The Cutting Edge (1992) Written by Tony Gilroy. Yes, that Tony Gilroy. http://movieclips.com/QLRt-the-cutting-edge-movie-kate-meets-doug/ Kate: Oh, you're that hockey player. Doug: How you doing? Nice to meet you. Anton: Is tryout. Is tryout. Kate: My God... Doug: What, my hand? Kate: Well, what do you do, soak them in battery acid? Doug: I know they're a little rough but, you know, I've never had any complaints before. Kate: Oh, I'm terribly impressed. What is this? Final stages of Ukrainian alcohol psychosis? Doug: Hey wait a second. Who's checking out who here? Kate: Listen, I don't know how many slapshots you've taken to the brain but this was your audition, and let me assure you, it's over. Doug: Hey, Snow White, relax. I'm no figure skater, I'm a hockey player. Kate: Then what are you doing here? Get him out of my building. Doug: What? Kate: Get him out of my building! Doug: Temperamental? You know, I can think of another word for it. Kate: Is that what you told him? Doug: What, like it's a big secret? Kate: Who the hell do you think you are? Doug: I know exactly who I am, sweetheart. I'm a guy who came a long way for lunch. Kate: Well, please don't let me keep you from the trough.

This film is so good! Clever, crackling dialogue that makes you just love these two characters. Interesting that the bit about “dishonesty infuriates me” was not included in the film. Perhaps it slowed down the scene. Perhaps it was too on the nose in regards to the theme. Charade (1963) Screenplay by Peter Stone, story by Peter Stone and Marc Behm. http://movieclips.com/px7d-charade-movie-when-strangers-meet/ PETER: Oh, forgive me. (indicating JEAN-LOUIS) Is this yours? REGGIE: (indicating SYLVIE) It's hers. Where'd you find him, robbing a bank? PETER: He was throwing snowballs at Baron Rothschild. (a pause) We don't know each other, do we? REGGIE: Why, do you think we're going to? PETER: I don't know -- how would I know? REGGIE: I'm afraid I already know a great many people. Until one of them dies I couldn't possibly meet anyone else. PETER: (smiling) Yes, of course. But you will let me know if anyone goes on the critical list (he starts off) REGGIE: Quitter. PETER: (turning) How's that? REGGIE: You give up awfully easy, don't you? Eyeing one, then the other, SYLVIE sizes up the situation and rises. SYLVIE: Viens, Jean-Louis, let us take a walk. I have never seen a Rothschild before. SYLVIE and JEAN-LOUIS start off, but not before the boy squirts PETER with his pistol. PETER: (drying) Clever fellow -- almost missed me. REGGIE: I'm afraid you're blocking my view. PETER: (moving) Sorry. Which view would you like? REGGIE: The one you're blocking. This is the last chance I have -- I'm flying back to Paris this afternoon. What's your name? PETER: Peter Joshua. REGGIE: I'm Regina Lampert. PETER: Is there a Mr. Lampert? REGGIE: Yes. PETER: Good for you. REGGIE: No, it isn't. I'm getting a divorce. PETER: Please, not on my account. REGGIE: No, you see, I don't really love him. PETER: Well, you're honest, anyway. REGGIE: Yes, I am -- I'm compulsive about it -- dishonesty infuriates me. Like when you go into a drugstore. PETER: I'm not sure I -- REGGIE: Well, you go in and you ask for some toothpaste -- the small size -- and the man brings you the large size. You tell him you wanted the small size but he says the large size is the small size. I always thought the large size was the largest size, but he says that the family size, the economy size and the giant size are all larger than the large size -- that the large size is the smallest size there is. PETER: Oh. I guess. REGGIE: Is there a Mrs. Joshua? PETER: Yes, but we're divorced. REGGIE: That wasn't a proposal -- I was just curious. PETER: Is your husband with you? REGGIE: Oh, Charles is hardly ever with me. First it was separate rooms -- now we're trying it with cities. What do people call you -- Pete? PETER: Mr. Joshua. (turning to go) Well, I've enjoyed talking with you. REGGIE: Now you're angry. PETER: No, I'm not -- I've got some packing to do. I'm also going back to Paris today. REGGIE: Oh. Well, wasn't it Shakespeare who said: "When strangers do meet they should erelong see one another again"? PETER: Shakespeare never said that. REGGIE: How do you know? PETER: It's terrible -- you just made it up. REGGIE: Well, the idea's right, anyway. Are you going to call me? PETER: Are you in the book? REGGIE: Charles is. PETER: Is there only one Charles Lampert? CLOSE SHOT -- REGGIE Her face clouding. REGGIE: Lord, I hope so.

Cyrus (2010) Written by Mark Duplass & Jay Duplass http://movieclips.com/owVkY-cyrus-movie-im-like-shrek/ John: I can't talk to you. What am I doing? I'm just gonna mess this up. Molly: Why not? John: Cause you're a really hot girl and I'm just... I'm sorry. Molly: You're not messing it up. John: Are you flirting with me? This is insane. I'm like Shrek. Molly: I didn't say that. John: What are you doing here in the forest with Shrek? Molly: I was gonna pee in the bushes, and you took my spot.

The Lady Eve by Preston Sturges. http://www.youtube.com/watch?v=fZ7X5JDKmSI Script isn't online, but I found a transcript. Jean: Not good enough. Colonel: What'd you say? Jean: I said they're not good enough for him. EveryJane in the room... is giving him the thermometer, and he feels they're just a waste of time. He's returning to his book. He's deeply immersed in it. He's sees no one except... Watch his head turn when that kid goes by. It won't do you any good, dear. He's a bookworm, but swing 'em anyway. Ah, how about this one? How would you like that hanging on your Christmas tree? Oh, you wouldn't? Well, what is your weakness, brother? Holy smoke, the dropped kerchief! Hasn't been used since Lily Langtry. You'll have to pick it up yourself. It's a shame that he doesn't care for the flesh. He'll never see it. Look at that girl over to his left. Look over to your left, bookworm. There's a girl pining for you. A little further. Just a little further. There! Wasn't that worth looking for? See those nice teeth beaming at you? Why, she recognizes you. She's up. She's down. She can't make up her mind. She's up again. She recognizes you. She's coming over to speak to you. The suspense is killing me. Why, for heaven's sake, "Aren't you Fuzzy Oldhammer I went to manual training school with? You're not? You certainly look exactly like him... a remarkable resemblance." If you're not going to ask me to sit, I suppose you're not going to ask me. "Sorry. I certainly hope I haven't caused you any embarrassment." "I wonder if my tie's on straight. I certainly upset them, don't I?" Who else? The lady champion wrestler. Wouldn't she make a houseful? You don't like her either. What are you going to do about it? You just can't stand it anymore. You're leaving. These women don't give you a moment's peace, do they? Go sulk in your cabin. Go soak your head and see if I care! Jean sticks her leg out to trip Pike. He knocks into a Waiter, dishes clatter. Waiter: I'm very sorry, sir. Pike: That's all right. Jean: Why don't you look where you're going? Pike: Why don't I look? Jean: Look, you knocked the heel off. Pike: Oh, I did? I'm sorry. Jean: You did, and you can take me right to my cabin for another pair of slippers. Pike: The least I can do. My name's Pike. Jean: Everybody knows. Nobody's talking about anything else. This is my father Colonel Harrington. My name is Jean. It's really Eugenia. Jean walks off with Pike, arm in arm. Jean: Funny our meeting like this, isn't it? I love how Jean mocks the repeated "subtle" attempts by nearly every woman on the ship, then snags him with a direct strike! The last line is classic, as if nothing was calculated. Poor Pike, he doesn't stand a chance. :)

For "it's all about the subtext," I've always liked UP IN THE AIR, with master-frequent flyers George Clooney and Vera Farmiga sizing each other up in a bar... Ryan Bingham: Are you satisfied with Maestro? Alex Goran: Yeah, I am. Ryan Bingham: A little stingy with their miles. I like Hertz. Alex Goran: No, Hertz keeps its vehicles too long. If a car has over 20,000 miles, I won't drive it. Ryan Bingham: Maestro doesn't instant checkout. I like to park and go. Alex Goran: Hertz doesn't guarantee navigation. Ryan Bingham: It's funny. You don't seem like a girl who needs directions. Alex Goran: Oh, I hate asking for directions. That's why I get a nav. Ryan Bingham: That new outfit, Colonial, it's not bad. Alex Goran: [impressed and flattered] Is that a joke? Ryan Bingham: Yes. Alex Goran: Because their kiosk placement blows. Ryan Bingham: They never have available upgrades. Alex Goran: Basically, it's a fleet of shit-boxes. I don't know how they're still in business. Ryan Bingham: I'm Ryan. Alex Goran: I'm Alex. They start examining each other's respective collections of plastic, and a drink or two later, it's off to the races (i.e. her hotel room) from there.

NATURAL BORN KILLERS (1994) screenplay by Oliver Stone, David Veloz, and Richard Rutkowski, story by Quentin Tarantino directed by Oliver Stone MRS WILSON: Yes? MICKEY: Delivery for Ed Wilson. MRS WILSON:What on earth is it? MICKEY:It's beef, lady, fifty pounds of beef. MRS WILSON:Well you wait right here. I have to have a word with my husband. MALLORY: Who're you? MICKEY:Mickey. Who're you? MALLORY:I'm Mallory. MICKEY:You oughta change your name to beautiful. You a big... meat eater, Mallory? MALLORY:I could be. MICKEY:You always dress like that, or you just......waitin' for me? MALLORY:Why would I be dressed like this for somebody I don't know? MICKEY:Maybe something inside told you to. You know, like fate. You believe in fate, Mallory? MALLORY:Maybe. MICKEY:You don't look too happy. Wanna go for a ride? Talk about it? http://www.youtube.com/watch?v=1nq10HXpyzg&feature=related This is how two serial killers meet in a sitcom from hell. The dialogue is borderline corn-ball, almost normal but with double entendres and con-man philosophy thrown in to keep us off center.

How about another one from Preston Sturges? Sullivan's Travels (1941) http://movieclips.com/xeTQ5-sullivans-travels-movie-meeting-the-girl/ The Girl: You know, the nice thing about buying food for a man is that you don't have to laugh at his jokes. Just think, if you were some big shot like a casting director or something, I'd be staring into your bridgework saying 'Yes, Mr. Smearcase. No, Mr. Smearcase. Not really, Mr. Smearcase! Oh, Mr. Smearcase, that's my knee!' Give Mr. Smearcase another cup of coffee. Make it two. Want a piece of pie? John L. Sullivan: No thanks, kid. The Girl: Why, Mr. Smearcase, aren't you getting a little familiar?