Hi Scott, do you happen to know if this free CD program actually works or is it some kind of ripoff??? http://screenwritingsuccessnow.com/THANKU/thanku.php

There's only one line of dialogue that I didn't care for in Pan's Labyrinth. It's when Mercedes and Pedro first meet in the woods. She says: “Pedro – My brother.” That exposition felt clunky. Other than that, del Toro writes in a very efficient yet poetic manner. I like how the characters are introduced with a first line that reveals something about their personality. For example: Carmen: I don't understand why you had to bring so many books, Ofelia. Ofelia: A fairy! I saw a fairy!! Vidal: Fifteen minutes late. Mercedes: Yes, Sir. I also really like how he juxtaposes the characters' views so sharply. Like Ofelia's first line “I saw a fairy!” and her mother replying “Look at your shoes, they're covered in mud!” Childhood vs. Adulthood, Fantasy vs. Reality, in just two lines of dialogue. And the juxtaposition of dialogue and action, like the dinner scene as they're discussing the ration cards: Vidal: From now on, one ration card per family. Mayor: One? Captain, I'm not sure it'll be enough. Priest: If people are careful, it should be plenty. He eats more potatoes. (In the movie, a servant presents him a silver platter full of food) Of course, the irony here is the plentiful feast they are enjoying as the people are starving outside. My favorite exchange in this script is the Doctor's death scene. Not only are his last words very powerful and poignant, but Vidal's question to him reveals a lot: Vidal: I don't understand. Why didn't you obey me? A long beat. The Doctor knows that his response will seal his faith. Doctor: To obey without thinking just like that. Well – that's something only people like you can do, Captain. Vidal takes out his gun and shoots the Doctor, who drops to the ground. Vidal just can't understand why the Doctor didn't obey him. To him it's inconceivable. That speaks volumes about his character.

I'm with Teddy on this -the doctor's last lines are also my favorite. I think they perfectly relate some of the film's themes: disobedience, courage, and facing death with dignity. Interesting that all characters face death with some honor - even Vidal. This is a great translation. I would be interested to know if Stutter's lines have some different meanings in Spanish. It is a very specific characteristic. Though it is possible that del Toro chose it to show Vidal's cruelty during the torture scene, I wonder if there is deeper significance.

Eddy, having watched 2 minutes of the video, my advice [homage to Monty Python]: Run away! Run away! As far as I can tell, the dude's pitch is to get you to make a "mental shift... "to act, walk, and talk like a professional screenwriter." Great. That doesn't mean shit unless you can write. Is he offering any insight on that front? Doubtful. Besides if this gentleman's insight is so earth-shattering, why isn't he the talk of Hollywood? Why isn't he shooting video with better sound and production values? Would it behoove you to learn the business of screenwriting? Sure! You can do that for free right here on this sight. But the #1 thing you can do is learn how to write a professional quality script. That not only increases the chances you will produce a marketable script, it also makes it much more likely you will have what it takes to build a career as a screenwriter, and not just sell a script.

You gentlemen have noted my two favorite scenes in terms of dialogue: the dinner scene and the doctor's death. So I will focus on the Faun, a classic Trickster. He provides amazing insight into Ofelia's journey with a line I have already highlighted: "“But we have to ensure that your essence is intact, that you have not become a mortal.” That is as close to one of the story's most central truths as there is. But then he says things like this [42]: "She's [meaning the Green Fairy] very glad you succeeded. She's believed in you from the start." Of course, he doesn't say that he believes in her. And even his silence suggests trickery. When Ofelia inspects engravings on the monolith, the Faun tells her that three figures are the Faun, Ofelia, and a baby. Ofelia asks the identity of the baby. The Faun does not respond but switches subjects: "I see that you got the key-" Then this [69]: "You will never, ever see us again." That's just not true at all, a complete lie. How about this when telling Ofelia to bring her baby brother [86]: "We need him." What he does not say speaks volumes in terms possibilities, most of them feeling negative in nature. And then Faun's finest hour [91]: "The portal will open if we shed the blood of an innocent. A pin prick- that's all. Just a drop of blood." Of course, that is a lie, too, as the King reveals later [94]: "It was your blood, not that of an innocent that made you worthy of the throne." Directly after which the smiling Faun appears, having fulfilled his Trickster function: testing Ofelia, both ally and enemy.

Yeah, he does a great job keeping that balance. We never really know if we can trust the Faun or not. Good stuff!

The Doctor's final words are very powerful, and the most important in the movie as you all mentioned above. Another line of dialogue that lingered in my mind was this one: MERCEDES: You won't be the first pig I've gutted.