The advanced dialogue class begins later today! And I promise you
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you get off of, we're here to fucking sell. Fuck marshaling the leads. What the fuck talk is that? What the fuck talk is that? Where did you learn that? In school? (pause) That's "talk," my friend, that's "talk." Our job is to sell. I'm the man to sell. I'm getting garbage. (pause)
You're giving it to me, and what I'm saying is it's fucked. WILLIAMSON You're saying that I'm fucked. LEVENE (pause)
I am. I'm sorry to antagonize you. [Levene is so desperate, he’s grabbing at straws.] Dialogue scene from "AMERICAN BEAUTY"
INT. HOTEL BALLROOM - NIGHT We HEAR MUSIC under a room full of people all talking at once, as Lester and Carolyn enter a hotel ballroom. We FOLLOW THEM as they pass a SIGN that reads: GREATER ROCKWELL REALTOR RESOURCES GROUP CAROLYN --everyone here is with their spouse or their significant other. How would it look if I showed up with no one? (attack: They are already in the process of arguing and it is instantly clear that Lester doesn't want to be there and that Carolyn is concerned with her image.) LESTER
Well, you always end up ignoring me and going off-- (We instantly get that in the past Carolyn isn't very caring or even polite toward Lester in these environments) Inside the ballroom, well-dressed real estate professionals stand in clumps, chatting. Catering waiters serve hors d'eouvres. CAROLYN
Now listen to me. This is an important business function. As you know, my business is selling an image. And part of my job is to live that image-- (she's so clearly materialistic) LESTER Just say whatever you want to say and spare me the propaganda. (counter attack: Lester doesn't care what her reasons are. He is there as a hostage and wants her to know it he resents it, not good for her evening agenda) CAROLYN
(spots someone) Hi, Shirley! (to Lester) Listen, just do me a favor. Act happy tonight? (attack: Carolyn shoots through the bullshit and basically says "I know you're a miserable person, but please pretend you're not.") LESTER
(grins stupidly) I am happy, honey. (counter attack: Lester tells her what she wants to here but not in the way she wants to hear it, litterally throwing it back in her face and letting her know that he is not going to play the game she desperately hopes he will. The tension deepens.) Carolyn's jaw tightens, then: CAROLYN (spots someone) Oh! Buddy! She drags Lester toward a silver-haired MAN and his much younger WIFE. We recognize the Man as BUDDY KANE, The Real Estate King. (Now the tension is even higher because this is a really important connection for Carolyn) CAROLYN (cont'd) (shakes Buddy's hand) Buddy! Buddy. Hi! Good to see you again. BUDDY It's so good to see you too, Catherine. CAROLYN Carolyn. BUDDY Carolyn! Of course. How are you? CAROLYN Very well, thank you. (to his wife) Hello, Christy. CHRISTY Hello.
CAROLYN My husband, Lester-- BUDDY (shakes Lester's hand) It's a pleasure. LESTER
Oh, we've met before, actually. This thing last year. Or the Christmas thing at the Sheraton. (attack: Lester is attacking Carolyn with how he treats the situation, playing the man on a leash) BUDDY Oh, yes. LESTER It's okay. I wouldn't remember me either. (attack: Lester takes it even further by embaressing himself so he can embaress Carolyn)
(Carolyn tries to draw attention away from Lester by trying to make light of it) CAROLYN (forced gaiety) Honey. Don't be weird. (counter attack: Barely able to contain her disgust, Carolyn tries to play it off as just part of his goofy personality and trying to get him to get back in line with her) She smiles her most winning smile at him. He knows this persona well, only it's never pissed him off as much as it does right now. LESTER
All right, honey. I won't be weird. (his face close to hers) I'll be whatever you want me to be. And he kisses her--a soft, warm kiss that speaks unmistakably of sex--then turns to the others and grins. LESTER (cont'd) We have a very healthy relationship. (attack: the whole section above is an extended attack of words and action to further make the situation awkward and create exactly what Carolyn doesn't want) BUDDY
I see. Carolyn's smile is frozen on her face. LESTER Well. I don't know about you, but I need a drink. He crosses off. Carolyn, Buddy and Christy watch him go. This whole scene is just ripe with tension because of the back and forth of agendas and intentions. Amazing how in just a line or two we can understand an entire history of someone's experience like how we understand Lester's experience in the past dealing with Carolyn at these events and how we understand how Carolyn doesn't want Lester there at all but she must maintain her image. All very simple and economic. Good stuff! Dialogue scene from Thelma and Louise
early-thirties, but too old to be doing this. She is very pretty and meticulously groomed, even at the end of her shift. She is slamming dirty coffee cups from the counter into a bus tray underneath the counter. It is making a lot of RACKET, which she is oblivious to. There is COUNTRY MUZAK in the b.g., which she hums along with. INT. THELMA'S KITCHEN - MORNING THELMA is a housewife. It's morning and she is slamming coffee cups from the breakfast table into the kitchen sink, which is full of dirty breakfast dishes and some stuff left from last night's dinner which had to "soak". She is still in her nightgown. The TV is ON in the b.g. From the kitchen, we can see an incomplete wallpapering project going on in the dining room, an obvious "do-it- yourself" attempt by Thelma. INT. RESTAURANT - MORNING
INT. THELMA'S KITCHEN - MORNING Phone RINGS. Thelma goes over to answer it. THELMA (hollering) I got it! Hello. INT. RESTAURANT - MORNING LOUISE (at pay phone) I hope you're packed, little housewife, 'cause we are outta here tonight.
Well, wait now. I still have to ask Darryl if I can go. LOUISE (V.O.) You mean you haven't asked him yet? For Christ sake, Thelma, is he your husband or your father? It's just two days. For God's sake, Thelma. Don't be a child. Just tell him you're goin' with me, for cryin' out loud. Tell him I'm havin' a nervous breakdown. ATTACK/COUNTERATTACK - SETS UP TENSION BETWEEN THELMA'S WANTING LOUISE'S "APPROVAL" AND GETTING HER HUSBAND PISSED - SETS UP THELMA'S POOR RELATIONSHIP WITH HER HUSBAND Thelma has the phone tucked under her chin, as she cuts out coupons from the newspaper and pins them on a bulletin board already covered with them. We see various recipes torn out from women's magazines along the lines of "101 Ways to Cook Pork."
He already thinks you're out of your mind, Louise, that don't carry much weight with Darryl. Are you at work?
No, I'm callin' from the Playboy Mansion.
I'll call you right back. Thelma goes through the living room to the bottom of the stairs and leans on the bannister. THELMA Darryl! Honey, you'd better hurry up.
for this man, and he's dripping in "men's" jewelry. He manages a Carpeteria.
Damnit, Thelma, don't holler like that! Haven't I told you I can't stand it when you holler in the morning.
DOESN'T LISTEN TO HER THELMA I'm sorry, Doll, I just didn't want you to be late.
HIM AND STAND UP FOR HERSELF Darryl is checking himself out in the hall mirror, and it's obvious he likes what he sees. He exudes over- confidence for reasons that never become apparent. He likes to think of himself as a real lady killer. He is making imperceptible adjustments to his over-moussed hair. Thelma watches approvingly. THELMA Hon.
What.
(she decides not to tell him) Have a good day at work today. DARRYL Uh-huh.
Hon?
What?!
You want anything special for dinner?
No, Thelma, I don't give a shit what we have for dinner. I may not even make it home for dinner. You know how Fridays are. THELMA Funny how so many people wanna buy carpet on a Friday night. You'd almost think they'd want to forget about it for the weekend.
Well then, it's a good thing you're not regional manager and I am.
the most perfunctory kiss on the cheek. THELMA 'Bye, honey. I won't wait up. SHOWS HOW DARRYL PUTS HER DOWN AND SHE ACCEPTS IT, SHE WON'T "ROCK THE BOAT"
See ya.
he closes the front door, Thelma leans against it. THELMA He's gonna shit. Thelma laughs to herself. She goes back into the kitchen and picks up the phone and dials it. ANTICIPATORY DIALOG, SETS UP TENSION AND THAT SHE'S READY TO MAKE SOME SORT OF CHANGE WHAT I LEARNED FROM THIS ASSIGNMENT: This scene is filled with Character expression and attack/counterattack, each character behaving very specifically from their point of view of the world. How they treat each other is an expression of character and makes for great dialogue. Dialogue Scene - Die Hard
Sirens wail as the first few police cars arrive. Powell sees them, waves them back, points to the third floor. 168 INT. HOSTAGE WING - ON ELLIS - SAME He leans back and closes his eyes, luxuriating in the sound of WAILING POLICE SIRENS. He looks at Holly. ELLIS I never through I'd love to hear that sound. 169 HANS' OFFICE Hans, Karl, Fritz and Franco confer. (in mid-speech) -- all of you, stay at your posts! We knew that police action was inevitable... (an odd smile) ...In fact, it's necessary. So let them start their feeble efforts; until them, stay calm. We have the hostages, remember. We are still in charge. Subtext: I know what I'm doing and I'm smarter than them. They think they can outwit me, but I'll show them. They're acting exactly as I expected. Suddenly Hans' CB crackles to life. (picking it up) I told all of you...I want radio silence until further -- INTERCUT: 169-A MCCLANE - 34th FLOOR - BOARD ROOM 169-A He's got a CB on the table and ON, and his cop's notebook is out again. He's already upgraded the NUMBER OF TERRORISTS? to "12 (?) minus 3 = 9" and added other information. As he speaks he takes ammo clips the dead men dropped, their sidearms, etc. MCCLANE Gee, I'm sorry, Hans, nobody gave me the message. You shoulda put it on the bulletin board. Anyway, I thought you and Franco and Karl and the other boys might be lonely, now that I waxed Tony and Marco and their buddy. So I invited some of the guys from my card game. In the office, the terrorists REACT, startled, as McClane name-drops. Caustic sarcasm. McClane lets them know he's smarter than they give him credit for. He knows things he shouldn't and he's put them at a disadvantage. Clearly, he's not afraid and let's them know he intends to win this game. FRANCO How...how does he know so much about -- (waving for silence) Ah, how nice of you to call. I assume you are our mysterious party crasher. You are most troublesome for a...security guard? Hans feigns diplomacy to get the information he needs. He underestimates McClane. 170 INT. 34th FLOOR - ON MCCLANE - INTERCUT Moving down the corridor. Now armed with Marco's machine gun and carrying Heinrich's kit bag, he seems more lethal. * MCCLANE (into CB) BZZZ! Sorry, Hans, wrong guess. Would you like to go for Double Jeopardy, where the stakes are double and the scores really change?
McClane lets Hans know he thinks he's an idiot. McClane will play the game-and win. He rolls Heinrich over and is delighted to find a pack of Gauloise's in the man's pocket. He takes them, pats the * dead man's face. MCCLANE (sotto, to the body) Bad for your health anyway. Comedic sarcasm. McClane was bad for the guy's health. Who are you, then? MCCLANE
Just the fly in the ointment, Hans. The monkey in the wrench, the pain in the ass - Sarcasm again. McClane underplays the fact that he's a much bigger problem than Hans bargained for. McClane STOPS in mid-speech. He's just opened the kit bag Heinrich had over his shoulder when he died. Now McClane takes out the contents...dozens and dozens of EXPLOSIVE DETONATORS marked "DANGER" and a CHUNK of cello-wrapped PLASTIQUE the size of an electric razor. He WHISTLES in surprise to himself. In the office, Hans turns off his mike for a moment, turns to Karl. Check on all the others...don't use the radio. See if he's lying about Marco and find out if anyone else is missing. Hans begins to panic. McClane could ruin all their plans. He moves. Hans goes back onto the CB. Meanwhile, McClane * SMILES at the tell-tale STATIC as Hans goes off and on. He knows what's happening. Now, he starts to walk down a corridor, eyes PANNING FROM elevator to the stairwell doors.
Mr. Mystery Guest. Are you still there?
MCCLANE I wouldn't think of leaving, Hans. Unless you want to open the front door...?
McClane is up for the challenge and he's not afraid. He's not going anywhere without the hostages and he throws it in Hans' face. I'm afraid not. But you have me at a loss -- you know my name, but who are you? (scornfully) Just another American who saw too many movies as a child. Another orphan of a bankrupt culture who thinks he's John Wayne...Rambo... Marshal Dillion. Hans is getting pissed off at his disadvantage and cannot disguise it. He tries to goad McClane into revealing his identity. MCCLANE
Actually, I was always partial to Roy Rogers. I really dug those sequined shirts. McClane won't play the game and takes pleasure in irritating Hans further. (harsh) Do you really think you have a chance against us, Mr. Cowboy? Hans tries to intimidate McClane. A LIGHT blinks on the elevator. MCCLANE
(long pause) Yipee-yi-yea...mother-fucker. McClane is not threatened and rubs Hans' nose in the fact that he cannnot be intimidated. McClane goes quietly through the stairwell door and is gone by the time the search party steps onto this floor. Hans sits quietly...thinking. From MATEWAN, by John Sales. INT. BOARDING HOUSE – NIGHT Elma, Danny and Mrs. Knights sit eating with Hickey and Griggs. Lots of tension at the table-- Union guys Hickey and Griggs, just arrived in town and pushed their way into getting a room at the boarding house while they try to fight the organization of a union. Elma runs the boarding house with the help of her son, Danny (14). Mrs. Knights is an elderly resident. Pass them peas, boy.-- Begins asserting his authority immediately. Danny glares at him -- Pass the peas, Danny. Elma tries to keep the peace. (no pun intended.) Danny ignores her, continues eating-- GRIGGS
The boy deaf or dumb or what? ST: Don
t defy us...we’re the authority, now. MRS. KNIGHTES (proudly) Daniel ain’t dumb. Daniel’s a preacher. ST: There is a higher authority than you union boys. HICKEY (teasing) That right boy? You a preacher? Danny reddens, doesn’t answer-- GRIGGS
Who you preach to, boy, the squirrels? ST: You have no power, kid, pass the peas! MRS. KNIGHTES Daniel preached at the meetin last night. Was a good number of souls there. Mrs. Knightes represents values of the place, the time. She uses Danny’s formal name (Daniel and the Lion’s den comes to mind.) She underscores that he does have a role in town, unlike Griggs and Hickey, and Daniel’s role is a noble one. HICKEY
You a soul saver boy? You want to have a go at me and Griggsy here. We ought to be a challenge. GRIGGS
He’s a squirrel preacher is what. Stands up on a stump in the woods and testifies to the Holy Rodent-- Again Hickey and Griggs push it to the max. Indeed, Danny is testing to a squirrel (Hickey) and a rodent, (Griggs). Danny jumps up with a table knife in hand--. Danny is warning them with a pretty ineffective weapon. The sword of truth? The butter knife of knowledge? Metaphor: Danny will have to become sharper to fend off these two...he has the skills and the knowledge, but neither are sharp enough. This also foreshadows the future murder of Danny’s young friend, Hilliard, whose throat is cut by Griggs and Hickey. ELMA Danny!
Griggs has his gun up from under the table, leveled at Danny. They stare at each other a long, tense moment -- Griggs is ready with his weapon, no sword of truth, but a quick way to kill. GRIGGS You in a hurry to meet your maker, boy? More foreshadowing... MRS KNIGHTES Ain’t no guns allowed at table! The oldest, most feeble voice, is the voice of traditional values of the mining town. (scared) You sit down, Danny. ST: She knows the situation is dangerous and will get more so. HICKEY Do what your pretty mama says, Preacher. Makes fun of both of them. Danny sits-- ST: He relents, for now, for his mama’s sake. MRS. KNIGHTES Guns at table! My daddy would have horsewhipped you! Again the voice of traditional values. They should be ashamed. And...the world has changed with the arrival of these two...were in a different “era” now. You put that away now, Mister. She asserts her place as head of the boarding house. HICKEY
Pack it away, Griggsy. Look we’re gonna be a here for awhile, little lady. It can be the easy way, or the hard way. (to Danny) Now how about them peas? He attempts the good cop, routine, he’s more rational than Griggs, but still in command and asserts control over Danny again. Danny jumps to his feet and we HOLD on the table as he slams out of the house-- Danny won’t be coerced, there will be a show down. WHAT I LEARNED: There is much more than there seems on first reading. Not only is the dialog true to character, it is used sparingly and is ripe with metaphor and foreshadowing. Still, I think I could have written many paragraphs on this one scene and all it tells, and foretells. From THE GREEN MILE.
The scene is current day. Paul & Elaine are both in a nursing home and have gone for a walk. EXT. WOODS - DAY Paul brings Elaine along the wooded path into view of the storage shacks. They're both wearing ponchos.
The storage shacks are setup in beginning, but we never see why they are significant, making this scene a payoff. There. It's in there. ELAINE Paul? This thing you want to show me. Is it scary? Anticipatory dialog. Scary? No. Not really. He gives her a smile, offers his hand. She takes it. INT. SHACK - DAY We see Paul approach through the grimy window as before, this time bringing Elaine. ANGLE SHIFTS to the door as they arrive, creaking open on rusty hinges to reveal them. They enter. Elaine looks around at the musty nooks and crannies, wondering what they're doing here. Paul touches arm, directs her attention: There.
Elaine moves closer, sees it on the dusty floorboards: An old cigar box. For a moment, she doesn't know what to make of it. Hey. Wake up, old boy. Wake up.
We still don't know, but have an idea from the cigar box. Elaine's breath catches in her throat... ...as a pair of bright oilspot eyes peer over the edge of thecigar box. It's a mouse. His fur, once brown, is now all gray. ELAINE Paul? It isn't...it can't be... Paul gets down on the floor, holds out his hand. Come over here, boy. Come on over her and see this lady. The mouse tries several times to get over the side of the cigar box before he finally makes it. He comes to them, hobbling and crippled with arthritis. Paul pulls a slice of toast from his pocket, breaks off a small piece for the mouse.
The mouse, used as a symbol of hope throughout the play, now doubles as paradox of the aged Paul and further becomes a metaphor, explained later. ELAINE
That can't be Mr. Jingles. Paul says nothing, just pulls a spool from his pocket. Mr. Jingles might be old, but he's as obsessed as ever. He gets ready to fetch, eyes riveted to the spool. Softly: Messieurs et mesdames. Beinvenue au cirque du mousie. Paul tosses the spool. The mouse limps painfully after it. He reaches it, goes around...and has to lay down to catch his breath. Elaine starts forward, but Paul holds |