A Boy and His Dog (1975), screenplay by L.Q. Jones, based on the novel by Harlan Ellison https://www.youtube.com/watch?v=35oAK37SeEs BLOOD: Your continued narrow-minded refusal to believe in Over the Hill is possibly costing us a better life, you know. VIC: Over the Hill, my ass. BLOOD: Well, when do we start looking for it again? VIC: Soon as I get my heart started. BLOOD: I mean, let's stop procrastinating and--- VIC: I know what you mean: Over the Hill, where the deer and the antelope play, and it's warm and it's clean, and we can relax and have fun---and they grow food right out of the ground. How do you like that pipe dream? BLOOD: It's called "farming." VIC: Oh, I believe ya. And they also have a great crop of clothes and guns and gorgeous chicks. Now, tell me how ya saw the whole wonderful thing with your baby blues. BLOOD: Never said I saw it. I said I heard about it. VIC: And from who? BLOOD: "From whom," and you know from whom. VIC: And whom the hell's gonna believe a police dog? I'm sorry, Blood. I believe ya about Over the Hill. Hell, I believe anything ya tell me. And even if we don't know for sure, it's worth checkin' on, right? Right? BLOOD: Whatever you say. VIC: And we will go, just like I promised. Right now I'm hungry and I want to get laid. So, find me a broad and we'll go to the Promised Land. BLOOD: That's what you always say. VIC: I know, I know, but I mean it this time. Find me a chick and we'll go. BLOOD: I'm hungry. VIC: So am I. Well, I tell you what: you go find a chick and I'll hustle us up some food. BLOOD: I'm hungry. VIC: You already said that, god dammit, now I just said--- BLOOD: I can't do good work when I'm hungry. VIC: You ain't pullin' that crap on me again! And you can shove that part about how you lost the ability to hunt for food when you learned how to talk! Ah, hell, all you're good for is findin' hard stringy scumbags that are just likely to cut off my goddam--- BLOOD: No food, no females. VIC: Okay, you just sit there on your fuzzy butt while I do all the goddamn work! But I'll tell you one goddamn thing: you better do some practicin'. It's been six weeks since I been laid, and sure as hell ain't been that long since you ate. By god it damn well may be if you don't start producin'! DIALOGUE ON DIALOGUE: Vic and Blood have an uneasy alliance, each with their own competing needs. Although Blood is a telepathic dog, Vic treats him like an ordinary one, a constant point of frustration for Blood. But Blood knows Vic relies on him more than Vic will admit to himself. Blood chooses to play the long game.

Lady and the Tramp (1955), script by Joe Grant, Dick Huemer, and Louis Pollock; story by Erdman Penner, Joe Rinaldi, Ralph Wright and Don DaGradi; based on the story by Ward Greene. https://www.youtube.com/watch?v=Hp46RI3BZhs JOCK: They resemble humans. TRUSTY: But I'd say a might smaller. JOCK: Aye, and they walk on all fours. TRUSTY: And, if I remember correctly, they beller a lot. JOCK: Aye, and they're very expensive. You will not be permitted to play with it. TRUSTY: But, they're mighty sweet. JOCK: And very, very soft. TRAMP: Just a cute little bundle (chuckles)...of trouble. Yeah, they scratch, pinch, pull ears...ah, but shucks, any dog can take that. It's what they do to your happy home. (Bumps Jock out of the way.) Move it over, will ya, friend? Home wreckers, that's what they are. JOCK: Look here, laddie, who are you to barge in? TRAMP: The voice of experience, buster. (Chuckles) Boy, just wait'll Junior gets here. You get the urge for a nice comfortable scratch and, "Put that dog out! He'll get fleas all over the baby!" You start barking at some strange mutt (Tramp barks) "Stop that racket, you'll wake the baby!" And then, then they hit you in the room and board department. Oh, remember those nice, juicy cuts of beef? Forget 'em. Leftover baby food. And that nice warm bed by the fire? A leaky doghouse. LADY: Oh, dear! JOCK: Dunna listen, lassie, no human is that cruel. TRUSTY: Of course not, Miss Lady, why everybody knows a dog's best friend is his human. TRAMP: (Laughing) Oh, come on now, fellas. Oh, you haven't fallen for that old line, now have ya? JOCK: Aye, and we've no need for mongrels and their radical ideas. Off with ya, now! Arf with ya! Arf with ya! TRAMP: Okay, Sandy. JOCK: My name's Jock. TRAMP: Okay, Jock. JOCK: Heather Lad O' Glencairn to you! TRAMP: Okay, okay, okay! But remember this, pigeon: the human heart has only so much room for love and affection. When a baby moves in, the dog moves out. DIALOGUE ON DIALOGUE: Lady is beset by two changes in her life: the addition of a baby to her home, and the introduction of Tramp into her life. Here, Tramp is the Trickster who arrives to counter the viewpoints of Jock and Trusty, warning that Lady's life is destined to be upset. Even after he's gone, the damage is done, leaving Lady feeling less secure.

Bolt (2008), screenplay by Dan Fogelman and Chris Williams. https://www.youtube.com/watch?v=uIN-QGBWHAI RHINO: Do my eyes deceive me? Is this some apparition I see before me? Or, could it be my hero? My gosh! Oh my gosh! Oh my gosh! (Laughs) You're Bolt, the Super Dog! You're...fully...awesome! MITTENS: Wait a minute, you know this dog? RHINO: Oh, I do. He is fully awesome. MITTENS: Uh, yeah, yeah, yeah, we've established that. Who are you? RHINO: I'm Rhino. MITTENS: Rhino, the hamster? RHINO: Well, you know, my ancestry isn't all hamster. I'm one-sixteenth wolf with a, you know, a little wolverine in there somewhere, but...tha...tha...that's besides the point. We have before us a legend: Bolt, the Super Dog! He can outrun speeding missiles and...and...and burn through solid metal with his heat vision. Ooh, ooh, and best of all, he can obliterate large structures with his super bark! MITTENS: Wait a minute, You've seen the super bark? BOLT: Have you been observing me? RHINO: Oh, yeah. I watch you all the time. BOLT: That's incredible. RHINO: Ahh, it's nothing, really. BOLT: But I'm always so vigilant. No one can evade my detection. You're a phantom. RHINO: Uh, if you say so. Oh, hey, check it out---wahzoo! Take a gander at this Bolt action. Scary, huh? It's like we are twins. MITTENS: Yeah, scary. RHINO: So, where's Penny? BOLT: She was kidnapped by the Green-eyed Man. RHINO: Kidnapped? This is terrible! She could be in--- BOLT: ---Grave danger, I know, but I've captured this cat. RHINO: An agent of the Green-eyed Man, I presume? BOLT: Oh, you presume correctly. She's taking me to Penny. RHINO: You! You are vile vermin. How do you sleep at night? Penny's the most wonderful person ever, and she loves Bolt, and he's awesome, and you're a monster! How dare you disrupt their relationship with your evil---die! Die! BOLT: Whoa, whoa, whoa! RHINO: I can take her, Bolty. Die! Die! Die! BOLT: Easy, easy, Rhino. Easy, boy. RHINO: You're right, we need her alive. MITTENS: Uh, we? RHINO: Yes! Bolt, I can be a valuable addition to your team. BOLT: I'm listening. RHINO: I'm lightening quick. I have razor-sharp reflexes. Hoo-wah! And, I'm a master of stealth. (Chuckles) Plus, I'll keep the cat in check. BOLT: The road will be rough. Rhino: I have a ball. BOLT: There's no turning back. Rhino: Guess I'll have to roll with the punches. BOLT: Easy won't be part of the equation. Rhino: Promise? BOLT: Gotta warn you: going into the belly of the beast. Danger at every turn. RHINO: I eat danger for breakfast. BOLT: You hungry? RHINO: Starving! DIALOGUE ON DIALOGUE: Bolt is a dog raised on a television set from a puppy and doesn't know about the real world. Shipped across the country by accident, he's trying to make his way home. Cats are the minions of the evil Green-eyed Man on his TV show, so Bolt takes Mittens, a streetwise stray, prisoner thinking to force her to reveal the location of Penny, his human companion on the show. Mittens shares none of Bolt's illusions. Rhino the hamster is an avid fan of Bolt's TV show. This scene brings Rhino to the team as the comedy relief, and also shows the first cracks in Bolt's illusion, as he doesn't understand Rhino's references to watching him all the time (on TV). With the group complete, the adventure can now get underway.

As Good as It Gets (1997), story by Mark Andrus, Screenplay by Mark Andrus and James L. Brooks https://www.youtube.com/watch?v=itIDxKxfGJI Frank shoves Verdell's plate into Melvin's hand. FRANK: Thanks for looking after him. MELVIN: Hey. Where are you going? You can't do this! FRANK: YOU DON'T WANT TO MESS WITH ME TODAY. MELVIN: I can't fit a dog... nobody's ever been in here before. Verdell runs into Melvin's flat and scans his new surroundings. MELVIN: (pleading) Hey Frank. Frank? Hey Frank. Frank! Frank gets on the lift as the doors slide closed. Melvin enters his flat looking for the dog as Verdell hides. He locks his two bolts. MELVIN: (muttering) One, two, three, four, five. The dog walks out on Melvin. He jumps back. MELVIN: (Sighs) You are dead. We don't have no dog food here. We don't want no dog food here. You'll eat what we got. What we eat. In the kitchen, Melvin takes some roast beef and bacon from the fridge as Verdell sits and licks his snout. MELVIN: Right. He turns toward the dog in the living room. MELVIN: Don't you do anything! Verdell looks back in silence. Moments later, Melvin sits by his piano while Verdell stands in front of his plate full to the brim with meat and bacon. Verdell stares at the plate and back to Melvin. MELVIN: Where's the trust? He sighs. Verdell barks at the plate. MELVIN: Never... never dogs. DIALOGUE ON DIALOGUE: Through his relationship with Verdell, Melvin, a closed, racist, OCD-suffering, obnoxious person (who said you HAD to make your characters likeable), learns to lower his defenses and open up to a world where he can experience love and friendship, not just write about it.