D.O.A. Page #7

Synopsis: It tells the story of an Indonesian revolutionary who falls in love with one of his Dutch prisoners.
Genre: Drama
Director(s): Usmar Ismail
 
IMDB:
6.6
Year:
1950
150 min
1,042 Views


I think I'll give it to

you right in the belly.

Takes longer when you

get it in the belly.

It's nice and slow.

That's the way I want to

see you go, Bigelow.

Nice and slow.

Frank.

Frank, are you all right?

Yes, I'm all right Paula. But what are

you doing here? How'd you get here?

Freddy Ross flew me down.

I had to come. I had to see you.

You shouldn't of come, Paula.

You shouldn't have.

What is it Frank? You're in some

kind of trouble, I know it.

Look at you, you're a sight. Your clothes

look as if you've slept in them.

Are you ill? You are, you're feverish.

-I'm all right Paula.

And I'm not in any trouble, believe me.

-You're lying Frank. Right after I spoke

to you I got a phone call from

the San Francisco police.

They asked if I knew where you were.

You didn't tell them anything, did you?

-Of course not.

It was a homicide detective that called.

What is it Frank? If you're in any kind

of trouble you certainly can trust me.

Look, I'm not in any trouble with

the police, Paula. Believe me.

But you can't stay here. You've got

to go back to Banning right away.

No I won't go, Frank. I won't.

I'm staying here with you.

Paula, it's better that you go back.

Believe me. -Why? What's this all about?

What have you got to do with

this Philips and Reynolds?

Philips was murdered.

-Murdered?

What could that possibly have to do with

you? All you did was notarize a paper.

You've notarized hundreds of papers.

-I know. I know.

All I did was notarize one little paper.

One little paper out of hundreds.

Frank. You frighten me.

You don't even act like yourself.

I know that you're in trouble. That something

is wrong. That youire in serious trouble.

You frighten me Frank.

-Oh, don't be frightened Paula.

Don't ever be frightened of anything

again. Will you promise me that?

I love you so much, darling.

More than is able to understand.

I never really knew happiness until I loved

you. Sometimes when I used to be afraid

that you weren't sure how you felt,

I tried to hold back, but I couldn't.

Losing you would've

been losing everything.

There would have been nothing left.

-Don't, Paula. Don't

Now I'm afraid again.

Somehow I feel that I'm going to lose

you but there's nothing I can do about it.

I feel so helpless. You're

leaving me out of something.

Tell me Frank, what is it? Give me a chance

to fight back. Just give me a chance, please.

You do love me though?

-Oh yes, Paula. I love you.

I never was more certain

of anything in my life.

I wasn't sure before, I was a little blind

I guess, but believe me I'm sure now.

Can you understand that Paula?

-I understand.

A man can be like that, Paula.

Something has to happen. It can

be a big thing or a little thing but

it can make him realize how much someone

means to him. How much he really loves her.

Oh and I love you, Paula.

More than I ever thought it possible

to love anyone in the world I love you.

Then why won't you tell me

about this trouble you're in?

Why won't you let me try to help you?

You can't help me Paula.

-You don't want my help.

Oh, Paula. There's nothing you

can do. Will you believe me?

So, will you please go home. Please?

-No Frank.

I won't go. I know you're in trouble.

I can't leave you like this.

All right, Paula. Look, wait for

me in the lobby of the hotel

and I'll be back for you soon. I promise.

-You promise? -Yes, Paula. I promise.

Is that a new outfit?

Yes.

-Well, it's beautiful.

You'll come back to me, won't you Frank?

Yes Paula, I'll come back. I promise.

-Please hurry, darling. Oh I love you.

I love you Paula.

Goodbye, Paula.

Is Stanley here?

You sure?

All right, get in there.

Now get Stanley on the phone.

Tell him to come over her right away.

Use any excuse you want.

What are you going to do?

What was Stanley going to do when

he used me for a clay pigeon today?

I don't know what you're talking about.

-Don't act innocent with me.

I fell for that once.

-I don't know what you mean.

I told you everything you

wanted to know this morning.

You told me just enough

so I'd get sidetracked

and wouldn't know that Stanley

was the one I was after. -Stanley.

Oh no! -You and Stanley have been

together on this from the start.

Now, come on. Get on that phone and call

him. And don't let him know I'm here.

Bigelow!

You been sidetracked all right.

But it was the poor, bereaved,

little widow who did it.

Miss Foster found this

letter this afternoon.

It was in my brother's desk at the

office. It's postmarked two years ago.

It isn't exactly the kind of a letter that a

married woman gets from a casual friend.

And I'm sure my brother wasn't aware

that they were so well acquainted

when he hired Halliday

What's the matter with him?

-He hasn't felt right since dinner.

Where did he have dinner?

-At Mrs Philips' apartment.

Halliday was there too and Stanley

confronted them with that letter.

Did you have anything to drink?

-Yes. Why? -How long ago?

Half an hour ago, just before I cam here.

-Miss Foster. Get on the phone

Call the emergency hospital. Have them get

an ambulance over here right away. -What?

Tell them that the (???) watch for aluminous

poisoning. -Aluminous posioning?

Go on, do what I tell you. While we still

have a chance to save his life. Go on!

I found George Reynolds, Mrs. Philips.

He's been dead for five months.

Then he didn't steal the bill of sale.

-No, he didn't but you could have stolen it.

How dare you.

You knew who I was

when I came here today,

but you were surprised to

see me alive, weren't you?

But I'm not alive, Mrs. Philips.

Sure I can stand here and talk to you.

I can breathe and I can

move, but I'm not alive.

Because I did take that poison

and nothing can save me.

What are you going to do?

-I tell you now I have nothing to lose.

No. You gotta listen to me. You gotta give

me a chance. -But I didn't have a chance.

It was Halliday. Believe me it was Halliday.

He made me steal the bill of sale. He planned

everything. -What about this letter? Your

husband knew about you and Halliday.

He found it only yesterday. He

accused Halliday. They fought

and Halliday pushed him over this balcony!

-And why me?

Why did he want to kill me? -Because you

could've proved there was a bill of sale.

That my husband had no reason to

commit suicide. Halliday was desperate.

After he killed my husband he found

out about the phone calls to you.

He thought you spoke to him.

That you knew enough to involve him.

Where's Halliday?

Where is he?

He's at the office.

This time you don't warn him.

Majak!

Come on Mister. Break it up.

Come on! Come on!

Come on. Move along.

Come on, let's break it up. Move

long now. Let's get going. Come on.

All I did was notarize a bill of sale.

But, that piece of paper

could have proven that...

Philips didn't commit suicide.

He was murdered.

And that's why Halliday poisoned me.

Would you...

Paula...

Call the morgue.

Johnson, you go to the Allison Hotel, find

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Usmar Ismail

Usmar Ismail (20 March 1921 – 2 January 1971) was a prominent Indonesian film director. He was of Minangkabau descent. He was widely regarded as the native Indonesian pioneer of the Cinema of Indonesia although films made by the Dutch date back to around 1926.He was perhaps best known internationally for his 1961 film Fighters for Freedom which documented Indonesian independence from the Dutch and French. The film was entered into the 2nd Moscow International Film Festival.Ismail initially served in the army during the Dutch colonial rule. Later, following his dream of becoming a film director, he established "Perfini Studios", Indonesia's first film studios, in the early fifties. A concert hall known as the Usmar Ismail Hall, which gives musical, opera and theatrical performances, was established in his name in Jakarta. more…

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Submitted on August 05, 2018

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