Daily Dialogue — February 9, 2017
Sundance Kid: It’s your great ideas that got us into this mess. I never want to hear another one of your great ideas. Ever!
Butch Cassidy: Australia. I thought that secretly you wanted to know so I told you.
Sundance Kid: That’s your great idea?
Butch Cassidy: The latest in a long line. We get out of here alive, we go to Australia. Goodbye, Bolivia. Hello to Australia.
Sundance Kid: Australia is no better than here.
Butch Cassidy: That’s all you know.
Sundance Kid: Name me one thing.
Butch Cassidy: They speak English in Australia.
Sundance Kid: They do?
Butch Cassidy: That’s right, smart guy, so we wouldn’t be foreigners. We’d blend in more easily. They got horses in Australia and thousands of miles of countryside that we can hide out in, and good climate. Nice beaches. You can learn to swim.
Sundance Kid: No. Swimming isn’t important. What about the banks?
Butch Cassidy: Very easy. Easy, ripe, and luscious.
Sundance Kid: The banks or the women?
Butch Cassidy: Well, once you get one you get the other.
Sundance Kid: But… Australia is quite a long way from here.
Butch Cassidy: Oh, please! Everything with you has got to be perfect!
Sundance Kid: I just don’t want to get there and realize that it stinks, that’s all.
Butch Cassidy: At least think about it.
Sundance Kid: All right… I’ll think about it.
They struggle to their feet, armed with two pistols apiece.
Butch Cassidy: Hey, wait a minute. You didn’t see Lefors, did you?
Sundance Kid: Lefors? No.
Butch Cassiday: Oh, good. For a moment there, I thought we were in trouble.
— Butch Cassidy and the Sundance Kid (1968), written by William Goldman
The Daily Dialogue theme for the week: Deathbed.
Trivia: Several critics took William Goldman to task for the contemporary, overly cool and clever quality of the dialogue. Although he defended it by noting the picture was set in the early 20th century therefore not as far removed historically as they claimed, he also later noted, “There’s a lot about the screenplay I don’t like, the smart-assness being just one of them. I also find there are too many reversals and that the entire enterprise suffers…from a case of the cutes.”
Dialogue On Dialogue: A case of dramatic irony in that the audience knows Butch and Sundance are about to get blown away… while they don’t. In other words, they don’t even realize this is their deathbed moment and these are dying words.