takes a last look at her brother; she turns away.