“…Thanks to a script opposition (Raskin, 1985;Attardo & Raskin, 1991) between architecture and terrorism, AP switches into a humorous mode of communication which is prosodically r amed (Bertrand & Priego-Valverde, 2011). Producing this humorous utterance, AP disrupts the ongoing talk (Norrick, 1993) and initiates a side sequence whose main goal is the production of humor.…”