Taxi Driver (1976) http://youtu.be/vJfOea-OVEg LATER. Travis and Betsy are in TIMES SQUARE, turning the corner from Broadway to 42nd Street. Travis carries the album under his arm. They approach the garish marquee of a large midtown porno theatre advertising "The Swedish Marriage Manual". The box office is flanked on both sides by glass cages filled with explicit publicity stills. Offending portions have been blocked out with black tape. Travis steps over to the window and buys two $5 tickets. Betsy, befuddled, watches him. She doesn't know what to say. Travis returns with the tickets. Betsy still has not fully comprehended what is happening: BETSY What are you doing? TRAVIS (innocent) I bought a couple of tickets. BETSY But this is a porno movie. TRAVIS No, these are the kind that couples go to. They're not like the other movies. All kinds of couples go. Honest. I've seen them.  Travis seems confused. He is so much part of his own world, he fails to comprehend another's world. Compared to the movies he sees, this is respectable. But then there's also something that Travis could not even acknowledge, much less admit: That he really wants to get this pure white girl into that dark porno theatre. Travis makes an awkward gesture to escort Betsy into the theatre. Betsy looks at the tickets, at the theatre, at Travis. She mentally shakes her head and walks toward the turnstile. She thinks to herself: "What the Hell. What can happen?" She's always been curious about these pictures anyway, and - like all women, no matter how intelligent - she's been raised not to offend her date. A perverse logic which applies even more in offsetting circumstances like these. INSIDE THE THEATER Travis escorts Betsy to an empty center row. Travis was right. Couples do go to films like this. There are at least six or seven other MEN with their bewigged "DATES". Travis settles into his familiar porno theatre slouch. Betsy looks curiously from side to side. ON SCREEN, a conservatively-dressed middle-aged woman is speaking in Swedish about importance of healthy sex life in a happy marriage. Subtitles translate her words. Then, without warning, there is a direct CUT to a couple copulating on a sterile table-like bed. Travis watches intently. The color, however, is slowly draining from Betsy's cheeks. One thought fills her mind: "What am I doing here?" TRAVIS (to himself) Damn. BETSY What's wrong? TRAVIS I forgot to get the Coca-Cola. That does it. Betsy just looks at him for a moment, then gets up and starts to leave. Travis, confused, hustles after her. He follows her out of the theatre.  ON THE SIDEWALK Travis catches up with her. TRAVIS Where are you going? BETSY I'm leaving. TRAVIS What do you mean? Betsy looks at Travis, trying to understand him: BETSY These are not the kind of movies I go to. TRAVIS Well, I don't follow movies too much... BETSY You mean these are the only kind of movies you go to? The TICKET GIRL watches expressionlessly from the booth. TRAVIS This is sort of high class... BETSY I mean porno movies. TRAVIS (hesitant) Well... mostly... BETSY My God! TRAVIS We can go to another movie if you like, I don't care. I got money. There's plenty... Travis gestures toward the long row of 42nd Street marquees, but is interrupted by Betsy: BETSY If you just wanted to fuck, why didn't you just come right out and say it? Travis is flabbergasted by Betsy's blunt language. His arm still gestures toward the marquees, his lips continue to move, but words do not come out. Unable to respond to Betsy's question, Travis picks up where he left off: TRAVIS ... there's plenty of movies around here. I haven't seen any of them, but I'm sure they're good. BETSY No, Travis. You're a sweet guy and all that, but I think this is it. I'm going home. TRAVIS (interrupting) You mean you don't want to go to a movie? (a beat) There's plenty of movies around here. BETSY No, I don't feel so good. We're just two very different kinds of people, that's all. TRAVIS (puzzled) Huh? BETSY It's very simple. You go your way, I'll go mine. Thanks anyway, Travis. TRAVIS But... Betsy... BETSY I'm getting a taxi. She walks to the curb. TRAVIS (following her) What about the record? BETSY Keep it. TRAVIS Can I call you?  Betsy looks for a cab. TRAVIS (tender) Please, Betsy, I bought it for you. Betsy looks at his sad, sweet face and relents a bit. BETSY All right, I'll accept the record. Betsy accepts the record, but quickly turns and hails a taxi. BETSY Taxi! A taxi quickly pulls up. Travis feebly protests to no one in particular: TRAVIS But I got a taxi. Betsy gives instructions to CAB DRIVER, looks briefly back at Travis, then straight ahead. Taxi speeds off. Travis looks around helplessly: A cluster of PEDESTRIANS on the crowded street has stopped to watch the argument. Travis looks back at the woman in the porno theatre box office who has also been following the argument.

An Education (2009) http://cli.ps/i9eC INT. JULIETTE'S. NIGHT A singer in the Julie London mould is singing `I'm In The Mood For Love' while cigarette girls and glamorous waitresses patrol the tables. Jenny is sitting with the others at a table in the club, eating and talking. She looks about twelve, but she's thrilled to be there. We know now that her life can never be the same again, and there will be no going back to fish- paste sandwiches with spotty Graham. DAVID Have you never heard "Chante Francoise Sagan"? Jenny shakes her head. Her eyes are wide - she's clearly awe-struck. David offers her a cigarette - a Gitane - which she takes. He lights it for her while she's listening. DANNY Oh, it's wonderful. JENNY I've only got....Well, I think it's just called `Juliette Greco'. The one with the eyes on the sleeve. I saved up and got my French conversation teacher to bring it back after Christmas. HELEN You've got a French conversation teacher? JENNY Yes. HELEN Is that why you suddenly speak French for no reason? DANNY (ignoring her) You must have seen her sing? Jenny shakes her head again and smiles. Where would she have seen Juliette Greco? Danny, meanwhile, is baffled. Who hasn't seen Juliette Greco? DAVID She's marvellous. DANNY But you should see her in Paris, not here. David will take you. DAVID I'd love to. You'd fit right in. HELEN (sympathetically) Better than here, really. DAVID It's wonderful to find a young person who wants to know things. There's so much I want you to see. They sip their drinks pensively, possibly to allow time for the double-entendre to disappear into the smoke. DAVID Are you still all right to come and have a look at that Pembroke Villas place with me on Friday, Danny? DANNY Oh. No. Can't do it. There's a Burne-Jones coming up at Christie's on Friday. And I want it. JENNY (laughing in disbelief) You're thinking of buying a Burne- Jones? A real one? DANNY I just have a feeling that the pre-Raphaelites are going to take off. JENNY I love the pre-Raphaelites. DAVID (excited by her education) Do you? JENNY Yes, of course. Rossetti and Burne-Jones, anyway. Not Holman Hunt, so much. He's so garish. Danny looks at her. There's clearly more to this schoolgirl than he thought. DAVID Absolutely! Why don't we all go to the auction? Wouldn't that be fun? JENNY An auction. Gosh. How exciting. DANNY Next Friday morning. David will pick you up. JENNY (crestfallen) Oh. Friday. DANNY You're busy? JENNY Well. Yes. She doesn't want to explain why. DANNY Tant pis. Helen looks at him aghast. Why has he started speaking French? DAVID Are you sure you're busy? Jenny hesitates. JENNY No. I'm sure I could....re- arrange. That would be lovely.

For first date as a theme, you've got to include 50 first dates: http://youtu.be/ErjP5xMTc8I I could not locate a script but here's a transcript of Sandler meeting Barrymore for the first time: l'm Lucy. Yes. l'm Henry Roth. -Nice to meet you. -Nice to meet you. It's pretty. Keep up the good work. Wait. l see you're sitting there alone. Do you wanna come and sit down? -Sure, that'd be great, if that's all right. -Okay. -So are you an architect? -l am not. l'm in fish. Oh, that's where the smell is coming from. Yeah, yeah, l was feeding a walrus this morning... ...and l thought l got most of it off of me, but guess l didn't. -l love that smell. -No, you don't. -Fish don't even like that smell. -No, l do. My dad's a fisherman. He and my brother Doug, they go out to sea for months at a time. And l miss them so much while they're gone that when they come back... ...l just hold on to them for five minutes each. And they smell just like your hands. It's the best smell in the world. Well, my fingers are available... ...for your sniffing pleasure anytime you need them. -Wanna? -Okay. Sea lions are known for their athleticism... ...and dolphins are known for their intelligence. -Walruses are known for their.... -Tusks? Their tusks. Also their male parts can get pretty gigantic. Yeah, yeah, it's the second biggest out of all the mammals. -What's the first? -l think Tattoo-Face. l like your laugh. l like you making me laugh. l hate to break this up, but we're setting up for lunch. Oh, okay. Sorry, Sue. And the real cool thing about walruses is they're very mysterious. -Mysterious? -Yeah, yeah. We don't really know what they're like in the wild. Don't they just sleep on icebergs and yawn all the time? All we really see is what they do outside of the water... ...but who knows what they do under the ice... ...where they spend two-thirds of their lives. Well, maybe they're intimidating the other creatures with their big winkies. That is one theory.

Amélie (2001) http://youtu.be/hVnFKJJYLPA -- Page 51! (etc) ;)

Grand Canyon (1991) http://cli.ps/UHLX JANE: Nice car. SIMON: Thank you. It's yellow. Of course it's yellow. All right. Okay. JANE: I thought you'd changed your mind. SIMON: Oh. No way. It's just... been a while since I did this. JANE: You haven't been going out? SIMON: I go out a little. I just can't remember the last time I was... set up. JANE: Fixed up. SIMON: Yeah. Yeah. JANE: So, what do you think so far? SIMON: So far it's all right. I like it. I'm just... just a little surprised. JANE: Why? What did you expect? SIMON: No, it's not you. I'm just surprised at how nervous I am. JANE: Me, too. SIMON: Yeah? JANE: Yeah. SIMON: That's all right. At least now we know that much about each other. Yeah. Mack must have had some reason to think this would work. I guess you've known him a while, huh? JANE: I don't know him at all. SIMON: Really? Wow. I don't know him much, either. That's funny. Maybe we're the only two black people he ever met.

From American Graffiti: Vic: Hey Deb, How's my soft baby? Debbie Dunham: Come on, beat it, Vic. I'm not your baby. Vic: Aw, come on honey. Look, so I never called you back. I've been, you know, busy. Debbie Dunham: Yeah, three weeks? Besides, it only took me one night to realize if brains were dynamite you couldn't blow your nose. Vic: Look who's talking. Hey, who's the wimp you're hanging out with now? Einstein? Debbie Dunham: Tiger happens to be very intelligent, unlike you. I know everything your dirty little mind is thinking - it shows. Terry Fields: Hey now, buddy, look. The lady obviously doesn't want to have... Vic: Look, creep. You want a knuckle sandwich? Terry Fields: Uh, no thanks. I'm waiting for a double Chucky Chuck. Vic: Then keep your smart-ass mouth shut. Vic: [pauses] Vic: Hey, I'll call you some night Deb. Some night when I'm hard up. Debbie Dunham: I won't be home. Debbie Dunham: [lights a match and throws it at him as he makes an obscene gesture at her] Debbie Dunham: Get out of here. Terry Fields: You seem to know a lot of weird guys. Debbie Dunham: That creep's not a friend of mine, he's just... *horny*. That's why I like you, you're different. Terry Fields: I am? I mean, do you really think I'm intelligent? Debbie Dunham: Yeah, and I bet you're smart enough to get us some brew. [she puts her arm around him, leans over and kisses him] Debbie Dunham: Yeah. Terry Fields: Brew? Debbie Dunham: Yeah. Terry Fields: You mean liquor. Yeah, yeah right, liquor. Yeah, this place is too crowded anyway. [starts the car, backs up and pulls out of Mel's Drive-in] Clip is later in the date... http://movieclips.com/7nrw2-american-graffiti-movie-toad-gets-lucky/

From Groundhog Day (Phil and Rita's Last First Date): Rita: It's beautiful. I don't know what to say. Phil: I do. Whatever happens tomorrow, or for the rest of my life, I'm happy now... because I love you. http://movieclips.com/6P8bR-groundhog-day-movie-happy-in-love/

TRUE ROMANCE Writer: Quentin Tarantino, http://youtu.be/N1_XGjhugRk INT. THE LYRIC THEATER - NIGHT It's still assholes and elbows on the screen with Sonny Chiba taking on all-comers. Alabama walks through the doors with her bounty of food. She makes a quick scan of the theater. Not many people are there. She makes a beeline for the front whick happens to be Clarence's area of choice. She picks the row of seats just behind Clarence and starts asking her way down it. Clarence turns and sees this beautiful girl all alone moving towards him. He turns his attention back to the screen, trying not to be so obvious. When Alabama gets right behind Clarence, her foot thunks a discarded wine bottle, causing her to trip and spill her popcorn over Clarence. ALABAMA Oh, look what happened. Oh god, I'm so sorry. Are you OK? CLARENCE Yeah. I'm fine. It didn't hurt. ALABAMA I'm the clumsiest person in the world. CLARENCE (picking popcorn out of his hair) It's OK. Don't worry about it. Accidents happen. ALABAMA (picking popcorn out of his hair) What a wonderful philosophy. Thanks for being such a sweetheart. You could have been a real dick. Alabama sits back in her seat to watch the movie. Clarence tries to wipe her out of his mind, which isn't easy, and get back into the movie. They both watch the screen for a moment. Then, Alabama leans forward and taps Clarence on the shoulder. ALABAMA Excuse me... I hate to bother you again. Would you mind too terribly filling me in on what I missed? Jumping on this opportunity. CLARENCE Not at all. I, this guy here, he's Sonny Chiba. ALABAMA The oriental. CLARENCE The oriental in black. He's an assasin. Now, at the beginning he was hired to kill this guy the cops had. So he got himself arrested. They take him into the police station. And he starts kickin' all the cops' asses. Now, while keepin' them at bay, he finds the guy he was supposed to kill. Does a number on him. Kicks the cops' asses some more. Kicks the bars out of the window. And jumps out into a getaway car that was waiting for him. ALABAMA Want some Goobers? CLARENCE Thanks a lot. ALABAMA I thought Sonny was the good guy. CLARENCE He ain't so much good guy as he's just a bad motherfucker. Sonny don't be bullshittin'. He fucks dudes up for life. Hold on, a fight scene's coming up. They both watch, eyes wide, as Sonny Chiba kicks asses. Fantastic - Liz Swan

Okay, one more and it's a real classic. I was waiting to see if anyone would suggest this scene. The Shop Around The Corner (1940) http://www.youtube.com/watch?v=WQIjcZLLsug&feature=player_detailpage#t=291s Alfred: Oh, hello, Miss Novak. Klara: Good evening, Mr. Kralik. Alfred: It's quite a coincidence. I had an appointment here, too. You haven't seen Mr. Pirovitch by chance? Klara: No, no, I haven't. Alfred: All right. Well, I think I'll wait. Do you mind if I sit down? Klara: Yes, I do. You know, I have an appointment, too, Mr. Kralik. Alfred: Oh, yes, I remember. Yes. My, your friend seems to be a little late. Klara: And I'll thank you not to be sarcastic. I know you've had a bad day, and you probably feel very bitter. Still, that's no reason – Alfred: Bitter? Me? About leaving Matuschek and Company? When I got home and sat at the phone, in five minutes I had what amounts to two offers. Klara: Well, I congratulate you. I wish you good luck. Alfred: I see you're reading Tolstoy's Anna Karenina. Klara: Yes, do you mind? Alfred: No, no, I just didn't expect to meet you in a café with Tolstoy, that's all. It's quite a surprise. I didn't know you cared for high literature. Klara: There are many things you don't know about me, Mr. Kralik. Alfred: Have you read Crime and Punishment by Dostoyevsky? Klara: No, I haven't. Alfred: I have. There are many things you don't know about me, Miss Novak. As a matter of fact there might be a lot we don't know about each other. You know, people seldom go to the trouble of scratching the surface of things to find the inner truth. Klara: I really wouldn't care to scratch your surface, Mr. Kralik, because I know exactly what I'd find. Instead of a heart, a handbag. Instead of a soul, a suitcase. And instead of an intellect, a cigarette lighter which doesn't work. Alfred: That's very nicely put. Yes. Comparing my intellect with a cigarette lighter that doesn't work. Yeah, that's a very interesting mixture of poetry and meanness. Klara: Meanness? Let me – Alfred: Don't misunderstand me, Miss Novak, I'm only trying to pay you a compliment. Klara: Mr. Kralik, please! I told you I was expecting somebody. Alfred: Look, if your party doesn't show up, would I – Klara: Don't worry about that. My party will show up. So you don't have to entertain me. Alfred: Have you read Zola's Madame Bovary? Klara: Madame Bovary is not by Zola. Mr. Kralik, are you still here? Are you deliberately trying to spoil my evening? Why do you want to do me harm? Why do you hate me so? Alfred: I don't hate you. Klara: Oh, I suppose you love me. Alfred: Why should I? What've you done to make me love you? Klara: I don't want you to love me. Alfred: I don't! Do you know what that tune reminds me of? Klara: Yes, thank you. Two dozen unsold cigarette boxes. Alfred: No, no. Wrong again. It reminds me of a girl out of a job. A very nice girl, too, I thought. Klara: You thought that? How you can lie. Alfred: But that was before you started to make fun of me and giving imitations of me in the locker room. And I'd like to take this opportunity, Miss Novak, to inform you that I don't walk like a duck and I'm not bowlegged. Klara: Aren't you? Alfred: No, I'm not. Klara: Well, I have information to the contrary. Mr. Vadas assured me that you have your trousers specially made. Alfred: Well, that's a lie! Mr. Vadas? So that's the kind of a man you trust, huh? I've never been to a tailor in my life. If you think I'm bowlegged, come on out to the sidewalk and I'll pull up my trousers. How would you like it if start making remarks about how red your hands are? Klara: That's just exactly what you did. Alfred: After you started making fun of my legs. Klara: My hands aren't red at all. Alfred: No, now after I called your attention to them. Now let me tell you something, Miss Novak, you may have very beautiful thoughts, but you certainly hide them. As far as your actions are concerned, you're cold and snippy like an old maid and you're gonna have a tough time getting a man to fall in love with you. Klara: I, an old maid? So, no man could fall in love with me? Mr. Kralik, you're getting funnier every minute. I could show you letters that would open your eyes. No, I guess not. You probably wouldn't understand what's in them. They're written by a type of man so far superior to you that it isn't even funny. I have to laugh when I think of you calling me an old maid. You! You little insignificant clerk. Alfred: Goodbye, Miss Novak. Klara: Goodbye, Mr. Kralik.