Daily Dialogue theme for the week: Bar fights

December 29th, 2012 by

From the sublimity of gift-giving [courtesy of plinytheelder] to the raucous with bar fights, as suggested by Dean Scott:

I can think of several notable altercations that occur in bars or pubs. How about you? Even better, what about notable dialogue in said scenes?

The usual drill:

* Copy/paste dialogue from IMDB Quotes or some other transcript source.

* Copy/paste the URL of an accompanying video from MovieClips or YouTube.

I’d also ask you to think about why the dialogue is notable. Is there anything about the dialogue which provides some takeaway re screenwriting?

Here is the lineup for upcoming Daily Dialogue themes:

January 7-January 13: Gangster deaths [Phil Hopersberger]

January 14-January 20: Overreacting [@davidproenza]

January 21-January 27: Answering children’s questions [BillieJeanVK]

January 28-February 3: Agents [Teddy Pasternak]

February 4-February 10: Falsely accused [churnage]

February 11-February 17: Wedding toasts [Shaula Evans]

February 18-February 24: Last laugh [Vic Tional]

February 25-March 3: Boy meets girl [TaraPhelps]

March 4-March 10: Breakups [Liri Nàvon]

March 11-March 17: Innuendo [Hawkewood]

Let’s say goodbye to 2012 and hello to 2013 with a kick-ass week of movie moments featuring bar fights. See you in comments!

Comment Archive

9 thoughts on “Daily Dialogue theme for the week: Bar fights

  1. Dirty Work (1998) written by: Frank Sebastiano & Norm MacDonald & Fred Wolf

    Sam: Well, Mitch, looks like we got ourselves a fight, huh?

    Mitch: Great, it’s fightin’ time! Can I be on their side?

    Mike: Looks like there’s gonna be a brawl. You playin’ something good?

    Jimmy: Hell, yeah! Rolling Stones, Street Fighting Man! G-7!

    Mike: …you just hit G-8.

    [Jimmy looks shocked, as Escape, the Pina Colada Song, blasts from the jukebox]

    Sam: Bring it on!

    Mitch: Hey, how come you get a pool cue?

    [Gang rushes Sam]

    Sam: Come on! You fell right into my trap!

    Jimmy: Bite him! Bite him in the nose!

    [Mitch gets thrown out the window]

    Mitch: Note to self: learn to fight.


    1. Chris Farley’s reaction when the song starts playing cracks me up every time, without fail…

  2. Star Wars (1977) written by: George Lucas

    A bar fight in a galaxy far, far away…

    [Ponda Baba gives Luke a rough shove and starts yelling at Luke in an alien language which Luke doesn’t understand]

    Dr. Evazan: [explaining] He doesn’t like you.

    Luke: Sorry.

    Dr. Evazan: [grabbing Luke] *I* don’t like you either. You just watch yourself. We’re wanted men. I have the death sentence on twelve systems.

    Luke: I’ll be careful.

    Dr. Evazan: You’ll be dead!

    Obi-Wan: [intervening] This little one’s not worth the effort. Come, let me get you something.

    [Dr. Evazan shoves Luke across the room and pulls out a blaster]

    Bartender: No blasters! No blasters!

    [Obi-Wan ignites his lightsaber, severing Ponda Baba’s arm]

    http://www.youtube.com/watch?v=B-seOM8ugrw (I couldn’t find a better clip of the scene, hopefully someone else can…)

  3. Irma La Douce (1963), Written by Billy Wilder and I.A.L. Diamond, based on the play by Alexandre Breffort.


    Nestor: What are you doing?
    Irma: He’s trying to get the lipstick off.
    Nestor: Lipstick? Where did that come from?
    Irma: That’s a good question.
    Nestor: It must have been you.
    Moustache: That’s it.
    Irma: Me? I was in the hotel with His Lordship.
    Moustache: That’s not it.
    Nestor: Oh, yes, I was at the board meeting, we were takin’ a vote and one of the girls was doin’ a little lobbyin’.
    Moustache: That must be it.
    Irma: Just which girl was doing a little lobbying?
    Lolita: Come on, Tiger, how about it?
    Irma: Hey, you dropped something.
    Lolita: Where?
    Irma: There!

  4. Mean Streets (1973), screenplay by Martin Scorsese and Mardik Martin, story by Martin Scorsese.


    JOHNNY BOY: Lower the fuckin music–I can’t hear nothin.
    JOEY: The girls like it loud.
    JOHNNY BOY: Girls? You call those skanks girls?!

    JOEY, his friends, and the girls all look up. JOEY’S attitude changes.

    JOEY (to CHARLIE): What’s the matter with this kid?
    JOHNNY BOY: I feel fine–nothing wrong with me.
    CHARLIE: Keep your mouth shut.
    JOHNNY BOY: You tell me that in front of these creeps?
    JOEY: We won’t pay…
    JIMMY: Why? We just said…
    JOEY (interrupting): We won’t pay…because this guy (pointing to JIMMY) is a…mook.
    JIMMY: But I didn’t say nothin.

    The fellows look at each other bewildered.

    JOEY (to JIMMY): We don’t pay mooks!

    Nobody knows what a mook is. JIMMY’S attitude now changes.

    JIMMY (angrily): A mook…I’m a mook… (pauses) What’s a mook?

    CHARLIE can no longer control the situation as tempers rise.

    JIMMY: You can’t call me a mook!

    JIMMY swings at JOEY. A fight breaks out. JIMMY, CHARLIE, TONY and JOHNNY BOY are beaten. CHARLIE, not badly hurt manages to calm everything down. The police arrive to breakup the fight. People look in as the two cops walk into the bar. The boys stop fighting immediately as they see the cops.

    In fact, they treat CHARLIE and the others as friends–helping them up off the floor, dusting off the clothes, etc.The police search everyone. When they ask who started it–what happened, etc. everybody including CHARLIE and theothers cover for everyone else. “It was a joke officer” “He’s my cousin” “We were just kidding,” etc.

    The cops nod. “Play nice now” and leave.

  5. churnage says:


    Two snippets from “It’s A Wonderful Life”…

    George and Clarence walk into Nick’s, a smoky jukejoint that was formerly a quiet little place called Martini’s. It’s the first indication that Bedford Falls has turned into something much uglier…

    Clarence orders a flaming rum punch, which raises Nick’s ire…

    Nick: Hey look, mister. We serve hard drinks in here for men who want to get drunk fast, and we don’t need any characters around to give the joint “atmosphere”. Is that clear, or do I have to slip you my left for a convincer?

    Nick: [slamming a bottle on the bar] That’s it! Out you two pixies go… through the door, or out the window!

    George Bailey: Hold on, Nick! What’s wrong?

    Nick: That’s another thing. Where do you come off calling me Nick?

    George Bailey: Well… Nick, that’s your name. Isn’t it?

    Nick: What does that have to do with anything? I don’t know you from Adam’s off Ox.

    George Bailey: [intervening] Nick, hold on. Just give him the same as mine. He’s no trouble.

    Nick: Okay.
    [Nick walks away to tend to the bar]

    George Bailey: [to Clarence] What’s the matter with him? I never saw Nick act like that before.

    Clarence: You’ll see a lot of strange things from now on.


    After Nick overhears Clarence saying he’s over 200 years old, he’s had enough:

    Nick: [slamming a bottle on the bar] That’s it! Out you two pixies go… through the door, or out the window!

    George Bailey: Hold on, Nick! What’s wrong?

    Nick: That’s another thing. Where do you come off calling me Nick?

    George Bailey: Well… Nick, that’s your name. Isn’t it?

    Nick: What does that have to do with anything? I don’t know you from Adam’s off Ox.

  6. Vic Tional says:

    Sadly no movie clip link that I can find:

    Star Trek

    Hi. I’d like a Klabnian Fire Tea, two Cardassian Sunrises and three Earth beers, no slim-shots, anything on draft.

    VOICE (O.S.)
    That’s a lot of drinks for one woman. Wearing those boots.

    JAMES KIRK’S FACE leans in: at 22, he’s charming, witty, dangerous, rebellious. He grins at her, flirty. Uhura gives him a look, then back to the bartender:

    And a shot of Jack, straight up.

    (to the bartender)
    Make it two — her shot’s on me.

    Her shot’s on her. Thanks but no thanks.

    Don’t you want my name before you completely reject me?

    I’m good without it.

    Damn, he likes her already.

    You are good without it. It’s Jim. Jim Kirk.
    (long beat)
    If you don’t tell me your name, I’m gonna have to make one up.


    Uhura? No way — that’s the name I was
    gonna make up for you. Uhura what?

    Just Uhura.

    They don’t have last names in your world?

    Uhura is my last name.

    They don’t have first names in your world? Wait, let me guess. Is it “Jim”?

    That makes her smile. So he moves closer to her:

    Okay, so you’re a cadet. Studying. What’s your focus?

    Xenolinguistics. Lemme guess: you don’t know what that means.

    Let me guess: study of Alien languages:
    phonology, morphology, syntax– it means you’ve got a talented tongue.

    And for a moment I thought you were just
    a dumb hick who only has sex with farm animals.

    Well. Not only.

    You think you’re smart.

    Oh, baby, I’m the smartest.

    Something sad in that. A BURLY STARFLEET CADET appears.

    This guy bothering you?

    Beyond belief, but nothing I can’t handle.

    You could handle me. That’s an invitation.

    The Burly Cadet spins Kirk around:

    Hey. You mind your manners.

    At ease, Cup Cake, it was a joke. Like your hairline.

    Uhura turns back. The other cadets, seeing trouble, approach.

    Hey — Jim: enough.

    What was that?

    You heard me, Moon Beam.

    You know how to count farm boy? There’s five of us… and one of you.

    Okay, so go get some more guys, come back and it’ll be an even fight.

    The cadet swings his fist but Kirk HEADBUTTS HIS HAND, BREAKING IT — another Cadet PUNCHES KIRK, then THROWS HIM into a table, which Kirk FLIES OVER, landing hard — another Cadet GRABS HIM, pulls him up — Kirk SLAMS FIVE FAST PUNCHES that send the Cadet back — when ANOTHER CADET PUNCHES HIM — yet another HOLDS KIRK — and that last punch is repeated THREE– then FOUR times —

    Enough! STOP!

    Another punch and Kirk FLIES TO THE FLOOR – he’s out of it, but won’t give up.

    Plenty of screenwriting takeout: clever spin on a meet-cute; great use of minimal action lines (‘Damn, he likes her already’, ‘Something sad in that’); better writing than most people probably give these particular screenwriters credit for. But, crucially, some women are well worth getting in a fight for, and Zoe Saldana is most definitely one of them.

    1. Gotta say, it’s a really good script. Probably enjoyed reading it more than watching the movie.

      also: http://www.youtube.com/watch?v=IX6KT1Ai07o

Leave a Reply