Shaula Evans at 2012-08-11 20:08:47:
The smoothest smooth-talker and the most improbable seduction of all time: Richard III seducing Lady Anne in the mortuary over the body of her dead husband whom he has murdered, in the 1995 production of Richard III. Co-writer Ian McKellen's production notes and annotated script is available here. One of my favourite scenes on film. Richard woos Lady Anne (video) INT. MORTUARY - PUBLIC HOSPITAL - DAY LADY ANNE 0, cursed be the hand that made these holes; Cursed the heart that had the heart to do it; Cursed the blood that let this blood from hence! If ever he have child, abortive be it. If ever he have wife, let her be made More miserable by the life of him, Than I am made by my young husband's death. RICHARD has been watching through the glass panels of the doors. LADY ANNE hears the door open and turns to see RICHARD. LADY ANNE What black magician conjures up this fiend, To stop devoted charitable deeds? RICHARD Sweet saint, for charity be not so cursed. LADY ANNE Foul devil, for God's sake hence and trouble me not; For you have made the happy earth my hell. LADY ANNE (continuing) If you delight to see your heinous deed. Behold this pattern of your butchery. RICHARD acknowledges the man he has killed. RICHARD (soothingly) Lady, you know no rules of charity. LADY ANNE Villain, you know no law of God nor man. RICHARD Vouchsafe, divine perfection of a woman, Of this supposed crime to give me leave, By circumstance, but to acquit myself. LADY ANNE Did you not kill my husband? RICHARD I grant you, yes. LADY ANNE D'you grant me, hedgehog? Then God grant me, too, You may be damned for that wicked deed! RICHARD Gentle Lady Anne - LADY ANNE 0, he was gentle, mild and virtuous. RICHARD The fitter for the King of Heaven who has him. LADY ANNE And you unfit for any place but Hell! RICHARD Yes, one place else, if you will hear me name it. LADY ANNE Some dungeon. RICHARD (to himself) Your bedchamber. (out loud) Let's leave this keen encounter of our wits. Your beauty, that did haunt me in my sleep, Could make me undertake the death of all the world, So I might live one hour in your sweet bosom. LADY ANNE If I thought that, I tell you, homicide, These nails should rend that beauty from my cheeks! RICHARD My eyes could not endure that beauty's wreck. As all the world is cheered by the sun, So I by that - it is my day, my life! He who bereft you, Lady, of your husband, Did it to help you to a better husband. LADY ANNE His better does not breathe upon the earth. RICHARD He lives who loves you better than he could. LADY ANNE Where is he? RICHARD Here. LADY ANNE spits full in RICHARD'S face. RICHARD (continuing; softly, almost forgiving) Why do you spit at me? LADY ANNE (recovering her self-control) Would it were mortal poison, for your sake. RICHARD Never came poison from so sweet a place. LADY ANNE Never hung poison on a fouler toad. Out of my sight! You do infect my eyes. RICHARD (he is crying now) Those eyes of yours from mine have drawn salt tears. But when I heard the story of my father's death And all the standers-by had wet their cheeks, Like trees bedashed with rain, in that sad time, My manly eyes did scorn a humble tear: And what that sorrow could not thence exhale, Your beauty has and made them blind with weeping. Teach not your lip such scorn, for it was made For kissing. Lady, not for such contempt. LADY ANNE is moved by this confession and RICHARD risks offering to kiss her. But no: LADY ANNE turns away. RICHARD (continuing) If your revengeful heart cannot forgive, I humbly beg for death, upon my knee. RICHARD takes the nearest, sharpest scalpel and hands it to LADY ANNE. RICHARD (continuing) No, do not pause - it was I who killed your husband; But it was your heavenly face that set me on. LADY ANNE almost dares to stab him but she is too confused. Why is her enemy so attractive? She drops the scalpel and it clatters onto the floor. RICHARD (continuing) Take up the blade again - or take up me. RICHARD offers the blade to LADY ANNE but she will not take it from him. LADY ANNE I will not be your executioner. RICHARD Then, bid me kill myself and I will do it. LADY ANNE I have already. RICHARD That was in your rage. Speak it again. LADY ANNE I would I knew your heart. RICHARD places the blade to his throat. A drop of blood trickles from the glistening blade. LADY ANNE I fear that it is false. RICHARD Then never was man true. LADY ANNE Well, well, put down the blade. RICHARD But shall I live in hope? LADY ANNE All men I hope live so ... At that ambiguous half-promise, RICHARD lets drop the scalpel. He slowly lifts his right hand to his mouth and, with his teeth, pulls off his family signet-ring. RICHARD Vouchsafe to wear this ring. RICHARD slides the ring, wet with saliva, onto her engagement finger. LADY ANNE To take is not to give. RICHARD (whispers) May I, with all expedient duty, see you? LADY ANNE looks at the contrite RICHARD. Her grief has turned to open fascination. LADY ANNE And much it joys me too, To see you are become so penitent. RICHARD (as he leaves) Bid me farewell. LADY ANNE 'Tis no more than you deserve; But since you teach me how to flatter you, Imagine I have said farewell already. RICHARD turns and walks out into the corridor. INT. CORRIDOR - PUBLIC HOSPITAL - DAY RICHARD (to himself) Was ever woman in this humour wooed? (to CAMERA) Was ever woman in this humour won?
David Proenza at 2012-08-12 01:47:27:
The ULTIMATE smooth talker, Vince Vaughn in what is easily his most memorable role... and, noticing the differences between the script and actual scene, improvised some of the dialogue to make it even smoother: Swingers (1996) written by - Jon Favreau (http://www.imsdb.com/scripts/Swingers.html) Trent: Bring a James Bond for me and my boy Mikey, and if you tell the bartender to go easy on the water... (holds up a half-dollar) ...this Kennedy has your name on it. Now run along, I'm timing you. The waitress smiles in spite of herself, shakes her head, and walks away. Mike: What an asshole. Trent: That was money. Tell me that wasn't money. Mike: That was so demeaning... Trent: She smiled, baby. Mike: I can't believe what an asshole you are. Trent: Did she, or did she not smile. Mike: She was smiling at what an asshole you are. Trent: She was smiling at how money I am, baby. Mike: Let's go. I'm not paying for a room, and if we don't leave now we'll never make it. Trent: Leave? The honey-baby's bringing us some cocktails. Mike: What are you, nuts? You think she's coming back? Trent: I know she's coming back. Mike: I don't think so. Trent: Baby, did you hear her? "You shouldn't leave without getting something for free." She wants to party, baby. Mike: You think so? Trent: You gotta give Tee one thing. He's good with the ladies. Mike: I'm too tired for this. Let's just go. Trent: Baby, this is what we came for. We met a beautiful baby and she likes you. Mike: She likes you. Trent: Whatever. We'll see. Daddy's gonna get her to bring a friend. We'll both get one. I don't care if I'm with her or one of her beautiful baby friends. Mike: I don't know... Trent: You gotta get that girl out of your head. It's time to move on. You're a stylish, successful, good looking cat. The ladies want to love you, you just gotta let them. Mike: That's bullshit. Trent: It's not. You're money. Any of these ladies would be lucky to pull a cat like you. Mike: It's just that I've been out of the game so long. Trent, I was with her for six years. That's before AIDS. I'm scared. I don't know how to talk to them, I don't know... Trent: You can't think like that, baby. It's hard, I know. I've been there. Not for six years, but I know. You just gotta get back out there. Mike: It's just tough, after sleeping with someone you love for so long, to be with someone new... who doesn't know what I like... and you gotta wear a jimmy... Trent: ... gotta... Mike: ... and then I'm struggling to impress some chick who's not half as classy as my girlfriend, who I'm not even really attracted to... Trent: Oh fuck that. You don't have to try and impress anyone. You think I give a shit? You think I sweat that skanky whore waitress... Tee is interrupted by the WAITRESS who, thank God, barely missed his comment. Trent: (recovering, looking at watch) ... One fifty-nine, Two minutes. Waitress: Two vodka martinis, straight up, shaken not stirred, very dry, easy on the water. Trent: Beautiful. What time are you off... (reads nameplate) ... Christy? Waitress: Six. Mike can't believe it. Tee is just making it happen. Trent: Call a friend and have her meet the three of us at the Landlubber Lounge at 6:01. (Trent throws the half-dollar on her tray) SMASH CUT TO: INT. TREASURE ISLAND CASINO - COFFEE SHOP - SAME NIGHT Trent and Mike are looking at menus. They're smoking at the table because the can. Mike: That was so fuckin' money. It was like that "Jedi mind" shit. http://www.youtube.com/watch?NR=1&v=vvKeDr3k7n0&feature=fvwp
Teddy Pasternak at 2012-08-12 15:59:19:
Smooth talking. An absolute necessity for a con man. An Education (2009) Screenplay by Nick Hornby, adapted from the article 'An Education' by Lynn Barber http://movieclips.com/KsZN-an-education-movie-charming-david/ JACK I didn’t mean I’m not against you... Actually, I did mean that, because I’m not, but... JENNY Dad! David’s hand is still extended - in his confusion and embarrassment, Jack hasn’t yet taken it. He does so now, and shakes it for way too long. JACK I’m sorry. What I’m saying is that you’re not the sort of, of person I’d be against, if I were the sort of person who was against...people. You’re not an old...Oh, dear. I’m Jack, and this is Marjorie. DAVID (deadpan) You didn’t tell me you had a sister, Jenny. General confusion, until David chuckles naughtily. Marjorie giggles, and then offers her hand. DAVID You’re a lucky man, Jack. JACK I suppose I am, yes. They all sit down. DAVID So. Gosh. (He looks around approvingly.) This is lovely. Marjorie smiles. MARJORIE Thank you. JACK I’m sorry, David. Can I get you a drink? DAVID I’d love one, Jack, but we’re running a little late. If Jenny’s ready, perhaps we’ll shoot off. Jenny looks at her father, and takes a calculated gamble. JENNY Ah. Well. Dad’s got something to tell you. JACK No, no, nothing...It was more of a question, really. How would you get to St John’s Smith Square from here? For future reference? DAVID Oh, it’s a pretty straight run, really. Up to Hammersmith, take the A4 through Kensington and you’re there. JACK Simple as that. DAVID Simple as that. Jack smiles broadly. MARJORIE (playfully) So shall I book some tickets for something? JACK (still smiling) No. Beat. JACK Back by ten, please, David. She’s usually in bed by then. Jenny winces. DAVID I was hoping Jenny would come with me afterwards to have a bite of supper with my aunt Helen. Jenny studies him carefully. Suddenly his friends Danny and Helen have become ‘Aunt Helen’. JACK Oh, well, I suppose... DAVID How about if I promise to have her in by eleven thirty? JACK Well, it’s Friday night. And if you’re going out to the West End... DAVID Thanks, Jack. I appreciate it. See you again. They exchange warm handshakes. He turns to Marjorie. Marjorie extends her hand. David takes it, but kisses it suavely,leaving her a little flustered. MARJORIE Have a nice time. JENNY Bye. Jenny and David leave.
Teddy Pasternak at 2012-08-12 23:01:55:
What, only three suggestions? Alright, here's a scene from one of my favorites. Jack Foley robs the bank without a weapon using only his wit, charm and some smooth talking. Out Of Sight (1998) Screenplay by Scott Frank, from the novel by Elmore Leonard http://movieclips.com/hobn-out-of-sight-movie-first-time-being-robbed/ TELLER/LORETTA How can I help you, sir? FOLEY Loretta, you see that guy talking to your manager, has his case open? Foley takes out a ZIPPO LIGHTER and casually, yet expertly, begins to fiddle with it as the teller looks across the bank. LORETTA That's Mr. Guindon, one of our assistant managers. Our manager is Mr. Schoen, but he's not in today. FOLEY But you see the guy with the attache case? LORETTA (looks again) Yes. FOLEY That's my partner. He has a gun in there. And if you don't do exactly what I tell you, or you give me any kind of a problem, I'll look over at my partner and he'll shoot your Mr. Guindon between the eyes. Loretta goes stiff, swallows, stares back at Foley. FOLEY (CONT'D) Now take one of those big envelopes and put as many hundreds, fifties and twenties as you can pack into it. Nothing with bank straps or rubber bands. I don't want any dye packs. I don't want any bait money. Start with the second drawer and then the one over there, under the computer. Come on, Loretta, the key's right there next to you. No bills off the bottom of the drawer. (as she works) First time being robbed? (she nods) You're doing great. Just smile, Loretta, so you won't look like you're being held up. (she smiles awkwardly) That's the way, you're doing fine. We hear a bit of thunder and Foley cuts a fast look out the front door. When he turns back, he sees that Loretta's having some trouble fitting all the bills into the envelope. FOLEY (CONT'D) Here, give me the twenties. I'll put 'em in my pocket. Okay, I haven't had to give my partner a sign; that's good. Now, he's gonna wait thirty seconds till after I'm out the door, make sure you haven't set off the alarm. If you have, he's gonna shoot Mr. Guindon between the eyes. Okay? I think that'll do it. Thank you, Loretta, and have a nice day. LORETTA You, too. Foley heads for the door. He pauses by Mr. Guindon's desk, looks back at Loretta. Foley smiles at her, then turns to the Man sitting with Mr. Guindon, indicates Loretta... FOLEY She's cute, isn't she? The man looks across the bank at Loretta. MAN Uh, yeah, I guess so. Foley winks at Loretta and walks out. MAN (CONT'D) (to Mr. Guindon) Who was that?
Teddy Pasternak at 2012-08-12 23:42:34:
Women can smooth talk too... Gentlemen Prefer Blondes (1953) Screenplay by Charles Lederer, based on the musical comedy by Joseph Field and Anita Loos (!) http://movieclips.com/YfGF-gentlemen-prefer-blondes-movie-its-only-fair-i-should-have-her-tiara/ Piggy: You little angel, you don't even know that there is a certain kind of girl would take advantage of a thing like this. Lorelei: She'd have to be a pretty terrible girl to be mean to a sweet, intelligent, generous man like you, Piggy. Piggy: My dear, my dear. You must let me do something for you to show my gratitude. Lorelei: Thank you ever so! Piggy: May I kiss your hand? Lorelei: I always say a kiss on the hand might feel very good, but a diamond tiara lasts forever. Piggy: A diamond tiara? Lorelei: Lady Beekman's. I'd just love to have it. Piggy: Good gracious. Lorelei: What's the matter? Piggy: Oh, nothing nothing nothing, but... wouldn't you rather have some furs or a race horse or a water boat? Lorelei: No, thank you. Piggy: Well, it would be very difficult to explain to Lady Beekman that I'd given away her jewels. Lorelei: You're so clever, Piggy. You could, if you put your mind to it. Piggy: You really think so? Lorelei: Of course I do And besides, it's only fair I should have her tiara. Because after all, she has you. Piggy: My dear, my dear, my very dear! Lorelei: Let's get it right now! Piggy: Anything you say, my dear. Anything you say.
summertime at 2012-08-13 00:36:13:
This is what happens when a smooth talker meets his (or her) match! Bull Durham by Ron Shelton http://www.youtube.com/watch?v=sBfdl6hNZ9k INT. ANNIE'S LIVING ROOM -- NIGHT THE SHRINE OF BASEBALL GLOWS -- Annie lights the candles. EBBY AND CRASH SIT ON OPPOSITE ENDS OF HER COUCH -- Both men look around the room with wonder. Ebby is clearly more nervous than Crash, who's been in some strange rooms in his minor league career. ANNIE These are the ground rules. (beat) I hook up with one guy a season-- I mean it takes me a couple of weeks to pick the guy--kinda my own spring training... (beat) And, well, you two are the most promising prospects of the season so far. (beat) So... I thought we should get to know each other. CRASH Why do you get to choose? Why don't I get to choose? ANNIE Actually none of us on this planet ever really choose each other. It's all Quantum Physics and molecular attraction. There are laws we don't understand that bring us together and break us apart. EBBY Is somebody gonna go to bed with somebody or what? ANNIE You're a regular nuclear meltdown, honey--slow down. Crash rises to leave, and heads for the door. CRASH After 12 years in the minor leagues, I don't tryout. Besides-- I don't believe in, Quantum Physics when it comes to matters of the heart...or loins. ANNIE (challenging him) What do you believe in? Crash at the door. Annie's question is slightly taunting. He stops, and speaks with both aloofness and passion: CRASH I believe in the soul, the cock, the pussy, the small of a woman's back, the hanging curve ball, high fiber, good scotch, long foreplay, show tunes, and that the novels of Thomas Pynchon are self-indulgent, overrated crap. (beat) I believe that Lee Harvey Oswald acted alone, I believe that there oughtta be a constitutional amendment outlawing astro-turf and the designated hitter, I believe in the "sweet spot", voting every election, soft core pornography, chocolate chip cookies, opening your presents on Christmas morning rather than Christmas eve, and I believe in long, slow, deep, soft, wet kisses that last for 7 days. ANNIE (breathless) Oh my... (softly) Don't leave... CRASH G'night. Crash heads out into the night. Annie hurries to the-door while Ebby sits on the couch, bewildered. EBBY Hey--what's all this molecule stuff? ANNIE STANDS IN THE DOORWAY -- Crash is on the porch. ANNIE Wait, Crash--don't go--all I want is a date. I'm not gonna fall in love with you or nothin'. CRASH I'm not interested in a woman who's interested in that boy. ANNIE I'm not interested yet.
Shaula Evans at 2012-08-13 01:15:18:
Nice work, Summertime and Teddy, and good to see some smoothtalking women in here, too. There should be some great examples in Trouble in Paradise and All About Eve. It's late and I'm winding down over here, but I'll see if I can't find some film clips for them, tomorrow. (You're welcome to beat me to it if you're on a roll!)
David Proenza at 2012-08-13 03:02:40:
How about a smooth talker meeting his match and suddenly out of his element as a result: Love and Other Drugs (2010) written by - Charles Randolph and Edward Zwick Maggie: What's your game? Jamie: My game? Maggie: Oh I'm sorry. Right. This is the part where we talk about where we come from and what we majored in in college. Jamie: You have beautiful eyes. Maggie: That's it? That's the best you got? Jamie: I'm serious. They're beautiful. Maggie: Let's go. Jamie: Excuse me? Maggie: You want to close right? You want to get laid? Jamie: Now? Maggie: Oh right, right, right. I'm supposed to act like I don't know if it's right. So then you tell me that there is no right or wrong. It's just the moment. And then I tell you that I can't while actually signalling to you that I can, which you don't need because you're not really listening. Because this isn't about connection for you. This isn't even about sex for you. This is about finding an hour or two of relief from the pain of being you. And that's fine with me, see, because all I want is the exact same thing. [I'll find a clip later - currently at work.]
Kenneth Kleemann at 2012-08-13 04:01:51:
For smooth talking, you can't beat Ben in Blue Velvet. Ben: To your health. Frank Booth: Ah, shit, let's drink to something else. Let's drink to fuck. Yeah, say, "Here's to your fuck, Frank." Ben: If you like, Frank. Here's to your fuck. http://youtu.be/HK7dDAm3NAk
Kenneth Kleemann at 2012-08-13 04:09:48:
I don't know why I find that so fucking funny.