Goldfinger (1964) Writers: screenplay by Richard Maibaum and Paul Dehn; based on the novel by Ian Fleming. https://www.youtube.com/watch?v=DoQwKe0lggw GOLDFINGER: Good evening 007. BOND: My name is James Bond. GOLDFINGER: And members of your curious profession are few in number. You have been recognized. Let's say by one of your opposite numbers who is also licensed to kill. Oh, that interesting car of yours! I, too, have a new toy, but considerably more practical. You are looking at an industrial laser, which emits an extraordinary light not to be found in nature. It can project a spot on the moon, or, at closer range, cut through solid metal. I will show you. (Signals to position the laser.) This is gold, Mr. Bond. All my life I've been in love with its color, its brilliance, its divine heaviness. I welcome any enterprise that will increase my stock, which is considerable. BOND: I think you've made your point, Goldfinger. Thank you for the demonstration. GOLDFINGER: Choose your next witticism carefully Mr. Bond, it may be your last. The purpose of our two previous encounters is now very clear to me. I do not intend to be distracted by another. Good night, Mr. Bond. BOND: Do you expect me to talk? GOLDFINGER: No, Mr. Bond, I expect you to die. There is nothing you can talk to me about that I don't already know. BOND: Hey, you're forgetting one thing: if I fail to report, 008 replaces me. GOLDFINGER: I trust he will be more successful. BOND: Well, he knows what I know. GOLDFINGER: You know nothing Mr. Bond. BOND: Operation Grand Slam, for instance. GOLDFINGER: Two words you may have overheard, which cannot possibly have any significance to you or anyone in your organization. BOND: Can you afford to take that chance? GOLDFINGER: (Signals to shut off the laser) You are quite right, Mr. Bond. You are worth more to me alive. DIALOGUE ON DIALOGUE: Classic reversal of control roles. The scene begins with Bond in (appropriately enough) bonds, at the mercy of Goldfinger who seems to have all the power. Through cunning dialogue, Bond generates enough uncertainty in Goldfinger to temporarily spare his life, shifting control to Bond.

An Officer and a Gentleman (1982) Writer: Douglas Day Stewart https://www.youtube.com/watch?v=nXJxxahiC3A MAYO: Ninety eight, ninety nine… FOLEY: Awww, get your face all the way down in there. MAYO: Hundred. FOLEY: You ready to quit now Mayo? MAYO: No, Sir! FOLEY: Look over there, Mayo. Look over there. Look at her. She decided to stay instead of taking liberty on this weekend. She may not make it through the program, but she got more heart and more character than you’ll ever have, and stop eyeballing me, boy! Life sure has dealt you some shitty cards, hasn’t it, Mayo? MAYO: It’s all right, Sir! Six! FOLEY: Bullshit. I done some checking. I looked through your files. I know about your mama. Hey, don’t eyeball me! I know your father’s an alcoholic and a whore chaser. That’s why you don’t mesh, Mayo. Because deep down—don’t you eyeball me—deep down inside you know that all these other boys and girls are better than you are. Isn’t that right, Mayo, huh, isn’t that right? MAYO: No, Sir! No, Sir! DIALOGUE ON DIALOGUE: Zack Mayo wants to make something of himself, but Gunnery Sergeant Emil Foley doesn’t think he has what it takes to become an aviator. Much of the relationship between these two is a constant competition between Mayo’s desire and Foley’s challenge to that desire.

American Psycho (2000) Writter: Bret Easton Ellis (novel) Mary Harron (screenplay) & Guinevere Turner (screenplay) The business card scene: https://youtu.be/cISYzA36-ZY OWEN: Call me. (Hands him a business card) PRICE: How about Friday? OWEN: No can do. Got a res at eight-thirty at Dorsia. Great sea urchin ceviche. There is a stunned silence as he walks away and sits in a corner of the room, ostentatiously studying papers. CLOSE-UP on Bateman's face, cold with hatred. PRICE: (Whispering) Jesus. Dorsia? On a Friday night? How'd he swing that? McDERMOTT: (Whispering) I think he's lying. Bateman takes out his wallet and pulls out a card. PRICE: (Suddenly enthused) What's that, a gram? BATEMAN: New card. What do you think? McDermott lifts it up and examines the lettering carefully. McDERMOTT: Whoa. Very nice. Take a look. He hands it to Van Patten. BATEMAN: Picked them up from the printers yesterday VAN PATTEN: Good coloring. BATEMAN: That's bone. And the lettering is something called Silian Rail. McDERMOTT: (Envious) Silian Rail? VAN PATTEN: It is very cool, Bateman. But that's nothing. He pulls a card out of his wallet and slaps it on the table. VAN PATTEN: Look at this. They all lean forward to inspect it. PRICE: That's really nice. Bateman clenches his fists beneath the table, trying to control his anxiety. VAN PATTEN: Eggshell with Romalian type. (Turning to Bateman) What do you think? BATEMAN:(Barely able to breath, his voice a croak) Nice. PRICE: (Holding the card up to the light) Jesus. This is really super. How'd a nitwit like you get so tasteful? Bateman stares at his own card and then enviously at McDermott's. BATEMAN: (V.O.) I can't believe that Price prefers McDermott's card to mine. PRICE: But wait. You ain't seen nothin' yet. He holds up his own card. PRICE: Raised lettering, pale nimbus white... BATEMAN: (Choking with anxiety) Impressive. Very nice. Let's see Paul Owen's card. Price pulls a card from an inside coat pocket and holds it up for their inspection: "PAUL OWEN, PIERCE & PIERCE, MERGERS AND ACQUISITIONS." Bateman swallows, speechless. The sound in the room dies down and all we hear is a faint heartbeat as Bateman stares at the magnificent card. BATEMAN: (V.O.) Look at that subtle off-white coloring. The tasteful thickness of it. Oh my God, it even has a watermark... His hand shaking, Bateman lifts up the card and stares at it until it fills the screen. He lets it fall. The SOUND RETURNS TO NORMAL. CARRUTHERS: Is something wrong? Patrick...you're sweating. Dialog on dialog: Bateman (Christian Bale) has a hateful rivalry with Paul Owen (Jared Leto), who outplays him at every turn, even though it's only ever about appearances (He's not too fond of anyone else who outplays him as well). The rivalry is prevalent among all these guys. But none can touch Owen with his reservation at Dorsia or his unrivaled business card, especially not Bateman who had to lie about a Dorsia reservation, and whose card is second rate to at least a few others. This is a classic pivotal scene and inciting incident, which reveals Bateman's deep inner conflict, torment, personal anxiety, and hatred toward Owen, and serves as the premise of the story (Bateman's psychosis). This incident sets Bateman off on a killing spree, starting later with taking an axe to Owen to Huey Lewis' Hip to be Square.

Movie - Raiders of the Lost Ark (1981) Written by Lawerence Kasdan, George Lucas and Phillip Kaufman Youtube - https://youtu.be/MeIBFGyGd6M Indiana: Hello… Belloq: Jones? JONES…. Indiana: I'm gonna blow up the Ark, Rene. Belloq: Your persistence surprises even me. You're going to give mercenaries a bad name. Dietrich: Dr. Jones, surely you don't think you can escape from this island? Indiana: That depends on how reasonable we're all willing to be. All I want is the girl. Dietrich: And if we refuse? Indiana: Then your Führer has no prize. Belloq: OK Jones, you win. Blow it up. Dietrich: Do what? Belloq: Yes, blow it up. Blow it back to God. All your life has been spent in pursuit of archaeological relics. Inside the Ark are treasures beyond your wildest aspirations. You want to see it opened as well as I. Indiana, we are simply passing through history. This, this is history…Do as you will. Comment: Indy is thwarted by Belloq at every turn during the movie and finally, when it seems he has the upper hand, he relents. Belloq was right, they are the same, both wanting to see the greatest find in the world opened. Great scene, great rivalry.

Raiders of the Lost Ark, (1981) written by Lawrence Kasdan. The Cairo cafe scene between Indy and Belloq. First half: https://www.youtube.com/watch?v=grylEdBOMeI Second half: https://vimeo.com/69508350 The occupant of the smoke-shrouded corner table becomes visible only as Indy reaches there: it is Emile Belloq. He is drinking wine. INDY Belloq BELLOQ Good evening, Dr. Jones. INDY I ought to kill you right now. BELLOQ It was not I who brought the girl into this dirty business. Indy knows its true; that’s what’s tearing him up. BELLOQ Sit down, please, before you fall down. We can behave as civilized people. I’m afraid it will be your last opportunity. Indy sits, glancing at the German Henchmen, who settle nearby, just out of earshot. INDY Not a very private place for a murder. BELLOQ (looking around) These Arabs will not interfere in the white man’s business. They do not care if we kill each other off. 50. BELLOQ(cont'd) (MORE) (takes a sip of wine, refers to it) Terribly difficult finding a descent vintage here. You were quite vigorous in Shanghai. Unfortunately, our friend the Wild Boar had taken the precaution of making several copies of the piece. Indy registers this as he takes a drink. Belloq watches him with disdainful amusement. BELLOQ How odd that it should end this way for us, after so many... stimulating encounters. I almost regret it. Where shall I find a new adversary so close to my own level? INDY Try the local sewer. BELLOQ I know you despise me. We always hate in others that which we most fear in ourselves. And you and I are very much alike. INDY Now you’re getting nasty. BELLOQ We have always done the same kind of work. Our methods have not differed as much as you pretend. I am a shadowy reflection of you. But it would have taken only a nudge to make you the same as me, to push you out of the light. There is a certain amount of truth to this; the recognition of it flickers across Indy’s bleary eyes. Belloq sees it there. BELLOQ You know it to be true! How nice. And how ironic the timing. Belloq leans forward, eyes shining, voice suddenly different. BELLOQ Do you realize what the Ark is? (very intense) It’s a transmitter. 51. BELLOQ(cont'd) A radio for talking to God! And now it is within my grasp. INDY What about your boss, Der Fuhrer? I thought he was waiting to take possession. Belloq glances in the gloom at the German Henchmen. BELLOQ (quieter) When the time is right. When I am finished with it. INDY I hope your friends are patient. Dangerous work, Belloq. BELLOQ Yes. Very. You may consider yourself fortunate that your involvement concludes here. INDY Tell me, did you get away with the idol? BELLOQ (negative) I was lucky to get away with my life. The Hovitos proved quite narrow-minded about the whole matter. Indy takes a drink. INDY You know, if it’s God you want to talk to, maybe I can arrange it. BELLOQ (smiles) You have not changed. But, please, do not reach for your weapon until you are ready to die. The front door of the bar slams open and all nine of SALLAH’S CHILDREN scamper in and over to a surprised Indy. Two of the smallest hop into his lap. Dialogue on dialogue: Belloq cuts right to the core and it pains Indy, because he knows it's true. They're the same -- philosophically, not physically (and that's where Indy wins out) -- only the goal is different. They are mercenaries who have have veered from a path.

"Citizen Kane" (1941), screenplay by Orson Welles and Herman Mankiewicz. YouTube: https://www.youtube.com/watch?v=4qVl3eHNLx0 KANE I know you're tired, gentlemen. But I brought you here for a reason. I think this little pilgrimage will do us good. LELAND The Chronicle is a good newspaper. KANE The Chronicle is a good idea for a newspaper. Notice the circulation. BERNSTEIN Four hundred ninety-five thousand. But, Mr. Kane, look who's working for the Chronicle. With them fellows, it's no trick to get circulation. KANE You're right, Mr. Bernstein. BERNSTEIN You know how long it took the Chronicle to get that staff together? Twenty years. KANE Twenty years. Well, six years ago I looked at the picture of the world's greatest newspapermen. I felt like a kid in front of a candy store. Well, tonight six years later I got my candy, all of it. Welcome, gentlemen, to the Inquirer! Make up an extra copy of the picture and send it to the Chronicle. Will you please? It will make you all happy to learn that our circulation this morning was the greatest in New York -- six hundred and eighty- four thousand. BERNSTEIN Six hundred and eighty-four thousand one hundred and thirty-two. KANE Right. Having thus welcomed you, I hope you forgive my rudeness in taking leave of you. I'm going abroad next week for a vacation. I promised my doctor for sometime, other than I'd leave if I could. And I now realize that I can. BERNSTEIN Say, Mr. Kane, as long as you're promising, there's a lot of pictures and statutes in Europe you haven't bought yet. KANE You can't blame me, Mr. Bernstein. They've been making statutes for two thousand years. And I've only been buying for five. BERNSTEIN Promise me, Mr. Kane. KANE I promise you, Mr. Bernstein. BERNSTEIN Thank you. KANE Mr. Bernstein. BERNSTEIN Yes? KANE You don't expect me to keep any of those promises, do you? BERNSTEIN No. Dialogue on dailogue: If you can't beat 'em, buy 'em. Great dialogue, great cinematography.