THE LAST DETAIL Buddusky and Mulhall have to transport a young Navy officer named Meadows to prison. All he did was steal some change from a donation jar but he's going to do eight long years. They feel sorry for him and realize he's a good kid so they decide to have some fun on the trip. In this clip you have the perfect scene. When Meadows breaks the stick it is foreshadowing for when he breaks free from his keepers moments later. Arrest means to stop in this sense. And the tension for Meadows to want to go is ever present in this masterpiece of character. I couldn't find the script in any readable form on-line. Sorry. http://www.youtube.com/watch?v=2UcFrNM9BJA

WITHNAIL AND I A classic British film that is very quotable and the first thing that came into my head when the word arrest came up. As well as being a very amusing scene in a very amusing film, it is signalling the final break down in the relationship between Withnail and I as I finally wins an acting part and Withnail is still jobless. Withnail is chaos to I's calm. It also pays off on some set-up earlier with Danny's contraption to help drink drivers avoid conviction by employing a bottle of pure urine strapped to the inside of his thigh - a sign of the lengths Withnail will go to. And the arrest itself, is suddenly thrown at us by the enthusiastic young policeman who has had enough, much like I. I guess it isn't to everyone's taste, but it's a film that was very popular when I was a student and one that was watched over and over again on a Friday night after a trip to the pub...and it was also one of the favourites of a good friend of mine, who took his own life a year ago this week....so I'm also posting this as a tribute to Jim and the memories of watching this together so many times. Again, couldn't find a great transcript, but these are the words! The car Withnail is eating the lunch from a plate on his knee. It is raining heavily and I's side of the windscreen is impossible to see through Withnail You got a truck coming up in this lane followed by a slow right-hander. I This is insanity Withnail Stay in this lane I What lane, I can't see any lane. Withnail Bear right, bear right. I I can't keep this up. And I must get some sleep. The car It is daytime again, and the rain has stopped. I is asleep in the back on the car. The car jerks around and he woken. As he looks out the window, the camera moves with his view. The car is hurtling down the motorway swerving between the other cars. I What's going on? Withnail: I'm making time. I Pull over, you haven't got a license. Withnail No, I'm making time. Here comes another fucker. [They swerve in front of several more cars. Then I sees a police van behind them.] I On no. Withnail It's perfectly alright, leave him to me. I You're full of scotch you silly tool. The police van comes alongside them and a policeman leans out pointing markedly to the roadside. Withnail pulls over, the van draws up in front on them and the officers approach the car. One knocks on the window and Withnail winds it down. P1 Bit early in the morning for festivities isn't it sir? There is a large pile of bottles on the passenger seat of the car Withnail They're not mine, they belong to him. P1 You're drunk. Withnail I assure you I'm not officer, I've only had a few ales. P1 Out of the car. Please. Sir. Withnail makes no move so he opens the door. Withnail virtually falls out then stands against the car. The policeman offers him a breathaliser P1 Would you fill this bag please sir. Withnail shakes his head P1 Are you refusing to fill this bag? Withnail I most certainly am P1 I'm placing you under arrest. Withnail Don't be ridiculous I haven't done anything. Listen, my cousin's a QC. P2 Get in the back on the van. --------------------------------------------------------------------------- Police station Withnail is behind a screen. A sergant is sat at a desk while other policemen wonder around P3 Sarge, what's that clown up to? The sergeant pulls a gap in the screen and sees Withnail with the contraption Danny gave him. He grabs the tube and urine splashes everywhere. Withnail grins sheepishly. And here is the link to the scene. http://www.youtube.com/watch?v=JZiDogIZG_Q Not sure it can tell us much about screenwriting per se, but it is good comedy writing and great use of music....and potentially the whole transcript could go up for when Profanity is the Daily Dialogue topic of the week! ;-)

Michael, talk about synchronicity. I'm actually including The Last Detail in a lecture tomorrow in my History of American Screenwriting class. You're right, this is a perfect scene. Structure, subtext, rising tension, and as you note in your comments theme as well. We'll kick off the week with this one and thanks!

Mark, you must know Withnail & I is one of my favorite comedies! Just Google it on the site and you'll find several references to it. I even own a copy of With Nails: The Film Diaries of Richard E. Grant. Will love featuring W&I again! Thanks!

I do now Scott! Will have to have a trawl through the site as you suggest....and see how many times I can refer to it over the next daily dialogues..... Can tales of Presuming Ed be classed as recounting a legend? And I bet you can guess which scene would do for culture clashes? ;-) Great film with a lot of great memories for me....and one of only a few comedies that has me laughing constantly all the way through... Knew it off by heart once upon a time!

I do now Scott! Will have to have a trawl through the site as you suggest....and see how many times I can refer to it over the next daily dialogues..... Can tales of Presuming Ed be classed as recounting a legend? And I bet you can guess which scene would do for culture clashes? ;-) Great film with a lot of great memories for me....and one of only a few comedies that has me laughing constantly all the way through... Knew it off by heart once upon a time!

The Matrix: http://www.youtube.com/watch?v=4D7cPH7DHgA

INT. INTERROGATION ROOM - CLOSE ON CAMERA MONITOR A wide angle view of a white roon, where Neo is sitting at a table alone. We MOVE INTO the monitor, ENTERING the room as if the monitor were a window. At the same moment, the door opens and the agents enter. Smith sits down across from Neo. A thick manila envelope slaps down on the table between them. Neo glances at the name on the file: "Anderson, Thomas A." AGENT SMITH As you can see, we've had our eye on you for some time now, Mr. Anderson. He opens the file. Paper rattle marks the silence as he flips several pages. Neo cannot tell if he is looking at the file or at him. AGENT SMITH It seems that you have been living two lives. In one life, you are Thomas A. Anderson, program writer for a respectable software company. You have a social security number, you pay your taxes and you help your land lady carry out her garbage. The pages continue to turn. AGENT SMITH The other life is lived in computers where you go by the hacker alias Neo, and are guilty of virtually every computer crime we have a law for, including the unauthorized use of the D.M.V. system for the removal of automobile boots. Neo feels himself sinking into a pit of shit. AGENT SMITH One of these,lives has a future. One of them does not. He closes the file. AGENT SMITH I'm going to be as forthcoming as I can be, Mr. Anderson. You are here because we need your help. He removes his sunglasses; his eyes are an unnatural ice- blue. AGENT SMITH We know that you have been contacted by a certain individual. A man who calls himself Morpheus. Whatever you think you know about this man is irrelevant to the fact that he is wanted for acts of terrorism in more countries than any other man in the world. He is considered by many authorities to be the most dangerous man alive. He leans closer. AGENT SMITH My colleagues believe that I am wasting my time with you, but I believe you want to do the right thing. It is obvious that you are an intelligent man, Mr. Anderson, and that you are interested in the future. That is why I believe you are ready to put your past mistakes behind you and get on with your life. Neo tries to match his stare. AGENT SMITH We are willing to wipe the slate clean, to give you a fresh start and all we are asking in return is your cooperation in bringing a known terrorist to justice. Neo nods to himself. NEO Yeah. Wow. That sounds like a real good deal. But I think I have a better one. How about I give you the finger -- He does. NEO And you can cram that file up your Secret Service sphincter. Agent Smith puts his glasses back on. AGENT SMITH You disappoint me, Mr. Anderson. NEO You ain't seen nothing yet. AGENT SMITH The irony of your situation is that you have no choice. NEO You can't scare me with this gestapo crap. I know my rights. I want my phone call. Agent Smith smiles. AGENT SMITH And tell me, Mr. Anderson, what good is a phone call iy you are unable to speak? The question unnerves Neo and strangely, he begins to feel the muscles in his jaw tighten. The standing agents snicker, watching Neo's confusion grow into panic. Neo feels his lips grow soft and sticky as they slowly seal shut, melding into each other until all trace of his mouth is gone. Wild with fear, he lunges for the door but the agents restrain him holding him in the chair. AGENT SMITH You are going to help us, Mr. Anderson, whether you want to or not. Smith nods and the other two rip open his shirt. From a case taken out of his suit coat, Smith removes a long, fiber-optic wire tap. Neo struggles helplessly as Smith dangles the wire over his exposed abdomen. Horrified, he watches as the electronic device animates, become an organic creature that resembles a hybrid of an insect and a fluke worm. Thin, whisker-like tendrils reach out and probe into Neo's navel. He bucks wildly as Smith drops the creature which looks for a moment like an uncut umbilical cord -- Before it begins to burrow its, tail thrashing as it worms its way inside.

Ocean's Eleven http://www.youtube.com/watch?v=8Mdj92S8buQ EXT. BANK - ONE MINUTE LATER The men exit through the front doors, their hands over their heads, Basher trailing them. Policemen and SWAT members encircle the group, weapons trained on them, chock full of instructions. EXT. POLICE CAR - LATER Basher sits in the rear, handcuffed behind his back, feet on the pavement. An explosives COP kneels in front of him. COP And that's all you used during the event? Nothing else? BASHER Are you accusing me of booby- trapping? COP Well, how 'bout it? VOICE (O.S.) Booby traps aren't Mr. Tarr's style. The Cop turns; standing behind him, stone-faced, is Rusty, in a dark suit and shades. RUSTY Isn't that right, Basher? BASHER That's right. RUSTY (flashing badge, briefly) Peck, A.T.F. Let me venture a guess. A simple G4 mainliner, double-coil, backwound, quick fuse with a drag under 20 feet. (off Cop's reaction) That's our man. Tell me something else. Have you checked him for booby traps on his person? I mean really checked, not just for weapons... The Cop looks bewildered. Rusty steps forward, yanks Basher onto his feet, spins him around. He moves his hands up and down Basher's legs, around his waist, under his arms. RUSTY Will you go find Griggs and tell him I need to see him? COP Who? RUSTY (loud) Just go find him, will you? (as Cop stalks off; under his breath) How fast can you put something together with what I passed you? BASHER Done. Thirty seconds all right? RUSTY From when? BASHER (as we hear something SNAP from behind his back) Now. MOVING WITH RUSTY AND BASHER They're hurrying; ahead of them is a wall of squad cars, a police cordon, and a crowd of onlookers. RUSTY Ten seconds? BASHER Not quite. Is Danny here? RUSTY Around the corner. BASHER Be good working with professionals again. (beat) Okay: go. And they both start running. RUSTY Everyone down! Get down! There's a bomb in the... And behind them the SQUAD CAR ERUPTS with a BANG! A collective SCREAM rises from the crowd, everyone ducks, cops hit the ground and cover their heads. Rusty and Basher move briskly past them, dodging their splayed legs like tires on an obstacle course. By the time the Explosives Cop thinks to look around for Basher, they've both disappeared.

i thought of 3: 1) Maximus' arrest in Gladiator - I'm not sure, but I'm assuming this is the (or at least part of a series of) inciting incident(s) in the beginning of the film that sets up what's to come. The speed of the scene, the understated fear and drama, the false imprisonment, deceit, and haste to execute all within a matter of a minute and with barely any dialogue. Of course I can find the scene directly before (Commodus murders his father) and directly after (the execution), but not the actual arrest on Youtube or anywhere else. I've seen this movie a million times, I'll assume others have, too. [SCENE CHANGE - Maximus' tent as he rushes in, buckling his armour as Cicero assists him. Maximus hurriedly calling out orders.... "Wake the senators. Gaius and Falco. I must have their counsel. Sword!" Before Cicero can hand Maximus his sword, Quintus enters.] QUINTUS: Maximus, please be careful, that was not prudent. MAXIMUS: Prudent! The Emperor has been slain. QUINTUS: The Emperor died of natural causes. MAXIMUS: Quintus, why are you armed? QUINTUS: Guards! [The guards quickly enter, spinning Maximus around as they secure him.] Maximus please do not fight. I am sorry, Caesar has spoken. [Cicero looks at Maximus as if to hand him his sword but Maximus shakes his head, no. Quintus turns to the Praetorian guards.] QUINTUS: Ride him until dawn and then execute him. MAXIMUS: Quintus, look at me. Look at me! Promise me that you will look after my family. QUINTUS: Your family will meet you in the after life. [Maximus struggles and one of the guards hits him across the back of the head with a sword.] 2) the wife's arrest in The Next Three Days - Sorry for the 2nd Crowe pimp, but it's sort of that same vibe and pace of accusatory haste and confusion. This one happens in :20 seconds and immediately incites stress and questions from the viewer. 12 INT. BRENNAN HOUSE - DOWNSTAIRS BATHROOM 12 Lara rinses the stain under the sink, surprised to see it run red. She looks at her hands: blood. The doorbell rings. 13 INT. BRENNAN HOUSE - KITCHEN 13 John rises to answer the door. 14 INT. BRENNAN HOUSE - DOWNSTAIRS BATHROOM 14 Lara looks at her coat, wonders how the hell she got blood on her shoulder. She rubs liquid soap into it. 15 INT. BRENNAN HOUSE - FOYER 15 As John opens the door, DETECTIVE QUINN shows his badge. DETECTIVE COLLERO and a team of detectives push past. John has no time to react. DETECTIVE QUINN Police. Mr. Brennan? LUKE sees the police rush past him and gets scared. DETECTIVE QUINN (CONT'D) My name is Detective Quinn. This is a search warrant for these premises. John hears Luke cry and instinctively heads inside. DETECTIVE QUINN (CONT'D) (stops him) Stay where you are. JOHN Get your -- DETECTIVE QUINN Touch me again and you'll be arrested. WHITE 9-10-09 9. 16 INT. BRENNAN HOUSE - DOWN THE HALL 16 Lara steps from the bathroom and is met by Detective Collero. She sees the coat with the water spot; nods to a team member, who takes it and bags it under: DETECTIVE COLLERO Lara Brennan? LARA WHAT?! DETECTIVE COLLERO Lara Brennan, you are under arrest for the murder of Elizabeth Gesas. She takes her wrist and professionally turns and cuffs her. LARA She's dead?? Elizabeth is dead?? 17 INT. BRENNAN HOUSE - FOYER 17 JOHN (tries to push past) She didn't do anything! DETECTIVE QUINN I will only -- JOHN (tries again) She didn't do anything! DETECTIVE QUINN Put him in cuffs. The uniform pushes him up against the wall and cuffs his wrists. John watches as his child cries, his wife is led out in handcuffs and the house is torn apart. Cut to BLACK. http://movieclips.com/QyWYZ-the-next-three-days-movie-the-arrest/ 3) stolen Porsche arrest scene from Super Troopers - Helloooo! Good times and why not?! I can't find the script or any reference to it, but here's the clip for good humor :) http://www.whoisthemonkey.com/videos/08/super-troopers-rabbits-first-arrest

Scott Pilgrim vs. the World, screenplay by Michael Bacall & Edgar Wright, based on the graphic novels by Bryan Lee O'Malley http://cli.ps/juhg Scott turns around on his knees, cringing, holding a cup of MILKY LOOKING COFFEE in either hand as a peace offering. SCOTT: What say we drink to my memory? Fair trade blend with soymilk? ENVY: I'm sorry, but that's pathetic. TODD INGRAM: Dude. I can see in your mind's eye that you poured Half & Half into one of these coffees in an attempt to make me break vegan edge. I'll take the one with soy. Thanks, tool. Todd floats to the ground, takes one of the cups and drinks. SCOTT: Actually, I poured soy in this cup, but thought real hard about pouring it in that one. You know, in my mind's eye or whatever. TODD INGRAM: What are you talking about? SCOTT: You just drank Half & Half. TWO TRENDY POLICE TYPES BUST IN THROUGH THE WALL, making two more holes and pointing their fingers like deadly weapons. VEGAN POLICE OFFICERS: Freeze! Vegan Police! VEGAN POLICE OFFICER #1: Todd Ingram, you're under arrest for veganity violation code number 827, imbibement of Half & Half! TODD INGRAM: That's bullroar! VEGAN POLICE OFFICER #1: No vegan diet, no vegan powers. TODD INGRAM: But this is a first offense! Don't I get three strikes? Vegan Police Officer #2 flips open his CODE VIOLATION book. VEGAN POLICE OFFICER #2: At 12:27 a.m. on February 1st, you knowingly ingested Gelato. TODD INGRAM: Gelato isn't vegan? VEGAN POLICE OFFICER #1: Milk and eggs, bitch. VEGAN POLICE OFFICER #2: On April 4th, 7:30 p.m., you partook a plate of Chicken Parmesan. Envy gasps, disgusted. TODD INGRAM: Chicken isn't vegan? VEGAN POLICE OFFICER #1: The deveganizing ray! Hit him. The Vegan Police BLAST Todd with arcs of power from their finger guns. Todd's fauxhawk deflates into a bowl cut. TODD INGRAM: NOOOOOOOOOOOOOOOOOOOOOOO!!! Scott rises into a stance to deliver his killer line... SCOTT: You once were a vegone, but now you will be gone! TODD INGRAM: Vegone? Scott HEADBUTTS TODD, exploding him! POOM! Scott dusts himself off as COINS rain down.

The YouTube clip is unavailable in the States, so I had to go with a shorter one.

That's irritating. Is it a copyright thing? Glad you found an alternative!

Pirates of the Caribbean: The Curse of the Black Pearl. Screenplay by Ted Elliot & Terry Rossio. Screen story by Jay Wolpert & Stuart Beattie. Jack, under the alias Mr. Smith, has just made his way into Port Royal where Captain Norrington's promotion ceremony is underway. It turns to be a grand yet unsought entrance with him having to save the Governor's daughter- Elizabeth Swann- from drowning. He is then reavealed by to be the Pirate Captain Jack Sparrow and Commodore Norrington orders him put him in chains. Jack scarpers into town, taking refuge in a blacksmith's forge. INT. BLACKSMITH'S FORGE - DAY Jack slips through the door, takes a look around: No windows. The forge is dark, lit by lanterns. Work-in- progress is scattered about: wagon wheels, wrought iron gates, pipes -- even a cannon with a crack in it. But every tool is in place; the workbench is tidy and neat. Jack is startled by a noise: MISTER BROWN, in a blacksmith's apron, snores in the corner, cradling a bottle. Jack gives him a hard poke. Another. Brown snorts, turns away. Satisfied, Jack sheathes his sword, takes a short-handled sledge from its place on the wall. Moves to the glowing coke furnace in the middle of the room. Slowly... he holds his right hand over the furnace, the chain down in the embers. The chain begins to GLOW. Jack sweats, grimaces at the pain -- Moving quickly, he wraps the chain around the nose of an anvil, brings the sledge down with a fast, hard stroke on the glowing links. One SHATTERS. Jack drops the sledge, plunges his manacled hand in a bucket of water. Steam billows. Jack pulls his hand out, flexes it. Blisters form beneath the manacle -- but his hands are free. The SOUND of the latch on the door -- Jack dives for cover. Will enters the forge, shuts the door behind him. Spots the drunken Mister Brown in the corner. WILL Right where I left you. Something catches his eye: an empty peg on the wall. The sledge lying beside the anvil. WILL (CONT'D) (under his breath) Not where I left you. He moves casually toward the sledge. The grabs for it -- but the flat of a sword blade slaps his hand. Will jumps back. Jack stands there, sword leveled at Will. He backs Will up, toward the door. Will glares at him. WILL (CONT'D) (voice low and tight) You're the one they're hunting. The *pirate*. Jack acknowledges it with the tip of his head ... then frowns, regards Will. JACK You look familiar ... Have I ever threatened you before? WILL I've made a point of avoiding familiarity with pirates. JACK Ah. Then it would be a shame to put a black mark on your record. So if you'll excuse me ... Beside the door is a grindstone, a sword resting in the honing guide. Before Jack can react, Will has it in hand. JACK (CONT'D) Do you think this is wise, boy? Crossing blades with a pirate? WILL You threatened Miss Swann. JACK Only a little. In response, Will assumes an en garde position. Jack appraises him, unhappy to see Will knows what he's doing. Jack attacks. The two men stand in one place, trading feints, thrusts and parries with lightning speed, almost impossible to follow. Will has no trouble matching Jack. JACK (CONT'D) You know what you're doing, I'll give you that ... Excellent form ... But how's your footwork? If I step here -- He takes a step around an imaginary circle. Will steps the other way, maintaining his relationship with Jack. JACK (CONT'D) Very good! And if I step again, you step again ... (continuing to step around the circle) And so we circle, circle, like dogs we circle ... They are now exactly opposite their initial positions. JACK (CONT'D) Ta! Jack turns and heads for the door, now directly behind him. Will registers with angry surprise -- and then with a vicious overhand motion, he throws his sword -- -- the sword buries itself into the door, just above the latch, barely missing Jack. Jack registers it, then pulls on the latch, but it won't move up -- the sword is in the way. Jack rattles the latch. Tugs on the sword a few times -- it is really stuck in there. Jack mouths a curse, but when he turns back to Will, he's smiling. JACK (CONT'D) That's a good trick. Except, once again, you are between me and the way out. (points his sword at the back door) And now you have no weapon. Eyes on Jack, Will simply picks up a new sword from an anvil. Jack slumps in dismay -- but then he leaps forward. Will and Jack duel. Their blades flash and ring. Suddenly, Jack swings the chain still manacled to his left hand at Will's head. Will ducks it, comes up wide-eyed. Then Jack's chain smashes across Will's sword, disarming him. Will quickly picks up another sword. Jack becomes aware that the entire room is filled with bladed weapons: swords, knives, boarding axes in various stages of completion. JACK (CONT'D) Who makes all these? WILL I do. And I practice with them. At least three hours a day. JACK You need to find yourself a girl. (Will sets his jaw) Or maybe the reason you practice three hours a day is you've found one -- but can't get her? A direct hit -- and Will coils even more tightly with anger. WILL No. I practice three hours a day so that when I meet a pirate ... I can kill him. He explodes: kicks a rack, causing a sword to fall into his hand; uses his foot to bring his dropped sword into the air, catches it -- and attacks Jack, both blades flashing. Jack parries with sword and chain. Jack's chain wraps around Will's sword; Will twists the handle of his guard through a link, and stabs the sword up into the ceiling -- So Jack's manacled left arm is now suspended from the ceiling. Not good. He parries using one hand, twisting and dodging around the furnace -- Jack compresses the bellows, blowing a SHOWER OF SPARKS into Will's face. Jack grabs the chain, hoists himself up, kicks with his feet, knocking Will back. Jack uses his full weight, yanks the sword from the ceiling. Hurls a wooden mallet at Will, then a second, hitting Will on the wrist. Will drops his sword, falls down, gets up -- Jack's pistol is aimed directly between Will's eyes. Will steps back, directly in front of the back exit. Glares, rubs his wrist gingerly. WILL (CONT'D) You cheated. JACK (smiles; what did you expect?) Pirate. Jack steps forward. Will steps back, fully blocking the door. JACK (CONT'D) Move away. WILL No. JACK Move! WILL No. I can not just step aside and let you escape. Jack cocks the pistol. Will stares back. The stand-off lasts a long moment. JACK You're lucky, boy -- this shot's not meant for you. Jack uncocks the pistol. Will is surprised, reassesses Jack -- Suddenly, Mister Brown SLAMS his bottle against Jack's skull. Jack crumples to the ground. The front and back doors smash open, and SAILORS fill the room. Norrington pushes forward, sees Jack on the ground. NORRINGTON Excellent work, Mister Brown. You've aided in the capture of a dangerous fugitive. BROWN Just doing my civic duty. Jack groans. Norrington stands over him, smiles. NORRINGTON I believe you will always remember this as the day Captain Jack Sparrow almost escaped. Norrington's men haul Jack away. Will watches them go. Brown looks at his bottle -- broken. BROWN That ratter broke my bottle. Link: https://www.google.co.ke/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&cad=rja&ved=0CDEQuAIwAQ&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D290PTzj-LkA&ei=ljFIUfqDGIXSrQedlYFA&usg=AFQjCNFxbxbFL08IC21UekcUB7cgecdCOw&bvm=bv.43828540,d.bmk

THE FRENCH CONNECTION (1971) directed by William Friedkin, screenplay by Ernest Tidyman and Friedkin (uncredited) based on the book by Robin Moore RUSSO:Will you stop it! POPEYE:I'll bust you! RUSSO:Come on! POPEYE:Will you let me at him! I want to bust him! I want to bust him! RUSSO:Let me talk to him. POPEYE:You got a friend here, buddy. You got a friend! RUSSO:You gonna tell us who your man is? POPEYE:When's the last time you picked your feet, Willie? Who's your connection, Willie, what's his name? WILLIE:What? RUSSO:Answer us! WILLIE:No! No, man, no! POPEYE:Is it Joe the barber? Joe the barber, right, that's who it is, isn't it? Now don't give us any shit! What's Joe's last name? WILLIE:I don't know, man. RUSSO:Give him a chance, just give him a chance. WILLIE:All I know is he lives on 125th St. man, above the barber shop. RUSSO:What side of the street does he live on, north or south, north or south? WILLIE:I don't know what you're talking about man, I don't know from north or south. RUSSO:I'm asking you what side of the street he lives on! POPEYE:Hey, shithead. When's the last time you picked your feet, huh? WILLIE:What's he talking about? POPEYE:I got a man in Poughkeepsie wants to talk to you. You ever been to Poughkeepsie, huh? You ever been to Poughkeepsie? WILLIE:Hey c'mon man give me a break, I don't know what you're talking about. POPEYE:C'mon say it, let me hear you say it, c'mon. Have you ever been to Poughkeepsie? You been to Poughkeepsie, haven't you? I want to hear it, c'mon! WILLIE:Yes, I've been - POPEYE:You've been there right? You sat on the edge of the bed, didn't you? You took off your shoes, put your fingers between your toes and picked your feet, didn't you? Now say it. WILLIE:Yes! POPEYE: All right. You put a shiv in my partner, you know what that means? Goddamnit! All winter long I got to listen to him gripe about his bowling score. Now I'm gonna bust your ass for those three bags, and I'm going to nail you for picking your feet in Poughkeepsie! http://www.youtube.com/watch?v=siuwOnqz2uk Dialogue takeaway: This is a study in mixing comedy with brutality made when Tarantino was still in shorts, albeit with a realistic tone and documentary feel. Popeye and Russo completely unbalance the suspect - and the audience - by swapping roles as bad cop and worse cop with the finesse and timing of a veteran comedy team. The real lesson is to get dialogue from real life (the "picking your feet" routine was actually used by Eddie Egan, the model for Doyle) and let brilliant actors go to town.