Best Dialogue Scene Ever

Kelter

I'm sorting out a thing for my work christmas do where I'm going to get people to act out a scene from a film.

But what scenes are most suited to such a forum.

At the moment I'm thinking "I am your father"

Maybe something from Gone with the wind, or Casablanca.

Also anyone got a good site for free scripts

ixoy

Surely, SURELY, the classic "royale with cheese" car scene from "Pulp Fiction" is begging to be used? It's over-played but classic enough for your purposes.

BolBill

Surely Surely you should have stuck with this...... http://www.boards.ie/vbulletin/showthread.php?t=206308

Kelter

There are lots of great scenes in that thread, but most are visual. I want dialogue

Stace

Personally I prefer the "So by that rationale, if a pig had a better personality, he's cease to be a filthy animal?" two-hander!

http://www.imdb.com/Sections/Quotes/ is probably where ya want to look.

briano

Average wingspeed of the african vesus european swallow, complete with coconut intro.

Bit nerdy though, but then again, this is the internet

fragile

Edit: I just realised I quoted a monologue on a thread about dialogues, but I am going to leave it here anyway cos its just so damn good

On the waterfront:

"Remember that night in the Garden? You came down to my dressing room and you said 'kid, this ain't your night. We're going for the price on Wilson'... You was my brother, Charlie. You shoulda looked out for me a little bit so I wouldn't have to take them dives for the short-end money. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum. Which is what I am. Let's face it."

for more of the same see here

Ardent

For me, it's got to be that scene between Dennis Hopper and Christopher Walken in True Romance, where Hopper tells Walken how the Italian race are "half Italian, half egg-plant".

Or Joe Pesci in Goodfellas - "what f*ck is so funny about me?!".

smoke.me.a.kipper

I am your father.

Vikings

Everyone loves a good aul "YOU CAN'T HANDLE THE TRUTH"

mycroft

Lauren Bacall and Bogart in the big sleep seduction scene in the nightclub, "alot depends on who's in the saddle"

Anything from the big lebowski "No donnie these men are nihilists they aren't a threat"

Crucifix

fragile wrote:

On the waterfront:

"Remember that night in the Garden? You came down to my dressing room and you said 'kid, this ain't your night. We're going for the price on Wilson'... You was my brother, Charlie. You shoulda looked out for me a little bit so I wouldn't have to take them dives for the short-end money. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum. Which is what I am. Let's face it."

I gotta agree with that one.

gandalf

Naw the best scene for a work do has to be the one from Glengarry Glenross with Alec Baldwin

Absolute classic will try and dig it up

gandalf

Here we go

Blake: Let me have your attention for a moment. 'Cause you're talkin' about what...you're talkin' 'bout...bitchin' about that sale you shot, some son of a bitch don't want to buy land, somebody don't want what you're selling, some broad you're trying to screw, so forth, let's talk about something important. Are they all here?

John Williamson: All but one.

Blake: Well, I'm going anyway. Let's talk about something important. (sees Shelley Levene pouring coffee). Put that coffee down. Coffee's for closer's only. You think I'm ****in' with you? I am not funkin' with you. I'm here from downtown. I'm here from Mitch and Murray. And I'm here on a mission of mercy. Your name's Levine?

Shelley Levene: Yeah.

Blake: You call yourself a salesman, you son of a bitch.

Dave Moss: I don't gotta listen to this ****.

Blake: You certainly don't pal 'cause the good news is you're fired. The bad news is you got all you got, just one week to regain your job, starting with tonight, starting with tonight's sits. Oh, have I got your attention now? Good. 'Cause we're adding a little something to this month's sale contest. As you all know, first prize is a Cadillac El Dorado. Anybody want to see second prize? Second prize is a set of steak knives. Third prize is your fired. You get the picture? You laughing now? You got leads. Mitch and Murray paid good money. Get their names to sell them. You can't close the leads you're given, you can't close ****, you are ****, hit the bricks pal and beat it 'cause you are going out.

Shelley Levene: The leads are weak.

Blake: The leads are weak. The ****in' leads are weak? You're weak. I've been in this business 15 years ...

Dave Moss: What's your name?

Blake: **** you, that's my name. You know why mister? Cause you drove a Hyundai to get here tonight, I drove an 80,000 dollar BMW. That's my name. (To Shelley Levene) And your name is you're wanting. You can't play in the man's game, you can't close them? Then go home and tell your wife your troubles. Because only one thing counts in this life. Get them to sign on the line which is dotted. You hear me you ****in' faggots.
(Flips the blackboard)

ABC. A, Always, B, Be, C, Closing. Always be closing. Always be closing. AIDA. Attention. Interest. Decision. Action. Attention. Do I have your attention? Interest. Are you interested? I know you are 'cause it's **** or walk. You close or you hit the bricks. Decision. Have you made your decision for Christ? And action. AIDA. Get out there. You got the prospects coming in, you think they came in to get out of the rain? A guy don't walk on the lot lest he wants to buy. They're sitting out there waiting to give you their money. Are you going to take it? Are you man enough to take it? (To Dave Moss) What's the problem, pal?

Dave Moss: You, boss, you're such a hero, you're so rich, how come you're coming down here and wasting your time with such a bunch of bums?

Blake: You see this watch? You see this watch?

Dave Moss: Yeah.

Blake: That watch costs more than your car. I made 970,000 dollars last year, how much you make? You see pal, that's who I am, and you're nothing. Nice guy? I don't give a ****. Good father. **** you, go home and play with your kids. You want to work here, close. You think this is abuse? You think this is abuse, you cock-sucker. You can't take this, how can you take the abuse you get on a sit. If you don't like it, leave. I can go out there tonight, the materials you got, make myself 15,000 dollars. Tonight. In two hours. Can you? Can you?

Go and do likewise. AIDA. Get mad you son-of-a-bitch. Get mad. You know what it takes to sell real-estate? It takes brass balls to sell real estate. Go and do likewise, gents. The money's out there, you pick it up, it's yours, you don't, I got no sympathy for you. You want to go out on those sits tonight and close, close, it's yours, if not, you're going to be shining my shoes. And you know what you'll be saying. Bunch of losers sitting around in a bar: ''Oh yeah, I used to be a salesman. It's a tough racket.''

These are the new leads. These are the Glengarry leads. And to you, they're gold. And you don't get them. Why? Because to give them to you is just throwing them away. They're for closers. I'd wish you good luck, but you wouldn't know what to do with it if you got it. (To Dave Moss) And to answer your question, pal: Why am I here? I came here because Mitch and Murray asked me to, they asked me for a favor. I said the real favor, follow my advice and fire your ****in' ass because a loser is a loser.

Lifted from here http://yu.ac.kr/~bwlee/esc/baldwin.htm

pickarooney

Damn, was going to post that
Or the bit with Pacino calling Spacey "you fückin' child"

Pigman II

I agree with Gandalf on the GG-GR choice ... but then again if there actually was someone in your work who could pull it off then he probably wouldn't be working there in the first place.

koneko

I love a lot of the dialogue in the Royal Tenenbaums, but I'm not sure how well it would be suited to something like this.

The eggplant scene in True Romance is classic.

The main scene between Jim (the cop) and Claudia (the druggie) in Magnolia is good.

koneko

Oh, and while this one isn't appropriate (most likely), it's still very good/funny:

American Beauty
[at the dinner table]
Carolyn Burnham: Your father and I were just discussing his day at work. Why don't you tell our daughter about it, honey?
Lester Burnham: Janie, today I quit my job. And then I told my boss to go **** himself, and then I blackmailed him for almost sixty thousand dollars. Pass the asparagus.
Carolyn Burnham: Your father seems to think this type of behavior is something to be proud of.
Lester Burnham: And your mother seems to prefer I go through life like a ****ing prisoner while she keeps my dick in a mason jar under the sink.
Carolyn Burnham: How dare you speak to me that way in front of her. And I marvel that you can be so contemptuous of me, on the same day that you LOSE your job.
Lester Burnham: Lose it? I didn't lose it. It's not like, "Whoops! Where'd my job go?" I QUIT. Someone pass me the asparagus.

It would be best if you had a plate of asparagus you could actually throw at the wall aswell.

bandit

COCCOTTI
Do you know who I am, Mr. Worley?

CLIFF
I give up. Who are you?

COCCOTTI
I'm the Anti-Christ. You get me in a vendetta kind of mood, you will tell
the angels in heaven that you had never seen pure evil so singularly
personified as you did in the face of the man who killed you. My name is
Vincenzo Coccotti. I work as a counsel for Mr. Blue Lou Boyle, the man your
son stole from. I hear you were once a cop so I assume you've heard od us
before. Am I correct?

CLIFF
I've heard of Blue Lou Boyle.

COCCOTTI
I'm glad. Hopefully that will clear up the how-full-of-****-I-am question
you've been asking yourself. Now, we're gonna have a little Q and A, and,
at the risk of sounding redundant, please make your answers genuine.
(taking out a pack of Chesterfields)
Want a Chesterfield?

CLIFF
No.

COCCOTTI
(as he lights up)
I have a son of my own. About you boy's age. I can imagine how painful this
must be for you. But Clarence and that bitch-whore girlfriend of his
brought this all on themselves. And I implore you not to go down the road
with 'em. You can always take comfort in the fact that you never had a
choice.

CLIFF
Look, I'd help ya if I could, but I haven't seen Clarence -

Before Cliff can finish his sentence, Coccotti slams him hard in the nose with his fist.

COCCOTTI
Smarts, don't it? Gettin' slammed in the nose ****s you all up. You got
that pain shootin' through your brain. Your eyes fill up with water. It
ain't any kind of fun. But what I have to offer you. That's as good as it's
ever gonna get, and it won't ever get that good again. We talked to your
neighbors. They saw a Mustang, a red Mustang, Clarence's red Mustang,
parked in front of your trailer yesterday. Mr. Worley, have you seen your
son?

Cliff's defeated.

CLIFF
I've seen him.

COCCOTTI
Now I can't be sure of how much of what he told you. So in the chance
you're in the dark about some of this, let me shed some light. That whore
your boy hangs around with, her pimp is an associate of mine, and I don't
just mean pimpin', in other affairs he works for me in a courier capacity.
Well, apparently, that dirty little whore found out when we're gonna do
some business, 'cause your son, the cowboy and his flame, came in the room
blastin' and didn't stop till they were pretty sure everybody was dead.

CLIFF
What are you talkin' about?

COCCOTTI
I'm talkin' about a massacre. They snatched my narcotics and hightailed it
outta there. Wouldda gotten away with it, but your son, ****head that he
is, left his driver's license in a dead guy's hand. A whore hiding in the
commode filled in all the blanks.

CLIFF
I don't believe you.

COCCOTTI
That's of minor importance. But what's of major ****in' importance is that
I believe you. Where did they go?

CLIFF
On their honeymoon.

COCCOTTI
I'm gettin' angry askin' the same question a second time. Where did they
go?

CLIFF
They didn't tell me.

Coccotti looks at him.

CLIFF
Now, wait a minute and listen. I haven't seen Clarence in three years.
Yesterday he shows up here with a girl, sayin' he got married. He told me
he needed some quick cash for a honeymoon, so he asked if he could borrow
five hundred dollars. I wanted to help him out so I wrote out a check. We
went to breakfast and that's the last I saw of him. So help me God. They
never thought to tell me where they were goin'. And I never thought to ask.

Coccotti looks at him for a long moment. He then gives Virgil a look. Virgil, quick as greased lightning, grabs Cliff's hand and turns it palm up. He then whips out a butterfly knife and slices Cliff's palm open and pours Chivas Regal on the wound. Cliff screams.

Coccotti puffs on a Chesterfield.

Tooth-pic Vic returns to the trailer, and reports in Italian that there's nothing in the car.

Virgil walks into the kitchen and gets a dishtowel. Cliff holds his bleeding palm in agony. Virgil hands him the dishtowel. Cliff uses it to wrap up his hand.

COCCOTTI
Sicilians are great liars. The best in the world. I'm a Sicilian. And my
old man was the world heavyweight champion of Sicilian liars. And from
growin' up with him I learned the pantomime. Now there are seventeen
different things a guy can do when he lies to give him away. A guy has
seventeen pantomimes. A woman's got twenty, but a guy's got seventeen. And
if you know 'em like ya know your own face, they beat lie detectors to
hell. What we got here is a little game of show and tell. You don't wanna
show me nothin'. But you're tellin' me everything. Now I know you know
where they are. So tell me, before I do some damage you won't walk away
from.

The awful pain in Cliff's hand is being replaced by the awful pain in his heart. He looks deep into Coccotti's eyes.

CLIFF
Could I have one of those Chesterfields now?

COCCOTTI
Sure.

Coccotti leans over and hands him a smoke.

CLIFF
Got a match?

Cliff reaches into his pocket and pulls out a lighter.

CLIFF
Oh, don't bother. I got one.
(he lights the cigarette)
So you're a Sicilian, huh?

COCCOTTI
(intensly)
Uh-huh.

CLIFF
You know I read a lot. Especially things that have to do with history. I
find that **** fascinating. In fact, I don't know if you know this or not,
Sicilians were spawned by ****.

All the men stop what they were doing and look at Cliff, except for Tooth-pic Vic who doesn't speak English and so isn't insulted. Coccotti can't believe what he's hearing.

COCCOTTI
Come again?

CLIFF
It's a fact. Sicilians have ****** blood pumpin' through their hearts. If
you don't believe me, look it up. You see, hundreds and hundreds of years
ago the Moors conquered Sicily. And Moors are ****. Way back then,
Sicilians were like the wops in northern Italy. Blond hair, blue eyes. But,
once the Moors moved in there, they changed the whole country. They did so
much ****in' with the Sicilian women, they changed the blood-line for ever,
from blond hair and blue eyes to black hair and dark skin. I find it
absolutely amazing to think that to this day, hundreds of years later,
Sicilians still carry that ****** gene. I'm just quotin' history. It's a
fact. It's written. Your ancestors were ****. Your great, great, great,
great, great-grandmother was ****ed by a ******, and had a half-****** kid.
That is a fact. Now tell me, am I lyin'?

Coccotti looks at him for a moment then jumps up, whips out an automatic, grabs hold of Cliff's hair, puts the barrel to his temple, and pumps three bullets through Cliff's head.

He pushes the body violently aside. Coccotti pauses. Unable to express his feelings and frustrated by the blood in his hands, he simply drops his weapon, and turns to his men.

COCCOTTI
I haven't killed anybody since 1974. Goddamn his soul to burn for eternity
in ****in' hell for makin' me spill blood on my hands! Go to this
comedian's son's apartment and come back with somethin' that tells me where
that asshole went so I can wipe this egg off of my face and fix this
****ed-up family for good.

Tooth-pick Vic taps Frankie's shoulder and, in Italianm asks him what that was all about.

Lenny, who has been going through Cliff's refridgerator, has found a beer. When he closes the refridgerator door he finds a note held on by a ceramic banana magnet that says: "Clarence in L.A.: Dick Ritchie (number and address)".

OY

Favourite book becomes one of my all time desert island top 5 movies.... in chronological order...

Barry: Ok buddy, uh, I was just tryin' to cheer us up so go ahead. Put on some old sad bastard music, see if I care.
Rob: I don't wanna hear old sad bastard music Barry, I just want something i can ignore.
Barry: Here's the thing. I made that tape special for today. My special Monday morning for YOU... SPECIAL.
Rob: Well it's ****ing Monday afternoon, you should get out of bed earlier.

And as a sidenote, the best quote from the movie, though not dialogue:

Rob: Should I bolt every time I get that feeling in my gut when I meet someone new? Well, I've been listening to my gut since I was 14 years old, and frankly speaking, I've come to the conclusion that my guts have s**t for brains.

User45701

Great dialgoe in Kill Bill 2 wwhen bill and buud are talking at the trailer also when **** it that qwholw emovie had brillent dialgoe