Teddy Pasternak at 2012-07-07 19:23:59:

The Meaning of Life (1983) Written by Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones & Michael Palin. http://cli.ps/dDwK BLACKITT: Sir... if-- if we-- we don't meet again, sir, I'd just like to say it's been a-- it's been a real privilege fighting alongside you, sir. BIGGS: Yes, well... SPADGER: Yeah. BIGGS: I think this is hardly the time or place for a good-bye speech, eh? Hah. BLACKITT: No. No, me and the lads realize this, sir, but, well... BIGGS: Ehh. BLACKITT: ...we may never meet again, sir, so... I-- BIGGS: Yes, all-- all-- all right, Blackitt. Thanks a lot. BLACKITT: No, eh, just a moment, sir. SPADGER: Duck. BLACKITT: You see, me and the lads, we've had a little whip-around, sir. We bought you something, sir. SPADGER: Ahh. BLACKITT: We bought you this, sir. SPADGER: Ah. Hhh. BIGGS: Oh. Well, I-- I don't know what to say. It's a-- it's-- it's a lovely thought. Thank you. Uh, thank you all. SPADGER: All right, sir. BIGGS: ...but-- WALTERS: You're welcome. BIGGS: But I-- I-- I-- I think we'd better get to cover now. ? BLACKITT: Hang on a tick, sir. We got something else for you as well, sir. SPADGER: Aah. BLACKITT: Uh. SOLDIERS: Ah. Ah. Ehh... BLACKITT: Sorry it's another clock, sir. Only there was a bit of a mix-up. Well, Walters thought he was buying the present, and Spadger and I had already got the other one. BIGGS: Well, it's-- it's beautiful. ?They're both beautiful. WALTERS: Aah! BIGGS: I-- I think we'd better get to cover now... BLACKITT: Oh, sir, and Corp-- BIGGS: ...and I'll thank you properly later on. SPADGER: Uhh. Ehh. BLACKITT: Corporal Sturridge got this for you as well, sir. He didn't know about the others, sir. It's Swiss. BIGGS: Oh, well, now, that is thoughtful, Sturridge. Good man. BLACKITT: And there's a card, sir, from all of us. Sorry about the blood, sir. ? BIGGS: Thank you all. BLACKITT: Squad, three cheers for Captain Biggs. Hip hip-- SOLDIERS: Hooray! BLACKITT: Hip hip-- SOLDIERS: Hooray! BLACKITT: Hip hip-- ?Oooooh! SOLDIERS: Hooray! BIGGS: Blackitt! Blackitt! BLACKITT: I-- I'll be all right, sir. Oh, there's just... one other thing, sir. Spadge, give him the cheque. SPADGER: Oh, yeah. Uhh. BIGGS: Oh, now, this is really going too far. SPADGER: Oh. I don't seem to be able to find it, sir. Uhh, it'll be in-- be in Number Four Trench. I'll go and get it. BIGGS: For Christ's sake, forget it, man! SPADGER: You shouldn't have said that, sir. You've hurt his feelings now. BLACKITT: Don't mind me, Spadge. Toffs is all the same. One minute it's all 'please' and 'thank you', and the next, they'll kick you in the teeth! STURRIDGE: Yeah. WALTERS: Let's not give him the cake. BIGGS: I don't want any cake. SPADGER: Look. Blackitt cooked it specially for you, you bastard! STURRIDGE: Yeah, he saved his rations for six weeks, sir. BIGGS: Sorry. I didn't mean to be ungrateful. SPADGER: Yeah. BLACKITT: I'll be all right.?Ahh! SPADGER: Blackitt! Blackie! Look at him. He worked on that cake like no one else I've ever known. Some nights it was so cold, we could hardly move, but Blackie'd be out there slicing the lemons, mixing the sugar and the almonds. I mean, you try trying to get butter to melt at fifteen degrees below zero! There's love in that cake. This man's love... and this man's care... and this m--?Aghh! BIGGS: Oh, my Christ! STURRIDGE: You bastard. BIGGS: All right! We will eat the cake! ?They're right. It's-- It's too good a cake not to eat! Get the plates and knives, Walters. WALTERS: Yes, sir. How many plates? BIGGS: Six. WALTERS: Fine.?Aahh! BIGGS: Uh. WALTERS: Agh. BIGGS: Oh. Better make it five. STURRIDGE: Tablecloth, sir? BIGGS: Yes, get the tablecloth. STURRIDGE: Aaghh! Uh. BIGGS: No, no, no, no. I'll-- ?I'll get the tablecloth and you'd better get the gate-leg table, Hordern. HORDERN: Ohh. Aahh! And the little mats, sir? BIGGS: Yes! HORDERN: Right-o. BIGGS: All right, while you're at it, you'd better get a doily! HORDERN: I'll bring two, sir, in case one gets scrumpled. BIGGS: Okay! Eh. ? [boom boom boom]

Teddy Pasternak at 2012-07-07 20:19:04:

Almost Famous (2000) Written by Cameron Crowe http://www.youtube.com/watch?v=vmVaCbxkd34 EXT. FRONT LAWN -- DAY William watches sadly. Anita's good-looking boyfriend DARRYL, a dead ringer for young Stephen Stills, loads her suitcases into a large turqouise Chevy. The suitcases are adorned with plastic stick-on flowers. All coolness is leaving William's life. Mom watches nearby, worried and helpless. (Their house is more austere, less "fun" than the other front lawns.) WILLIAM Take good care of her in San Francisco, man. Darryl gives the kid a sub-human look. He's invisible, too young to converse with. ELAINE How can she leave such a loving family? Anita turns and heads towards them. She focuses on William, placing her hands on his young shoulders. Her face is very close to him now, as she delivers this sage prediction of the future. ANITA One day you'll be cool. He nods stoically, hopefully. He is utterly lost. She leans forward and whispers in his ear. ANITA (cont'd) Look under your bed. It'll set you free. Anita shakes hands with Mom, and exits. As the car takes off: ELAINE She'll be back. In the distance we hear the whoop of her daughter. ANITA YEAHHHHH-HOOOOOOOO. ELAINE Maybe not soon...

Shaula Evans at 2012-07-08 08:34:01:

Casablanca (1942) INT./EXT. AIRPORT HANGAR - NIGHT A uniformed ORDERLY uses a telephone near the hangar door. On the airfield a transport plane is being readied. ORDERLY Hello. Hello, radio tower? Lisbon plane taking off in ten minutes. East runway. Visibility: one and one half miles. Light ground fog. Depth of fog: approximately 500. Ceiling: unlimited. Thank you. He hangs up and moves to a car that has just pulled up outside the hangar. Renault gets out while the orderly stands at attention. He's closely followed by Rick, right hand in the pocket of his trench coat, covering Renault with a gun. Laszlo and Ilsa emerge from the rear of the car. RICK (indicating the orderly) Louis, have your man go with Mr. Laszlo and take care of his luggage. RENAULT (bowing ironically) Certainly Rick, anything you say. (to orderly) Find Mr. Laszlo's luggage and put it it on the plane. ORDERLY Yes, sir. This way please. The orderly escorts Laszlo off in the direction of the plane. Rick takes the letters of transit out of his pocket and hands them to Renault, who turns and walks toward the hangar. RICK If you don't mind, you fill in the names. That will make it even more official. RENAULT You think of everything, don't you? RICK (quietly) And the names are Mr. and Mrs. Victor Laszlo. Renault stops dead in his tracks, and turns around. Both Ilsa and Renault look at Rick with astonishment. ILSA But why my name, Richard? RICK Because you're getting on that plane. ILSA (confused) I don't understand. What about you? RICK I'm staying here with him 'til the plane gets safely away. Rick's intention suddenly dawns on Ilsa. ILSA No, Richard, no. What has happened to you? Last night we said -- RICK -- Last night we said a great many things. You said I was to do the thinking for both of us. Well, I've done a lot of it since then and it all adds up to one thing. You're getting on that plane with Victor where you belong. ILSA (protesting) But Richard, no, I, I -- RICK -- You've got to listen to me. Do you have any idea what you'd have to look forward to if you stayed here? Nine chances out of ten we'd both wind up in a concentration camp. Isn't that true, Louis? Renault countersigns the papers. RENAULT I'm afraid Major Strasser would insist. ILSA You're saying this only to make me go. RICK I'm saying it because it's true. Inside of us we both know you belong with Victor. You're part of his work, the thing that keeps him going. If that plane leaves the ground and you're not with him, you'll regret it. ILSA No. RICK Maybe not today, maybe not tomorrow, but soon, and for the rest of your life. ILSA But what about us? RICK We'll always have Paris. We didn't have, we'd lost it, until you came to Casablanca. We got it back last night. ILSA And I said I would never leave you. RICK And you never will. But I've got a job to do, too. Where I'm going you can't follow. What I've got to do you can't be any part of. Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. Now, now... Ilsa's eyes well up with tears. Rick puts his hand to her chin and raises her face to meet his own. RICK Here's looking at you, kid. https://www.youtube.com/watch?v=rEWaqUVac3M&feature=relmfu

Teddy Pasternak at 2012-07-08 10:44:58:

Here's an example where the actual departure is silent, or unspoken, rather. It's the dialogue leading up to the departure that matters together with the terrific visual storytelling. I love this film. There's such beauty and honesty to it. Not a hint of cynicism which could have easily happened in the wrong filmmaker's hands. The Straight Story (1999) Written by John Roach and Mary Sweeney http://www.youtube.com/watch?v=G0sRTP40bjc ALVIN (cont'd) When my kids were young I played a game with them. I'd give each of them a stick. One for each of 'em, and I'd tell them to break it. They'd do that easy. Then I'd tell them to make one bundle of all the sticks and try to break that. A course they couldn't. I used to say that was family, that bundle. Crystal listens in silence. ALVIN (cont'd) Sleep in the trailer if you want. I'll be just fine here in my chair. CRYSTAL No, I'll be fine sleeping out here. Looking at the stars helps me think. Alvin nods. He begins to struggle to his feet. Crystal stands to help him. After a moment of hesitation Alvin accepts her arm. He stands, nods, smiles and moves slowly to the trailer. Crystal sits down alone to watch the fire. We hear the sounds of Alvin settling into the trailer. A bit of silence. ALVIN (from offscreen) Sweet dreams. CUT TO: EXT.--NIGHT ALVIN'S TRAILER Alvin's trailer door is open to the night air. We slowly push into the dark rectangular opening of the trailer. FADE IN: EXT.--SUNRISE A wide establishing shot of the Iowa landscape at sunrise. CUT TO: EXT.--SUNRISE ALVIN'S CAMPSITE Alvin crawls out of the trailer. Crystal's gone. Next to the cold campfire is a bundle of sticks bound with a tiger-striped shoelace.