Oh so you want anti-heroes? Well I'll raise you and give you two for the price of one. Better yet, I'll give you a scene of an anti-hero teaching our anti-hero to act even more anti-heroic. From THE SOCIAL NETWORK: SEAN PARKER: Napster wasn't a failure. I changed the music industry for better and for always. It may not have been good business but it pissed a lot of people off. And isn't that what your facemash was about? They're scared of me pal and they're gonna be scared of you. What the VC's wanted to say "Good idea, kid. Grown ups will take it from here". But not this time. This is our time. This time you're gonna...you're gonna hand 'em a business card that says "I'm CEO Bitch". That's what I want for you. http://movieclips.com/NcDV-the-social-network-movie-im-ceo-bitch/

Jules: I'm not giving you that money. I'm buying something from you. Wanna know what I'm buyin' Ringo? Pumpkin: What? Jules: Your life. I'm givin' you that money so I don't have to kill your ass. You read the Bible? Pumpkin: Not regularly. Jules: There's a passage I got memorized. Ezekiel 25:17. "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy My brothers. And you will know I am the Lord when I lay My vengeance upon you." Now... I been sayin' that shit for years. And if you ever heard it, that meant your ass. You'd be dead right now. I never gave much thought to what it meant. I just thought it was a cold-blooded thing to say to a motherfucker before I popped a cap in his ass. But I saw some shit this mornin' made me think twice. See, now I'm thinking: maybe it means you're the evil man. And I'm the righteous man. And Mr. 9mm here... he's the shepherd protecting my righteous ass in the valley of darkness. Or it could mean you're the righteous man and I'm the shepherd and it's the world that's evil and selfish. And I'd like that. But that shit ain't the truth. The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin', Ringo. I'm tryin' real hard to be the shepherd. http://www.youtube.com/watch?v=vMN5uQhF-Ro I think it's this scene, and the power of Sam Jackson's performance, that take Pulp Fiction from being just really good to one of the best films ever made. The film would have already been remembered because of its amazing conversations, humor, and graphic violence, but with this one scene, it moves into "saying something" territory. He's just so honest in both his badassness and also his newfound, simple, and powerful faith from witnessing the "miracle" earlier that day. Really good stuff. Also, just because: Jules: Well, I'm a mushroom-cloud-layin' motherfucker, motherfucker! Every time my fingers touch brain, I'm Superfly T.N.T., I'm the Guns of the Navarone! IN FACT, WHAT THE FUCK AM I DOIN' IN THE BACK? YOU'RE THE MOTHERFUCKER WHO SHOULD BE ON BRAIN DETAIL! We're fuckin' switchin'! I'm washin' the windows, and you're pickin' up this nigger's skull!

Here are some good discussions of Anti-Heroes and Villain Protagonists, with lots of examples of both. (I confess: I find Villain Protagonists much more interesting.)

A Clockwork Orange (1971) Screenplay by Stanley Kubrick, based on the novel by Anthony Burgess. http://www.youtube.com/watch?v=v90KPJ6n4Ew Alex: As we walked along the flatblock marina, I was calm on the outside, but thinking all the time. So now it was to be Georgie the general, saying what we should do and what not to do, and Dim as his mindless, grinning bulldog. But suddenly I viddied that thinking was for the gloopy ones and that the oomny ones use, like, inspiration and what Bog sends. For now it was lovely music that came to my aid. There was a window open with the stereo on and I viddied right at once what to do.

The Talented Mr. Ripley (1999) Screenplay by Anthony Mingella, based on the novel by Patricia Highsmith. http://www.youtube.com/watch?v=dQSK2gmtNMI DICKIE: You can be a leech - you know this - and it's boring. You can be quite boring. RIPLEY (volcanic): The funny thing - I'm not pretending to be somebody else and you are. I'm absolutely honest with you. I've told you my feelings. But you, first of all I know there's something - that evening when we played chess, for instance, it was obvious - DICKIE (incredulous): What evening? RIPLEY: Sure - I know, that's too dangerous for you, fair enough, hey! we're brothers, fine, then you do this sordid thing with Marge, fucking her on the boat while we all have to listen, which was excruciating, frankly, plus you follow your cock around like a - and now you're getting married! I'm bewildered, forgive me...you're lying to Marge then getting married to her, you're knocking up Silvana, you've got to play sax, you've got to play drums, which is it, Dickie, what do you really play? Dickie, furious, gets up, and lurches towards Ripley. DICKIE (attacking him, administering tiny slaps as punctuation to his tirade): Who are you - some imposter, some third class mooch - who are you to tell me anything? Actually, I really really really don't want to be on this boat with you, I can't move without you moving, which is exactly how it feels and it gives me the creeps. (he goes to rev up the engine) I can't move without - "Dickie, Dickie, Dickie" - like a little girl. You give me the - RIPLEY SMASHES HIM ACROSS THE HEAD WITH THE OAR. DICKIE SLIPS OFF THE WOODEN SEAT, HIS EYES ROLLING IN GROGGY SURPRISE. RIPLEY: Shut up! Just shut up! Just shut up! The boat slows as Dickie releases the tiller. Dickie looks up at Ripley wearily and slides onto his back. DICKIE: For God's sake. Ripley, shocked at himself, goes to Dickie, rocking the boat, catches him up, then is horrified to see Dickie's face, apparently unmarked, SUDDENLY SPLIT OPEN, a line of blood and then a peeling like a fruit bursting. Ripley's appalled. A terrible roar issues from Dickie as he launches himself at Ripley. DICKIE (cont'd): I'll kill you! Ripley finds himself pushing him away, picking up the oar, kicking off Dickie's hand around his ankle. The boat is rocking and swerving crazily as Dickie falls against the tiller. Ripley almost loses his balance. His glasses come off. They struggle, locked together in a life or death wrestle to get control of the oar. Dickie's blinded by his own blood, loses his grip. Ripley, terrified, hits Dickie again and again, the oar like a carpet-beater banging down flat, blood on the blade, blood on Ripley, until he's on his knees, heaving for breath, letting his arm drop, then realizing, disgusted, that he's let it rest in a pool of blood. He starts to sob, sprawls there, sobbing, next to Dickie, horrified by what he's done. Nobody's in sight. The boat rocks, gently, the sun sparkling indifferently on the waves. Ripley lies by Dickie in the bottom of the boat, in the embrace he's always wanted. The pretty blue-and-white boat rocks peacefully. The sea calms.

YOUNG ADULT by Diablo Cody. I love this exchange: Mavis Gary: I'm going to a rock concert with an old flame and I think there is a chance we may reconnect. Sales Lady: Let's show him what he's been missing. Mavis Gary: No, he's seen me recently. He knows. But his wife hasn't seen me in a while, so. Here's the video: https://www.facebook.com/video/video.php?v=3509086413015 I think the dialogue is notable because it shows how out of touch with common social graces/boundaries Mavis is via the saleswoman's reaction. It tells us so much about her in a scant minute.

Sin City Marv: [narrating] I don't know why you died, Goldie. I don't know why and I don't know how, I never even met you before tonight. But you were a friend and more when I needed one. And when I find out who did it, it won't be quick and quiet like it was with you. It'll be loud and nasty. My kind of kill. And when his eyes go dead the hell I send him to will seem like heaven after what I've done to him. I love you, Goldie. http://movieclips.com/WRzZM-sin-city-movie-ill-be-right-out/ Marv is definitely my kind of anti-hero. I'll cite Scott's definition (with some minor editing) as an illustration of why: 'Qualities normally belonging to villains (violent tendencies) that may be tempered with more human, identifiable traits (love, self-hatred, gratitude); noble motives pursued by bending or breaking the law in the belief that “the ends justify the means.”' Oh yeah, that last part is Marv all over.

Lester Burnham American Beauty funny the draft i had of the script doesn't match the clip, I like it so much better with the drive through set up, see below: http://youtu.be/LYmO9oXsTF8 Carolyn walks across a parking lot with Leonard Kane, the Real Estate King. CAROLYN You know, I rarely frequent places like this, but... Leonard opens the door OF a BUILDING FOR her. CAROLYN (cont'd) I think I can allow myself junk food, after the workout we had this morning. She SQUEALS with LAUGHTER as They go inside. the door shuts behind them. On it we see the SMILEY'S LOGO. INT. SMILEY'S - CONTINUOUS A FEW people stand IN line at the counter. Carolyn enters with Leonard. He whispers something to her and she LAUGHS uproariously. IN the KITCHEN, which is separated from the counter By a partition made up of various food service equipment, we see Lester, in a Smiley's uniform and baseball cap, flipping burgers on a grill. He recognizes Carolyn's LAUGH and peers over the partition. His POV: Carolyn and Leonard stand at the counter, scanning the menu overhead. She leans against him affectionately. Lester's face darkens, and then... he smiles. He adjusts his cap, and crosses toward the counter. CLOSE on Carolyn and Leonard, peering UP at the menu. CAROLYN What's good here? LEONARD (a grin) Nothing. CAROLYN (turns to him) Then I guess we'll just have to be bad, won't we? And just as they're about to kiss... LESTER (O.C.) Smile, you're at Smiley's. Carolyn almost jumps out of her skin. She stares at us, startled, and quickly disengages herself from Leonard. Her POV: LESTER leers at us, DRIPPING with sarcasm. LESTER (cont'd) Would you like to try our new beef and cheese pot pie on a stick, just a dollar ninety nine, for a limited time only? Carolyn struggles to appear nonchalant. CAROLYN (re: Leonard) We just came from a seminar. (then, all business)) Leonard, this is my - LESTER Her husband. We've met before, but something tells me you're going [to] remember this time. CAROLYN Lester, please don't - LESTER (loving this) Uh-un, You don't get to tell me what to do. Ever again. Carolyn closes her eyes, defeated, then turns and walks out. Leonard glances at Lester, embarrassed, then follows Carolyn. LESTER (cont'd) (calls after them) Smile! You're at Smiley's!

(from IMDB screenplays, guess this is shooting script) INT. MR. SMILEY'S - LATER Lester, wearing a Mr. Smiley's uniform, is happily flipping burgers on a grill. CO-WORKER Hey Lester, I need that Super Smiley with cheese, A.S.A.P. LESTER You need more than that, my little hombre. (CONTINUED) 77. CONTINUED: Lester looks up suddenly when he HEARS: CAROLYN (O.S.) (over speakers) What's good here? BUDDY (O.C.) (over speakers) Nothing. CAROLYN (O.C.) (over speakers) Then I guess we'll just have to be bad, won't we? (then) I think I'll have a double Smiley Sandwich and curly fries, and a vanilla shake. BUDDY (O.C.) (over speakers) Make that two. COUNTER GIRL (O.C.) (over speakers) Please drive around thank you. Lester's face darkens, then... he smiles. He puts his spatula down. EXT. MR. SMILEY'S - CONTINUOUS The Mercedes pulls around to the DRIVE-THRU WINDOW. Carolyn drives; Buddy sits beside her. CAROLYN I think we deserve a little junk food, after the workout we had this morning. BUDDY (nuzzles her neck) I'm flattered. They are too involved with each other to notice Lester watching them from the drive-thru window. LESTER (overly cheerful) Smile! You're at Mr. Smiley's! Carolyn almost jumps out of her skin. (CONTINUED) 78. CONTINUED: Lester leans out of the drive-thru window, grinning at her, holding bags filled with fast food. The Counter Girl stands next to him, staring blankly. LESTER (CONT'D) Would you like to try our new beef and cheese pot pie on a stick, just a dollar ninety-nine for a limited time only? Carolyn struggles to appear nonchalant. CAROLYN (re: Buddy) We were just at a seminar. (then, all business) Buddy, this is my-- LESTER Her husband. We've met before, but something tells me you're going to remember me this time. COUNTER GIRL (to Carolyn) Whoa. You are so busted. CAROLYN (flustered) You know, this really doesn't concern you. LESTER Actually, Janeane is senior drive-thru manager, so you kind of are on her turf. (to Carolyn, quietly) So. This makes sense. CAROLYN (miserable) Oh, Lester-- LESTER Honey, it's okay. I want you to be happy. (then) Would you like Smiley Sauce with that? CAROLYN Lester, just stop it! LESTER Uh-uh. You don't get to tell me what to do. Ever again. (CONTINUED) 79. CONTINUED: (2) Carolyn closes her eyes, defeated, then grabs the wheel, shifts gears and drives off. EXT. TOP HAT MOTEL - A SHORT TIME LATER The sky is filled with ominous gray clouds. Wind whips garbage across the parking lot as Carolyn's Mercedes pulls in next to Buddy's Jaguar. INT. MERCEDES-BENZ ML320 - CONTINUOUS Carolyn grips the wheel tightly, staring straight ahead. Buddy looks at her unhappily. BUDDY I'm sorry. I guess we should cool it for a while. I'm facing a potentially very expensive divorce. CAROLYN Oh, no. I understand completely. (sarcastic) In order to be successful, one must project an image of success. At all times. She regrets it the second it's out of her mouth, and turns to him. He just looks at her sadly, then gets out of the car and shuts the door. She starts to CRY. As before, she SLAPS herself, hard. CAROLYN (CONT'D) Stop it. Stop it! She closes her eyes tight, trying to stop the tears, then suddenly SCREAMS as loud as she can. EXT. TOP HAT MOTEL - CONTINUOUS Buddy's Jaguar speeds off, leaving the Mercedes alone in the parking lot. We can still HEAR Carolyn's muffled SCREAMING. There is a sound of distant THUNDER.

Jack Nicholson as R.P. McMurphy in "One Flew Over the Cuckoo's Nest" is perhaps the greatest anti-hero in cinematic history. A petty criminal with a long rap sheet of assaults and statutory rape charges, McMurphy shows the beaten-down inmates of mental institution how to rise up and be men again. Two great scenes... After losing a rigged vote to Nurse Ratched about watching the World Series, McMurphy decides maybe a downtown bar might be a better venue to view the game after all. Of course, that means busting out of this secure location... Amid laughter and skepticism, McMurphy tries the impossible, lifting a huge marble plumbing fixture from its moorings. http://www.youtube.com/watch?v=gSPBLBjCLIw McMurphy: But I tried, didn't I? Goddamnit, at least I did that. After losing another rigged vote, McMurphy creates his own World Series game... http://www.youtube.com/watch?v=JkLSbDudrjU McMurphy: Koufax looks down! He's looking at the great Mickey Mantle now! Here comes the pitch! Mantle swings! It's a fucking home run! [loud cheering from the patients] It ultimately doesn't go McMurphy's way, but he shows his fellow inmates a path out of the madness...

GET CARTER (1971) directed by Mike Hodges, screenplay by Hodges based on the novel "Jack's Return Home" by Ted Lewis Jack Carter, as portrayed by Michael Caine, is right up there with Michael Corleone, Travis Bickle, and the Driver in my book. Violent, misogynist, and as nasty in word as in deed, he is almost thoroughly evil save for his sense of duty to his dead brother Frank and his devotion to his niece Doreen (who may actually be his daughter). This scene highlights his direct and vicious way of talking, as he breaks down Margaret with his "needling" and finally goes in for a knock-out verbal punch and a literal slap. EXT. THE IRON BRIDGE - DAY The bridge is a, massive structure. The traffic lanes are flanked each side by pedestrian walkways. It is here that Carter and Margaret have arranged to meet. CARTER How were things between you and Frank? MARGARET He was all right to me. CARTER Nothing more? Just another feller? MARGARET Nicer than most. CARTER But he was just another feller, wasn't he? MARGARET Yes. CARTER Though nicer than most? MARGARET Yes. I can't help the way I am. CARTER (ignoring the statement) Why'd you see him so regular? MARGARET Once a week? CARTER I call that regular. MARGARET He was gentlemanly. I like that. CARTER Once a week you like a gentleman? MARGARET (angrily) Look, I'm me, right. You're not. We are what we are, like it or not. (She turns and walks slowly along the bridge.) Why all the bloody needle? CARTER What was bugging Frank? MARGARET He wanted me to leave Dave and marry him. Last Friday I told him it wouldn't work. Dave would have killed us both! (pause) He followed me home and kicked up a stink in the street, (pause) I had to tell Frank I couldn't see him any more. It was getting too dodgy. That was on Sunday. (She stops and looks over the bridge.) He said he'd kill himself. I was frightened what you might do. They look at each other for a moment. Carter shakes his head. He gently takes the sunglasses from Margaret's face and folds them up. CARTER I don't believe you, Margaret. Frank wasn't like that. (pause) I'm the villain in the family, remember? MARGARET It's the truth. Carter snaps her glasses in two and throws them away. MARGARET It is. Honestly. CARTER (shouting) You bloody whore. Frank was too careful to die like that. Who killed him? MARGARET I don't know nothing. Carter holds her arm. She winces like she's been hit before. CARTER Listen, the only reason I came back to this craphole was to find out who did it. And I won't leave until I do. You understand? Behind Carter Peter's Jaguar comes slowly along the bridge. It stops. The passenger side is a gaping hole. CON Hello, Jack. Carter swings round to see them, then swings angrily back to Margaret. CARTER You bitch! It was you who told them I was here, wasn't it? He smacks her hard across the face. Margaret cries out. The car draws alongside. A steel mesh separates the pedestrian way from the traffic, so the two men can't get to Carter until he reaches the end of the bridge. Con leans out, his usual cheery self. CON Peter's very upset about his car. He's going to shit all over you. CARTER I'll catch up with you later, Margaret. And with that he vaults over the handrail on to a corrugated roof. Couldn't find this scene online but his brutality and relentlessness comes across forcefully enough in the trailer. http://www.youtube.com/watch?v=AgU1L1z-Zx4

Fight Club (1999), directed by David Fincher Writers: Chuck Palahniuk (novel), Jim Uhls (screenplay) Anti hero Tyler($#&! Yeah) Durden The Lye/Chemical burn scene. I couldn't find the video online. TYLER This is the greatest moment of your life and you're off somewhere, missing it. JACK No, I'm not... SHOT OF TREES ENGULFED BY A FOREST FIRE. RESUME: TYLER Shut up. Our fathers were our models for God. And, if our fathers bailed, what does that tell us about God? JACK I don't know... SHOT OF EMBERS POURING FROM THE HELLISH FOREST FIRE. RESUME: Tyler SLAPS Jack's face again... TYLER Listen to me. You have to consider the possibility that God doesn't like you, he never wanted you. In all probability, He hates you. This is not the worst thing that can happen... JACK It isn't... ? TYLER We don't need him... JACK We don't... ? SHOT OF INSIDE ICE CAVE - NAKED MARLA PULLS JACK DOWN ON TOP OF HER - JACK KISSES HER - CIGARETTE SMOKE COMES FROM HER MOUTH - JACK COUGHS. RESUME: Jack is a wide-eyed zombie... JACK ... Marla ... ? TYLER Fuck damnation. Fuck redemption. We are God's unwanted children, with no special place and no special attention, and so be it. Jack looks at Tyler -- they lock eyes. Jack does his best to stifle his spasms of pain, his body a quivering, coiled knot. He bolts toward the sink, but Tyler holds on. TYLER You can go to the sink and run water over your hand. Look at me. Or you can use vinegar to neutralize the burn, but first you have to give up. First, you have to know that someday,you are going to die. Until you know that, you will be useless. Jack spasms with a shiver of pain... JACK You ... you don't know what this feels like, Tyler. Tyler shows Jack a LYE-BURNED KISS SCAR on his own hand. Tears begin to drip from Jack's eyes. Tyler grabs a bottle of VINEGAR -- pours it over Jack's wound. Jack closes his eyes, holds his hand... slumps to the floor. TYLER Congratulations. You're a step closer to hitting bottom.