Othello Act 5 Scene 1

Here — stand behind this stall front. He'll be along

in a moment.

Keep your sword drawn, and drive it right in.

Quick, quick. Don't be afraid — I'll be at your elbow.

This makes us or it ruins us. Think about that,

and hold your nerve.

Stay close. I might not manage it.

Right here beside you. Be bold and take your position.

I've no great enthusiasm for this,

and yet he's given me convincing reasons.

It's only one man gone. Out, sword — he dies.

(aside) I've rubbed this young pimple almost raw,

and he's getting angry. Now — whether he kills Cassio,

or Cassio kills him, or they kill each other,

every outcome pays me. If Roderigo lives,

he'll be demanding back a large amount

of gold and jewels I swindled out of him

as presents for Desdemona.

That mustn't happen. And if Cassio survives,

there's a daily beauty in the way he lives

that makes me look ugly. Besides, the Moor

may give me away to him. That puts me in real danger.

No — he has to die. So be it. I can hear him coming. (Three reasons, and only the second one is felt: Cassio is simply a better man, and being near him is unbearable. It is the closest Iago comes in the whole play to saying why.)

I know that walk. It's him. — Villain, you die!

That thrust really would have finished me,

except my coat is better than you realise.

Let's test yours.

Oh — I'm killed!

I'm crippled for life! Help, there! Murder, murder!

That's Cassio's voice. Iago is keeping his promise.

Oh, what a villain I am.

(aside) Just so.

Help, here! A light! A surgeon!

(aside) That's him. Oh, brave Iago — honest and just,

with such a noble feeling for the wrong done to your friend.

You're teaching me. — Little madam, your darling is lying dead,

and your own cursed hour is hurrying up. Whore, I'm coming.

Out of my heart those charms of yours, those eyes, are

wiped away.

Your bed, stained with lust, will be spotted with

the blood of lust. (He has heard a man shouting in the dark and concluded that man is dead. On that, and nothing else, he leaves to kill his wife.)

Hello! No night watch? Nobody passing? Murder, murder!

Something's gone badly wrong. That voice is terrible.

Help!

Listen.

Oh, the wretched villain.

Two or three men groaning. It's a thick, dark night.

These could be decoys. Let's assume it isn't safe

to go towards the shouting without more help. (Two Venetian noblemen stand in the dark listening to a man bleed, and decide the sensible thing is to wait. Nobody in this scene can see anything, and everybody acts anyway.)

Nobody coming? Then I'll bleed to death here.

Listen.

Here's someone coming in his nightshirt, with a light and

weapons.

Who's there? Who's making this noise, shouting

murder?

We don't know.

Didn't you hear a shout?

Here, over here! For God's sake, help me.

What's the matter?

(to Lodovico) This is Othello's ensign, I think.

It is indeed — a very brave man.

(to Cassio) Who are you, crying out so terribly?

Iago? Oh, I'm ruined — destroyed by villains.

Give me some help.

God — lieutenant! What villains have done this?

I think one of them is somewhere near here

and can't get away.

The treacherous swine!

(to Lodovico and Gratiano) Who's that over there?

Come here and help.

Oh — help me here!

That's one of them.

(to Roderigo) You murdering wretch! You villain!

Damn you, Iago. You inhuman dog. (Roderigo names him, finally, with the last breath he has. Nobody present is close enough to hear it, and the one man who could have identified Iago in court has just been silenced by him in front of witnesses who think they are watching a rescue.)

Killing men in the dark? — Where are these murdering

thieves?

How silent this town is. Ho there — murder, murder! —

Who might you be? Are you good men or bad?

Judge us as you find us.

Signior Lodovico?

The same, sir.

I beg your pardon. Here's Cassio, wounded by villains.

Cassio?

How are you, brother?

My leg is cut through.

God forbid!

A light, gentlemen. I'll bind it with my shirt.

What's happening? Who was that crying out?

Who was crying out?

Oh — my dear Cassio,

my sweet Cassio! Cassio, Cassio, Cassio!

Oh, the notorious whore. Cassio — have you any idea

who it might be that mangled you like this?

No.

I'm sorry to find you like this. I've been out looking for you.

Lend me a garter. There. — Somebody find a chair

to carry him out of here comfortably.

He's fainting. Oh, Cassio, Cassio, Cassio!

Gentlemen, all of you — I suspect this piece of rubbish

of being involved in the attack. —

Hold on a moment, good Cassio. — Come on, come on,

give me a light. (peering at Roderigo) Do we know this

face or not?

God — my friend, my dear countryman,

Roderigo? No. Yes, surely. Oh God — Roderigo!

What — the Venetian?

The very man, sir. Did you know him?

Know him? I did.

Signior Gratiano? I beg your kind pardon.

This bloody business must be my excuse for the manners

that so overlooked you.

I'm glad to see you.

How are you, Cassio? — A chair, someone, a chair!

Roderigo?

Him, him, it's him. (a chair is brought in) Good, that's

well done — the chair. —

Someone carry him carefully out of here.

I'll fetch the General's surgeon. — As for you, madam,

you can spare yourself the trouble. — The man lying dead here,

Cassio,

was a dear friend of mine. What quarrel was there between you?

None at all. I don't even know the man.

(to Bianca) What — you've gone pale? — Get him out of the night air.

(to Gratiano and Lodovico) Stay here, good

gentlemen. — Looking pale, are you, madam? —

Do you see the terror in her eyes? —

Go on, keep staring, and we'll hear more shortly. —

Look at her properly. Please — look at her.

Do you see, gentlemen? Guilt speaks for itself,

even if nobody had a tongue at all. (He is building a case out of a frightened woman's face, out loud, in front of witnesses — the same trick he used on Cassio and Desdemona in Act 2. It has taken him under a minute to find his next suspect.)

God, what's happened? What's happened,

husband?

Cassio has been attacked here in the dark

by Roderigo and others who've got away.

He's nearly killed, and Roderigo is dead.

Oh, the poor gentleman. Poor Cassio.

This is what whoring gets you. Emilia, please,

go and find out from Cassio where he had supper tonight.

(to Bianca) What — does that make you tremble?

He had supper at my house — but that isn't why I'm shaking.

Oh, did he now? I order you to come with me.

Shame on you, you whore.

I'm no whore. My life is as decent

as yours, and you're the one abusing me.

As decent as mine? Ugh. Shame on you. (Emilia has spent two scenes furious that the word was used on Desdemona, and she throws it at Bianca without pausing. Bianca gives the only reply anyone in the play makes to it, and no one takes any notice.)

Kind gentlemen — let's go and see poor Cassio bandaged. —

Come along, madam, you'll have to tell us a different story. —

Emilia, run to the citadel

and tell my lord and lady what's happened. —

Will you go on ahead? (aside) This is the night

that either makes me or destroys me completely. (The first time in five acts he has admitted the plan could fail. Everything until now has been arranged; from here he is improvising.)