“Soldier! Listen to me. Angel and Curly are dead. There’s just me and you. From now on we’ll be partners. Everything will be fifty-fifty. What do you say? Can you hear me? What do you say? Is it a deal? I know what you’re thinking. You’ll get rid of me and take all the money for yourself, is that it? Is it? Answer me! I’ll tell you what. Suppose I say the money is yours. Here, look! It’s yours. All yours, soldier! Plenty more when we get to Cuba. Okay, soldier? You hear me? I’ll make you rich! Soldier! You’re not big enough to do this to Rocco. I’ll kill you! You’ll never bring me in. Never! Look, soldier, I know what it is. You figure I got a gun, so you can’t trust me. Right? Okay. Look! See? I’m leveling with you. Okay, soldier? I’m coming out. Okay, soldier? I got no gun and I’m coming out. Soldier!”
— Key Largo (1948), screenplay by Richard Brooks and John Huston, based on the play by Maxwell Anderson
The Daily Dialogue theme for the week is gangster deaths, suggested by Phil Hopersberger. Today’s suggestion by Teddy Pasternak.
Trivia: This movie was based on Maxwell Anderson’s popular Broadway play which featured Paul Muni in the lead role as a fatalistic ex-member of the Loyalist Army who has returned from the Spanish Civil War. For the film version, the time period and the setting were changed. Director John Huston and screenwriter Richard Brooks rewrote the main character, Frank McCloud, making him a World War II veteran who had served in the Italian campaign. The two writers emphasized the idealism of the early Franklin D. Roosevelt years and how those ideals began to erode as organized crime spread through urban areas.
Dialogue On Dialogue: Commentary from Teddy: “The best part of this “dialogue” is the silence from Frank McCloud. The shootout that precedes it is also great. There was never anyone better to play a gangster than Edward G. Robinson, in my opinion.”