Like Scott says, there are a lot to choose from. Happy to get the ball rolling: The Joker: Oh, you. You just couldn't let me go, could you? This is what happens when an unstoppable force meets an immovable object. You truly are incorruptible, aren't you? You won't kill me out of some misplaced sense of self-righteousness. And I won't kill you because you're just too much fun. I think you and I are destined to do this forever. Batman: You'll be in a padded cell forever. The Joker: Maybe we can share one. You know, they'll be doubling up, the rate this city's inhabitants are losing their minds. Batman: This city just showed you that it's full of people ready to believe in good. The Joker: Until their spirit breaks completely. Until they get a good look at the real Harvey Dent, and all the heroic things he's done. You didn't think I'd risk losing the battle for Gotham's soul in a fistfight with you? No. You need an ace in the hole. Mine's Harvey. Batman: What did you do? The Joker: I took Gotham's white knight and I brought him down to our level. It wasn't hard. You see, madness, as you know, is like gravity. All it takes is a little push! http://movieclips.com/Z6xq-the-dark-knight-movie-the-battle-for-gotham/ As far as screenwriting takeaway, it sums up the relationship between The Joker and Batman beautifully, it's funny, it's memorable. They're not that different, the two of them - 'unstoppable force meets an immovable object', which one's which? The reversal where The Joker makes his revelation about Harvey Dent to get the last laugh, pulling the rug from under everyone, is fantastic. Just a perfect closing moment for a great character. On a separate note: Alfred Borden: You went half way around the world... you spent a fortune... you did terrible things... really terrible things Robert, and all for nothing. Robert Angier: For nothing? Alfred Borden: Yeah Robert Angier: You never understood, why we did this. The audience knows the truth: the world is simple. It's miserable, solid all the way through. But if you could fool them, even for a second, then you can make them wonder, and then you... then you got to see something really special... you really don't know?... it was... it was the look on their faces... http://www.youtube.com/watch?v=P5eM5ww-9N4 (speech from about 3:40) Again, its moving and memorable, but it's more than that. Angier was never Borden's equal as a magician, nor as a human being, yet he understood something about magic and humanity that Borden missed. I love that speech.

My favourite final lines for an antagonist, from Serenity (2005) Capt. Malcolm Reynolds: They take you down, I don't expect to grieve overmuch. Like to kill you myself, I see you again. The Operative: You won't. There is nothing left to see. (Can't seem to find the footage on youtube, only fan-made footage with the audio) Embittered war veteran Mal regains something to believe in over the course of the film: the Operative, who believes so strongly in creating a better world that he'll kill for it, loses his faith when he realises what's been done in the name of that new world, and departs a broken man. So the Protagonist ends the film where the Antagonist started it, and vice versa. Which is interesting.

Do you mean the last words of a dying character? Or just the last words a character says? CASABLANCA has gotta be up there for last words said.

This scene's last words are about as famous as you're gonna get! From The Wizard Of Oz- Screenplay by Noel Langley, Florence Ryerson & Edgar Allen Woolf. http://www.youtube.com/watch?v=BZSb0JCWcXk DOROTHY Doesn't anybody believe me? UNCLE HENRY Of course we believe you, Dorothy. DOROTHY Oh, but anyway, Toto, we're home! DOROTHY Home! And this is my room -- and you're all here! And I'm not going to leave here ever, ever again, because I love you all! And -- Oh, Auntie Em -- there's no place like home!

Simple, chilling words from APOCALYPSE NOW. KURTZ: The horror...the horror. It echoes the words of his earlier tirade, almost justifying the path he took in life, simultaneously warning his killer and accepting his own fate. http://www.youtube.com/watch?v=aNUr__-VZeQ

I always thought this is hauntingly foreboding, especially since we don't find out what the hell he's talking about for another entire movie... STAR WARS (1977) Aunt Beru: Where are you going? Luke: Looks like I'm going nowhere... I'm gonna finish cleaning those 'droids. Aunt Beru: [after Luke leaves] Owen, he can't stay here forever, most of his friends have gone. It means so much to him. Uncle Owen: Well, I'll make it up to him next year, I promise. Aunt Beru: Luke's just not a farmer, Owen. He has too much of his father in him. Uncle Owen: That's what I'm afraid of.

Midnight Cowboy (1969) Screenplay by Waldo Salt, based on a novel by James Leo Herlihy http://www.youtube.com/watch?v=S24yQQMuCLk INT. GREYHOUND BUS - NIGHT Two aging young ladies in brand-new resort wear are casually examining Joe, along with the other men on the bus, but Joe is frowning at Ratso, who shivers despite the bright sun. JOE If you have to shiver, why don't you pull the blanket up more? RATSO I been thinking. I hope we're not gonna have a lotta trouble about my name down there. Because like what's the whole point of this trip anyway? JOE Keep the goddam blanket on. RATSO I mean New York's one thing, but can you see this guy, imagine it, running around the goddam beach all suntan and he's going in swimming, like, and then somebody yells 'Hey, Ratso' -- how does that sound to you? JOE Sounds like they knew you. RATSO Sounds like crap, admit it. And I'm not gonna have it. I'm Rico all the time, okay, do you blame me? That's agreed, okay? We're gonna tell all these new people my name's Rico? Joe nods. Ratso closes his eyes, momentarily at peace. EXT. HIGHWAY - DAWN The bus passes a Florida hotel sign too swiftly to read it. INT. GREYHOUND BUS - DAWN Joe frowns in his sleep, awakens, lifts his Stetson to see Ratso wide awake, in misery, wiping tears from his eyes. JOE Hey -- whatsa matter? RATSO (barely audible) I'm wet. JOE You're what? RATSO I wet my pants! My seat's all wet. JOE Hell, don't cry about it! RATSO Here I am going to Florida and my leg hurts, my butt hurts, my chest hurts, my face hurts, and like that ain't enough, I gotta pee all over myself. Joe laughs suddenly, uncontrollably. RATSO (CONT'D) I'm falling apart, that's funny? JOE (nods, laughing) You just -- just -- what happened, you just had a little rest stop wasn't on the schedule. Ratso begins to laugh with Joe as if it were the funniest thing they'd ever heard. Then Ratso's face pales as he starts to choke and cough. Joe pats him on the back. JOE (CONT'D) Hey, what size pants you wear? EXT. SMALL TOWN STREET - DAY The bus is parked in the distance. Joe comes from a clothing store, bare-headed, wearing plain slacks and sport-shirt. He carries the boots, Stetson and cowboy suit in one hand, a bundle under his arm. He dumps his cowboy regalia in the trash bin of a sandwich stand and calls to the WAITRESS. JOE Couple crullers'n coffee to go. The Waitress draws coffee, wraps crullers. WAITRESS Where you from? JOE New York. Joe pays. She smiles, gives him change. Joe smiles, starts on toward the bus, hardly aware that he has accomplished something rare and remarkable for Joe -- a simple human contact without fear or threat, a pleasant everyday happening. INT. GREYHOUND BUS - DAY Joe and Ratso have moved to the seat farthest back, wider than the others. Joe blocks the view of the other passengers as he helps Ratso into a new pair of corduroy pants and a Florida shirt. In the middle of the operation, Ratso dozes off. Joe shakes his head, scowling, annoyed, but continues, lifting Ratso enough to slide the pants around his waist. Ratso awakens as Joe zips the fly. RATSO Hey, what the hell you doing? JOE I'm zipping your fly, what the hell you think I'm doing? They both smile. It isn't funny enough to laugh at. Joe arranges the blanket, takes out a package of cigarettes, glances at Ratso and puts it away. EXT. TRAVELING SHOT WITH BUS - DAY Palm trees are streaking past the window. The sun is glaring hot. A group of kids in bare feet and straw hats wave to the bus as it passes. INT. GREYHOUND BUS - DAY Ratso's eyes squint in a dazed half-sleep. Joe leans across to pull down the shade. He hesitates a moment, watching... ... past his reflection, a group of young men on their way to work, carrying lunch pails, dressed exactly as Joe is now dressed... ... then Joe lowers the blind and seats himself. Ratso nods slightly, his voice practically inaudible. RATSO Thanks, Joe. JOE Shee-it, you know, I got this thing all figured out, Ratso. I mean Rico. When we get to Miami, what I'll do, I'll go to work. I gotta do that, 'cause see, I ain't no kind of a hustler. I ain't even any goddam good as a bum. I'm a nothing, that's what I am. So reckon I'd better go to work and get me a goddam job. Okay? Joe glances at Ratso, but there is no response.

Deep Blue Sea (1999) Written by Duncan Kennedy and Donna Powers & Wayne Powers http://www.youtube.com/watch?v=yMwmqp3GLMc Russell Franklin: Nature can be lethal. But it doesn't hold a candle to man. Now you've seen how bad things can get and how quick they can get that way. Well, they can get a whole lot worse. So we're not going to fight anymore! We're going to pull together and find a way to get out of here! First, we're going to seal off this pool! [Om nom nom nom]

Oldie but Goodie: Inn of the Sixth Happiness Jen-Ai: Dr. Robinson, do you remember me? My name used to be Gladys Aylward. Dr. Robinson: Yes, I remember you. Gladys Aylward, who wasn't qualified to come to China. Will you come with us to our children's village? I can think of no one who would be more valuable. Jen-Ai: Thank you, but I'm going back to Yang Cheng. I'm going home. http://youtu.be/vm6qxQS6z_w