Skyfall (2012) Screenplay by Neal Purvis, Robert Wade and John Logan; based on the characters created by Ian Fleming https://www.youtube.com/watch?v=xMOYiV7hUR0 SILVA: You're smaller than I remember. M: Whereas I barely remember you at all. SILVA: Strange. For me, it feels just like yesterday. Are you surprised? M: Not particularly, but then you always were a slippery one. SILVA: Maybe that's why you liked me so much. M: You flatter yourself. SILVA: Oh! No remorse. (Sighs) Just as I had imagined. M: Regret is unprofessional. SILVA: (Laughs) Regret is unprofessional. They kept me for five months in a room with no air. They tortured me. And I protected your secrets. I protected you. But they made me suffer...and suffer...and suffer...until I realized it was you who betrayed me. You betrayed me. So, I had only one thing left. My cyanide capsule in my back left molar. You remember, right? So, I broke the tooth and bit into the capsule. It...burned all my insides. But I didn't die. Life clung to me like a disease. And then I understood why I had survived. I needed to look in your eyes one last time. M: Well, I hope it was worth it. Mr. Silva, you're going to be transferred to Belmarsh Prison where you'll be remanded in custody until the Crown Prosecution Service deem you fit to stand trial for--- SILVA: Say my name. Say it. My real name. I know you remember it. M: Your name is on the memorial wall of the very building you attacked. I will have it struck off. Soon your past will be as nonexistent as your future. I'll never see you again. SILVA: Do you know what it does to you? Hydrogen cyanide? (He removes his dental plate) Look upon your work, Mother. DIALOGUE ON DIALOGUE: Accusations aren't always plainly stated. Silva never says "you did this to me." In this exchange we get some backstory about the relationship between M and Silva, enough to understand his hatred of M. But then the course of the exchange changes as Silva mocks M through an indirect accusation, implying she is both responsible for his condition and irresponsible when she should have acted as a protective parent. It says a great deal about how he views M.

Despicable Me 2 (2013) Screenplay by Writers: Cinco Paul and Ken Daurio https://www.youtube.com/watch?v=aO8X89Zrzq4 GRU: So, what do we got? Who's on the list? Fire 'em at me. LUCY: First suspect: Hedda Bloomintop, proprietor of Mum's the Word floral shop. GRU: No, not her. LUCY: Okay, moving on...Chuck Kinney, owner of Stuff-a-Bear. Ooh. GRU: I don't think so. The shop door bell rings. EDUARDO: Hello? Gru and Lucy try to assume casual poses. EDUARDO: Buenos dias, my friends. I am Eduardo Perez, owner of Salsa y Salsa Restaurant across the mall. Now open for breakfast. And you are...? GRU: Gru. And this is Lucy, and we are closed. EDUARDO: This is just gonna take un momento. I am throwing a big Cinco de Mayo party and I am going to need two hundred of your best cupcakes, decorated with the Mexican flag. It looks something like this. (Removes his shirt to show a tatoo of the flag.) What do you think? LUCY: Ooh! GRU: Ugh! Look away! EDUARDO: Anyway, I have to go. It's all settled. I pick 'em up next week. Have a good day. Come by if you get a chance, okay? GRU: Ahh! Eduardo returns. EDUARDO: And welcome to the mall family! Gru gasps as he thinks he recognizes Eduardo. Eduardo leaves again. GRU: El Macho! LUCY: What? GRU: But this couldn't be. LUCY: What...what...what couldn't be? GRU: That guy looks exactly like a villain named El Macho, from about twenty years ago. He was ruthless. He was dangerous. And, as the name implies, very macho. He had the reputation of doing a heist using only his bare hands! Ah, but sadly, like all the greats, El Macho was gone too soon. He died in the most macho way possible: riding a shark with two hundred and fifty pounds of dynamite strapped to his chest into the mouth of an active volcano. It was glorious! LUCY: Yeah, sounds like El Macho's pretty dead. GRU: They never found the body, oh no! All that was ever retrieved was a pile of singed chest hair. But that face! It has got to be El Macho! LUCY: Then what do you say you and I break into his restraurant...tonight? GRU: Yes, that's good, 'cause I'm telling you, if anybody in this place has the PX-41 syrum, it's him! DIALOGUE ON DIALOGUE: In this follow-up to the original Despicable Me, Gru is contracted by the Anti-Villain League to discover the thief who stole an entire laboratory to get a potent secret potion. As Gru and AVL agent Lucy begin to establish themselves as proprietors of a cupcake shop in a mall, Gru makes a startling discovery, one that no one but he believes. This exchange provides the chance to establish some backstory on the potential antagonist and sets up the rivalry for the ensuing storyline.

Another scene out of „Mistress America“, which I enjoyed a lot. I couldn‘t find a video of the scene therefore I quoted the script (without checking, if there very any changes). The scene / sequence is very long, but it‘s all about accusing the main character, but it would be possible to shorten the dialogue just giving the second part for the DD. (((((((((((FIRST PART TONY: I love YOU! NICOLETTE: Don’t lie to my face and stab me in the back butter boy! TONY: Hey, that’s mean... She sees Tracy. NICOLETTE: You’re stealing my boyfriend! You’re cuckholding me! She starts hitting Tracy. Harold and Karen enter. NICOLETTE You bitch whore! BROOKE: Guys! TONY (to Brooke): She just started attacking her! HAROLD (walking in): What IS it about this house? Everyone screams. MAMIE-CLAIRE: Please stop it! Brooke helps Mamie-Claire pull Nicolette off Tracy. NICOLETTE (still struggling): She’s stealing my boyfriend! TRACY: I am not! TONY: I resisted! I resisted! BROOKE: Chill the fuck out. DYLAN: Ladies, ladies. KAREN: (re: her stomach) I don’t like shouting around the baby. MAMIE-CLAIRE (to Karen): Is that a real thing? TONY: I’m right here, she’s not stealing anything... NICOLETTE: It’s NOT just that! There’s also THIS! She pulls a wrinkled stack of papers out of her pants. BROOKE: What the fuck is that? KAREN: Or cursing. NICOLETTE: Tracy knows what it is. I’ll give you a hint: it’s onion skin. CLOSE on Tracy. Nicolette points at her. NICOLETTE (pointing her finger): She’s a HOMEWRECKER and a bad person. TRACY (to Brooke): It’s not you... It’s just inspired. You make me want to write. MAMIE-CLAIRE: This is so nerdy. DYLAN: Who wouldn’t want to write a story about Brooke? MAMIE-CLAIRE (raising her hand): Me. I wouldn’t. TONY (to Nicolette): Baby, I resisted. HAROLD (settling in, taking a seat): Can I get a drink? KAREN: Here, have mine. (giving him her wine) They keep handing me alcohol. BROOKE (to Tracy): You wrote a story about me? NICOLETTE (to Brooke): She hates you - she wrote mean things about you. TRACY: No I didn’t! BROOKE: I’d like to read it. If it’s about me. DYLAN: I’d like to, too. MAMIE-CLAIRE (to Dylan): You don’t read fiction. DYLAN: When it’s about my friends I do. TRACY (to Brooke): Oh, it’s not really you, but it’s very funny, the character that Nicolette and Tony misconstrued as you is a very funny character. BROOKE (not thrilled with this): Funny? What does it say? TRACY: It’s not funny. It’s just...it’s not you. NICOLETTE (to Brooke): Do you live in an apartment that’s zoned commercial? Brooke hesitates. BROOKE: Gimme that story. She snatches it out of Nicolette’s hands. CUT TO: Brooke reads with Mamie-Claire, Karen, Harold and Dylan all reading over her shoulder. Tony and Nicolette also hover in the background, reading here and there. Tracy watches nervously from across the room. Brooke starts to turn the page. Everyone indicates they’re not finished with that page yet. CUT TO: Brooke turns the final page. She looks at Tracy. She is FURIOUS. END OF FIRST PART))))))))))))))) TRACY: It wasn’t meant to be hurtful - I didn’t mean to hurt you, Brooke. BROOKE (shaking with fury): You don’t get to decide what’s hurtful and not hurtful. TRACY: I can only tell you my intention. BROOKE: You wrote this after ONE night with me? ONE?! TRACY: I guess so, yeah, it felt longer. BROOKE: You think I’m a rotting carcass? That I’m doomed to failure??? TRACY: No! It’s fiction that’s why it’s fiction... BROOKE: So much of this “fiction” did NOT happen this way. Karen, you’re a lawyer. I’m going to sue you until you have NOTHING. TRACY: I’m just writing from my life... BROOKE: No, this isn’t your life! TRACY: But I was there that night. BROOKE: NO! I was going to have that night anyway, you never were! TRACY: But I did have it though. BROOKE: You joined my life - you needed a place to go and I invited you in and then you stole my life. You’re a LEECH. A BLOODSUCKER. TRACY: You loved being admired by me, you loved it, you loved having lessons to impart... BROOKE: I DIDN’T ASK FOR YOU. Tracy looks for support from Tony and Nicolette. TRACY: Brooke, you know great plays, right? - how would it have been if Tennessee Williams hadn’t used people he knew, there wouldn’t be any plays, there wouldn’t - BROOKE: I DON’T GIVE A SHIT BECAUSE I AM NOT A FRIEND OF TENNESSEE WILLIAMS. TRACY: You took something I said and made a tweet about it! What about that? BROOKE: That’s different! You were right there! You knew I was Twittering, it wasn’t some sneaky shitty thing - do you want me to credit you? Or no I’ll just delete it. TRACY: That’s not the point I’m asking you to empathize. BROOKE: It’s my least popular tweet anyway! TRACY: Stop talking about Twitter, it’s so awkward! BROOKE: You are much more of an asshole than you initially appear. NICOLETTE: I agree. BROOKE (looking again at the story): And...you think I haven’t dealt with the pain of my mother’s death? I deal with it all the time, I talk about it all the time. TRACY: You talk about it all the time, but you never talk about HER. You just throw out that she died and that shuts everyone up. Your tragedy is your armor in which nothing is ever your fault. Brooke looks around, desperately wild eyed, looking for support. BROOKE: PLEASE! PLEASE FRIENDS! SOMEONE DEFEND ME AGAINST THIS MONSTER! Everyone jumps on Tracy, agreeing with Brooke, says she’s a dick. KAREN: It’s like your whole generation, it’s all pastiche. Mamie-Claire has been writing. She finishes and calmly joins the discussion. MAMIE-CLAIRE: The emotional betrayal I can’t speak to - TRACY: I didn’t “betray” her - MAMIE-CLAIRE: But I can say that you portray women terribly. And because of that. Mamie-Claire refers to her piece of neatly folded paper. MAMIE-CLAIRE: I’ve prepared some questions I’d like you to think about. TRACY: Are you fucking kidding me? MAMIE-CLAIRE: And I want you to answer these questions, not for our satisfaction, but for your own.(gazing at her paper) One: Do you believe in the women’s right to choose? TRACY: Yes, what does that - MAMIE-CLAIRE: Excuse me, I’m not done. BROOKE: She’s not done, bitch! MAMIE-CLAIRE: Brooke, please. Two: What do you think someone who bombs abortion clinics would think of your story? TRACY: There isn’t even an abortion in this story! BROOKE: No you just portray women as crazy desperate gold diggers! TRACY (to Brooke): You seemed so cool so totally amazing I didn’t think it would be possible to hurt you... BROOKE: Of COURSE it’s possible, I am the MOST sensitive person... MAMIE-CLAIRE: To your own feelings. BROOKE (wailing): Mamie-Claire! MAMIE-CLAIRE: Sorry, I don’t really think that, it’s just something I would have said at one time. KAREN: I have to say, what you did to Brooke is f-ed up. TRACY: Karen, you don’t see my side? KAREN: No, sweetheart. HAROLD: You don’t have a side you’re just wrong. MAMIE-CLAIRE: You must call the Lit Society and tell them you’re withdrawing your essay-- TRACY: It’s not an essay, it’s a short story. MAMIE-CLAIRE: This cannot appear in print or online. Karen, will you represent Brooke? KAREN: I’m a tax attorney, but OK. MAMIE-CLAIRE: Will you draw up a contract, please? KAREN: Yes, and in the meantime, I’m going to ask you to rewrite the story and give Brooke the rewritten story. I’ll give you my email and you can BCC me. NICOLETTE: She could just CC you. TONY: Nic’s right, because we’d already know that you’re getting it... KAREN: Sure, CC me. HAROLD (sympathetically): Technology can be complicated. DYLAN: I know! I just learned what “case sensitive” meant seriously yesterday. TRACY: I’m not going to do any of this stuff. You’re my sister and I love you but I stand by what I did. BROOKE: Guess what, bitch? My dad isn’t going to marry your slutty atheist mother so we’re not sisters. We never will be. We’re nothing to each other. Mamie-Claire tucks her folded paper into Tracy’s pocket. MAMIE-CLAIRE: There are ten questions there. All equally important for you to answer. TRACY: Brooke... — Mistress America (2015), written by Noah Baumbach and Greta Gerwig https://www.youtube.com/watch?v=6z8MCW16uZY Trivia: Noah Baumbach and Greta Gerwig worked on another screenplay after „Frances Ha“ and it had the character of Brook in it. Gerwig started talking in the voice of Brooke, and they started writing more about Brooke and they thought: "Maybe we should give Brooke a movie.“ Dialogue on Dialogue: What‘s so funny in this scene: everybody is against Tracy, even the characters who were against Brook before, form a tribunal and bring their own themes in. And this tribunal don‘t stop - over 9 pages of the script. You as a writer, who is inspired by persons around you every day: Is their accusation justified or false?

another suggestion: the moon-faced boy with the ball (Hansl) accusing the main protagonist of "The Third Man" Martins being the murderer. One of the greatest scene in cinema history. For the little boy it's a game. He is so proud, that he recognizes Martins. And he happily repeats: "Daddy, this is the murderer!" Though Martin is innocent, the crowd turns against him. Things can be easily misunderstood. unfortunately I couldn't find the scene, and I couldn't find out, how the English version has been (the German dialogue with subtitles oder dubbed) as I just have a totally German dubbed version of the movie. The transcript found here (http://www.aellea.com/script/the_third_man.txt) has lots of typos in it, and doesn't fit exactly the German version. (beyond that it doesn't help a lot, if you don't speak German). shortest version for the DD-series would be: "Yes, Daddy, I've seen it. This is the murderer. Murderer, murderer." (in German: "Ja, Papi, ich hab's doch g'sehen. Der is' der Moerder. Moerder. Moerder.") this is the hole scene with typos and mistakes mentioned above: MARTINS: What's the matter, what is loos... MAN: (in German) De porter ist um gebracht worden. MARTINS: I don't understand. MAN: The porter. Dead. Kaput. He's murdered. The porter is odraht, kaput BOY: Papa! Papa! FATHER: (in German) Was willst den Hansel? BOY: Papa der war's. FATHER: Was den herr da? BOY: Ja, papa. Ich hab's doch g'sehen! Papa, der ist der morder. Morder! Morder! FATHER: Sagen sie haben sie einen streit gehabt mit dem portier? MARTINS: I don't understand. BOY: Hey, vo gest due mir? Ta papa der war's. Der war's. Ja papa, der is der murder. ANNA: What is it? MARTINS: The porter's been murdered. FATHER: Warms er ist der mit...dem portier die rauferei gehabt hat. WOMAN: Warscheinlich ist der murder. ANNA: They think you did it. BOY: Morder! Morder! So gemascht odraht. Papa! Papa der war's. FATHER: Hullo! warten sie bissl. Sie moment mal. BOY: Papa! Papa! FATHER: Stock stehen hier. If you want, I could translate it. But perhaps there is an English version somewhere. Trivia: The huge ferris wheel that Martins and Lime ride on in the Prater was erected in 1897. Sigmund Freud claimed to have used it to induce seasickness in patients while experimenting with cocaine as a treatment. here is the trailer: https://www.youtube.com/watch?v=F-QWLAndD1E

Doubt — “What Have I Done?” Directed by John Patrick Shanley Based on the stage play Doubt: A Parable by John Patrick Shanley; screenplay by John Patrick Shanley [submitted by Gregory A. Netterville] URL: https://www.youtube.com/watch?v=FuJ2soRp1VI INT. PRINCIPAL’S OFFICE – DAY (Flynn is in. He shuts the door.) FLYNN: May I come in? SISTER ALOYSIUS: A third party would be required. FLYNN: Yup – what was Donald’s mother doing here? SISTER ALOYSIUS: We were having a chat. FLYNN: About what? SISTER ALOYSIUS: A third party would truly be required. (The storm picks up outside.) FLYNN: No, Sister. No third party – me and you are due for a talk… You have to stop this campaign against me. SISTER ALOYSIUS: You can stop it – at any time. FLYNN: How? SISTER ALOYSIUS: Confess and resign. FLYNN: You are attempting to destroy my reputation! SISTER ALOYSIUS: Who keeps opening my window? (A gust of wind comes in the window and blows some papers on the floor. She goes to the window. She raises the blinds, shuts the window, flips the blinds open.) SISTER ALOYSIUS: What are you doing in this school? FLYNN: I’m trying to do good! SISTER ALOYSIUS: (on her knees, picking up the fallen papers) Even more to the point – what are you doing in the priesthood? FLYNN: You are single-handedly holding this school and this parish back! SISTER ALOYSIUS: From what? FLYNN: Progressive education and a welcoming church! SISTER ALOYSIUS: You can’t distract me, Father. This is not about my behavior, it’s about yours. (She stands upright.) FLYNN: No, this is about your unfounded suspicions. (She starts arranging the papers.) SISTER ALOYSIUS: That’s right… I have suspicions. FLYNN: Just leave that. It’s not important. SISTER ALOYSIUS: I will decide what’s important. FLYNN: Why do you suspect me? What have I done? SISTER ALOYSIUS: You gave that boy wine, and you let him take the blame. FLYNN: That’s completely untrue! Did you talk to Mr. McGuinn? SISTER ALOYSIUS: All McGuinn knows is that the boy drank wine. He doesn’t know how he came to drink it. FLYNN: Did his mother have something to add to that? SISTER ALOYSIUS: No. FLYNN: So that’s it? SISTER ALOYSIUS: I am not satisfied. FLYNN: Ask the boy then. SISTER ALOYSIUS: Oh, he’d protect you. FLYNN: Why would he do that? SISTER ALOYSIUS: Because you seduced him. FLYNN: You’re insane. You’ve got it in your head that I’ve corrupted this child after giving him wine, and nothing I say will change that. SISTER ALOYSIUS: That’s right. FLYNN: But this has nothing to do with the wine – not really. You’ve had a fundamental mistrust of me before this incident! It was you that warned Sister James to be on the lookout, wasn’t it? SISTER ALOYSIUS: That’s true. FLYNN: So you admit it! SISTER ALOYSIUS: Certainly. FLYNN: Why? SISTER ALOYSIUS: I know people. FLYNN: That’s not good enough. SISTER ALOYSIUS: It won’t have to be. Dialogue on dialogue: It’s just good to see two heavyweights go at it. Enough said.