Category Archives: Dialogue

Dialogue from “The Powerpuff Girls – Meet The Beat-Alls”

picture-powerpuffgirls-meetthebeatallsMojo fires laser beams from his robot, hitting the girls, and “Him” matches this with an energy beam from his mouth. Princess joins the attack with a blaster ray of her own. Screaming in pain, the girls sink slowly to ground level in front of Fuzzy. He stands there for some moments, watching their torment, and his eyes finally turn up to the rock he is holding. He gathers his strength and hurls it; the camera follows it as it flies through the air in slow motion and lands squarely on them. An eerie hush falls over the scene.

“Him”: (effeminate voice)
Did we just do what I think we did?
Yes. Individually we have failed time and again, but together we are victorious!
I propose we join forces and merge into one supervillain conglomerate!
Blossom? Bubbles? And Buttercup? We beat ’em? We beat all of ’em?
That’s it! Oh, we will be known as…the Silver Beat Alls!
No! Too fancy. We shall be known simply as…the Beat Alls!

(All four smile, and the scene around their faces fades to black. The faces themselves are half-hidden in shadow and in black and white.)

(Cut to a group of screaming young girls. They run like sixty as an English announcer speaks.)

Yes, screaming girls everywhere ran screaming whenever the Beat Alls made the scene.
(The foursome come into view and walk single file along a crosswalk.)
Individually, it had been a long and winding road. (They enter the National Trust Bank.)
But together, the Beat Alls—or the “Bad Four,” as they were also known— (Inside, they confront a row of scared tellers.) —had finally conquered Townsville.

(Mojo has his laser cannon pointed at a teller.)

Now give me money! That’s what I want!

(She piles cash on the counter.)

Their rise to fame can be attributed to their ability to deliver hit after hit after hit.

(A crash shakes the camera; Mojo recoils briefly. Pan quickly to where the girls have just smashed through the wall and are ready to throw down.)

…to the Powerpuff Girls. (Pan back to the Beat Alls.)

“Him”: (effeminate voice)
Ah, I should have known better. (Mojo’ aims his cannon.)

With Mojo Jojo on blaster rays…

Better run for your lives if you can, little girls! (He fires, hitting the girls.)

The acidic spit stylings of “Him”…

“Him”: (to evil voice)
Goo goo GOT YOU! (He spits a beam at them.)

Princess accompanying Mojo on blasters…

You say stop, but I say go, go, GO! (She fires her blaster at them.)

And Fuzzy, the shy one…

Fuzzy: (straining)
I’m gonna let you down and leave you flat! (He throws the rock and crushes the girls.)

…provides the rock.

(The tellers regard the scene with fear, and the Beat Alls take a bow with their loot.)

Thus the Brutish Invasion had begun.

(The girls are blasted and crushed several more times at other locations in rhythm with the next line.)

Again…and again…and again….

(After this last defeat, the camera turns up to show the Beat Alls leaning over a balcony railing and smiling down at their latest victory.)

…the girls were defeated by the Beat Alls.

(Cut to an ornate room, looking out the open door. The girls are in the doorway.)

Till eventually— (They disappear.) —the girls stopped showing up entirely.

(Camera turns around quickly; we see a flash of a terrified crowd before the Beat Alls are seen on a stage, pummelling a band whose members bear a striking resemblance to the Beatles.)

And the Beat Alls had a ticket to ride.

Will the people in the cheap seats please leave! And the rest of you, hand over your jewelry!

(Hands holding watches, necklaces, and rings reach up into view. Cut to a quick succession of B&W head shots of each villain in various goofy poses.)

Having finally bested the Powerpuff Girls, the Beat Alls rushed to the top of the charts of the Most Wanted list.

(Four rows of five photos each, one villain per row, appear on the screen with the word “WANTED…” above them. The scene cuts to the police station.)

When questioned, authorities had this to say.

(Close-up of a tall, white-moustached, ornately dressed policeman at a podium, with microphones set up before him. Flashbulbs pop as he begins to speak, also with a British accent.)

Thank you. My name is Sergeant Pepper of the Townsville Police, and at the request of my commanding officers, I’d like to make this statement. (clearing’ throat)
Help! We need somebody! Help! Not just anybody! Help!
We need the Powerpuff Girls! (clearing’ throat again) Thank you.

(Cut to the exterior of the house. A reporter is across the street from it, facing the camera. He wears a trenchcoat and speaks into a microphone; it is his voice that has been outlining this whole sequence of events.)

Announcer (Reporter):
So there you have it. The Beat Alls have taken over; the girls have taken off. Will they return? Perhaps, perhaps not. But as they say, tomorrow never knows.
I’m Stuart Best, and this has been A Day in the Life.

(We have been watching a news program on the Beat Alls.)

Buttercup: (from off camera.)
Ugh! Turn it off!

(The girls have been watching the same program. The screen flickers and goes dark—they have switched off the TV—and the camera shifts to show them on the couch in the living room.)

Who would make a stupid documentary about the Beat Alls, anyway?

Professor: (from off camera)
Girls? (Pan to him; he walks up with a newspaper.)
Girls! I read the news today—oh, boy. (He drops the paper to Blossom.)

Blossom: (eyeing paper)
“Beat Alls crash Mr. Kite’s benefit. Powerpuffs nowhere in sight.” (looking up angrily) So what?

Ah, girls. (sitting’ next to them) Yesterday all our troubles seemed so far away. Now it seems they’re here to stay. Sitting here eight days a week, everyone seems to think you’re lazy. I don’t mind; I think they’re crazy. But you used to be running everywhere at such a speed. Now you think there’s no need.

There isn’t!

If we can’t stop the Beat Alls—

—we’re never saving the day again.

Ohhh, you can’t do that! What will Townsville do when they look for the girls with the sun in their eyes and they’re gone?

But what can we do?

Well, first you have to realize the Beat Alls are just a rock band.

Girls: Huh?

Professor: (raising hands above head)
Fuzzy. He does that…rock thing, you—you know. (lowering’ hands)
But that’s not important. But what is important is this.
Mojo Jojo was a man who thought he was a loner, but he knew it couldn’t last.
He’s just getting by with a little help from his friends.

Are you saying we should try and break up the Beat Alls?

Is that possible? Professor: Yes. I’m certain that it happens all the time.

But how?

Listen. Do you want to know a secret? (He begins whispering to them.)

Sounds like the Professor has some magical mystery tricks up his sleeve!

(Cut to the exterior of the Bank of the Imperial Garden. An alarm is going off. Inside, the Beat Alls kick in the front door.)

I want to hold your cash!

(Pull back quickly to show a man and a woman on the floor at the other end of the lobby.)

Man: (pointing off camera)
Too late. Somebody beat you to it.

(Close-up of Mojo, dumbfounded; quick shot of a teller shovelling cash into a bag, then back to him. His eyes turn upward, and we see a stepladder reaching almost to the ceiling, with a magnifying glass hanging nearby. He climbs the ladder for a closer look and finds some tiny writing over his head. Using the glass, he finds these words: “This is A Stick up!”

Mojo: (hushed, awed)
Brilliant! (jumping’ down, normal tone) Who is responsible for this? Who is behind such a unique— (Cut to a white-garbed figure at the counter; he continues off camera) —and innovative approach to committing…

(The figure turns around. It is a female monkey, with a pink face and long black fur on her head. Her clothes and hat are entirely white, and she looks as if she might be of Oriental lineage. She holds a banana in one hand. Back to Mojo.)

Mojo: (his fire gone)
…crimes? (He smiles.)

(Alternate between close-ups of the female robber and Mojo four times. The attraction is written all over his face; hers never wavers from its enigmatic smile.)

I’ve got to get you into my life!

(Close-up of the female; she lets loose a scream at eardrum-piercing levels. Back to Mojo.)

Mojo: I love you too!

(The other three Beat Alls, at the front door, watch with some concern.)

“Him”: (effeminate voice, clapping claw to forehead)
Oh, no!

‘Mojo’: (walking up with female)
Hey, guys, this is Moko Jono. She’s a performance criminal, and she’s conceived some brilliant schemes that I think we should try.

(The other three trade a very worried look. Dissolve to all five of them—the Beat Alls plus Moko—lying side by side in a king-size bed with a white blanket over them. Mojo’s blue tunic has been replaced by a white one, and his braincap now sports white accents at its base.)

Uh…why are we doin’ this again?

It’s called “Annoyance Crime Number Nine.” Our concept is this. Imagine all the people—

(Pull back overhead; the bed is in the middle of an intersection, with traffic backed up in all directions. We hear horns honking.)

—and how annoyed they’ll be that they can’t reach their destinations on time!

(Close-up of the group. Mojo and Moko laugh at the idea, but the others are not too enthused. Cut to a quick succession of close-ups of the following items on store shelves: eggs, toilet paper, milk, light bulbs, and flour. Each is quickly snatched up; cut to a side view of the quintet going down a supermarket aisle, with a shopping cart full of these groceries. Mojo and Moko push the cart while the other three carry armloads of items. We see that Mojo’s cape matches his white tunic.)

Princess: (to Mojo)
So tell us again why we’re only stealing toilet paper, light bulbs, milk, flour, and eggs.

Well, Moko’s idea is that stealing items that are all white isn’t against the law. So it’s okay to take them.


It’s all right ’cause they’re all white!

(Princess sighs in disgust, “Him” looks very annoyed, and Fuzzy drops his load. Cut to the city skyline, with a loud, horrendous shrieking noise shredding the air. Two voices are contributing to this aural torture chamber; close-ups reveal the perpetrators to be Mojo and Moko, screaming into each other’s faces. Pull back to show the other Beat Alls covering their ears.)

“Him”: (effeminate voice)
Mojo!…Mojo! (evil’ voice) MOJO!


(Moko’ continues to scream.)

“Him”: (effeminate voice)


(Six quick shots of people covering their ears are seen, in time with his next six words. The last two shots each show a pair of people who look somewhat like the Beatles.)

Mojo: (voice over)
AND—THEIR—PAIN—IS—OUR—PLEASURE! (Back to the group.)

“Him”: (evil voice, growling in disgust)




Fuzzy, Princess, “Him”:


(The other three groan and storm off as Mojo resumes his screaming. Camera follows them.)

Uh—well, now what do we do?

“Him”: (effeminate voice, to evil)
Let’s get back to where we once belonged. (They walk off camera)

(At home, the hotline begins to buzz. Blossom picks it up; her sisters are hovering behind her on standby in the bedroom.)

Yes, Mayor.

(Cut to the Mayor’s office. He is on the hotline. Through the window behind him we see Princess, “Him,” and Fuzzy on a rooftop, deploying their respective weapons on the town below. Flames rise toward them. Each time Fuzzy throws a rock, he immediately picks up another one seemingly out of nowhere)

The Beat Alls are up on the rooftops, and they’re destroying Townsville! They just won’t let it be!

(Cut back and forth between the bedroom and the office.)

Blossom: (nervously)
The…Beat Alls?

Well, three of them, at least…Uh, hello?…Girls…Oh…

(Behind him, the girls fly into view and pull Fuzzy’s rock out of his hands. Cut to the rooftop; they confront the trio, the sun silhouetting them.)

Hey, Beat Alls!

“Him”: (effeminate voice)
Why, girls! Hello! (evil’ voice) GOODBYE!

(He spits a beam, hitting them and pushing them down toward the street.)

Sorry, but it’s time to go!

(She fires her blaster at them, pushing them down farther.)

Cry, babies, cry!

(He drops a rock on them and connects once again.)

“Him”: (effeminate voice)
I’d just like to say thank you on behalf of the group and hope we passed the audition.

(The three are shocked out of their celebration by Blossom’s arrival at roof level behind them.)

Sorry, guys. (Zoom in on her as Buttercup flies up.)

There’s just— (Bubbles flies up.)

—something missing.

(Back to the three villains.)

See how they fly? (covering face) I’m crying! (The girls close in.)

You sure will be!

(Buttercup takes on Fuzzy, Bubbles thumps Princess, and Blossom makes short work of “Him.” Cut to a jail cell, where the three have been deposited in a heap; the door slams shut on them. Pull back to bring the girls into view outside the cell, along with Sergeant Pepper.)

They’re going nowhere, man! (The girls take off.)

(Cut to them in flight.)

Three down, one to go! (They fly off camera)

(Cut to a city street, the camera pointing along the sidewalk. At the far end, a sign is visible, but partially obscured—we see “NNY L NE.” Mojo and Moko walk toward the camera, hand in hand, but stop short. Mojo looks up in surprise.)

Mojo: (gasping)

(High overhead, we see a white billboard on the side of a building. It displays four words in huge letters: “BEAT ALLS ARE OVER.” Mojo looks frantically around, only to find the same message wherever he turns—even on the front page of the day’s newspaper.)

Here! There! Everywhere! (uneasily, to Moko)
I’ve got a feeling, a feeling deep inside, a feeling I can’t hide.
(Close-up; his eyes go wide and he finishes in a small voice.)
Oh, no.

(The girls are at the end of the block.)

Oh, yeah!

You’re finished, Mojo, and so are the Beat Alls!

I don’t need them! (taking’ Moko’s hands)
Now that I’ve found Moko, our evil shall spread across the universe!

(Blossom sighs, then turns to call over her shoulder.)

(to the tune of “Hey Jude”) Hey, Jude!

(Behind her, a door opens and a blond woman in a khaki bush shirt and shorts steps out.)

Hi, girls.

Blossom: (to the off camera Mojo)
This is Judy. She’s from the Townsville Zoo.


Okay, Judy. Do your stuff.

(Judy brings out a “cricket” noisemaker—the kind that makes a sharp clicking sound when you press it with your thumb—and kneels down, snapping away with it.)

Michelle? Here, girl. Michelle?

(She pronounces the name with emphasis on the first syllable and says the “i” as if it was a long “e” as in “need.” Close-up of Mojo, quite puzzled by all this.)

Michelle? Who’s this Michelle?
Moko, do you—

(He screams and recoils in fright; a moment later, we see why—Moko has undergone a remarkable transformation. Her white clothes lie discarded around her on the sidewalk, and the long fur on her head is gone. She is now an ordinary-looking monkey with a little bit of makeup. Moko, a.k.a. Michelle, runs down the block to Judy and the girls, stopping to play with one of Bubbles’ pigtails and making her way to each of the others in turn.)

Bubbles: (giggling)
Her name’s Michelle.

She lives at the zoo.

And she agreed to help us stop you.

Mojo: (very small voice)

(Judy is now holding Michelle.)

She doesn’t like you or the fact that you’re always destroying Townsville. She said you’re giving monkeys a bad name.
(Michelle screeches and chatters angrily.)

So…she’s not a performance criminal?

Well, I don’t know about “criminal”—

Buttercup: (pointing at Michelle hanging in view overhead)
—but she is a performer.

She plays piano!

(Camera turns up to Judy as Michelle pulls’ herself up and pats the woman’s head.)

But remember, girls. Someday monkey won’t play piano song, play piano song. See you, girls.
(She walks off camera)

Girls: (from off camera)
Bye! (Cut to them.)

Now, Mojo, it’s time for a Beat Alls reunion at Townsville Jail!

(The girls in flight; Buttercup is holding Mojo up by his cape.)

Mojo: (dejected)
But you took my love away.

Well, it’s like the song goes—the love you take is equal to… (She comes up dry and thinks a bit.) Equal…to…oh, who cares? It’s by some dumb old band, anyway. (They fly off camera)

I don’t really want to stop the show, but I thought you might like to know—

(The standard end shot comes up.)

—that once again the day is saved—thanks to the Powerpuff Girls!

(The music strikes a final, resounding chord that slowly dies away.)


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Dialogue from Film – “Stalag 17” ~~Price~~

They move to the old trap door and start unscrewing it. Price goes to his bunk, Hoffy with him. Price starts putting on his jacket.

What do you say, Hoffy. We’ll hit the air raid trenches and cut out in back of Barracks nine.

You’d better cut out in back of the south latrine.

Why the south latrine?

Because that’s where he is. In the water tank.

Price takes it smoothly.

Good spot. With any luck we’ll make Krems by morning, or maybe even catch a barge up to Linz.

Sefton, who has been watching closely, tosses two packs of cigarettes on the table.

Two packs of cigarettes say Dunbar never gets out of the compound.

Are you starting that again?

Anybody cover?

They all look at him.

(From the trap door)
Somebody step on that crumb!

We warned you, Sefton!

Sure you warned me. You were going to slit the throat of that stoolie.

He throws an open jack-knife onto the table. The blade sticks.
The knife quivers.

Here’s the knife to do it with. Only make sure you got the right throat.

We’re looking at it.

(To Harry and Animal)
Hurry up on that trap door.
(To Sefton)
What are you trying to do, Sefton?
Gum up the works?

That’s right. Or would you rather see Dunbar lying out there in the mud tomorrow morning like Manfredi and Johnson?

Look, Sefton, I had my hands full so they wouldn’t tear you apart –

I called it the last time, didn’t I?

Are we going to stand around here and listen to him until the Germans find out where Dunbar is?

The Germans know where Dunbar is.

How do they know?

You told them, Hoffy.

Who did?

You did!

Are you off your rocker?

Uh-huh. Fell right on my head.
(Confronting Price)
Sprechen sie Deutsch?

No. I don’t sprechen sie Deutsch.

Maybe just one word? Kaput? Because you’re kaput, Price.

Will you get this guy out of my hair so I can go?

Go where? To the Kommandant’s office and tell him where Dunbar is?

(Starting for him)
I’ll kill you for that!

(Slaps Price’s face back and forth)
Shut up!
Security Officer, huh? Always screening everybody, only who screens you?
Great American hero. From Cleveland, Ohio! Enlisted right after Pearl Harbor! When was Pearl Harbor, Price? Or, don’t you know that?

December seventh, forty-one.

What time?

Six o’clock. I was having dinner.

Six o’clock in Berlin. They were having lunch in Cleveland.
(To the others)
Am I boring you, boys?

Go on.

He’s a Nazi, Price is. For all I know, his name is Preissinger or Preisshoffer.
Oh sure, he lived in Cleveland, but when the war broke out he came back to the Fatherland like a good little Bundist. He spoke our lingo so they sent him to spy school, and fixed him up with phony dogtags –

He’s lying! He’s just trying to get himself off the hook!

(Jabbing him)
He said, shut up.

You heard what he said.

Okay, Herr Preisshoffer, let’s have the mail box.

The what?

The one you took out of the corner of your bunk and put in this pocket.

He snatches a black queen out of Price’s coat pocket.

Now let me show you how they did it.
They did it by mail.


That’s right.
Little love notes between our Security Officer and von Scherbach with Schulz the mail man.
Here’s the flag.
(Ties up a loop in the light cord)
They used to put a loop in the cord. Did you ever notice?
And here’s the mail boxes.
(Opening the black queens)
Hollow black queens.
(Price nervously glances at the trap door)
Cute, huh? They delivered the mail or picked it up when we were out of the barracks, like for Appell.
And when there was a special delivery, they’d pull a phony air raid to get us out of here like last night, like for instance.
(To Price again)
There wasn’t a plane in the sky – or was there, Price?

Price dives for the open trap door. He is caught by Duke. He breaks away and flings himself at the window, tearing down the blanket.


He never gets the whole word out. Animal and Harry jump him, Animal clamping his hand over his mouth. They throw him to the floor and all duck as the light from the goon tower swoops through the barracks.


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Dialogue from “Judgment at Nuremberg” ~~Lili Marleen~~

picture-JudgmentNuremberg-TracyDietrichJudge Haywood (Spencer Tracy) escorts Mrs Bertholt (Marlene Dietrich) home through the war-torn streets of Nuremberg. The sound of singing from a nearby public house reaches them as they walk along.

Mrs Bertholt:
The German people love to sing, no matter what the situation.

Judge Haywood:
I’ve noticed that.

Mrs Bertholt:
Do American people sing in bars, too?
I have forgotten.

Judge Haywood:
No. We’re apt to be pretty sullen in bars.

Mrs Bertholt (softly sings):
Und alle Leute soll’n es seh’n…
I wish you understood German.
The words are very beautiful. Very sad.
Much sadder than the English words.
The German soldier knows he’s going to lose his girl… and his life.
The lantern burns every night.
It knows the steps… and the way you walk.
It burns every night, but I’ve been long forgotten.
Should harm come to me…
who will stand with you…
under the lantern?
With you, Lili Marleen.


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Dialogue from Television – Doctor Who ~~Vincent~~

The Doctor and Amy Pond bring Vincent van Gogh to the present, and take him to a Van Gogh Exhibition at the Musée d’Orsay.
They enter the exhibition and Vincent looks around in wonder. The walls feature many of his most famous works, beautifully framed, and admired by many onlookers.
The Doctor raises his arms, as if to say, “There you are … admiration and success …”
He turns to the art curator, Dr Black who is conservatively dressed and sporting a bow tie.

The Doctor:
We met a few days ago. I asked you about ‘The Church at Auvers’.

Dr Black:
Oh, yes. Glad to be of help. You were nice about my tie.

The Doctor:
Yes, and today is another cracker, if I may say so. But I just wondered, between you and me – in a hundred words – where do you think Van Gogh rates in the history of art.

Amy has turned Vincent toward the Doctor, so he is aware of the conversation.

Dr Black:
Well… ah… big question… but, to me, Van Gogh is the finest painter of all.
Certainly the most popular great painter of all time, the most beloved.
His command of colour was magnificent. He transformed the pain of his tormented life into ecstatic beauty. Pain is easy to portray, but to use your passion and pain to portray the ecstasy and joy and magnificence of our world – no-one had ever done it before, perhaps no-one ever will again.
To my mind that strange wild man who roamed the fields of Provence was not only the world’s greatest artist, but also one of the greatest men who ever lived.

The Doctor smiles with satisfaction, but looks to Vincent, who is overcome with emotion.
The Doctor embraces him.

Doctor: Vincent! Sorry – sorry, if this has been too much.

Vincent: No, they’re tears of joy.

Vincent walks over to Dr Black, kissing him on both cheeks, and giving him a hug.

Vincent: Thank you!

Dr Black (confused): You’re welcome.

Vincent: Sorry about the beard.

Dr Black steps away, thinks for a moment, then turns his head swiftly back, but Vincent has gone.
He turns back, shakes his head a moment, clearing the thought that the man was really him.



Doctor Who portayed by Matt Smith (Eleventh Doctor)
Amy Pond portayed by Karen Gillan
Dr Black portrayed by Bill Nighy
Vincent Van Gogh portayed by Tony Curran

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Dialogue from Film – “Roman Holiday” ~~Truth~~

Joe Bradley (Gregory Peck) and Irving Radovich (Eddie Albert), both members of the press, unbeknownst to the Princess Ann (Audrey Hepburn) are accompanying her on a truant day from her official duties.

ANN [stopping]:
I’m a good liar too, aren’t I, Mr. Bradley?

The best I ever met.

IRVING [dramatically]:

Thank you very much.

JOE [looking over at a building in the distance]:
Say… come with me.

Joe takes her arm, leading her away. They arrive in a small, dark building. They walk inside and up to a large stone carving of a face in the wall.

The Mouth of Truth.
[He stands on one side, Ann the other]
The legend is that if you’re given to lying, you put your hand in there [points to the mouth] it’ll be bitten off.

Ooh, what a horrid idea.

Let’s see you do it.

She looks up worried, but seeing Joe looking at her, feels some resolve and, tentatively, she puts her hand towards the mouth. Ann moves her hand, closer and closer, her fingertips entering the mouth, but loses her nerve and with a nervous giggle, she pulls it back.
Irving stands in the background secretively using his ‘cigarette lighter’ camera.

Let’s see you do it.

JOE [he looks worried for a moment, then finds his nerve]:

Joe takes a step forward, moving his hand onto the lip of the mouth. Ann watches with the tension building. Joe slides his fingers into the mouth and then his hand up to the wrist. He looks at her reassuringly then suddenly gives out a loud cry, struggling to free his hand from the mouth.
Ann screams and rushes to his side, pulling at him from behind.
Joe takes out his hand, apparently severed at the wrist and Ann screams in fright, putting her hands over her face.

JOE [Smiling, he lets his hand spring open, out of his sleeve, and makes to shake hands]:

ANN [stunned for a moment, then lunges at Joe, playfully beating her fists at him, laughing, Joe takes her in his arms as she throws herself toward him]:
You beast! It was perfectly alright! You never hurt your hand!

JOE [letting her go]:
I’m sorry, it was just a joke! Alright?

ANN [laughing still]:
You never hurt your hand.

JOE [calming her]:
I’m sorry, I’m sorry. Ok?

ANN [regaining her composure]:

Alright, let’s go.
[They turn to leave and he cries out, jumping away from the Mouth]
Look out!

Ann screams, running out of the building.
Joe follows her, laughing.





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Dialogue from Film – The Rocky Horror Picture Show ~~Into my life~~


The darkness must go down the river of night’s dreaming.

Flow morphia slow, let the sun and light come streaming

Into my life. Into my life…


Richard O'Brien as the character "Riff Raff"

Richard O’Brien as the character “Riff Raff”

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Dialogue from Film – “The Man Who Shot Liberty Valance” ~~Dining room~~

Liberty Valance and his two cronies, Floyd and Reese, enter the crowded dining room, with Valance loudly shoving the doors open and attracting everyone’s attention.

Hallie looks at him with apprehension, turns and goes back to the kitchen.
Valance says nothing, but watches her leave.

Valance looks down at a group of men eating their meal.
He reaches with a fork and picks up a steak off one of their plates.

These steaks look done just right for us.

The sheriff quickly leaves his meal and scurries out the side door.

You cowhands ain’t in no hurry to eat, are you?

Valance (He grabs one of the men’s chair and yanks it roughly away):
Well, l am!

l guess we could do with another drink.

The men at the table hurriedly leave the dining room.

That’s right neighbourly of you, partner.
(Valance looks across the room and sees Tom Doniphon sitting back watching him).
Especially after all the lying things l hear folks been saying about Liberty Valance.

In the kitchen, we see Rance Stoddard about to carry out a meal to the dining room.

Wait a minute!
One of Mamma’s pies for Tom.

Valance slams his silver-knobbed whip onto the table.
He looks up to see Stoddard entering the dining room.

Stoddard stands still for a moment staring at Valance.

Valance (Laughing):
Lookee at the new waitress.

Stoddard walks by Valance, ignoring him.
Valance puts his leg out and trips Stoddard violently to the ground, dropping the meal onto the floor.
Valance laughs, but very quickly Doniphon is on his feet squaring off to Valance.
Valance quickly moves to his feet facing Doniphon, hands poised on his gunbelt.

That’s my steak, Valance.

You heard him, dude. Pick it up. (laughing)

Stoddard is looking up at Valance, his face filled with rage.


Pilgrim, hold it.
l said you, Valance. You pick it up.

Three against one, Doniphon.

My boy Pompey. Kitchen door.

Valance turns to look and we see Pompey, standing next to Hallie, and he is nestling a shotgun pointed straight at Valance.

l’ll get it, Liberty.

Doniphon nonchalantly leans back and kicks Floyd squarely in the face.
Doniphon strides carefully toward Valance, now standing only a yard apart.

l said you, Liberty. You pick it up.

Stoddard clambers to his feet and stands beside the two men.

What’s the matter?
Everybody in this country kill-crazy?
(Stoddard goes back to the fallen meal, bends down and haphazardly throws it onto the plate).
There! There!
Now, it’s picked up!

Why don’t you get yourself a fresh steak on me?
(Valance drops some coins in his hand directly onto the floor, as he glares at Doniphon).
Show’s over for now.

Floyd opens the door for them to leave.
Valance begins to leave the dining room.
He stops and turns quickly, as if to draw and shoot.

Try it, Liberty. Just try it.

Valance (thinks for a moment, and turns to leave, clubbing Floyd angrily out of his way):
Get out!

Valance goes outside, climbs on his horse.
He grabs a bottle of whisky from Reese. He draws the cork with his teeth, takes a slug, and then hurls the bottle into the one of the dining room windows.
Lots of gunshots in the air and mayhem follow, while the people in the dining room take cover.
Valance and his cronies ride out of town.

Now I wonder what scared him off.

You know what scared him.
The spectacle of law and order here, rising up out of the gravy and the mashed potatoes.

All right, All right, you made your point.
It was the gun that scared him off.
Pompey’s gun, your gun, Tom.
Why did you have to interfere? It was me he tripped.

lt was my steak.

And you would have killed him for it, or he would have killed you.
Over one measly steak!
That’s why l picked it up!

Thanks for saving my life, pilgrim.

That isn’t why l did it!
Nobody fights my battles.



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