Denial, break-up, Aha-moment

Breaking Up is a really good one, Shari. I have to zero in on themes where I can search my memory banks and the web if/when people don't volunteer 7 suggestions. That one I feel confident about.

Vengeance Compulsion Subversion Fulfilling a dream

Scott, I don't know if I have to post it here. If not, you can delete this post. Scene for theme breaking-up in movie Midnight in Paris, 1.25.00-1.26.17 To me, what's notable about this dialogue is that she's too confident and in denial that he really wants to break-up with her. She's a catch after all. He,on the other hand, feels secure in his decision and feels backed up by Hemingway. He: No, no, the past is not dead. It's not even past. You know who said that? -- Faulkner and he was right. And I met him too, I ran into him at a dinner party. She: you're a raving lunatic. He: no, I'm not. She: yes you are He: I'm too trusting. I'm jealous and I am trusting. It's cognitive dissonance. Fitzgerald talked about it. You can fool me, but you can't fool Hemingway, I know. She: Jesus Christ, I'm dealing with a mad man here. Okay. Yes, I did, I was with Paul for a few nights because he's romantic, he speaks French, and you were always working. Maybe it's the mystic of this corny city but get over it,Gil. You just put this in perspective when we get home. He: I'm not. I'm not going back. She: I'm sorry, what? He: I'm staying here. It has nothing to do with your romantic fling. Paris is Paris. And this you and I. It's obvious we're not right for each other. She: what? He: I think.. She: what are you saying, what are you even talking about? Knock on door. Parents come in. Father: are you reading for swimming? She: we're breaking up

Proposal Trickster moment : The moment where the trickster is unveiled.

Have you done seduction? It could be instructive because in many of the best seduction scenes, seduction is the subtext - the dialogue itself appears to be about something else.

Other theme suggestions: wedding vows and divorce.

Treasure hunt Running away Run for your life Quest Money

Thanks for all the suggestions, everyone! Amazing to think that there have been 2292 Daily Dialogue posts, stretching all the way back to the very first day of this blog, one per day. It's been a team effort, so again thanks for your contributions to the DD series!

The Piano by Jane Campion INT BAINES' HUT DUSK Sc 130 Inside he finds FLORA crouching in a corner, her face is white, tear stained and splattered with mud. Her angel wings are squashed behind her and blood stained. On seeing BAINES she cries with renewed pain and relief BAINES What has happened? Hush, hush, what is it? FLORA thrusts the wrapped finger at BAINES. He takes the blood soaked object and unwraps it. The finger unravels into his hand, he reels back groaning, choking about to be sick. FLORA (yelling) He says you're not to see her or he'll chop her up! BAINES (angry, horrified) What happened? But FLORA cannot speak. She bursts into loud sobs. BAINES kneels in front of her shaking her. TELL ME! TELL ME! BAINES stops shaking her, she scrambles away and out the door. BAINES chases after her. Sc 131EXT BAINES DUSK Sc 131 FLORA screams as he catches her. BAINES Quiet down! Shhh! Where is she? FLORA (whimpering) He chopped it off BAINES Jesus! I'll kill him! I'll kill him. What did she tell him? (shaking her) What? HIRA Put her down Peirn She is liddle. HIRA takes the quivering FLORA in her arms. There girl. there BAINES notices the blood on FLORA'S dress, he touches it, she shys away. http://youtu.be/hoHyqSZGPt0 (still not sure how to embed this Sorry Scott) This scene is almost unbearable to watch. Anna Paquin won Oscar for this performance...

"Going for broke" "I was wrong" "You just don't get it" "Why won't you listen to me?"

BLADE RUNNER (1982) screenplay by Hampton Fancher and David Peoples, based on the novel Do Androids Dream of Electric Sheep by Phillip K. Dick Tyrell: I'm surprised you didn't come here sooner. Roy: It's not an easy thing to meet your maker. Tyrell: What can he do for you? Roy: Can the maker repair what he makes? Tyrell: Would you like to be modified? Roy: [to J. F. Sebastian] Stay here. Roy: Had in mind something a little more radical. Tyrell: What..? What seems to be the problem? Roy: Death. Tyrell: Death. Well, I'm afraid that's a little out of my jurisdiction, you... Roy: I want more life, father. Tyrell: The facts of life: To make an alteration in the evolvement of an organic life system is fatal. A coding sequence cannot be revised once it's been established. Roy: Why not? Tyrell: Because by the second day of incubation, any cells that have undergone reversion mutations give rise to revertant colonies like rats leaving a sinking ship; then the ship sinks. Roy: What about EMS recombination? Tyrell: We've already tried it. Ethyl methane sulfonate is an alkylating agent and a potent mutagen. It created a virus so lethal the subject was dead before he left the table. Roy: Then a repressor protein that blocks the operating cells. Tyrell: Wouldn't obstruct replication, but it does give rise to an error in replication so that the newly formed DNA strand carries a mutation and you've got a virus again. But this - all of this is academic. You were made as well as we could make you. Roy: But not to last. Tyrell: The light that burns twice as bright burns half as long, and you have burned so very very brightly, Roy. Look at you. You're the prodigal son. You're quite a prize! Roy: I've done questionable things. Tyrell: Also extraordinary things. Revel in your time! Roy: Nothing the god of biomechanics wouldn't let you in heaven for. [kisses Tyrell and kills him] https://www.youtube.com/watch?v=O5MDGMvrSJc Dialogue on dialogue: The dialogue in this scene, where Roy Batty gets the bad news we all get at some point, covers the spectrum from medical jargon to the poetic, yet it's all of a piece - tough to pull off!