Category Archives: Dialogue

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.

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

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.

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.

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.

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

The Woman nods.

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

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.

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.

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

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~~

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.

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.

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.

Same here. The microwave’s calling me.

I’ll have another cognac.

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

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.

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.

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.

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

For the record?

For the record.
Anything to get this case going.

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

I’ll take them, please.

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…

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

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

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

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

But, Your Honor…

Put them here on the desk.
Put them here.

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.

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~~

Did you even wonder where I was?

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

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

Well, you’ve made improvements.

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Dialogue from Television – “The Addams Family” ~~Lurch~~


Lurch was a character in the Television series, The Addams Family, released in 1964.
He was the butler for the family, portrayed by Ted Cassidy who was 6ft 9in (2.06m) tall.

Ted Cassidy was born in Pittsburgh, Pennsylvania on 31 July 1946, and died on 16 January 1979, aged 46 years.

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Dialogue from Film – “Kelly’s Heroes” ~~Gold~~

Okay, Kelly.
What is it? What is it you want?

Well, I want fifteen Thompson’s, two thirty calibre machine guns, two bazookas, two field radios, and enough supplies and ammunition to last a platoon of men in the field for three days.

Oh, that all?

I want the lntelligence reports for this whole sector, and I need ‘em in the next two hours.

That’s nice. What’s in it for me?

A piece of the action.

What kind of action?

KELLY (He reaches into his satchel and produces a gleaming gold bar, handing it to Crapgame):
This kind of action.

CRAPGAME (cranks the telephone):
Hello, Izzy? . . .Yeah, it’s me, it’s me.
Listen, get me a quotation for gold on the Paris market.
. . . Yeah, now, and hurry it up!

CRAPGAME (to Kelly):
How much more where this came from?

Fourteen thousand bars.

Fourteen thousand bars?
Fourteen thousand!
Hey, sweetheart, have yourself a bottle of booze, you’re beautiful!
Fourteen thousand bars!
(moves over to the balance scales to weigh the gold bar)
That’s beautiful! Where is it?

In a bank.

In a bank?
You’re getting pretty ambitious, aren’t you?
To think you can blow a bank and get away with it?

It’s behind enemy lines.

Behind enemy lines.
That could be the perfect crime.
(Answers telephone)
Right. Right, I got you.
(Calculates 14,000 bars at prevailing gold price)
. . . 1.6 million dollars.
What else will you need?

You could probably use some armor.

(Crapgame and Kelly turn and look up to see Oddball lying atop some crates)

What are you doing up there?

I crept in.

Who the hell’s that?

His name’s Oddball.

I got three Shermans outside.

What outfit?

Right now I don’t have any outfit.

Who’s your commanding officer?

He got decapitated by an 88 about six weeks ago.
But I mean don’t say you’re sorry.
He’s been trying to get us killed ever since we landed at Omaha Beach.
It’s terrible.

He hasn’t reported him dead yet.
You see, I’ve been collecting his whiskey.

We see our role as essentially a defensive image.
While our armies are advancing so fast and everyone’s knocking themselves out to be heroes, we are holding ourselves in reserve in case the Krauts mount a counteroffensive which threatens Paris or maybe even New York.
Then we can move in and stop them.
But for 1.6 million dollars, we could become heroes for three days.
A Sherman can give you a very nice edge.

Crapgame later realises his calculation error and advises “Sixteen million dollars” . . .

Don Rickles as ‘Crapgame’
Donald Sutherland as ‘Oddball’
Clint Eastwood as ‘Kelly’


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