Double Life, A (1947) Movie Script
He looks just like he did
in the other play.
Remember?
Isn't he gorgeous?
Adorable.
Hiya, fellas.
Looking sharp, boy.
Looking sharp.
New hat.
Oh, fine.
Who done it for you,
Lily Dache?
I done it myself.
What a great guy.
You can say that again,
son.
The meeting will come to order.
Hello, Barry.
How are you,
Mr. John?
Dirty heel.
Everybody says.
He's a good actor.
Yeah, but he's no good.
Tony!
Oh, hello, Ellen.
Hello!
I haven't seen you
since, um...
Sands point.
Yes, that's right.
I lost your number.
I knew it was that.
What are you geniuses up to?
We're in the Freedley musical.
How does it look?
Chaotic.
Well, good luck.
Thanks. Good-bye.
I'll be seeing you.
Good-bye, Tony.
What a darling.
Stinker.
What?
What?
Hello, mr. John.
Hello, Anna.
Hello, Max.
Enter Anthony John -
tall, handsome, charming.
Shakes hands with his
dearest friend and mentor
and sits.
How did it go last night?
Fine, fine.
"A riot. A veritable funfest."
This play agrees with you.
Ah, good old Anna -
never forgets.
If it were possible,
I'd have you only in
comedy always, so help me.
Well, why isn't it?
Every morning after I get up,
I read a play,
every night before I go to bed,
and out of the lot,
if one turns up
that can be produced
and that's got a part
for you, I'm lucky.
Listen. Do me a favor.
Don't forget one thing -
you're an actor.
You don't say.
A great actor.
I bow.
You got a responsibility.
You can't stop. You
can't limit yourself.
All right.
Don't get so excited.
Well,
I'm an excitable fellow.
Come on.
Let's have it.
What is all this?
Othello.
Oh! Ho ho! No!
I was looking over
that old Othello
scheme of yours.
You don't know
how good that is.
Yes, we did have some
good notions, all right.
Good?
Do you remember that thing
you figured out
for the ending?
Yes.
Where you strangle
Desdemona with a kiss?
Yes. Oh, it sounds
ridiculous now.
You're wrong.
It's brilliant,
and it's believable,
isn't it, Victor?
Isn't what?
Isn't it brilliant?
Also believable.
The Othello thing.
How are you, Tony?
Blooming -
blooming in spite of Max.
He's been giving me
a scream-by-scream description
of my own idea.
Want to do it, Tony?
Do you want to direct it?
I asked you first.
I don't know.
I don't know. I?
I know some parts
give me the willies,
on the stage and off.
Where's your ambition?
All used up, Max.
Well, almost all used up.
Well, I've come
a long way with it.
Remember when I was
that handsome juvenile
dashing on with white flannels
and a tennis racket?
"I say, tennis anyone?
Right-o. Let's have
another go at it."
Yes, and before that,
the chorus of the student prince.
I tell you, I was
a happy hambone then.
Vocabulary of 7 words.
Funny, I remember
my father even then,
coming backstage for a touch.
And telling me
to get the best of it.
"Get the best of it, boy-boy.
never made it, see,
but you can do it, kid.
You can do it
For the two of us."
So I'd slip him a fin,
and he'd mosey off.
I never listened to him.
I never listened
to anyone but Brita.
That's when I got
ambition, my boy?
When I married Brita.
That's when I wanted
to be something better
than I was,
to be an actor, a real actor.
I had to teach myself
to talk, do you know it?
And move and think.
I had to tear myself apart
and put myself together
again and again.
The leftover pieces
are all scattered
somewhere between here
and a thousand one-night stands.
Oh, sure, I lost plenty?
Fun and rest and friends
and privacy,
and in that cockeyed way
things have of working out,
it's even cost me Brita.
Would you like to hear
the story of my life?
He was a good actor,
your old man.
Oh, thank you, Max,
but you and I both know
he died a doorman.
Look, I wish you'd drop in
and see the show tonight.
It's all right,
but it's not bouncing along
the way it used to.
Who's letting down?
All of us except Brita,
of course.
Of course.
She's always wonderful.
There's something
interests me, Tony,
because it's none
of my business.
You and Brita,
you've been divorced now,
how long is it, 2 years?
And 4 months.
All right.
And you're both
still in love, aren't you?
So?
Why don't we marry again?
Yeah.
We love each other
too much for that.
I see.
See you later, friends.
Now, what about
The Othello thing?
Uh, look,
don't count on me
too much for this, Max.
I've got a feeling it
isn't the sort of thing
I ought to do,
great or no.
Think it over.
We'll talk about it later.
All right.
We ought to think
about it, too.
Why?
A sensation.
For someone
who's been exposed to it
as much as you have,
it's a wonder you don't
know more about acting.
What is there to know?
It's a talent.
Some got it, some ain't.
No, no.
When you do it
like Tony does,
it's much more.
The way he has
of becoming someone else
every night,
for just a few hours,
so completely...
No, don't tell me
that his whole system
isn't affected by it.
I swear I never
saw such a thing.
Here I bring up
a great proposition,
and everybody's as gloomy
as closing in New Haven.
I don't like trouble.
We'll see.
Yeah, all right.
We'll see.
Hello, Bill.
Max.
Victor here?
Yeah.
Right over there.
I just got the proofs
of Brita's new pictures
for the sunday edition.
Fine. Wait till you hear
the next publicity campaign
you're gonna do...
knock you on your ear.
Something new?
New, old.
Tell you tomorrow.
Excuse me, mr. Lasler.
I'm going to marry
the most wonderful man
in the world: Martin.
My valet?
Coffee, miss?
Thank you, Martin.
Just when did all this
happen, Martin?
Miss Cole did me the honor
of accepting my
proposal of marriage
on may 14th last,
sir.
On may 15th,
a fortnight ago...
Thank you.
Not at all, sir.
I gave you my 2-weeks notice
and informed you that I
was going to be married.
You didn't say it was to
my girl.
It didn't seem proper
to do so, sir.
Proper!
What cheek.
But what charm.
It's no surprise
to me. After all,
he's a gentleman's
gentleman.
Beginning now,
he's a lady's
gentleman.
I'm not going to cry.
Ah, ducky.
Honey.
Martin!
But my dear sir,
my time was up when
the clock struck.
I hope I've given
complete satisfaction.
Good-bye.
Good-bye.
Good-bye.
Mother!
Was I a bit over tonight?
Oh, Max, I've been
looking for you.
Hello,
mr. Lasler.
Drop over the office.
Hello, Victor, dear.
That's you, sweetheart!
Oh, Tony!
There's something
I want to talk to you about.
Yes. Oh, a little later.
Max, are you
going to the party?
No. I'll be...
One more.
Oh, leave 'em hungry,
is what I say.
What do you think?
How did it go?
Oh, it impressed me.
There were a couple spots
I wanted to talk to you about.
Oh, look who's here?
Shakespeare's agent, eh?
Yes?
Hello,
Brita.
Bill, come on in.
Is it all right?
If you don't stay too long.
Hi, Gladys.
Your new pictures.
Oh, good.
Oh, I better look them over
in the morning.
Tony and I are going?
I know.
I'm going, too.
Can I hitch a ride with you?
Of course.
Hey, what's all this
about a new play,
something for you and Tony?
Play?
Sounded pretty definite,
the way Max talked about it.
I...
I thought you knew.
No, I didn't.
Well, I hope
it's a comedy,
if they want me in it.
Why? You've just
had a year of one.
You know Tony.
When he's doing something
gay like this,
it's wonderful
to be with him,
but when he gets going on one
of those deep numbers...
It sounds as if you're
trying to talk yourself
out of marrying him again?
Think so?
Listen, we were engaged
doing Oscar Wilde,
broke it off doing O'Neill.
We married doing
Kaufman and Hart,
and divorced doing Chekhov.
Would you advise me to
go through all that again?
Would you take my advice?
Mr. Friend, would you
take my advice
and clear out?
She's got to get dressed.
Sure. Sorry.
I'll be waiting.
All right.
It seems to me like
I spend half my life
trying to keep people
from not going crazy.
And not succeeding.
Brita: Ready, dear?
Oh, come on in,
darling.
Well, I guess
not many women would
climb all the way
up here to see you.
You think not, eh?
Ha ha.
You'd be surprised.
Oh, look.
Oh, lovely.
Beautiful.
Honest, it's like
they were married.
It's like
they were engaged,
which is better
than married.
Tony, look that over
tonight, will you?
Try. I've got to go up
to Gilbert's for a while.
And talk to Brita about it.
Aw, sure.
See you.
Good night.
Good-bye.
Bye.
Talk to Brita about what?
Othello.
Oh, dear.
Is that on again?
Well, just thinking.
What about a holiday, Tony?
I'll take one before I do this,
if I do it at all.
Oh, sure,
I know those holidays.
I've shared them with you.
You keep remembering
the rehearsal date,
rushing up to meet you.
You think about your part.
You worry.
You wake up
and pace the floor all night,
and you go silent for
long stretches all day.
And those
disappearances of yours.
It's a living nightmare,
not a holiday.
That's right,
that's right.
But then what?
It's not worth it, Tony.
This past year,
it's been fun, you know?
There have been times
when I almost thought
we'd make it together
again if we tried.
Yeah?
I know if we ever got mixed up
in an Othello kind of thing
it would be the end.
Oh, but why, baby?
You know why?
Because you won't learn
to leave it at midnight.
I used to and never got past
playing bits in stock,
and you're the one
that did that to me.
Let's not forget that.
Did what?
Inspired me,
or whatever you call it.
Oh, we'll talk about it
some other time.
You're tired now.
Come along.
Let's go to the party
and have a good, gay time,
tell yokes to all
the private peoples.
Yokes.
Jokes. And have
a gorgeous supper.
How about that?
Are you ready?
Ah, just about.
Oh, yes, that's right.
Bill is coming, too.
I said we'd give him a lift.
Fine.
Look, darling, um...
Yes?
Would you mind
going ahead with Bill
and let me come later?
Why?
Oh, I don't know.
I'd like to prowl around a bit
and think this thing over.
Tony.
Run along, darling,
will you?
I'll come by later.
Yes. Good night, Tony.
Uh, good-bye, dear,
And give my love to society.
Matinee tomorrow, sir.
We're almost out of gargle.
I'll get some.
Fine.
Same kind all right?
Yeah. Delicious.
Good night,
Mr. John.
Good night.
Oh, beware, my lord,
of jealousy.
It is the green-eyed monster.
All my fond love
thus do I blow to heaven.
'Tis gone.
Arise, black vengeance!
Haply, for I am black...
And have not those soft
parts of conversation
that chamberers have.
[speaking italian]
How's the chicken
Cacciatore?
It's your stomach.
Coffee?
Coffee.
You all right?
Fine.
If you
want some good wine,
ask me, the boss.
Some talk, ok.
Nice girl to dance with,
I'll see what I can do.
No, grazie.
Meglio solo.
Parli italiano.
Poco. Poco.
Always glad
to take care of a new customer.
Thank you.
Enjoy yourself.
Take good care of him, Pat.
You from out of town?
Why?
I don't know.
You sound like Boston.
I do?
Mm-hmm.
I was in Boston.
That's why I thought.
Pretty quiet up there.
Oh, not the parts
I was in.
What parts?
Oh, around.
I had a pretty good
job up there, too.
I'm a masseuse.
You don't say.
Sure.
You don't believe me?
I can show you a certificate.
I took a course in it.
Masseusing?
Sure.
I been out on the coast, too.
California?
Sure. I was in Diego,
Pedro, L.A., all over.
But, uh, I came back east
this last month.
Like it better here?
Soon as I make a few connections
I'll like it better.
Um, I may try the modeling game.
All you need is
a few connections.
That's right.
You want to know my name?
All right.
Pat.
Pat Kroll.
That we can call these
delicate creatures ours
but not their appetites.
I had rather be a toad
and live upon the vapor
of a dungeon
than keep a corner
in the thing I love.
You talking to me?
No.
I thought you said something.
Well, yes, I did,
but it wasn't anything.
You wanna know somethin'?
What?
You're cute.
I'll be, uh, through here
in three-quarters
of an hour.
We could, uh,
tell each other
our troubles,
if you want to.
Oh, sure.
It's open.
I couldn't find it.
Been walking round and round.
I was wondering.
Can I help you?
Oh, no, thanks.
Coffee all right for you?
Fine.
Or would you like a beer?
Uh, coffee will do.
Sit down!
I like to make new contacts.
I like you, you know it?
Now I do.
You gonna say you like me?
Later.
Oh, thanks.
You gonna tell me your name?
Soon as I know it myself, yes.
Oh, don't give me that.
Give you what?
I've handled lines
all my life.
So have I.
Hey, what's so funny?
It's a private joke
between me and me.
Come on, what's your name?
Which one?
Your real name,
the one you were
born with. I mean,
they give you one
when you were born.
That's not my real name.
What is it?
I don't know.
All right, calm down.
You don't have to tell me.
Look, if I could find out
who I am,
I'd be a happy man,
you know it?
Most people know
who they are,
or think they do,
wich is the same thing.
Simple for them.
Want to know my name?
Martin.
Thank you.
Also Ernest and Paul,
Hamlet and Joe
and maybe...
Othello.
Yes, and I'm French
and Russian
and English
and Norwegian.
I got mixed blood, too.
All right, darling,
and brave and cowardly
and in love and not
and trusting
and jealous?
Are you?
What am I mixed up with here,
some kind of nut?
The bawdy wind
that kisses all it meets
is hushed within
the hollow mine of earth
and will not hear it.
What committed?
Impudent strumpet!
What's the matter,
fella?
[Brita's voice]
By heaven, you do me wrong.
What?
Nothing. I just said,
"What's the matter,
fella?"
You're talking so funny,
like you're...
somebody else almost.
I was.
Are you feeling all right?
Oh, sure.
Don't talk funny no more.
All right.
In fact...
Don't talk at all.
All right.
Why shouldn't Max
want you to play it?
All he'll have to do is to
pace back and forth outside,
like an expectant father.
Tony: Well, what do you
want him to do, play Iago?
I just that I hate to see you
getting pressured into anything.
Maybe you're not sure
I can play Othello.
Now, Tony.
I may not believe in myself,
but I expect others
to believe in me.
Does that make sense?
Oh, of course.
What's this for?
That is for nothing.
Thank you, darling.
You'd be a smashing Desdemona.
You know it?
It's funny. No one has
even bothered to ask me
if I want to play it or not?
Not you, not anyone.
Oh, Brita?
It's all right.
It's all right, darling.
I'm used to it.
I... used to what?
To running after you
while you chase the moon.
Well, if you do go ahead,
it means some hard work
on my blankety-blank
accent.
You will be
able to manage it, I'm sure.
[speaking swedish]
Translation, please.
Oh, no.
Eh, I can imagine.
Right.
What is it?
It's nothing.
The tricks
your mind can play.
You know,
somewhere in the future
I can see it all finished.
I can see the whole
magical production?
Opened, praised.
It feels fine to have
done something worthy,
and then I think
of all the things
that have to be done
between now and then?
The terrifying thought
of that first rehearsal.
The actors nervous
and frightened...
Though in the trade of war
I have slain men...
Tony: Your inner self
telling you every instant
you're making a mistake
to try this,
knowing all the time
you're caught
and it's too late
to change your mind.
'Tis better
as it is.
Oh, no.
Yes, Tony, it's fine.
Trying to make someone
else's words your own,
thoughts your own...
"Thou cunning'st
pattern."
Over and over and over.
Thou cunning'st pattern
of excelling nature.
You whip your imagination
into a frenzy.
The key to the character?
Jealousy,
and you dig for it
within yourself.
What does it feel like?
Real jealousy?
Try to remember
jealous moments
in your own past.
Jealousy.
Jealousy.
Find it, hold it,
live it!
Jealousy!
And the hours
when you worry about
nothing but shoes
and props
and make-up
and the costume fittings...
That's perfect.
That's wonderful.
Really.
And then the dress rehearsals?
The heartening moments
when it seems
to be going right...
Nay, but he prated.
Hey, look out!
The inevitable things
that go wrong...
Nerves,
arguments,
changes...
Far, far into the night.
Pills to help you
stay awake...
And pills to help you sleep.
The part begins to seep
into your life,
and the battle begins?
Imagination against reality.
Keep each in its place?
That's the job if you can do it.
And all at once...
It's opening night.
And you look out
at the audience,
a terrifying monster
with a thousand heads.
You're in a kind of trance,
only vaguely aware
that the curtain
is about to go up.
Man: Places, please.
Then, somehow,
the next thing you know,
the play is almost over.
The last scene is about to begin.
But you remember
that you're on a stage
in a theater,
an audience in front of you...
And suddenly?
Suddenly you're startled by
the sound of your own voice.
Yet I'll not shed her blood,
nor scar that whiter
skin of hers than snow
and smooth as
monumental alabaster.
Yet she must die,
else she'll betray
more men.
You try to hang on
desperately.
You're 2 men now,
grappling for control?
You...
And Othello.
Put out the light,
and then...
Put out the light.
If I quench thee, thou flaming
minister, I can again
thy former light restore
should I repent me.
But once put out
thy light...
Thou cunning'st pattern
of excelling nature,
I know not where is
that Promethean heat
that can thy light relume.
I must weep...
But they are cruel tears?
this sorrow's heavenly.
It strikes where it doth love.
She wakes.
Who's there?
Othello.
Ay, Desdemona.
Will you come
to bed, milord?
Have you prayed
tonight, Desdemona?
Ay, milord.
If you bethink yourself
of any crime
unreconciled as yet
to heaven and grace,
solicit for it straight.
Alas, milord,
what may you mean by that?
Well, do it, and be brief.
I will walk by.
I would not kill
thy unprepared spirit.
No, heaven forfend,
I would not kill thy soul.
Talk you of...
Killing?
Ay, I do.
Alas! Why gnaw you so
your nether lip?
Some bloody passion
shakes your very frame.
You all right,
Mr. Friend?
Opening-night jitters.
Look, if mr. Donlan
or mr. Lasler ask for me,
tell 'em I'm in the bar
across the street.
They've been there
since the second act.
Brita: I hope they
do not point on me.
Tony: Cease and be still!
Brita: I will so.
Oh... what's the matter?
That handkerchief
which I so loved
and gave thee
thou gav'st to Cassio!
No, by my life and soul.
Send for the man
and ask him.
Sweet soul, take heed.
take heed of perjury.
Thou art
on thy deathbed!
Ay, but not yet to die.
Yes, presently!
Therefore confess thee
freely of thy sin,
for to deny
each article with oath
cannot remove nor choke
the strong conception
that I do groan withal.
Thou art to die!
Milord,
have mercy on me.
I say, Amen.
And have you mercy, too.
I never did offend you
in my life,
never loved Cassio.
But with such general
warranty of heaven
as I might love,
I never gave him token.
By heaven,
I saw my handkerchief
in his hand.
Oh, perjured woman,
thou dost stone my heart
and mak'st me call
what I intend to do a murder,
which I thought a sacrifice.
I saw the handkerchief!
He found it, then.
I never gave it him.
Send for him hither.
Let him confess a truth.
He has confessed.
What, milord?
That he hath used thee.
How, unlawfully?
Ay.
He will not say so.
No. His mouth is stopped.
Honest Iago has
taken order for it.
Oh, my fear interprets.
What, is he dead?
Had all his hairs
been lives,
my great revenge
had stomach for them all.
He is betrayed,
and I undone!
Out, strumpet!
Weep'st thou for him
to my face?
Oh, banish me, milord,
but kill me not.
Down, strumpet!
Kill me tomorrow.
let me live tonight.
Nay. If you strive...
But half an hour!
Being done,
there is no pause.
While I say one prayer!
It is too late.
Milord!
Milord!
Oh, good milord!
Milord!
Milord!
Milord...
Milord!
What ho!
Oh, good milord,
I would speak
a word with you.
It's almost over,
Mr. Lasler.
Well, you told me
to tell you
when it was the last scene.
Oh, sure. Thanks.
Last scene.
What play?
Our play.
It's good.
There's a murder in it.
You don't say.
Who to who?
What?
Who murders to who?
Tony.
Tony murders this girl.
Kills her dead...
With a kiss.
Ridiculous.
Unbelievable.
Tonight, he murders this girl.
Tomorrow, they'll
probably murder him.
Oh, no.
How came you, Cassio,
by that handkerchief
that was my wife's?
I found it in my chamber,
and he himself
confessed even now
that there he'd dropped it
for a special purpose
which wrought to his desire.
Fool...
Fool! Fool!
You must forsake this room
and go with us.
Your power
and your command
is taken off,
and Cassio
rules in Cyprus.
You shall close
prisoner rest
till that the nature
of your fault
be known to the Venetian state.
Come, bring away.
Soft you.
A word or 2
before you go.
I have done the state
some service,
and they know it.
No more of that.
I pray you, in your letters,
when you shall these
unlucky deeds relate...
Speak of me as I am,
nothing extenuate,
nor set down aught in malice.
Then must you speak of one
that loved not wisely
but too well,
of one not easily jealous,
but being wrought,
perplexed in the extreme,
of one whose hand,
like the base Judean,
threw a pearl away
richer than all of his tribe.
One whose subdued eyes,
albeit unused
to the melting mood,
drop tears... as fast
as the Arabian trees
their medicinable gum.
Set you down this...
And say besides,
that in Aleppo once,
where a malignant
and a turban'd Turk
beat a Venetian
and traduced the state,
I took by the throat
the circumcised dog
and smote him, thus!
Oh, bloody period.
All that's spoke is marred.
I kissed thee ere I killed thee.
No way but this,
killing myself...
To die upon a kiss.
This did I fear,
but thought he had no weapon.
For he was great of heart.
O Spartan dog,
more fell than anguish,
hunger, or the sea!
Look on the tragic loading
of this bed.
This is thy work.
The object poisons sight.
Let it be hid.
Myself will straight aboard,
and to the state,
this heavy act
with heavy heart relate.
Bravo!
Bravo, Tony!
Bravo!
Bravo!
Bravo!
Bravo!
All right, boys!
Ok, house lights.
That does it.
That's it, boys.
Thank you.
You were wonderful,
Tony.
Woman: Congratulations,
darling.
Man: Perfectly marvelous
performance.
Second man: It really was.
Third man: Tony,
it's the best thing
you've ever done.
For heaven's sake,
Tony.
Stop walking around
and relax.
What ho, milord?
Tony, if you'd never
played anything else,
my dear,
this is...
Brilliant.
Or if you never play
anything again.
Well, I hope so.
Now, now, Tony,
I don't want you
to monopolize Dolly
all evening.
Congratulations.
Thank you.
Thank you.
Are you all right,
dear?
You ask me that
every 6 minutes.
I care every 6 minutes.
Here.
I don't deserve you,
Brita.
Maybe that's why
you haven't got me.
There isn't much
justice on earth,
but there is some.
If I burst out crying,
it's going to be
your fault.
What's the matter?
It's nothing.
Brita, if you don't
give me a hand
With the Hollywood
contingent I'll?
Sure. Sure, Bill.
I'm all right.
Run along hither.
Man: Farewell,
old friend of mine.
Second man:
Farewell, old friend.
Farewell, the tranquil mind.
Farewell, content.
Uh, yes.
Thank you.
Thank you.
Oh, beware, milord,
of jealousy.
It is the green-eyed monster
which doth mock
the meat it feeds on.
Tony: Out, strumpet!
Brita!
Man: Didst thou not
see her paddle
with the palm of his hand?
but that was but courtesy.
Lechery, by his hand.
They met so near
with their lips
that their breaths
embraced together.
In sleep I heard him say,
"Sweet Desdemona,
Let us be wary.
Let us hide our loves."
Let us hide our loves.
Let us hide our loves!
It was like the riot of 1820.
Were you there?
Brita...
Get me home, Brita.
Please get me home.
Oh, darling.
Happy birthday,
old lady.
Oh, I...
Oh, Tony, Tony.
Thank you for this.
Oh, it's nothing.
It cost
And worth it. Thank you.
Look at me.
I'm a Christmas tree.
Here. From Max.
Lovely.
From Victor.
My, my.
From Main and Douglas.
Ooh-hoo.
Never seen better.
And here, look?
A locket from Bill.
Isn't that sweet?
Yeah. Yeah.
Yours is my favorite,
Tony.
Would you like
to go to a party?
Look, darling,
I'm a little bit late.
Do you mind?
You'd better hurry.
Yes, that's right.
I better.
Thank you.
Thank you again.
This is a trick to
put me from my suit.
Pray you, let Cassio
be received again.
Fetch me the handkerchief.
My mind misgives.
Come, come.
You'll never meet
a more sufficient man.
The handkerchief.
Pray you,
talk we of Cassio.
The handkerchief!
A man that all his time
hath founded his good
fortunes on your love,
shared dangers with you.
The handkerchief!
I'sooth, you are to blame.
Zounds!
Noises offstage,
clumsy fools.
Next time that happens,
I'll crack him over the head
with a stage brace.
Tony, he didn't mean to.
I don't care whether
he meant to or not.
All right, Tony.
All right.
If anyone doesn't like it
or you don't like it?
Let's hear about it,
that's all.
I'm only trying to find a way
To make everybody happy.
Ok, mr. John.
Don't fuss, man.
Man: Ready, mr. John.
M'noble lord,
if I give my wife
a handkerchief...
Send for him hither.
Let him confess a truth.
He hath confessed.
What, Milord?
That he hath used thee.
How? Unlawfully?
Ay...
He will not say so.
No, his mouth is stopped.
Honest Iago hath
taken order for it.
My fear interprets.
What, is he dead?
Had all his hairs
been lives...
My great revenge
had stomach for them all.
A-alas...
Alas, he is betrayed,
and I undone.
Out, strumpet!
Oh, Tony!
Weep thou for him
to my face?
Oh, banish me, milord,
but kill me not!
Yeah, banish you, down...
Down, strumpet!
Kill me tomorrow.
Let me live tonight.
Nay, if you strive?
Brita, whispering:
Tony?
But half an hour.
Down.
Tony, Tony? Tony, please.
Being done, there is no pause.
But while I say
one prayer.
It is too late.
Please, Tony. Tony?
Tony...
Tony, please,
you're hurting me.
What's going on?
What's the matter with him?
Woman, whispering:
Mr. John, Mr. John,
be careful, please.
Man, whispering:
What is he doing?
Woman: Mr. John.
Please stop him.
Man: Do something.
Man: Your cue.
Mr. John.
For heaven's sake,
knock.
Milord!
Milord! Milord!
Oh, good milord.
I would speak a word with you.
There is not!
There is no excuse!
Good evening, doctor.
Good evening,
fellas.
If you'd only leave her alone
for a few minutes, mr. John?
And you keep out of this.
Now, I'm warning you.
Who's there?!!
Well, what's the trouble?
Well, what the?
Hello, Tony.
Who sent for you?
I did.
Holy jumping?
Now this is a production.
It's nothing.
Just a little accident.
My delicate leading lady
can't be kissed
without sending for her doctor.
I'm afraid we overdid it a bit.
Right at the top of the scene.
Advice! Direction!
Yelling it out!
I'm sorry, Tony.
I'm sorry.
Who'd you think
we were playing to,
an audience of deaf-mutes?
Tony, shut up!
Brita...
I'm sorry.
Tony...
I'm sorry, darling.
You know I'd die
before I'd hurt you.
You know that, don't you?
Yes, I know it.
I know it.
All forgiven, Tony.
All forgiven.
Gently.
What a business,
for heaven's sake.
What a business.
Close your eyes,
Tony.
Surprise coming.
Close your eyes.
All right. Now.
Well.
Good?
Well, strike me pink.
Thank you.
Well, I never.
Oh, stop it, Tony.
Stop what?
Making fun of me.
Was I?
Oh, let's eat it.
I'm sorry.
It's all right.
It's all right.
I'd like to have risen
to the occasion.
I'm tired.
I don't know what's
the matter with me.
I mean, I do know what's
the matter with me.
Sorry, Brita.
Beautiful cake.
It's a beautiful idea.
It's a beautiful thing
you have done.
Let's not go too far, huh?
Do I get to eat myself?
No novelty in that,
is there?
Sticks and stones
may break my bones,
et cetera,
et cetera, et cetera.
It's from Henri's.
What is?
The cake.
Restful here, isn't it?
So far.
Sort of sentimental.
I'm as sentimental
as the next fellow.
By the way,
what about him?
Who?
The next fellow.
Well, I don't know.
Oh, he's a good enough
press agent,
but do you think...
Tony!
What?
New subject.
Why?
I don't like this one,
and it's my party.
Are you gonna marry him?
No.
Do you love him?
No.
Do you love anyone?
No.
No?
Oh, Tony!
Leave me alone!
You haven't
Finished your cake.
I don't want it.
You can't have your cake
and eat it...
And not want it.
Oh, you fool.
Oh, Tony.
New subject.
Good.
What do you think you
might like to do next?
What play?
Yeah.
Max says we'll do
another year in this.
Oh, not with me.
No.
Tired of it?
No. Sick of it.
Sick.
Perhaps you
should stop then.
Yeah, perhaps.
But, you see?
What?
I don't know which is worse,
with a part or without.
Without one, I'm alone?
Bad for me.
Don't like myself
very much.
Don't say that.
Well, it's true.
The only answer was you.
Tony.
And nothing
but failure there.
Not all your fault.
All mine.
Whose fault was that?
Fault?
Oh, we're both responsible
for all our good things
and all our bad.
You don't really
believe that, do you?
No.
Mostly me.
Yes.
Always?
Mostly.
Then I don't suppose
you would want
to marry me again,
would you?
No, I wouldn't,
darling.
Why not?
Because if at first
you don't succeed,
don't try again.
Isn't that how it goes?
No.
Brita...
You're my only friend.
Help me.
Anything?
Anything, Tony,
but let's not try
marrying again.
You're stuck on the guy...
Oh, don't be idiotic.
Why, Bill is?
Don't call him that!
That's his name.
I don't care!
Oh, Tony?
Get away!
Is he smooth?
Is he charming?
Does he speak gently?
Does he write
Lovely stories about you?
Does he dance well?
I don't.
Remember? Do you?
Does he listen?
Does he sympathize?
And what else
Does he do? Does he?
Stop it! Stop it!
Stop it, Tony.
You want me to go, huh?
Yes.
All right, I will.
Now, Tony, listen?
I don't want to see him
and his silly, lovesick face
around the theater.
Now, you tell him,
or I will!
Oh, Tony.
Meet him anywhere you like.
Meet him here or at his place
or in a rowboat
in central park!
Go away, Tony!
Go away! Go now!
No.
No.
No.
Don't hurt Brita.
Tony, as Othello:
Yet she must die
lest she betray more men.
No...
Get out.
Out.
You know
I'd die before I'd hurt you.
Careful.
No control.
Go home.
"Go," she said. "Go now."
Brita and Bill.
Bill and Brita.
Heaven truly knows that
thou art false as hell!
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Wait.
Go back.
I am.
I am going back.
Hello, Pat.
Surprised to see me?
Pat...
Pat...
Help me, Pat.
Where is it?
Where is she?
Desdemona!
No, Brita.
Go now forever,
farewell the tranquil mind.
Farewell content.
Help me.
Find her.
Brita!
No...
Pat.
Pat.
Pat.
Pat.
Who is it?
Me.
Who's me?
Open up.
Who is it?
Me! Me!
Hello, Pat.
Surprised to see me?
I sure am.
You got your nerve.
Yes.
You waked me up.
What do you take me for?
You look different.
I do?
What's the idea
the middle of the night?
I had to see you.
Important.
Where you been lately
and all that?
I've been away.
Like out of town?
How come no postcard?
You could at least
send me a postcard.
Oh, didn't have any.
Who?
Where I was.
Where?
Venice.
Glad to see me?
Sure I am.
I'm always glad.
Thank you.
One thing,
I always tell the truth.
Maybe that's how come
I got no steady.
You do all right though.
What do you mean?
How many fellas
you got, Pat?
Hmm, a few.
How many?
I don't know
what you mean by fella.
Like me.
None like you.
Any press agents?
What are you
gassin' about?
Any named Bill?
No.
Bill.
Bill.
Bill.
Coffee's ready.
Even if you wake me up,
I'm glad you dropped over.
Why?
I don't know.
I got the jitters lately.
About yesterday it was,
Vito down at the place?
He dropped a tray
of glasses.
I must've jumped
You need a rest.
No. It's just...
I don't know.
Ha! It's like
I'm scared all the time
I'm gonna get run over
by a truck,
stuff like that.
Or you eat a bad oyster
and you got to get
the stomach pump.
Hey, how do you figure it?
What?
Maybe being alone so much
does it a little.
I may move in with Emily.
You know her.
Emily?
No.
The cashier.
No.
You want to put out
the light?
Put out the light.
And then put out
the light.
If I quench thee,
thou flaming minister,
I can again
thy former light restore,
should I repent me?
What?
But once put out
thy light,
thou cunning'st pattern
of excelling nature,
I know not where
is that Promethean heat
that can thy light relume.
Listen, I think
you better go.
Seen Bill lately?
Who?
Had all his hairs
been lives,
my great revenge
had stomach for them all.
Uh, I think
you must be drunk.
Brita, as Desdemona: He
is betrayed, and I undone.
Out, strumpet!
Weep'st thou for him
to my face?!
Listen, I think you'd better go.
Brita: Banish me not!
Kill me not!
Down, strumpet!
What's the matter
with you?
Brita: Tomorrow?
Let me live tonight.
Nay, if you strive...
Emilia: M'lord!
M'lord!
Yes. 'Tis Emilia.
Let me the curtains draw.
What ho!
M'lord!
Where art thou?
Tony?
Tony?
Man: Did you or anyone else
touch the body?
Landlady: I wouldn't
touch a dead body.
Ready for me?
One more shot,
doc.
How did you happen to
come into the apartment?
They phoned from
the cafe she was working.
What's the name of the cafe?
The Valencia.
Would you repeat
that name, please?
Some eye-talian place.
I don't know.
Oh, come on now.
You know the name
of the cafe.
They're picking on me, Joe.
What was the name
of the cafe?
He don't know his elbow
from a hot mug.
So I says, talk to
the dark room, not me.
I know what my exposure was.
Know what he is?
A chowderhead,
a pure chowderhead.
I'm tellin' you.
Whatever happened
to Schofield,
remember him,
big tall guy, didn't smoke?
I don't know.
I heard Dallas.
Yeah. Some girl
he had down there.
Hi, Al.
Couldn't find the joint.
No kidding.
You're good and late.
That desk.
I'll murder 'im.
Look at the address
he give me.
No excuse.
Next time bring a note
from your mother.
What's the deal?
Here.
Thanks.
I got time for a cup
of coffee, ya think?
Who's the medic?
Stauffer. You got time
for a 10-course dinner.
Ray Bonner's
on it, too, though.
He'll bounce 'im along.
What did I tell you?
Ok, Ray?
that's all.
Get in close,
Bunny.
Kirk wants some heads.
All right, here we go.
I'm gonna say it slow now,
but I'm not gonna
say it twice.
I got no time. You ready?
Pat K-r-o-l-l,
this address,
age close to 30,
dead on arrival?
As long as
you're guessin', Ray,
you mind makin' it
close to 20-something?
All right. 26.
Attaboy.
Dead on arrival.
Apparently strangled
sometime between midnight
and 5 a.m.
No robbery.
No liquor.
Employed as a waitress.
Venezia cafe.
Look up the address.
Beautiful?
Hard to tell right now.
I guess fair.
Attractive waitress.
Several important leads.
That's all for now.
We'll try to have
the official aut,
the mimeo by 5:00.
You got anything, doc?
Uh, well, um...
It's an unusual one.
Unusual.
Neck, throat,
unbruised.
Trachea, larynx,
windpipe, intact.
Small pressure markings
above and below
lips indicate, uh...
An unusual crime
of passion.
Unusual.
Hot dog!
Don't get too circusy now.
One look, Ray?
All right, but fast.
Come here, doc.
Yes?
Uh, you want a good quote?
How do you mean?
Kiss of death.
What?
"This young woman,"
said medical examiner
Roland F. Stauffer,
"may have been the victim
of a kiss of death."
Well, no, no.
I don't know.
Makes you
a very salty talker,
a colorful character.
Well, uh?
Don't you want to be
a colorful character?
Well...
All right.
Kiss of death.
Good.
Stop! Stop!
Oh, please, stop!
Good morning.
Guy out there
got his auto horn stuck but good.
Would you like
a couple of eggs?
What's the matter,
cat got your tongue?
What?
Eggs?
No. No, thank you.
She'll be right down, she said.
Thank you.
If they don't
fix that horn soon,
I'll give a scream.
Tony?
Morning.
Sleep terribly?
Yes, thank you,
and you?
Quite terribly,
thank you.
Oh, Tony, Tony, I...
I had such a bad dream.
My part any good?
It's wonderful
to be awake again.
Yeah. Yes, it is.
Whatever the terrors
of the waking hours,
at least you can fight them.
The other kind,
you're...
Helpless.
Yes.
Helpless.
What is it?
It's nothing.
I... ohh...
Is it that noise?
I love it.
Joys of the city.
Oh, thank you.
Here.
They're no good today.
Have you noticed
how nothing happens lately?
No, I haven't.
I have. I have.
You said it.
I always agree.
It saves so much time.
I'll see you tonight.
Wait a minute.
Be a good friend
and stay a while.
I'm afraid
I can't do either.
I'm sorry. I have
to get home anyway.
Why?
You must know. I
never have to tell you:
I need a shave.
And thank you for the use
of, um, whatever
it is I used.
See you tonight.
Do you want to see
mr. Cooley?
Cooley?
Yeah. Al Cooley.
Al.
Hiya, man.
Come on in.
Relax a little, kid.
It's a pleasure.
What brings you here?
You know me.
A fast buck.
I got quite
a proposition here.
Go ahead.
First, I ask you,
are you interested
in getting a lot of space
for your Othello show?
The answer's yes.
Next thing:
It's worth more off
the theater page, right?
Right.
Front page
is even better, huh?
You know, if this
is some kind of gag,
I'm, uh, very busy.
I can see your tongue
hangin' out, Buster,
way out.
Come on. Come on.
Well, look,
I'm on this job, see,
a very routine knock-off.
A girl -- waitress
or something, strangled.
So we're listening to
the hand-out,
and it's no good, sordid.
You know, they're no good
when they're sordid.
So then a medical examiner --
Stauffer -- you know him?
No.
Dr. Roland F. Stauffer,
a pinhead.
He drops something,
and I catch an angle.
Like what?
Like he says, it could be
she was the victim
of a kiss of death.
He said that?
He said that.
A very salty talker,
a colorful character.
I'm way ahead of you.
You go for it?
Me? Yes. I love space,
but on something
as big as this,
I'd have to talk to Tony John.
Why?
He's a big man for dignity.
This is dignity.
It depends on how you handle it.
With dignity, naturally.
Dr. Roland F. Stauffer,
The department's
medical examiner,
said the attractive,
young waitress
was a victim of what
he termed a kiss of death.
He likened the crime
to the murder of Desdemona
in a current Broadway
production of Othello.
That's not dignity?
That's all right.
What's it worth?
And don't tell me 2 tickets.
I would like some dough,
and I'll buy my own tickets.
Name it.
All right. With a little help,
I can keep you hot
for 9 or 10 days.
Make it 100 a day for as long
as I can keep you
riding high,
and you can be the judge
of when that is. Fair?
Fair.
If I get killed for this?
If you get killed,
I don't get paid.
Watch yourself.
I better be movin'.
Can I have a look
at your stills?
Yeah, sure.
Tony.
I looked for you
at the office.
I'm sorry.
This doggone sinus
got me down today and?
Have you seen this?
Why, yes.
Why didn't you show it to me?
Tony, Tony, please.
Why didn't you?
Bill, please,
this makes me look such a fool.
Isn't there something
you can do to get this?
I don't own the papers,
Tony, after all.
Did you have anything
to do with this?
Not exactly.
What do you mean,
"not exactly"?
It was some other guy's idea,
but I ok'd it.
I see.
What are you
trying to do to me?!
Aw, nothing, Tony.
you're makin' a thing of it.
You heel!
Now, wait a second.
You dirty heel!
You're through.
I'll see to that.
Well, fine with me.
You get this stuff
killed, or I'll?
Or what?
You'll do it!
Do it!
Wait a minute.
Come here.
Come on, Tony.
You?
Tony!
Tony, in the name of...
Tony!
Tony.
Been lives,
my stomach...
Being done, there is no pause.
Tony.
Get out of here.
Get out of here, you...
It was a dream.
You maniac.
Only a bad dream.
You're part of a bad dream.
Come in.
Be right with you.
Yes, sir?
I'm a friend of Al Cooley's.
Yeah.
I'm Max Lasker's
press agent.
He's a theatrical producer.
Yes, I've heard of him.
Sit down.
Bill Friend.
That's my name.
Heard of you, too.
If you want me in a show,
I'm pretty busy.
Well, no.
It's just that I've got an angle
about this Pat Kroll thing.
What do you mean
exactly: "angle"?
I think I may know
who you're looking for,
or, anyway, it's a hunch.
You're a little late.
It's all over.
It is?
Cracked just after lunch.
Well, who? Who?
Can you tell me?
Sure. Joe!
Some poor slob.
Joe, see this gets
down to the inspector.
Some poor slob lives right
across the hall from her.
Claims he was drunk
and doesn't
remember the details,
but we remember the details,
so that's all right.
Everybody wants
to be a detective.
I think it's all
these radio serials.
What was your hunch?
What's the difference?
That actor in your show?
Well, yes.
Say, you guys'll do anything
to get in the papers.
No. No, really, I...
We checked your man.
You did?
Yes. Looked good,
too, for a minute.
Turned out he'd been out
all night that night.
Yes?
With his leading lady.
His wife.
Used to be.
I know. We checked
the whole deal
with her maid.
Well, that's that.
Why don't I mind
my own business?
Sorry to have troubled you.
No trouble.
Sugar? Cream?
Neat.
Nothing seems
to improve it any.
Would you rather
have something else?
No. This is fine,
thank you.
All right. How long
will you be gone?
Uh, I don't know.
Poor Max is in a tough spot.
Tony wants him to fire me, but?
Well, I'll take a vacation.
Maybe it'll all
blow over in a little while.
We'll miss you.
Speak for yourself,
Lady.
All right, then.
I'll miss you.
Thank you.
Bill.
Yes?
Oh, Bill, I won't try
to explain Tony to you.
It's too long, too complex,
but try to understand.
There is a kind of
an emotional illness
that comes over him
sometimes like this.
He's a good man, really.
I know.
When he acts for
a long stretch of time?
You know how he probes
and probes, and...
He seems to release
feelings and imaginings
that aren't his own at all,
like this sick jealousy.
It isn't like him.
No.
But why on earth
he should suspect you?
One reason.
What?
Because he knows what I feel.
Bill.
Yes?
Bill, have you ever?
No.
Never a word to him or from him?
But he knows, Brita.
The same instinct that
makes him a great actor
makes him know, makes him...
feel, somehow, my love for you
in the surrounding air.
It's time you knew anyway.
I don't know what to say.
Well, think of something
in a few weeks. I'll?
I'll be back in a few weeks.
Forgive me.
I don't know what I'm doing.
All this tea, I guess.
Good-bye, Brita.
Oh, Bill.
Yes?
Oh... Bill.
I know what to expect.
I know how it is
with you and him.
Oh, no, you don't.
We hardly know ourselves.
Whenever we meet,
we row.
The other night, for instance,
I tried so hard to make friends.
It ended with a door slam.
Yet in the morning,
I found him here.
He had come back somehow.
Not the first time.
He's always wandering off
in his lonely way.
He needs someone,
but I'm sure
I'm not the one.
Sure.
Bill?
Thank you.
Thank you for standing by.
Good-bye, Brita.
Good-bye.
Draw two, John.
Good.
Good.
Good.
You speaking to me?
No, but thanks a million.
Had a few, huh?
Mind your business.
Everybody's always yapping
at everybody.
What a world!
Nate?
Bill.
Listen, I, uh,
I need a girl for a job.
Very special.
Must be about 5'4",
blond, buxom,
blue-eyed.
You got that?
Fine.
All right, now, Oscar Bernard's?
Yeah. You know, the wig place.
It'll be ready Saturday.
Well, what's the job?
Well, I want to get
one of these girls
to look like this.
Oh, excuse me.
Excuse me.
All right, girls,
sit down.
Uh, I could get it
any color you want.
Hmm, look at these eyebrows,
Oscar.
Yeah. Heavylike,
makes her look hard and tough.
Now, I don't know,
it may be the photo.
Take this one?
Now, here she looks
kinda soft and sweet,
ingenue type.
Oh, well, I understudied
inclaudia.
No. You're letting
the blond hair throw you.
You can tell better
by the mouth, see?
Sensuous, sexy.
Did you see me
in the rugged path?
Hmm? No.
The sister-in-law?
Oh, yes.
Would you come in now, dear?
Just have a seat
out there, honey.
Sandra Michaelson.
Fine.
I-- I do imitations.
I'll bet.
Now, if she had eyes
like the other one?
Oh, I understudied
inclaudia.
Fine.
Let me play around
and see what I can do.
You think you can
work something out?
Oh, sure.
This is nothing.
Phone in the back?
Help yourself.
Why?
It makes me bilious, that's why.
Because you drink it
with cream, that's why.
With milk.
That's why
it makes you bilious.
Milk.
Hello, Tony.
Bill.
Man: Can I borrow
your scissors?
Fine.
Oh. Oh, Tony,
Forget it.
Well, no, it's just that
I'm leaving town tomorrow,
and there are a few loose ends
I'd like to
straighten out with you.
Well, like the drama
league broadcast,
and, uh, that postpiece.
Yes.
How about around 5:00?
Frank's bar all right?
Fine.
See you then.
Fine.
Without anything,
it's too bitter,
like medicine.
In the highest-class
places,
you'll see them drinking it
without anything.
Plain black.
So how do you know
it don't make them bilious?
I didn't say it didn't.
It's a question of habit.
Captain Bonner, please.
These are the earrings.
Fine.
Say, honey...
Would you ask
that new girl back there
sure, and one of these days,
don't forget me.
I don't get up to this part
of town very often.
It's lively.
It may be even livelier
in a few minutes.
What do you got against the guy?
Nothing.
Believe me, not a thing.
I just think he's dangerous.
I saw him once.
It was something
about coal mines.
Wasn't he in that?
The earth below.
Yes.
Yeah, that was it.
He was fine.
Here we go.
Hello, Tony.
What'll you have?
Oh, nothing, thanks.
Coffee?
Yeah, all right.
Your order been taken?
No, miss.
Sugar. No cream.
Man: Great little
juggling act you got there.
All right.
All right.
The noise around this joint.
Look, Bill,
I'll talk to you later
at the theater.
Well?
You got something there,
but I'll be doggoned
if I know what it is.
That isn't enough?
We can't seem to link it.
It's a long way from here
to Mulberry street.
A nickel on the subway.
Let's go down.
Soon be over,
Tony boy.
Soon be over.
Amen.
Tired?
You don't suppose
they'd go home now,
do you,
if we asked them nicely?
No.
They'd want their money back.
They're welcome.
I just can't face it tonight.
There's nothing left.
Oh, Tony.
Tony.
Oh, you.
Tony?
Come on.
There you are.
Take a deep breath.
That's good.
All right.
I've reached the nightmare stage.
I had one the other night.
It was about this very scene.
Tony.
It was awful!
Come on.
Man: Places, please.
Come on, now.
That's it.
Don't be surprised
if I don't come on.
You'll come on all right.
That's it.
Peekaboo.
Man: Curtain going up.
Come on.
One for the money,
I'm more interested
in what her friends
look like,
if you know what I mean.
Well, uh, was just 2 I seen.
One was small but chunky.
She said he was
a fine dancer, but?
How tall?
No more.
Who else?
Well, that old guy
with the little beard
I told you about.
He must've been
a relative, I think.
No, that's not him either.
Wait a minute.
Make-up.
Well, he might've
fixed himself up.
What'd he look like,
the beard guy?
Oh, skinny,
big eyes with glasses,
never no haircut.
How old?
This...
This-- this anything like it?
No, nothing like that.
What's the matter?
I don't know this guy, but I got a feeling
I seen him somewhere before.
Around the eyes, something.
What about this?
I don't know.
Think.
Wait a second.
Yeah, yeah, yeah.
I seen him.
He came in once.
Just once, late,
made a date with Pat.
I found out the next day.
I remember because I got sore.
Yeah.
I'm sure that's the guy.
We're getting close
now, boy.
I'm afraid so.
Let's go.
Ok. I'll get my hat and coat.
Iago: Demand me nothing.
What you know, you know.
From this time forward,
I never will speak word.
Cassio: Most heathenish
and most gross!
Tony, as Othello:
O thou pernicious caitiff!
How came you, Cassio,
by that handkerchief
that was my wife's?
I found it in my chamber,
and he himself confessed even now
that there he dropped it
for a special purpose
which wrought to his desire.
Fool, fool, fool.
You must forsake this room
and go with us.
Your power and your command
is taken off,
and Cassio rules in Cyprus.
For this slave,
if there be any cunning cruelty
that can torment him much
and hold him long,
it shall be his.
You shall close prisoner...
Rest.
You shall close prisoner rest.
Shall...
Until that the nature
of your fault be known
to the Venetian state.
Come.
Bring him away.
Soft you.
A word or two before you go.
I have done the state
some service...
And they know it.
No more of that.
I pray you...
In your letters...
That when you shall
these unlucky deeds relate...
Speak of me as I am,
nothing extenuate...
Nor set down aught in malice.
Then must you speak
of one that loved...
Then must you speak
of one that loved,
Not wisely,
but too well.
Of one, not easily jealous,
but being wrought,
perplexed in the extreme.
Tony.
Of one whose hand...
Like the base Judean
who threw a pearl away
richer than all his tribe.
One whose...
Subdued eyes...
albeit unused
to the melting mood...
their medicinal gum,
set you down this.
Where a malignant
and a turbaned Turk
beat...
I took by the throat
the circumcised dog...
And smote him...
Thus!
Bloody periods.
I kissed thee ere
I killed thee.
No way this...
This life here.
Cassio: This did I fear,
but thought he had no weapon.
The object poisons sight.
Let it be hid.
Tony.
Gratiano, keep the house...
Tony.
What is it?
Tony.
Tony...
Brita.
Brita, we're on.
Come, Brita.
No.
Tony.
What's up?
A little accident,
Steve. That's all.
Don't take him upstairs.
Bring him over here.
Rex, call dr. Mervin,
will ya? Quick.
Easy, easy.
Tony, what is it?
Let me see.
Tony, Tony, are you?
It's all right, Max.
We've sent for the doctor.
For the love of?
Why?
Why?
Max, this is
captain Bonner.
He'll tell you.
The-- the call.
I'm late for the call.
Take it easy, boy.
Rest.
Tony.
I'm...
I'm...
All right.
Never better.
So are you...
Now...
And Bill.
We're all...
All right.
Man: Your call,
Miss Kaurin.
No.
Go on, Brita.
I'll be here.
Go on.
Funny the things
You think about,
You know?
Bill...
You know, way back?
Yes.
This, uh...
An actor once,
old-time actor, name of Kirby,
way, way back...
Famous for death scenes?
Don't talk, Tony.
Wait.
Th-this Kirby,
he'd finish,
they'd shout,
"Die again, Kirby.
Die again."
And he'd...
He'd get up and bow and...
Die again.
Ever hear of him?
Kirby?
No.
Oh, well,
tonight...
The things that go through
one's head.
Suddenly I thought,
I hope no one shouts,
"Die again,"
'cause...
I couldn't have.
Rest, Tony.
Rest.
The things that go through
one's head.
Rex: He's on his way?
Dr. Mervin.
No, no.
It doesn't feel bad now.
Peaceful, really.
It's in my mind
I feel bad.
Pat.
That unfortunate Pat.
I'll apologize
to her up there.
Or down there.
Yeah, down there.
You bet.
Bill...
Yes, Tony?
Look out for the papers.
Don't let them say I...
Was a bad actor, huh?
Brita...
Yes.
Brita...
Brita, you...
in the other play.
Remember?
Isn't he gorgeous?
Adorable.
Hiya, fellas.
Looking sharp, boy.
Looking sharp.
New hat.
Oh, fine.
Who done it for you,
Lily Dache?
I done it myself.
What a great guy.
You can say that again,
son.
The meeting will come to order.
Hello, Barry.
How are you,
Mr. John?
Dirty heel.
Everybody says.
He's a good actor.
Yeah, but he's no good.
Tony!
Oh, hello, Ellen.
Hello!
I haven't seen you
since, um...
Sands point.
Yes, that's right.
I lost your number.
I knew it was that.
What are you geniuses up to?
We're in the Freedley musical.
How does it look?
Chaotic.
Well, good luck.
Thanks. Good-bye.
I'll be seeing you.
Good-bye, Tony.
What a darling.
Stinker.
What?
What?
Hello, mr. John.
Hello, Anna.
Hello, Max.
Enter Anthony John -
tall, handsome, charming.
Shakes hands with his
dearest friend and mentor
and sits.
How did it go last night?
Fine, fine.
"A riot. A veritable funfest."
This play agrees with you.
Ah, good old Anna -
never forgets.
If it were possible,
I'd have you only in
comedy always, so help me.
Well, why isn't it?
Every morning after I get up,
I read a play,
every night before I go to bed,
and out of the lot,
if one turns up
that can be produced
and that's got a part
for you, I'm lucky.
Listen. Do me a favor.
Don't forget one thing -
you're an actor.
You don't say.
A great actor.
I bow.
You got a responsibility.
You can't stop. You
can't limit yourself.
All right.
Don't get so excited.
Well,
I'm an excitable fellow.
Come on.
Let's have it.
What is all this?
Othello.
Oh! Ho ho! No!
I was looking over
that old Othello
scheme of yours.
You don't know
how good that is.
Yes, we did have some
good notions, all right.
Good?
Do you remember that thing
you figured out
for the ending?
Yes.
Where you strangle
Desdemona with a kiss?
Yes. Oh, it sounds
ridiculous now.
You're wrong.
It's brilliant,
and it's believable,
isn't it, Victor?
Isn't what?
Isn't it brilliant?
Also believable.
The Othello thing.
How are you, Tony?
Blooming -
blooming in spite of Max.
He's been giving me
a scream-by-scream description
of my own idea.
Want to do it, Tony?
Do you want to direct it?
I asked you first.
I don't know.
I don't know. I?
I know some parts
give me the willies,
on the stage and off.
Where's your ambition?
All used up, Max.
Well, almost all used up.
Well, I've come
a long way with it.
Remember when I was
that handsome juvenile
dashing on with white flannels
and a tennis racket?
"I say, tennis anyone?
Right-o. Let's have
another go at it."
Yes, and before that,
the chorus of the student prince.
I tell you, I was
a happy hambone then.
Vocabulary of 7 words.
Funny, I remember
my father even then,
coming backstage for a touch.
And telling me
to get the best of it.
"Get the best of it, boy-boy.
never made it, see,
but you can do it, kid.
You can do it
For the two of us."
So I'd slip him a fin,
and he'd mosey off.
I never listened to him.
I never listened
to anyone but Brita.
That's when I got
ambition, my boy?
When I married Brita.
That's when I wanted
to be something better
than I was,
to be an actor, a real actor.
I had to teach myself
to talk, do you know it?
And move and think.
I had to tear myself apart
and put myself together
again and again.
The leftover pieces
are all scattered
somewhere between here
and a thousand one-night stands.
Oh, sure, I lost plenty?
Fun and rest and friends
and privacy,
and in that cockeyed way
things have of working out,
it's even cost me Brita.
Would you like to hear
the story of my life?
He was a good actor,
your old man.
Oh, thank you, Max,
but you and I both know
he died a doorman.
Look, I wish you'd drop in
and see the show tonight.
It's all right,
but it's not bouncing along
the way it used to.
Who's letting down?
All of us except Brita,
of course.
Of course.
She's always wonderful.
There's something
interests me, Tony,
because it's none
of my business.
You and Brita,
you've been divorced now,
how long is it, 2 years?
And 4 months.
All right.
And you're both
still in love, aren't you?
So?
Why don't we marry again?
Yeah.
We love each other
too much for that.
I see.
See you later, friends.
Now, what about
The Othello thing?
Uh, look,
don't count on me
too much for this, Max.
I've got a feeling it
isn't the sort of thing
I ought to do,
great or no.
Think it over.
We'll talk about it later.
All right.
We ought to think
about it, too.
Why?
A sensation.
For someone
who's been exposed to it
as much as you have,
it's a wonder you don't
know more about acting.
What is there to know?
It's a talent.
Some got it, some ain't.
No, no.
When you do it
like Tony does,
it's much more.
The way he has
of becoming someone else
every night,
for just a few hours,
so completely...
No, don't tell me
that his whole system
isn't affected by it.
I swear I never
saw such a thing.
Here I bring up
a great proposition,
and everybody's as gloomy
as closing in New Haven.
I don't like trouble.
We'll see.
Yeah, all right.
We'll see.
Hello, Bill.
Max.
Victor here?
Yeah.
Right over there.
I just got the proofs
of Brita's new pictures
for the sunday edition.
Fine. Wait till you hear
the next publicity campaign
you're gonna do...
knock you on your ear.
Something new?
New, old.
Tell you tomorrow.
Excuse me, mr. Lasler.
I'm going to marry
the most wonderful man
in the world: Martin.
My valet?
Coffee, miss?
Thank you, Martin.
Just when did all this
happen, Martin?
Miss Cole did me the honor
of accepting my
proposal of marriage
on may 14th last,
sir.
On may 15th,
a fortnight ago...
Thank you.
Not at all, sir.
I gave you my 2-weeks notice
and informed you that I
was going to be married.
You didn't say it was to
my girl.
It didn't seem proper
to do so, sir.
Proper!
What cheek.
But what charm.
It's no surprise
to me. After all,
he's a gentleman's
gentleman.
Beginning now,
he's a lady's
gentleman.
I'm not going to cry.
Ah, ducky.
Honey.
Martin!
But my dear sir,
my time was up when
the clock struck.
I hope I've given
complete satisfaction.
Good-bye.
Good-bye.
Good-bye.
Mother!
Was I a bit over tonight?
Oh, Max, I've been
looking for you.
Hello,
mr. Lasler.
Drop over the office.
Hello, Victor, dear.
That's you, sweetheart!
Oh, Tony!
There's something
I want to talk to you about.
Yes. Oh, a little later.
Max, are you
going to the party?
No. I'll be...
One more.
Oh, leave 'em hungry,
is what I say.
What do you think?
How did it go?
Oh, it impressed me.
There were a couple spots
I wanted to talk to you about.
Oh, look who's here?
Shakespeare's agent, eh?
Yes?
Hello,
Brita.
Bill, come on in.
Is it all right?
If you don't stay too long.
Hi, Gladys.
Your new pictures.
Oh, good.
Oh, I better look them over
in the morning.
Tony and I are going?
I know.
I'm going, too.
Can I hitch a ride with you?
Of course.
Hey, what's all this
about a new play,
something for you and Tony?
Play?
Sounded pretty definite,
the way Max talked about it.
I...
I thought you knew.
No, I didn't.
Well, I hope
it's a comedy,
if they want me in it.
Why? You've just
had a year of one.
You know Tony.
When he's doing something
gay like this,
it's wonderful
to be with him,
but when he gets going on one
of those deep numbers...
It sounds as if you're
trying to talk yourself
out of marrying him again?
Think so?
Listen, we were engaged
doing Oscar Wilde,
broke it off doing O'Neill.
We married doing
Kaufman and Hart,
and divorced doing Chekhov.
Would you advise me to
go through all that again?
Would you take my advice?
Mr. Friend, would you
take my advice
and clear out?
She's got to get dressed.
Sure. Sorry.
I'll be waiting.
All right.
It seems to me like
I spend half my life
trying to keep people
from not going crazy.
And not succeeding.
Brita: Ready, dear?
Oh, come on in,
darling.
Well, I guess
not many women would
climb all the way
up here to see you.
You think not, eh?
Ha ha.
You'd be surprised.
Oh, look.
Oh, lovely.
Beautiful.
Honest, it's like
they were married.
It's like
they were engaged,
which is better
than married.
Tony, look that over
tonight, will you?
Try. I've got to go up
to Gilbert's for a while.
And talk to Brita about it.
Aw, sure.
See you.
Good night.
Good-bye.
Bye.
Talk to Brita about what?
Othello.
Oh, dear.
Is that on again?
Well, just thinking.
What about a holiday, Tony?
I'll take one before I do this,
if I do it at all.
Oh, sure,
I know those holidays.
I've shared them with you.
You keep remembering
the rehearsal date,
rushing up to meet you.
You think about your part.
You worry.
You wake up
and pace the floor all night,
and you go silent for
long stretches all day.
And those
disappearances of yours.
It's a living nightmare,
not a holiday.
That's right,
that's right.
But then what?
It's not worth it, Tony.
This past year,
it's been fun, you know?
There have been times
when I almost thought
we'd make it together
again if we tried.
Yeah?
I know if we ever got mixed up
in an Othello kind of thing
it would be the end.
Oh, but why, baby?
You know why?
Because you won't learn
to leave it at midnight.
I used to and never got past
playing bits in stock,
and you're the one
that did that to me.
Let's not forget that.
Did what?
Inspired me,
or whatever you call it.
Oh, we'll talk about it
some other time.
You're tired now.
Come along.
Let's go to the party
and have a good, gay time,
tell yokes to all
the private peoples.
Yokes.
Jokes. And have
a gorgeous supper.
How about that?
Are you ready?
Ah, just about.
Oh, yes, that's right.
Bill is coming, too.
I said we'd give him a lift.
Fine.
Look, darling, um...
Yes?
Would you mind
going ahead with Bill
and let me come later?
Why?
Oh, I don't know.
I'd like to prowl around a bit
and think this thing over.
Tony.
Run along, darling,
will you?
I'll come by later.
Yes. Good night, Tony.
Uh, good-bye, dear,
And give my love to society.
Matinee tomorrow, sir.
We're almost out of gargle.
I'll get some.
Fine.
Same kind all right?
Yeah. Delicious.
Good night,
Mr. John.
Good night.
Oh, beware, my lord,
of jealousy.
It is the green-eyed monster.
All my fond love
thus do I blow to heaven.
'Tis gone.
Arise, black vengeance!
Haply, for I am black...
And have not those soft
parts of conversation
that chamberers have.
[speaking italian]
How's the chicken
Cacciatore?
It's your stomach.
Coffee?
Coffee.
You all right?
Fine.
If you
want some good wine,
ask me, the boss.
Some talk, ok.
Nice girl to dance with,
I'll see what I can do.
No, grazie.
Meglio solo.
Parli italiano.
Poco. Poco.
Always glad
to take care of a new customer.
Thank you.
Enjoy yourself.
Take good care of him, Pat.
You from out of town?
Why?
I don't know.
You sound like Boston.
I do?
Mm-hmm.
I was in Boston.
That's why I thought.
Pretty quiet up there.
Oh, not the parts
I was in.
What parts?
Oh, around.
I had a pretty good
job up there, too.
I'm a masseuse.
You don't say.
Sure.
You don't believe me?
I can show you a certificate.
I took a course in it.
Masseusing?
Sure.
I been out on the coast, too.
California?
Sure. I was in Diego,
Pedro, L.A., all over.
But, uh, I came back east
this last month.
Like it better here?
Soon as I make a few connections
I'll like it better.
Um, I may try the modeling game.
All you need is
a few connections.
That's right.
You want to know my name?
All right.
Pat.
Pat Kroll.
That we can call these
delicate creatures ours
but not their appetites.
I had rather be a toad
and live upon the vapor
of a dungeon
than keep a corner
in the thing I love.
You talking to me?
No.
I thought you said something.
Well, yes, I did,
but it wasn't anything.
You wanna know somethin'?
What?
You're cute.
I'll be, uh, through here
in three-quarters
of an hour.
We could, uh,
tell each other
our troubles,
if you want to.
Oh, sure.
It's open.
I couldn't find it.
Been walking round and round.
I was wondering.
Can I help you?
Oh, no, thanks.
Coffee all right for you?
Fine.
Or would you like a beer?
Uh, coffee will do.
Sit down!
I like to make new contacts.
I like you, you know it?
Now I do.
You gonna say you like me?
Later.
Oh, thanks.
You gonna tell me your name?
Soon as I know it myself, yes.
Oh, don't give me that.
Give you what?
I've handled lines
all my life.
So have I.
Hey, what's so funny?
It's a private joke
between me and me.
Come on, what's your name?
Which one?
Your real name,
the one you were
born with. I mean,
they give you one
when you were born.
That's not my real name.
What is it?
I don't know.
All right, calm down.
You don't have to tell me.
Look, if I could find out
who I am,
I'd be a happy man,
you know it?
Most people know
who they are,
or think they do,
wich is the same thing.
Simple for them.
Want to know my name?
Martin.
Thank you.
Also Ernest and Paul,
Hamlet and Joe
and maybe...
Othello.
Yes, and I'm French
and Russian
and English
and Norwegian.
I got mixed blood, too.
All right, darling,
and brave and cowardly
and in love and not
and trusting
and jealous?
Are you?
What am I mixed up with here,
some kind of nut?
The bawdy wind
that kisses all it meets
is hushed within
the hollow mine of earth
and will not hear it.
What committed?
Impudent strumpet!
What's the matter,
fella?
[Brita's voice]
By heaven, you do me wrong.
What?
Nothing. I just said,
"What's the matter,
fella?"
You're talking so funny,
like you're...
somebody else almost.
I was.
Are you feeling all right?
Oh, sure.
Don't talk funny no more.
All right.
In fact...
Don't talk at all.
All right.
Why shouldn't Max
want you to play it?
All he'll have to do is to
pace back and forth outside,
like an expectant father.
Tony: Well, what do you
want him to do, play Iago?
I just that I hate to see you
getting pressured into anything.
Maybe you're not sure
I can play Othello.
Now, Tony.
I may not believe in myself,
but I expect others
to believe in me.
Does that make sense?
Oh, of course.
What's this for?
That is for nothing.
Thank you, darling.
You'd be a smashing Desdemona.
You know it?
It's funny. No one has
even bothered to ask me
if I want to play it or not?
Not you, not anyone.
Oh, Brita?
It's all right.
It's all right, darling.
I'm used to it.
I... used to what?
To running after you
while you chase the moon.
Well, if you do go ahead,
it means some hard work
on my blankety-blank
accent.
You will be
able to manage it, I'm sure.
[speaking swedish]
Translation, please.
Oh, no.
Eh, I can imagine.
Right.
What is it?
It's nothing.
The tricks
your mind can play.
You know,
somewhere in the future
I can see it all finished.
I can see the whole
magical production?
Opened, praised.
It feels fine to have
done something worthy,
and then I think
of all the things
that have to be done
between now and then?
The terrifying thought
of that first rehearsal.
The actors nervous
and frightened...
Though in the trade of war
I have slain men...
Tony: Your inner self
telling you every instant
you're making a mistake
to try this,
knowing all the time
you're caught
and it's too late
to change your mind.
'Tis better
as it is.
Oh, no.
Yes, Tony, it's fine.
Trying to make someone
else's words your own,
thoughts your own...
"Thou cunning'st
pattern."
Over and over and over.
Thou cunning'st pattern
of excelling nature.
You whip your imagination
into a frenzy.
The key to the character?
Jealousy,
and you dig for it
within yourself.
What does it feel like?
Real jealousy?
Try to remember
jealous moments
in your own past.
Jealousy.
Jealousy.
Find it, hold it,
live it!
Jealousy!
And the hours
when you worry about
nothing but shoes
and props
and make-up
and the costume fittings...
That's perfect.
That's wonderful.
Really.
And then the dress rehearsals?
The heartening moments
when it seems
to be going right...
Nay, but he prated.
Hey, look out!
The inevitable things
that go wrong...
Nerves,
arguments,
changes...
Far, far into the night.
Pills to help you
stay awake...
And pills to help you sleep.
The part begins to seep
into your life,
and the battle begins?
Imagination against reality.
Keep each in its place?
That's the job if you can do it.
And all at once...
It's opening night.
And you look out
at the audience,
a terrifying monster
with a thousand heads.
You're in a kind of trance,
only vaguely aware
that the curtain
is about to go up.
Man: Places, please.
Then, somehow,
the next thing you know,
the play is almost over.
The last scene is about to begin.
But you remember
that you're on a stage
in a theater,
an audience in front of you...
And suddenly?
Suddenly you're startled by
the sound of your own voice.
Yet I'll not shed her blood,
nor scar that whiter
skin of hers than snow
and smooth as
monumental alabaster.
Yet she must die,
else she'll betray
more men.
You try to hang on
desperately.
You're 2 men now,
grappling for control?
You...
And Othello.
Put out the light,
and then...
Put out the light.
If I quench thee, thou flaming
minister, I can again
thy former light restore
should I repent me.
But once put out
thy light...
Thou cunning'st pattern
of excelling nature,
I know not where is
that Promethean heat
that can thy light relume.
I must weep...
But they are cruel tears?
this sorrow's heavenly.
It strikes where it doth love.
She wakes.
Who's there?
Othello.
Ay, Desdemona.
Will you come
to bed, milord?
Have you prayed
tonight, Desdemona?
Ay, milord.
If you bethink yourself
of any crime
unreconciled as yet
to heaven and grace,
solicit for it straight.
Alas, milord,
what may you mean by that?
Well, do it, and be brief.
I will walk by.
I would not kill
thy unprepared spirit.
No, heaven forfend,
I would not kill thy soul.
Talk you of...
Killing?
Ay, I do.
Alas! Why gnaw you so
your nether lip?
Some bloody passion
shakes your very frame.
You all right,
Mr. Friend?
Opening-night jitters.
Look, if mr. Donlan
or mr. Lasler ask for me,
tell 'em I'm in the bar
across the street.
They've been there
since the second act.
Brita: I hope they
do not point on me.
Tony: Cease and be still!
Brita: I will so.
Oh... what's the matter?
That handkerchief
which I so loved
and gave thee
thou gav'st to Cassio!
No, by my life and soul.
Send for the man
and ask him.
Sweet soul, take heed.
take heed of perjury.
Thou art
on thy deathbed!
Ay, but not yet to die.
Yes, presently!
Therefore confess thee
freely of thy sin,
for to deny
each article with oath
cannot remove nor choke
the strong conception
that I do groan withal.
Thou art to die!
Milord,
have mercy on me.
I say, Amen.
And have you mercy, too.
I never did offend you
in my life,
never loved Cassio.
But with such general
warranty of heaven
as I might love,
I never gave him token.
By heaven,
I saw my handkerchief
in his hand.
Oh, perjured woman,
thou dost stone my heart
and mak'st me call
what I intend to do a murder,
which I thought a sacrifice.
I saw the handkerchief!
He found it, then.
I never gave it him.
Send for him hither.
Let him confess a truth.
He has confessed.
What, milord?
That he hath used thee.
How, unlawfully?
Ay.
He will not say so.
No. His mouth is stopped.
Honest Iago has
taken order for it.
Oh, my fear interprets.
What, is he dead?
Had all his hairs
been lives,
my great revenge
had stomach for them all.
He is betrayed,
and I undone!
Out, strumpet!
Weep'st thou for him
to my face?
Oh, banish me, milord,
but kill me not.
Down, strumpet!
Kill me tomorrow.
let me live tonight.
Nay. If you strive...
But half an hour!
Being done,
there is no pause.
While I say one prayer!
It is too late.
Milord!
Milord!
Oh, good milord!
Milord!
Milord!
Milord...
Milord!
What ho!
Oh, good milord,
I would speak
a word with you.
It's almost over,
Mr. Lasler.
Well, you told me
to tell you
when it was the last scene.
Oh, sure. Thanks.
Last scene.
What play?
Our play.
It's good.
There's a murder in it.
You don't say.
Who to who?
What?
Who murders to who?
Tony.
Tony murders this girl.
Kills her dead...
With a kiss.
Ridiculous.
Unbelievable.
Tonight, he murders this girl.
Tomorrow, they'll
probably murder him.
Oh, no.
How came you, Cassio,
by that handkerchief
that was my wife's?
I found it in my chamber,
and he himself
confessed even now
that there he'd dropped it
for a special purpose
which wrought to his desire.
Fool...
Fool! Fool!
You must forsake this room
and go with us.
Your power
and your command
is taken off,
and Cassio
rules in Cyprus.
You shall close
prisoner rest
till that the nature
of your fault
be known to the Venetian state.
Come, bring away.
Soft you.
A word or 2
before you go.
I have done the state
some service,
and they know it.
No more of that.
I pray you, in your letters,
when you shall these
unlucky deeds relate...
Speak of me as I am,
nothing extenuate,
nor set down aught in malice.
Then must you speak of one
that loved not wisely
but too well,
of one not easily jealous,
but being wrought,
perplexed in the extreme,
of one whose hand,
like the base Judean,
threw a pearl away
richer than all of his tribe.
One whose subdued eyes,
albeit unused
to the melting mood,
drop tears... as fast
as the Arabian trees
their medicinable gum.
Set you down this...
And say besides,
that in Aleppo once,
where a malignant
and a turban'd Turk
beat a Venetian
and traduced the state,
I took by the throat
the circumcised dog
and smote him, thus!
Oh, bloody period.
All that's spoke is marred.
I kissed thee ere I killed thee.
No way but this,
killing myself...
To die upon a kiss.
This did I fear,
but thought he had no weapon.
For he was great of heart.
O Spartan dog,
more fell than anguish,
hunger, or the sea!
Look on the tragic loading
of this bed.
This is thy work.
The object poisons sight.
Let it be hid.
Myself will straight aboard,
and to the state,
this heavy act
with heavy heart relate.
Bravo!
Bravo, Tony!
Bravo!
Bravo!
Bravo!
Bravo!
All right, boys!
Ok, house lights.
That does it.
That's it, boys.
Thank you.
You were wonderful,
Tony.
Woman: Congratulations,
darling.
Man: Perfectly marvelous
performance.
Second man: It really was.
Third man: Tony,
it's the best thing
you've ever done.
For heaven's sake,
Tony.
Stop walking around
and relax.
What ho, milord?
Tony, if you'd never
played anything else,
my dear,
this is...
Brilliant.
Or if you never play
anything again.
Well, I hope so.
Now, now, Tony,
I don't want you
to monopolize Dolly
all evening.
Congratulations.
Thank you.
Thank you.
Are you all right,
dear?
You ask me that
every 6 minutes.
I care every 6 minutes.
Here.
I don't deserve you,
Brita.
Maybe that's why
you haven't got me.
There isn't much
justice on earth,
but there is some.
If I burst out crying,
it's going to be
your fault.
What's the matter?
It's nothing.
Brita, if you don't
give me a hand
With the Hollywood
contingent I'll?
Sure. Sure, Bill.
I'm all right.
Run along hither.
Man: Farewell,
old friend of mine.
Second man:
Farewell, old friend.
Farewell, the tranquil mind.
Farewell, content.
Uh, yes.
Thank you.
Thank you.
Oh, beware, milord,
of jealousy.
It is the green-eyed monster
which doth mock
the meat it feeds on.
Tony: Out, strumpet!
Brita!
Man: Didst thou not
see her paddle
with the palm of his hand?
but that was but courtesy.
Lechery, by his hand.
They met so near
with their lips
that their breaths
embraced together.
In sleep I heard him say,
"Sweet Desdemona,
Let us be wary.
Let us hide our loves."
Let us hide our loves.
Let us hide our loves!
It was like the riot of 1820.
Were you there?
Brita...
Get me home, Brita.
Please get me home.
Oh, darling.
Happy birthday,
old lady.
Oh, I...
Oh, Tony, Tony.
Thank you for this.
Oh, it's nothing.
It cost
And worth it. Thank you.
Look at me.
I'm a Christmas tree.
Here. From Max.
Lovely.
From Victor.
My, my.
From Main and Douglas.
Ooh-hoo.
Never seen better.
And here, look?
A locket from Bill.
Isn't that sweet?
Yeah. Yeah.
Yours is my favorite,
Tony.
Would you like
to go to a party?
Look, darling,
I'm a little bit late.
Do you mind?
You'd better hurry.
Yes, that's right.
I better.
Thank you.
Thank you again.
This is a trick to
put me from my suit.
Pray you, let Cassio
be received again.
Fetch me the handkerchief.
My mind misgives.
Come, come.
You'll never meet
a more sufficient man.
The handkerchief.
Pray you,
talk we of Cassio.
The handkerchief!
A man that all his time
hath founded his good
fortunes on your love,
shared dangers with you.
The handkerchief!
I'sooth, you are to blame.
Zounds!
Noises offstage,
clumsy fools.
Next time that happens,
I'll crack him over the head
with a stage brace.
Tony, he didn't mean to.
I don't care whether
he meant to or not.
All right, Tony.
All right.
If anyone doesn't like it
or you don't like it?
Let's hear about it,
that's all.
I'm only trying to find a way
To make everybody happy.
Ok, mr. John.
Don't fuss, man.
Man: Ready, mr. John.
M'noble lord,
if I give my wife
a handkerchief...
Send for him hither.
Let him confess a truth.
He hath confessed.
What, Milord?
That he hath used thee.
How? Unlawfully?
Ay...
He will not say so.
No, his mouth is stopped.
Honest Iago hath
taken order for it.
My fear interprets.
What, is he dead?
Had all his hairs
been lives...
My great revenge
had stomach for them all.
A-alas...
Alas, he is betrayed,
and I undone.
Out, strumpet!
Oh, Tony!
Weep thou for him
to my face?
Oh, banish me, milord,
but kill me not!
Yeah, banish you, down...
Down, strumpet!
Kill me tomorrow.
Let me live tonight.
Nay, if you strive?
Brita, whispering:
Tony?
But half an hour.
Down.
Tony, Tony? Tony, please.
Being done, there is no pause.
But while I say
one prayer.
It is too late.
Please, Tony. Tony?
Tony...
Tony, please,
you're hurting me.
What's going on?
What's the matter with him?
Woman, whispering:
Mr. John, Mr. John,
be careful, please.
Man, whispering:
What is he doing?
Woman: Mr. John.
Please stop him.
Man: Do something.
Man: Your cue.
Mr. John.
For heaven's sake,
knock.
Milord!
Milord! Milord!
Oh, good milord.
I would speak a word with you.
There is not!
There is no excuse!
Good evening, doctor.
Good evening,
fellas.
If you'd only leave her alone
for a few minutes, mr. John?
And you keep out of this.
Now, I'm warning you.
Who's there?!!
Well, what's the trouble?
Well, what the?
Hello, Tony.
Who sent for you?
I did.
Holy jumping?
Now this is a production.
It's nothing.
Just a little accident.
My delicate leading lady
can't be kissed
without sending for her doctor.
I'm afraid we overdid it a bit.
Right at the top of the scene.
Advice! Direction!
Yelling it out!
I'm sorry, Tony.
I'm sorry.
Who'd you think
we were playing to,
an audience of deaf-mutes?
Tony, shut up!
Brita...
I'm sorry.
Tony...
I'm sorry, darling.
You know I'd die
before I'd hurt you.
You know that, don't you?
Yes, I know it.
I know it.
All forgiven, Tony.
All forgiven.
Gently.
What a business,
for heaven's sake.
What a business.
Close your eyes,
Tony.
Surprise coming.
Close your eyes.
All right. Now.
Well.
Good?
Well, strike me pink.
Thank you.
Well, I never.
Oh, stop it, Tony.
Stop what?
Making fun of me.
Was I?
Oh, let's eat it.
I'm sorry.
It's all right.
It's all right.
I'd like to have risen
to the occasion.
I'm tired.
I don't know what's
the matter with me.
I mean, I do know what's
the matter with me.
Sorry, Brita.
Beautiful cake.
It's a beautiful idea.
It's a beautiful thing
you have done.
Let's not go too far, huh?
Do I get to eat myself?
No novelty in that,
is there?
Sticks and stones
may break my bones,
et cetera,
et cetera, et cetera.
It's from Henri's.
What is?
The cake.
Restful here, isn't it?
So far.
Sort of sentimental.
I'm as sentimental
as the next fellow.
By the way,
what about him?
Who?
The next fellow.
Well, I don't know.
Oh, he's a good enough
press agent,
but do you think...
Tony!
What?
New subject.
Why?
I don't like this one,
and it's my party.
Are you gonna marry him?
No.
Do you love him?
No.
Do you love anyone?
No.
No?
Oh, Tony!
Leave me alone!
You haven't
Finished your cake.
I don't want it.
You can't have your cake
and eat it...
And not want it.
Oh, you fool.
Oh, Tony.
New subject.
Good.
What do you think you
might like to do next?
What play?
Yeah.
Max says we'll do
another year in this.
Oh, not with me.
No.
Tired of it?
No. Sick of it.
Sick.
Perhaps you
should stop then.
Yeah, perhaps.
But, you see?
What?
I don't know which is worse,
with a part or without.
Without one, I'm alone?
Bad for me.
Don't like myself
very much.
Don't say that.
Well, it's true.
The only answer was you.
Tony.
And nothing
but failure there.
Not all your fault.
All mine.
Whose fault was that?
Fault?
Oh, we're both responsible
for all our good things
and all our bad.
You don't really
believe that, do you?
No.
Mostly me.
Yes.
Always?
Mostly.
Then I don't suppose
you would want
to marry me again,
would you?
No, I wouldn't,
darling.
Why not?
Because if at first
you don't succeed,
don't try again.
Isn't that how it goes?
No.
Brita...
You're my only friend.
Help me.
Anything?
Anything, Tony,
but let's not try
marrying again.
You're stuck on the guy...
Oh, don't be idiotic.
Why, Bill is?
Don't call him that!
That's his name.
I don't care!
Oh, Tony?
Get away!
Is he smooth?
Is he charming?
Does he speak gently?
Does he write
Lovely stories about you?
Does he dance well?
I don't.
Remember? Do you?
Does he listen?
Does he sympathize?
And what else
Does he do? Does he?
Stop it! Stop it!
Stop it, Tony.
You want me to go, huh?
Yes.
All right, I will.
Now, Tony, listen?
I don't want to see him
and his silly, lovesick face
around the theater.
Now, you tell him,
or I will!
Oh, Tony.
Meet him anywhere you like.
Meet him here or at his place
or in a rowboat
in central park!
Go away, Tony!
Go away! Go now!
No.
No.
No.
Don't hurt Brita.
Tony, as Othello:
Yet she must die
lest she betray more men.
No...
Get out.
Out.
You know
I'd die before I'd hurt you.
Careful.
No control.
Go home.
"Go," she said. "Go now."
Brita and Bill.
Bill and Brita.
Heaven truly knows that
thou art false as hell!
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Brita, Bill.
Wait.
Go back.
I am.
I am going back.
Hello, Pat.
Surprised to see me?
Pat...
Pat...
Help me, Pat.
Where is it?
Where is she?
Desdemona!
No, Brita.
Go now forever,
farewell the tranquil mind.
Farewell content.
Help me.
Find her.
Brita!
No...
Pat.
Pat.
Pat.
Pat.
Who is it?
Me.
Who's me?
Open up.
Who is it?
Me! Me!
Hello, Pat.
Surprised to see me?
I sure am.
You got your nerve.
Yes.
You waked me up.
What do you take me for?
You look different.
I do?
What's the idea
the middle of the night?
I had to see you.
Important.
Where you been lately
and all that?
I've been away.
Like out of town?
How come no postcard?
You could at least
send me a postcard.
Oh, didn't have any.
Who?
Where I was.
Where?
Venice.
Glad to see me?
Sure I am.
I'm always glad.
Thank you.
One thing,
I always tell the truth.
Maybe that's how come
I got no steady.
You do all right though.
What do you mean?
How many fellas
you got, Pat?
Hmm, a few.
How many?
I don't know
what you mean by fella.
Like me.
None like you.
Any press agents?
What are you
gassin' about?
Any named Bill?
No.
Bill.
Bill.
Bill.
Coffee's ready.
Even if you wake me up,
I'm glad you dropped over.
Why?
I don't know.
I got the jitters lately.
About yesterday it was,
Vito down at the place?
He dropped a tray
of glasses.
I must've jumped
You need a rest.
No. It's just...
I don't know.
Ha! It's like
I'm scared all the time
I'm gonna get run over
by a truck,
stuff like that.
Or you eat a bad oyster
and you got to get
the stomach pump.
Hey, how do you figure it?
What?
Maybe being alone so much
does it a little.
I may move in with Emily.
You know her.
Emily?
No.
The cashier.
No.
You want to put out
the light?
Put out the light.
And then put out
the light.
If I quench thee,
thou flaming minister,
I can again
thy former light restore,
should I repent me?
What?
But once put out
thy light,
thou cunning'st pattern
of excelling nature,
I know not where
is that Promethean heat
that can thy light relume.
Listen, I think
you better go.
Seen Bill lately?
Who?
Had all his hairs
been lives,
my great revenge
had stomach for them all.
Uh, I think
you must be drunk.
Brita, as Desdemona: He
is betrayed, and I undone.
Out, strumpet!
Weep'st thou for him
to my face?!
Listen, I think you'd better go.
Brita: Banish me not!
Kill me not!
Down, strumpet!
What's the matter
with you?
Brita: Tomorrow?
Let me live tonight.
Nay, if you strive...
Emilia: M'lord!
M'lord!
Yes. 'Tis Emilia.
Let me the curtains draw.
What ho!
M'lord!
Where art thou?
Tony?
Tony?
Man: Did you or anyone else
touch the body?
Landlady: I wouldn't
touch a dead body.
Ready for me?
One more shot,
doc.
How did you happen to
come into the apartment?
They phoned from
the cafe she was working.
What's the name of the cafe?
The Valencia.
Would you repeat
that name, please?
Some eye-talian place.
I don't know.
Oh, come on now.
You know the name
of the cafe.
They're picking on me, Joe.
What was the name
of the cafe?
He don't know his elbow
from a hot mug.
So I says, talk to
the dark room, not me.
I know what my exposure was.
Know what he is?
A chowderhead,
a pure chowderhead.
I'm tellin' you.
Whatever happened
to Schofield,
remember him,
big tall guy, didn't smoke?
I don't know.
I heard Dallas.
Yeah. Some girl
he had down there.
Hi, Al.
Couldn't find the joint.
No kidding.
You're good and late.
That desk.
I'll murder 'im.
Look at the address
he give me.
No excuse.
Next time bring a note
from your mother.
What's the deal?
Here.
Thanks.
I got time for a cup
of coffee, ya think?
Who's the medic?
Stauffer. You got time
for a 10-course dinner.
Ray Bonner's
on it, too, though.
He'll bounce 'im along.
What did I tell you?
Ok, Ray?
that's all.
Get in close,
Bunny.
Kirk wants some heads.
All right, here we go.
I'm gonna say it slow now,
but I'm not gonna
say it twice.
I got no time. You ready?
Pat K-r-o-l-l,
this address,
age close to 30,
dead on arrival?
As long as
you're guessin', Ray,
you mind makin' it
close to 20-something?
All right. 26.
Attaboy.
Dead on arrival.
Apparently strangled
sometime between midnight
and 5 a.m.
No robbery.
No liquor.
Employed as a waitress.
Venezia cafe.
Look up the address.
Beautiful?
Hard to tell right now.
I guess fair.
Attractive waitress.
Several important leads.
That's all for now.
We'll try to have
the official aut,
the mimeo by 5:00.
You got anything, doc?
Uh, well, um...
It's an unusual one.
Unusual.
Neck, throat,
unbruised.
Trachea, larynx,
windpipe, intact.
Small pressure markings
above and below
lips indicate, uh...
An unusual crime
of passion.
Unusual.
Hot dog!
Don't get too circusy now.
One look, Ray?
All right, but fast.
Come here, doc.
Yes?
Uh, you want a good quote?
How do you mean?
Kiss of death.
What?
"This young woman,"
said medical examiner
Roland F. Stauffer,
"may have been the victim
of a kiss of death."
Well, no, no.
I don't know.
Makes you
a very salty talker,
a colorful character.
Well, uh?
Don't you want to be
a colorful character?
Well...
All right.
Kiss of death.
Good.
Stop! Stop!
Oh, please, stop!
Good morning.
Guy out there
got his auto horn stuck but good.
Would you like
a couple of eggs?
What's the matter,
cat got your tongue?
What?
Eggs?
No. No, thank you.
She'll be right down, she said.
Thank you.
If they don't
fix that horn soon,
I'll give a scream.
Tony?
Morning.
Sleep terribly?
Yes, thank you,
and you?
Quite terribly,
thank you.
Oh, Tony, Tony, I...
I had such a bad dream.
My part any good?
It's wonderful
to be awake again.
Yeah. Yes, it is.
Whatever the terrors
of the waking hours,
at least you can fight them.
The other kind,
you're...
Helpless.
Yes.
Helpless.
What is it?
It's nothing.
I... ohh...
Is it that noise?
I love it.
Joys of the city.
Oh, thank you.
Here.
They're no good today.
Have you noticed
how nothing happens lately?
No, I haven't.
I have. I have.
You said it.
I always agree.
It saves so much time.
I'll see you tonight.
Wait a minute.
Be a good friend
and stay a while.
I'm afraid
I can't do either.
I'm sorry. I have
to get home anyway.
Why?
You must know. I
never have to tell you:
I need a shave.
And thank you for the use
of, um, whatever
it is I used.
See you tonight.
Do you want to see
mr. Cooley?
Cooley?
Yeah. Al Cooley.
Al.
Hiya, man.
Come on in.
Relax a little, kid.
It's a pleasure.
What brings you here?
You know me.
A fast buck.
I got quite
a proposition here.
Go ahead.
First, I ask you,
are you interested
in getting a lot of space
for your Othello show?
The answer's yes.
Next thing:
It's worth more off
the theater page, right?
Right.
Front page
is even better, huh?
You know, if this
is some kind of gag,
I'm, uh, very busy.
I can see your tongue
hangin' out, Buster,
way out.
Come on. Come on.
Well, look,
I'm on this job, see,
a very routine knock-off.
A girl -- waitress
or something, strangled.
So we're listening to
the hand-out,
and it's no good, sordid.
You know, they're no good
when they're sordid.
So then a medical examiner --
Stauffer -- you know him?
No.
Dr. Roland F. Stauffer,
a pinhead.
He drops something,
and I catch an angle.
Like what?
Like he says, it could be
she was the victim
of a kiss of death.
He said that?
He said that.
A very salty talker,
a colorful character.
I'm way ahead of you.
You go for it?
Me? Yes. I love space,
but on something
as big as this,
I'd have to talk to Tony John.
Why?
He's a big man for dignity.
This is dignity.
It depends on how you handle it.
With dignity, naturally.
Dr. Roland F. Stauffer,
The department's
medical examiner,
said the attractive,
young waitress
was a victim of what
he termed a kiss of death.
He likened the crime
to the murder of Desdemona
in a current Broadway
production of Othello.
That's not dignity?
That's all right.
What's it worth?
And don't tell me 2 tickets.
I would like some dough,
and I'll buy my own tickets.
Name it.
All right. With a little help,
I can keep you hot
for 9 or 10 days.
Make it 100 a day for as long
as I can keep you
riding high,
and you can be the judge
of when that is. Fair?
Fair.
If I get killed for this?
If you get killed,
I don't get paid.
Watch yourself.
I better be movin'.
Can I have a look
at your stills?
Yeah, sure.
Tony.
I looked for you
at the office.
I'm sorry.
This doggone sinus
got me down today and?
Have you seen this?
Why, yes.
Why didn't you show it to me?
Tony, Tony, please.
Why didn't you?
Bill, please,
this makes me look such a fool.
Isn't there something
you can do to get this?
I don't own the papers,
Tony, after all.
Did you have anything
to do with this?
Not exactly.
What do you mean,
"not exactly"?
It was some other guy's idea,
but I ok'd it.
I see.
What are you
trying to do to me?!
Aw, nothing, Tony.
you're makin' a thing of it.
You heel!
Now, wait a second.
You dirty heel!
You're through.
I'll see to that.
Well, fine with me.
You get this stuff
killed, or I'll?
Or what?
You'll do it!
Do it!
Wait a minute.
Come here.
Come on, Tony.
You?
Tony!
Tony, in the name of...
Tony!
Tony.
Been lives,
my stomach...
Being done, there is no pause.
Tony.
Get out of here.
Get out of here, you...
It was a dream.
You maniac.
Only a bad dream.
You're part of a bad dream.
Come in.
Be right with you.
Yes, sir?
I'm a friend of Al Cooley's.
Yeah.
I'm Max Lasker's
press agent.
He's a theatrical producer.
Yes, I've heard of him.
Sit down.
Bill Friend.
That's my name.
Heard of you, too.
If you want me in a show,
I'm pretty busy.
Well, no.
It's just that I've got an angle
about this Pat Kroll thing.
What do you mean
exactly: "angle"?
I think I may know
who you're looking for,
or, anyway, it's a hunch.
You're a little late.
It's all over.
It is?
Cracked just after lunch.
Well, who? Who?
Can you tell me?
Sure. Joe!
Some poor slob.
Joe, see this gets
down to the inspector.
Some poor slob lives right
across the hall from her.
Claims he was drunk
and doesn't
remember the details,
but we remember the details,
so that's all right.
Everybody wants
to be a detective.
I think it's all
these radio serials.
What was your hunch?
What's the difference?
That actor in your show?
Well, yes.
Say, you guys'll do anything
to get in the papers.
No. No, really, I...
We checked your man.
You did?
Yes. Looked good,
too, for a minute.
Turned out he'd been out
all night that night.
Yes?
With his leading lady.
His wife.
Used to be.
I know. We checked
the whole deal
with her maid.
Well, that's that.
Why don't I mind
my own business?
Sorry to have troubled you.
No trouble.
Sugar? Cream?
Neat.
Nothing seems
to improve it any.
Would you rather
have something else?
No. This is fine,
thank you.
All right. How long
will you be gone?
Uh, I don't know.
Poor Max is in a tough spot.
Tony wants him to fire me, but?
Well, I'll take a vacation.
Maybe it'll all
blow over in a little while.
We'll miss you.
Speak for yourself,
Lady.
All right, then.
I'll miss you.
Thank you.
Bill.
Yes?
Oh, Bill, I won't try
to explain Tony to you.
It's too long, too complex,
but try to understand.
There is a kind of
an emotional illness
that comes over him
sometimes like this.
He's a good man, really.
I know.
When he acts for
a long stretch of time?
You know how he probes
and probes, and...
He seems to release
feelings and imaginings
that aren't his own at all,
like this sick jealousy.
It isn't like him.
No.
But why on earth
he should suspect you?
One reason.
What?
Because he knows what I feel.
Bill.
Yes?
Bill, have you ever?
No.
Never a word to him or from him?
But he knows, Brita.
The same instinct that
makes him a great actor
makes him know, makes him...
feel, somehow, my love for you
in the surrounding air.
It's time you knew anyway.
I don't know what to say.
Well, think of something
in a few weeks. I'll?
I'll be back in a few weeks.
Forgive me.
I don't know what I'm doing.
All this tea, I guess.
Good-bye, Brita.
Oh, Bill.
Yes?
Oh... Bill.
I know what to expect.
I know how it is
with you and him.
Oh, no, you don't.
We hardly know ourselves.
Whenever we meet,
we row.
The other night, for instance,
I tried so hard to make friends.
It ended with a door slam.
Yet in the morning,
I found him here.
He had come back somehow.
Not the first time.
He's always wandering off
in his lonely way.
He needs someone,
but I'm sure
I'm not the one.
Sure.
Bill?
Thank you.
Thank you for standing by.
Good-bye, Brita.
Good-bye.
Draw two, John.
Good.
Good.
Good.
You speaking to me?
No, but thanks a million.
Had a few, huh?
Mind your business.
Everybody's always yapping
at everybody.
What a world!
Nate?
Bill.
Listen, I, uh,
I need a girl for a job.
Very special.
Must be about 5'4",
blond, buxom,
blue-eyed.
You got that?
Fine.
All right, now, Oscar Bernard's?
Yeah. You know, the wig place.
It'll be ready Saturday.
Well, what's the job?
Well, I want to get
one of these girls
to look like this.
Oh, excuse me.
Excuse me.
All right, girls,
sit down.
Uh, I could get it
any color you want.
Hmm, look at these eyebrows,
Oscar.
Yeah. Heavylike,
makes her look hard and tough.
Now, I don't know,
it may be the photo.
Take this one?
Now, here she looks
kinda soft and sweet,
ingenue type.
Oh, well, I understudied
inclaudia.
No. You're letting
the blond hair throw you.
You can tell better
by the mouth, see?
Sensuous, sexy.
Did you see me
in the rugged path?
Hmm? No.
The sister-in-law?
Oh, yes.
Would you come in now, dear?
Just have a seat
out there, honey.
Sandra Michaelson.
Fine.
I-- I do imitations.
I'll bet.
Now, if she had eyes
like the other one?
Oh, I understudied
inclaudia.
Fine.
Let me play around
and see what I can do.
You think you can
work something out?
Oh, sure.
This is nothing.
Phone in the back?
Help yourself.
Why?
It makes me bilious, that's why.
Because you drink it
with cream, that's why.
With milk.
That's why
it makes you bilious.
Milk.
Hello, Tony.
Bill.
Man: Can I borrow
your scissors?
Fine.
Oh. Oh, Tony,
Forget it.
Well, no, it's just that
I'm leaving town tomorrow,
and there are a few loose ends
I'd like to
straighten out with you.
Well, like the drama
league broadcast,
and, uh, that postpiece.
Yes.
How about around 5:00?
Frank's bar all right?
Fine.
See you then.
Fine.
Without anything,
it's too bitter,
like medicine.
In the highest-class
places,
you'll see them drinking it
without anything.
Plain black.
So how do you know
it don't make them bilious?
I didn't say it didn't.
It's a question of habit.
Captain Bonner, please.
These are the earrings.
Fine.
Say, honey...
Would you ask
that new girl back there
sure, and one of these days,
don't forget me.
I don't get up to this part
of town very often.
It's lively.
It may be even livelier
in a few minutes.
What do you got against the guy?
Nothing.
Believe me, not a thing.
I just think he's dangerous.
I saw him once.
It was something
about coal mines.
Wasn't he in that?
The earth below.
Yes.
Yeah, that was it.
He was fine.
Here we go.
Hello, Tony.
What'll you have?
Oh, nothing, thanks.
Coffee?
Yeah, all right.
Your order been taken?
No, miss.
Sugar. No cream.
Man: Great little
juggling act you got there.
All right.
All right.
The noise around this joint.
Look, Bill,
I'll talk to you later
at the theater.
Well?
You got something there,
but I'll be doggoned
if I know what it is.
That isn't enough?
We can't seem to link it.
It's a long way from here
to Mulberry street.
A nickel on the subway.
Let's go down.
Soon be over,
Tony boy.
Soon be over.
Amen.
Tired?
You don't suppose
they'd go home now,
do you,
if we asked them nicely?
No.
They'd want their money back.
They're welcome.
I just can't face it tonight.
There's nothing left.
Oh, Tony.
Tony.
Oh, you.
Tony?
Come on.
There you are.
Take a deep breath.
That's good.
All right.
I've reached the nightmare stage.
I had one the other night.
It was about this very scene.
Tony.
It was awful!
Come on.
Man: Places, please.
Come on, now.
That's it.
Don't be surprised
if I don't come on.
You'll come on all right.
That's it.
Peekaboo.
Man: Curtain going up.
Come on.
One for the money,
I'm more interested
in what her friends
look like,
if you know what I mean.
Well, uh, was just 2 I seen.
One was small but chunky.
She said he was
a fine dancer, but?
How tall?
No more.
Who else?
Well, that old guy
with the little beard
I told you about.
He must've been
a relative, I think.
No, that's not him either.
Wait a minute.
Make-up.
Well, he might've
fixed himself up.
What'd he look like,
the beard guy?
Oh, skinny,
big eyes with glasses,
never no haircut.
How old?
This...
This-- this anything like it?
No, nothing like that.
What's the matter?
I don't know this guy, but I got a feeling
I seen him somewhere before.
Around the eyes, something.
What about this?
I don't know.
Think.
Wait a second.
Yeah, yeah, yeah.
I seen him.
He came in once.
Just once, late,
made a date with Pat.
I found out the next day.
I remember because I got sore.
Yeah.
I'm sure that's the guy.
We're getting close
now, boy.
I'm afraid so.
Let's go.
Ok. I'll get my hat and coat.
Iago: Demand me nothing.
What you know, you know.
From this time forward,
I never will speak word.
Cassio: Most heathenish
and most gross!
Tony, as Othello:
O thou pernicious caitiff!
How came you, Cassio,
by that handkerchief
that was my wife's?
I found it in my chamber,
and he himself confessed even now
that there he dropped it
for a special purpose
which wrought to his desire.
Fool, fool, fool.
You must forsake this room
and go with us.
Your power and your command
is taken off,
and Cassio rules in Cyprus.
For this slave,
if there be any cunning cruelty
that can torment him much
and hold him long,
it shall be his.
You shall close prisoner...
Rest.
You shall close prisoner rest.
Shall...
Until that the nature
of your fault be known
to the Venetian state.
Come.
Bring him away.
Soft you.
A word or two before you go.
I have done the state
some service...
And they know it.
No more of that.
I pray you...
In your letters...
That when you shall
these unlucky deeds relate...
Speak of me as I am,
nothing extenuate...
Nor set down aught in malice.
Then must you speak
of one that loved...
Then must you speak
of one that loved,
Not wisely,
but too well.
Of one, not easily jealous,
but being wrought,
perplexed in the extreme.
Tony.
Of one whose hand...
Like the base Judean
who threw a pearl away
richer than all his tribe.
One whose...
Subdued eyes...
albeit unused
to the melting mood...
their medicinal gum,
set you down this.
Where a malignant
and a turbaned Turk
beat...
I took by the throat
the circumcised dog...
And smote him...
Thus!
Bloody periods.
I kissed thee ere
I killed thee.
No way this...
This life here.
Cassio: This did I fear,
but thought he had no weapon.
The object poisons sight.
Let it be hid.
Tony.
Gratiano, keep the house...
Tony.
What is it?
Tony.
Tony...
Brita.
Brita, we're on.
Come, Brita.
No.
Tony.
What's up?
A little accident,
Steve. That's all.
Don't take him upstairs.
Bring him over here.
Rex, call dr. Mervin,
will ya? Quick.
Easy, easy.
Tony, what is it?
Let me see.
Tony, Tony, are you?
It's all right, Max.
We've sent for the doctor.
For the love of?
Why?
Why?
Max, this is
captain Bonner.
He'll tell you.
The-- the call.
I'm late for the call.
Take it easy, boy.
Rest.
Tony.
I'm...
I'm...
All right.
Never better.
So are you...
Now...
And Bill.
We're all...
All right.
Man: Your call,
Miss Kaurin.
No.
Go on, Brita.
I'll be here.
Go on.
Funny the things
You think about,
You know?
Bill...
You know, way back?
Yes.
This, uh...
An actor once,
old-time actor, name of Kirby,
way, way back...
Famous for death scenes?
Don't talk, Tony.
Wait.
Th-this Kirby,
he'd finish,
they'd shout,
"Die again, Kirby.
Die again."
And he'd...
He'd get up and bow and...
Die again.
Ever hear of him?
Kirby?
No.
Oh, well,
tonight...
The things that go through
one's head.
Suddenly I thought,
I hope no one shouts,
"Die again,"
'cause...
I couldn't have.
Rest, Tony.
Rest.
The things that go through
one's head.
Rex: He's on his way?
Dr. Mervin.
No, no.
It doesn't feel bad now.
Peaceful, really.
It's in my mind
I feel bad.
Pat.
That unfortunate Pat.
I'll apologize
to her up there.
Or down there.
Yeah, down there.
You bet.
Bill...
Yes, Tony?
Look out for the papers.
Don't let them say I...
Was a bad actor, huh?
Brita...
Yes.
Brita...
Brita, you...