Daily Dialogue — November 13, 2011
JESSEP You want answers?!
KAFFEE I want the truth.
JESSEP You can’t handle the truth!
And nobody moves.
JESSEP (continuing) Son, we live in a world that has walls. And those walls have to be guarded by men with guns. Who’s gonna do it? You? You, Lt. Weinberg? I have a greater responsibility than you can possibly fathom. You weep for Santiago and you curse the marines. You have that luxury. You have the luxury of not knowing what I know: That Santiago’s death, while tragic, probably saved lives. And my existence, while grotesque and incomprehensible to you, saves lives. (beat) You don’t want the truth. Because deep down, in places you don’t talk about at parties, you want me on that wall. You want me there (boasting) We use words like honor, code, loyalty…we use these words as the backbone to a life spent defending something. You use ’em as a punchline. (beat) I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very freedom I provide, then questions the manner in which I provide it. I’d prefer you just said thank you and went on your way. Otherwise, I suggest you pick up a weapon and stand a post. Either way, I don’t give a damn what you think you’re entitled to.
KAFFEE (quietly) Did you order the code red?
JESSEP (beat) I did the job you sent me to do.
KAFFEE Did you order the code red?
JESSEP (pause) You’re goddamn right I did.
— Kaffee (Tom Cruise), Jessep (Jack Nicholson), A Few Good Men (1992), screenplay by Aaron Sorkin based on his play
The Daily Dialogue theme for the week is telling the truth, suggested by Teddy Pasternak. A Few Good Men suggested by Richard.
Trivia: Writer Aaron Sorkin got the story idea from his sister, who in real life experienced a very similar incident at Guantanamo from the “Lt. Galloway” perspective as a female military attorney. In that incident, the victim was similarly assaulted by nine soldiers and was badly injured, but did not die. Sorkin initially turned the idea into a play, and then this screenplay, which was his very first.
Dialogue On Dialogue: This dialogue is a payoff to a psychological ploy Kaffee plays on Jessep, luring him into needing to tell the truth even if he doesn’t want to.