Category Archives: Dialogue

Dialogue from “Pocketful of Miracles” ~~Apples~~

APPLE ANNIE
Here’s luck for you.
Something good’s gonna happen to you now. Something real good.

DAVE THE DUDE
Yeah. You could break a leg.
You give up panhandling, I’ll give up bootlegging, and you and me will run this speak together.
Could be a gold mine, Annie.

APPLE ANNIE (laughing)

DAVE THE DUDE
No, I’m not kidding, Annie.
Come on, let’s see your gams.

APPLE ANNIE (dancing a jig)
Oh, boy. Whoopee!

DAVE THE DUDE
How about that, huh?

APPLE ANNIE
Hello, suckers!

DAVE THE DUDE
You old chiselling moocher.
Here. Here’s a fiver for your apple.

APPLE ANNIE
God bless you, Dude.

DAVE THE DUDE
Annie, will you tell me, why do I always believe that your apples bring me luck?
Can you tell me?

APPLE ANNIE
Because the little people like you.

DAVE THE DUDE
What little people?

APPLE ANNIE
Oh, you can’t see ’em.
They live in dreams.

DAVE THE DUDE
Little people like me, huh? Why?

APPLE ANNIE
Because they like children, beggars and poets.

DAVE THE DUDE
And that makes me a poet?

APPLE ANNIE
You want to believe in something.
Right now it’s my apple.
So, the little people jump in it, see?
That’s why this apple will bring you luck.

DAVE THE DUDE
Why, you old con dame. Here’s the only thing you believe in.
There you go, Annie.

APPLE ANNIE
God bless you, Dude. God bless you.
And bring you luck straightaway.

DAVE THE DUDE
All right.
Hey, Annie! You stay away from those gin bottles. You hear me?

APPLE ANNIE
I never touch it.

DAVE THE DUDE
Yeah, sure.

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Dialogue from Film – “The Shawshank Redemption” ~~IRS~~

Andy Dufresne, a prisoner at the Shawshank State Penitentiary is on a work detail on the roof of a Licensing Plate Factory, when he overhears Hadley, the Captain of the prison guard, discussing an inheritance …

The guards stiffen at Andy’s approach. Youngblood’s hand goes to his holster. The tower guards CLICK-CLACK their rifle bolts. Hadley turns, stupefied to find Andy there.

ANDY
Mr. Hadley. Do you trust your wife?
HADLEY
That’s funny. You’re gonna look funnier suckin’ my dick with no fuckin’ teeth.
ANDY
What I mean is, do you think she’d go behind your back? Try to hamstring you?
HADLEY
That’s it! Step aside, Mert. This fucker’s havin’ hisself an accident.

Hadley grabs Andy’s collar and propels him violently toward the edge of the roof. The cons furiously keep spreading tar.

HEYWOOD
Oh God, he’s gonna do it, he’s gonna throw him off the roof…
SNOOZE
Oh shit, oh fuck, oh Jesus…
ANDY
Because if you do trust her, there’s no reason in the world you can’t keep every cent of that money.

Hadley abruptly jerks Andy to a stop right at the edge. In fact, Andy’s past the edge, beyond his balance, shoetips scraping the roof. The only thing between him and an ugly drop to the concrete is Hadley’s grip on the front of his shirt.

HADLEY
You better start making sense.
ANDY
If you want to keep that money, all of it, just give it to your wife. See, the IRS allows you a one-time only gift to your spouse. It’s good up to sixty thousand dollars.
HADLEY
Naw, that ain’t right! Tax free?
ANDY
Tax free. IRS can’t touch one cent.

The cons are pausing work, stunned by this business discussion.

HADLEY
You’re the smart banker what shot his wife. Why should I believe a smart banker like you? So’s I can wind up in here with you?
ANDY
It’s perfectly legal. Go ask the IRS, they’ll say the same thing. Actually, I feel silly telling you all this. I’m sure you would have investigated the matter yourself.
HADLEY
Fuckin’-A. I don’t need no smart wife-killin’ banker to show me where the bear shit in the buckwheat.
ANDY
Of course not. But you will need somebody to set up the tax-free gift, and that’ll cost you. A lawyer, for example…
HADLEY
Ambulance-chasing, highway-robbing cocksuckers!
ANDY
…or come to think of it, I suppose I could set it up for you. That would save you some money. I’ll write down the forms you need, you can pick them up, and I’ll prepare them for your signature…
nearly free of charge.
(off Hadley’s look)
I’d only ask three beers apiece for my co-workers, if that seems fair.
TROUT (guffawing)
Co-workers! Get him! That’s rich, ain’t it? Co-workers…

Hadley freezes him with a look. Andy presses on:

ANDY
I think a man working outdoors feels more like a man if he can have a bottle of suds. That’s only my opinion.

The convicts stand gaping, all pretence of work gone. They look like they’ve been pole-axed. Hadley shoots them a look.

HADLEY
What are you jimmies starin’ at?
Back to work, goddamn it!

EXT — LICENSE PLATE FACTORY — DAY (1949)
As before, an object is hauled up the side of the building by rope — only this time, it’s a cooler of beer and ice.

RED (Voiceover)
And that’s how it came to pass, that on the second-to-last day of the job, the convict crew that tarred the plate factory roof in the spring of ’49…

EXT — ROOF — SHORTLY LATER (1949)
The cons are taking the sun and drinking beer.

RED (Voiceover)
…wound up sitting in a row at ten o’clock in the morning, drinking icy cold Black Label beer courtesy of the hardest screw that ever walked a turn at Shawshank State Prison.
HADLEY
Drink up, boys. While it’s cold.
RED (Voiceover)
The colossal prick even managed to sound magnanimous.

Red knocks back another sip, enjoying the bitter cold on his tongue and the warm sun on face.

RED (Voiceover)
We sat and drank with the sun on our shoulders, and felt like free men. We could’a been tarring the roof of one of our own houses. We were the Lords of all Creation.

He glances over to Andy squatting apart from the others.

RED (Voiceover)
As for Andy, he spent that break hunkered in the shade, a strange little smile on his face, watching us drink his beer.

HEYWOOD (approaches with a beer)
Here’s a cold one, Andy.
ANDY
No thanks. I gave up drinking.

Heywood drifts back to others, giving them a look.

RED (Voiceover)
You could argue he’d done it to curry favor with the guards. Or maybe make a few friends among us cons. Me, I think he did it just to feel normal again…if only for a short while.

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Dialogue from Film – “Dogma” ~~Jay~~

Metatron and a Woman emerge from the church. The Woman stares at Bartleby. Bartleby cowers.
The Woman lays Her hand on his shoulder, helping him to his feet. He stands in awe. She embraces him. He weeps, sorrowfully. She steps back and looks at Metatron. Metatron nods and addresses Jay, Rufus, and Serendipity.

METATRON
Anyone who isn’t dead or from another plane of existence would do well to cover their ears, right about now.

JAY
What the fuck?

Serendipity and Rufus tackle Jay and hug his head, covering his ears as tightly as they can.

The Woman turns back to Bartleby. Her expression hardens. His eyes widen, and then he nods in understanding. He manages a half-smile.

BARTLEBY
Thank you.

The Woman opens her mouth and emits a loud ear-shattering explosion of noise, in one single note that builds in intensity.

Bartleby’s head explodes, as does his chest. His body drops to his knees and falls forward. The Woman closes her mouth and the noise stops.

METATRON (noticing blood stains on his shirt)
It never ends!

He grabs the Woman’s skirt, spitting on it, and using it to try and clean the stain on his shirt.
The Woman looks distastefully at him, their eyes meet, and he lets go of her skirt.
She looks down at her skirt, sighs with annoyance, thrusting her sprig of flowers over to him, she peels off the garment to reveal a smart silvery jacket and waistcoat, with a pretty white tutu skirt.
She steps away purposefully.

JAY
Get off of me! I wanna see what’s up.
What the fuck is this shit?!
(The Woman is taken aback at his outburst)

Who the fuck are you lady?!

(Jay looks to Serendipity and Rufus, who are still prostrated in bowing positions on the ground)
Why the fuck did you hug my head?!

Metatron joins the Woman at her side.

METATRON
Quite a little mouth on him, isn’t there?

The Woman nods.

JAY
What the fuck is this – ‘The Piano’?
Why ain’t this broad talking?!

METATRON
I believe the answers you seek lie within my companion’s eyes.

The Woman demonstrates by pointing to her eye and pulling down on her cheek.

JAY
What the fuck does that mean?!
Has everyone just gone nuts?!
What the fuck happened to that guy’s head?! I want some…

The Woman steps forward and puts her finger to his lips, whispering ‘Shhhh’.
Jay freezes. His expression softens.
The Woman slowly smiles at him, leans forward, and kisses his cheek.
She smiles cheesily at him, and leaves Jay standing there, speechless.
Metatron walks by, patting him on the shoulder, as he dreamily faints to the ground.

 

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Dialogue from “The Merchant of Venice” by William Shakespeare ~~Revenge~~

Excerpt from Act III. Scene I. Venice. A street.

SALERIO
Why, I am sure, if he forfeit, thou wilt not take his flesh. What’s that good for?

SHYLOCK
To bait fish withal. If it will feed nothing else, it will feed my revenge. He hath disgrac’d me and hind’red me half a million; laugh’d at my losses, mock’d at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies.
And what’s his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions, fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, armed and cooled by the same winter and summer, as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?
If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me I will execute; and it shall go hard but I will better the instruction.

Shylock encounters Solanio and Salerio in the street

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Dialogue from Film – “Amélie” ~~Tin box~~

Narrator:
Every Tuesday morning, Dominique Bretodeau goes to buy a chicken.
He usually roasts it and has it with sauté potatoes.
After carving the legs, the breast and the wings, he loves picking the hot carcass with his fingers, starting with the oysters.
But not today.
Bretodeau won’t buy a chicken.
He’ll go no further than this phone booth here.

Bretodeau is seen walking down the street, and looks to the phone booth wherein the phone is ringing.
He looks around, somewhat bewildered at a phone ringing in a public booth. No one else shows any interest.
He turns back to it, and with some hesitation, moves toward the booth, opening the door and entering within. It rings again, he reaches for the phone and brings it to his ear.
The shot switches to Amélie, who quickly puts her phone down.
Bretodeau is surprised to hear no one there, and puts the phone back on the hook.
He glances down and sees an aged and worn metal box. It is orange in colour and bears the name ‘Bergamottes de Nancy Lefevre Georges’; it is an old candy box.
Amelie looks on from her vantage point.
He gives it a little shake, hearing the sound of some contents within.
Is it familiar?
He opens it, sees a photograph of a football player, and a stunned realization crosses his face.
He looks around quickly, looking outside the booth . . .
Amélie continues to watch, her breath fogging the glass at the window.
He looks back at the box, draws the photo aside, revealing various items, clearly treasures from his childhood. He grabs the toy cyclist, and chokes back sudden tears.

Narrator:
In a flash, it all came back to him.
. . . . . . . . . .

Bretodeau leaves the phone booth and enters the café, where Amélie is standing at the counter.

Bretodeau:
Cognac, please
It’s amazing, what just happened to me.
It must be my guardian angel.
It’s the only explanation.
It was as if the phone booth was calling me.
It rang and rang.

Bretodeau takes his cognac with vigour.

Barman:
Same here. The microwave’s calling me.

Bretodeau:
I’ll have another cognac.

He looks about the bar, somewhat shaken by the events.
He notices Amélie.

Bretodeau:
Life’s strange.
To a kid, time always drags.
Suddenly you’re 50.
All that’s left of your childhood, fits in a little box, a little rusty box.
Have you got kids, miss?

Amélie, half looking away, shakes her head, no.

Bretodeau:
I have a daughter.
She must be about your age.
We haven’t spoken for years.
I heard she had a child, a boy.
His name is Lucas.
I think it’s time I looked them up before I’m in a box myself.
Don’t you think?

Amélie quickly drains her drink, as does Bretodeau.

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Dialogue from Film – “Miracle on 34th Street” ~~Mail~~

Kris Kringle (Edmund Gwenn), employed at Macy’s Department store, is on trial because the State of New York think he is insane on the grounds he believes he is Santa Claus.
Fred Gailey (John Payne) is acting as his defence attorney.
Thomas Mara (Jerome Cowan) is the Prosecutor.
Judge Henry X. Harper (Gene Lockhart) is presiding.

GAILEY:
Your Honor, the figures I have just quoted indicate an efficiently run organization.
United States postal laws and regulations make it a criminal offense to wilfully misdirect mail or intentionally deliver it to the wrong party.
Consequently the Department uses every possible precaution.

MARA:
The state of New York admires the Post Office.
It is efficient, authoritative, and prosperous.
We’re happy to concede Mr Gailey’s claims.

GAILEY:
For the record?

MARA:
For the record.
Anything to get this case going.

GAILEY (producing letters addressed to Santa):
Then I want to introduce this evidence.

MARA:
I’ll take them, please.

GAILEY:
I have three letters addressed simply “Santa Claus.”
No other address whatsoever.
Yet these were just now delivered to Mr. Kringle by bona fide employees of the Post Office.
I offer them as positive proof that…

MARA:
Uh, three letters are hardly positive proof.
I understand the Post Office receives thousands of these letters every year.

GAILEY:
I have further exhibits, but I hesitate to produce them.

MARA:
Oh, I’m sure we’ll be very happy to see them.

HARPER:
Yes, yes.
Produce them, Mr. Gailey.
Put them here on my desk.

GAILEY:
But, Your Honor…

HARPER:
Put them here on the desk.
Put them here.

GAILEY:
Yes, Your Honor.

Gailey beckons to the court bailiffs, and they turn and open the courtroom doors.
A procession of officers carrying bags and bags of mail enter the courtroom, walk down to the Judge, and unload the bags, containing thousands of letters to Santa, onto the Judge’s bench.
The courtroom erupts with laughter, the press flash their cameras, and Judge Harper pounds his gavel to restore order.

GAILEY:
Your Honor!
Your Honor!
Your Honor… every one of these letters is addressed to Santa Claus.
The Post Office has delivered them.
Therefore, the Post Office, a branch of the federal government, recognizes this man,
Kris Kringle, to be the one-and-only Santa Claus!

HARPER (clearing away letters so he can be seen):
Since the United States government declares this man to be Santa Claus, this court will not dispute it.
Case dismissed.

 

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Dialogue from Film – “The Accountant” ~~Dangerous~~

Braxton:
Did you even wonder where I was?

Chris:
I knew where you were.
I just wanted you to be safe.
Some of my clients are quite dangerous.

Braxton:
I’m, kind of, considered fairly dangerous myself.

Chris:
Well, you’ve made improvements.

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