In contrast to Sergio Leone's westerns, Sholay was all about power-packed dialogues with some little silent moments stitched in.
There is enough warning of a particular coin in the opening scenes of Sholay. Post the opening credits, the jailor and Ramlal arrive at Thakur's abode, there is no grand background music here, effective as white paper for the dialogues to stamp their authority. A deceptive quietness persists, an apt precursor to the train robbery scene.
The jailor has arrived in Ramgadh in response to Thakur's (now obsolete mode of communication) telegram. He is shown a photographs of two crooks (The audience never sees the photographs, nice touch) and on Thakur's query tells him that they are scoundrels and never up to any good. Yet, Thakur needs him to find the men. The jailor wonders why? The following dialogues sum it up.
KHOTA SIKKA TOH DONO TARAF SE KHOTA HOTA HAI.
SIKKE AUR INSAAN MEIN SHAYAD YAHI FARAK HAI...
Our lesson, bhakt jano!: No person is of one shade. Hate the sin, not the sinner!