A Fish Called Wanda (1988) Written by John Cleese, story by John Cleese and Charles Crichton. http://cli.ps/Hdg6U Wanda: Ken, somebody just called! They said that the police know that the loot is in a garage in Fulham somewhere. You and I have to go get it right now, Ken. You and I have to go move it before the police find out where it is! Ken: No, no, no. Wanda: What? Ken: It's all right! Wanda: What? Ken: Ge-Ge-Ge... Wanda: George. Ken: M-m-m... Wanda: Moved. George moved the loot?! Ken: Yes. Wanda: Where'd he move it, Ken?! Where did he move it?! Ken: K-k-k... I don't know where it is. There's a key. I don't know what it's for. It's in the... Wanda: Don't tell me. It's better that you don't tell me. Oh, you know, if it wasn't for George... Ken: Otto... tried to k-k-kiss me. Wanda: I thought he might. Ken's stutter could have easily been just a gimmick to get some funny scenes (which we do, in spades), but his speech impediment is cleverly tied to his character development. It shows in this scene as Wanda kisses him and also in the scene where Ken finally gets his revenge after Otto made fun of his stuttering the whole movie. After Ken steamrolls Otto we get this: Ken: "K-k-k-k-Ken." You bastard. Hey, I've lost my stutter. It's gone. I can speak. How much wood would a woodchuck chuck if a woodchuck could chuck wood?

One of my favorite movie lines is the ultimate in Otto's long run of making fun of Ken -- "Here c-c-c-comes Ken! Coming to k-k-k-kill me!" Then, a split second later, he realizes he's just spoken the truth. Ken is going to run him over... and relish the moment.

Pan's Labyrinth (2006), Written and Directed by Guillermo del Toro. Capitán Vidal: I'll make you a deal. If you can count to three without st-t-uttering you can go. Don't look at him look at me. Above me there is no one. Garces! Garcés: Yes Captain? Capitán Vidal: If I say this asshole can leave would anybody here contradict me? Garcés: No one Captain. He can leave. Capitán Vidal: There you have it. Count to three. El Tarta: One... Capitán Vidal: Good. El Tarta: Two... Garcés: Good - one more and you're free. El Tarta: T-t-t-t-t... Capitán Vidal: Shame. http://www.youtube.com/watch?v=Q1JhTRWqhKc What's notable about this scene is that this could have been a simple exposition scene, where a rebel is captured by the fascists and tortured. But because the guy has a stutter, we are treated to one of the most dramatic scenes of the whole film.

Bud Abbott and Lou Costello Meet Frankenstein (1948) "Lou! Come on!" http://movieclips.com/g3Qr-bud-abbott-and-lou-costello-meet-frankenstein-movie-where-are-they/ Screenwriting takeaway: Nothing, really, and most of the dialogue is undecipherable yet hilarious. It helps having a master of tongue-tied cinema perform the part. Pretty funny that even though Costello's character is named Wilbur in this film, Abbott calls out "Lou" after seeing the monsters. It also sounds like he's yelling "Chick!" which is his own character's name.

The King's Speech Tension. Drama. Adversity. Triumph. http://www.youtube.com/watch?v=AHY2UzOonig&feature=related

http://www.youtube.com/watch?v=RrU_oXnS03g Billy: I can explain everything. Nurse Ratched: Please do. Explain everything. Billy: Ev-ev-everything? Nurse Ratched: Aren't you ashamed? Billy: No, I'm not. [Applause from friends] Nurse Ratched: You know Billy, what worries me is how your mother is going to take this. Billy: Um, um, well, y-y-y-you d-d-d-don't have to t-t-t-tell her, Miss Ratched. Nurse Ratched: I don't have to tell her? Your mother and I are old friends. You know that. Billy: P-p-p-please d-d-don't tell my m-m-m-mother. Nurse Ratched: Don't you think you should have thought of that before you took that woman in that room? Billy: Nah, nah. I-I-I-I didn't. Nurse Ratched: You mean she dragged you in there by force? Billy: Sh-sh-sh-sh-she did. Ev-ev-everybody did. Nurse Ratched: Everybody? Who did? You tell me who did. Billy: M-M-M-M-McMurphy. M-M-Miss Ratched, please don't tell my m-m-m-mother. Please. Billy -- at the cusp of freedom -- overcomes his stammer for one powerful line where he looks Nurse Ratched square in the eye and says: "No, I'm not." But all he gets is that taste of what it's like to thrive, because Nurse Ratched immediately busts him back to what he's come to know as his ordinary world. She takes his taste of freedom, confidence, and deep power and nips it in the bud. One of the most effective things is how crisp and clear her words are, the delivery in such sharp contrast to his. It's two actors at the top of their game and you forget you're watching actors, not real people locking horns.

All the suggestions are great. I also though this would be Hugh Grant week, maybe served with a little Woody Allen on the side.

Here is a crucial moment and a major plot point in this terrific film where Treves, Carr and the audience learn that there's more to John Merrick than meets the eye. The Elephant Man (1980) Screenplay by Christopher De Vore & Eric Bergren & David Lynch, based on a book by Frederick Treves and a book by Ashley Montagu. http://movieclips.com/FxMP-the-elephant-man-movie-the-lord-is-my-shepherd/ Merrick is at a loss. This is not part of the expected scenario. MERRICK: Oh no, everyone has been very kind. CARR: No, I meant in your former situation. Merrick doesn't seem to understand. MERRICK: I'm feeling much better now... Carr Gomm stares levelly at Treves for a moment, then asks Merrick: CARR: Tell me, how do you like Mr. Treves? As a teacher? Treves stiffens. MERRICK: ...I... everyone has been very kind to me. CARR: Of course. How long did you and Mr. Treves prepare for this interview? Merrick looks at Treves for guidance, but Treves cannot look him in the eye. MERRICK: ...everyone has been very kind. CARR: Yes, of course... Well, it's been a pleasure meeting you, Mr. Merrick. Good day. TREVES (to John): Thank you, John. You did very well. Treves and Carr Gomm go out the door onto the landing. Merrick sees his chance escaping him and tries to recapture their attention. MERRICK (his voice is gaining strength): The Lord is my shepherd, I shall not want. He maketh me to lie down in green pastures... (he continues through the following dialogue) Treves and Carr Gomm are alone on the landing, speaking quietly. CARR: It was a nice try, Treves, but the man is so obviously mouthing your words. TREVES: Yes, I'm very sorry to have wasted your time, sir. I just felt that I had to do anything I could to protect him. CARR: I'm sorry too. He simply doesn't belong here. He's be much happier somewhere else, where he could be constantly looked after. Believe me, Frederick, it's better that it worked out this way. Good day. Merrick has come to the end of what Treves taught him to say. He makes one last, desperate attempt to be heard. Treves, disheartened, stands on the landing as Carr Gomm starts down the stairs. MERRICK (V.O.) (now full voice): Yea, though I walk through the valley of the shadow of death, I will fear no evil, for Thou art with me; Thy rod and Thy staff, they comfort me... Treves is staring, open-mouthed, back into the room. Carr Gomm looks up at him. CARR: What is it, Treves? MERRICK (V.O.): Thou preparest a table before me in the presence of mine enemies, Thou anointest my head with oil... TREVES: I didn't teach him that part!

I'm interpreting tongue-tied as stammering or dumbstruck, so can think of two moments in Erin Brokovich. The water glass one which has already been discussed on the blog (but it seems the damning line wasn't included in the original script?) And the ending when Erin goes on a rant after hearing her bonus has been reassessed and is stupefied when she is handed the cheque. Just magic. http://www.youtube.com/watch?v=mKgy5W3S6nw

Ed Masry: Do they teach Beauty Queens how to apologise? Because you suck at it! My fave line :-) plus the little mince of pleasure as he shimmys out the door, class act.

http://www.youtube.com/watch?v=GxGkcC1VrhU Christmas Vacation, written by John Hughes [Clark is looking at lingerie, as a voluptuous saleswoman approaches] Mary: Can I help you with anything? Clark: Oh, I was just smelling - smiling. I was just blouse - brousing. Mary: For your wife? For your girlfriend? Clark: Uh... huh? What happened? I, uh, heh heh. Well, I guess it just wouldn't... Oh hee hee, it wouldn't be the Christmas shopping season if the stores were any less hooter than they - HOTTER than they are. Whew. It is warm in here, isn't it? Mary: You have your coat on. Clark: Yes, oh do I? How'd that happen? Mary: Because it's cold out? Clark: Yes, Yes, it is a bit nipply out. I mean 'nippy out.' What am I saying, nipple? Ah, there is a nip in the air, though. The full scene is linked above. I think it's hilarious. The takeaway for screenwriting is to push - Hughes doesn't settle for one joke, or a simple setup and punchline. He keeps the gag going, never letting us off the hook to catch our breath. I also love how he punctuates the joke with the "No shit" line as it's such a contrast to the bumbling language before it.