Love Actually (2003) Written by Richard Curtis. http://cli.ps/XyZk Joe: What the hell are you doing here? You're supposed to be at Elton John's. Billy: Well, I was there for a minute or two and then I had an epiphany. Joe: Really? Billy: Yeah. Joe: Come on. Just come up. So what was this epiphany? Billy: Erm, it...it was about Christmas. Joe: You realized that it was all around. Billy: No. I realized that Christmas is the time to be with the people you love. Joe: Right. Billy: And I realized that, as dire chance and fateful cock-up would have it, here I am, mid-fifties, and without knowing it, I've gone and spent most of my adult life with a chubby employee. And, much as it grieves me to say it, it might be that the people I love is, in fact... you. Joe: Well, this is a surprise. Billy: Yeah. Joe: Ten minutes at Elton John's and you're as gay as a maypole. Billy: No, look. I'm serious here. I left Elton's and a hefty number of half-naked chicks with their mouths open in order to hang out with you at Christmas. Joe: Well, Bill... Billy: It's a terrible, terrible mistake, chubs... but you turn out to be the fucking love of my life. And to be honest, despite all my complaining... we have had a wonderful life. Joe: Well... thank you. I mean, come on, it's been an honour. I feel very proud. Billy: Oh, look, don't be a moron. Come on, let's get pissed and watch porn.

LittleWomen (1994) Screenplay by Robin Swicord, novel by Louisa May Alcott. http://www.youtube.com/watch?v=bzgNSrJj3TI Laurie: When I imagine myself in that life, I can think of only one thing that would make me happy. Jo: No, Teddy. Teddy don't. No, Teddy. We have to talk about this reasonably. Laurie: I have loved you since the moment I clapped eyes on you. What could be more reasonable than to marry you? Jo: We'd kill each other! Laurie: Nonsense! Jo: Neither of us can keep our temper-- Laurie: I can, unless provoked. Jo: We're both stupidly stubborn, especially you. We'd only quarrel! Laurie: I wouldn't! Jo: You can't even propose without quarreling. Laurie: Dear Jo, I swear I'll be a saint. I'll let you win every argument. I'll take care of you and your family. I'll give you every luxury you've ever been denied. You won't have to write unless you want to. Grandfather wants me to learn the business in England. Can't you see us bashing around London? Jo: London... Oh, Teddy, I'm not fashionable enough for London. You need someone who's elegant and refined. Laurie: I want you. Jo: Teddy, please don't ask me. Teddy, I'm desperately sorry. I do care for you with all of my heart. You're my dearest friend. I just can't go be a wife. Laurie: You say you won't, but... you will. Jo: I won't. Laurie: One day you'll meet some man. A good man. And you will love him tremendously. And you will live and die for him. Jo: Teddy, please... Laurie: You will. Jo, I know you. And I'll be hanged if I stand by and watch.

50/50 (2011) Written by Will Reiser. http://cli.ps/VQM9b Adam: Hey, it's Adam. Katherine: Adam? It's midnight. What's going on? Adam: Oh, probably having a nervous breakdown. I think I just fractured my larynx. Katherine: I'm really, really glad that you called. Adam: I just want it to be over. I'm so fucking tired of being sick. You know, if the surgery doesn't work, that's it. And I've never been to fucking Canada. I've never told a girl I loved her. That sounds stupid. Katherine: No, it doesn't. Adam: Sorry I was such an asshole the other day. Katherine: No, I was an asshole. I was totally unprepared for you. This job is really hard. If I fuck up I can ruin somebody's whole life. Adam: I guess we're both beginners at this. Katherine: Yeah. Adam: What were you doing when I called? Were you on Facebook? Katherine: You know... umm... stalking my ex-boyfriend actually isn't the only thing I do in my free time. Adam: I wish you were my girlfriend. Katherine: Girlfriends can be nice. You just had a bad one. Adam: I bet you'd be a good one.

Il Postino (1994) Screenplay by Anna Pavignano & Michael Radford & Furio Scarpelli & Giacomo Scarpelli & Massimo Troisi, story by Furio Scarpelli & Giacomo Scarpelli, novel by Antonio Skármeta. http://cli.ps/x3td Donna Rosa: Be honest with me. What did he tell you? Beatrice: Metaphors. Donna Rosa: Metaphors? Never heard such big words from you before. What metaphors did he do to you? Beatrice: Did? He said them! He said my smile spreads across my face like a butterfly. Donna Rosa: And then? Beatrice: I laughed when he said that. Mario: Your laugh is a rose... a spear unearthed, crashing water. Your laugh is a sudden silvery wave. Donna Rosa: Then what did you do? Beatrice: I kept quiet. Donna Rosa: And he? Beatrice: What else did he say? Donna Rosa: No, what did he do? Your postman, as well as a mouth, has two hands! Beatrice: He never touched me. He said he was happy to be next to a pure young woman. Like being on the shores of the white ocean. Mario: I like it -- I like it when you're silent because it's as though you're absent. Donna Rosa: And you? And he? Beatrice: He looked at me, too, then he stopped looking at my eyes and began to look at my hair without a word, as though he were thinking. Donna Rosa: Enough, my child! When a man starts to touch you with words he's not far off with his hands. Beatrice: There's nothing wrong with words. Donna Rosa: Words are the worst things ever. I'd prefer a drunkard at the bar touching your bum to someone who says, ''Your smile flies like a butterfly''! Beatrice: It ''spreads'' like a butterfly! Donna Rosa: Flies, spreads, it's the same thing!

Notting Hill - Writer: Richard Curtis (1999) http://www.youtube.com/watch?v=4x8vN6WcRWA As every woman knows, if a man refers to himself as a "daft prick," that's true love. Classic to have Questioner 1 to re-ask his question allowing Anna to reveal her "I love you." INT. SAVOR ROOM - DAY William runs, searching. At last finds the room, and enters. INT. LANCASTER ROOM - DAY Huge room -- full of press. Row after row of journalists, cameras at the front, TV cameras at the back. Anna clearly gives press conferences very rarely, because this one is positively presidential. She sits at a table at the end of the room, beside Karen: on her other side is Jeremy, the PR boss, firmly marshalling the questions. JEREMY Yes... You -- Dominic. QUESTIONER 1 How much longer are you staying in the UK then? ANNA No time at all. I fly out tonight. She's in a slightly melancholic and therefore honest mood. JEREMY Which is why we have to round it up now. Final questions. He points at a journalist he knows. QUESTIONER 2 Is your decision to take a year off anything to do with the rumours about Jeff and his present leading lady? ANNA Absolutely not. QUESTIONER 2 Do you believe the rumours? ANNA It's really not my business any more. Though I will say, from my experience, that rumours about Jeff... do tend to be true. They love that answer, and all scribble in their note books. Next question comes from someone straight right next to William. QUESTIONER 3 Last time you were here, there were some fairly graphic photographs of you and a young English guy -- so what happened there? ANNA He was just a friend -- I think we're still friends. JEREMY Yes, the gentleman in the pink shirt. He is pointing straight at William, who has his hand up. WILLIAM Yes -- Miss Scott -- are there any circumstances in which you two might be more than just friends? Anna sees who it is asking. ANNA I hoped there might be -- but no, I'm assured there aren't. WILLIAM And what would you say... JEREMY No, it's just one question per person. ANNA No, let him... ask away. You were saying? WILLIAM Yes, I just wondered whether if it turned out that this... person... OTHER JOURNALIST (to William) His name is Thacker. WILLIAM Thanks. I just wondered if Mr. Thacker realized he'd been a daft prick and got down on his knees and begged you to reconsider, whether you would... reconsider. We cut to Max, Bella, Bernie and Honey, all watching. Then back to Anna. ANNA Yes, I'm pretty sure I would. WILLIAM That's very good news. The readers of 'Horse and Hound' will be absolutely delighted. Anna whispers something to Jeremy. JEREMY Dominic -- if you'd like to ask your question again? QUESTIONER 1 Yes -- Anna -- how long are you intending to stay here in Britain? Pause. Anna looks up at William. He nods. ANNA Indefinitely. They both smile -- suddenly the press gets what's going on -- music -- noise -- they all turn and flash, flash, flash photos of William. Max and Bella kiss. Bernie kisses a total stranger. Spike finally makes it -- he's bright red from running.

Anchorman: The Legend of Ron Burgundy (2003) written by: Will Ferrel and Adam McKay Ron: God, you are so beautiful. Veronica: We really should be going. I swore that I would never get involved with a coworker. Ron: Wait. What if, just for tonight, we weren't coworkers? We were co-people? Veronica: I don't... Ron: Shh. You be a woman. I'll be a man. That's all. Veronica: Oh. You continue to surprise me, Mr. Burgundy. Ron: Oh, I'm storming your castle on my steed, milady. Veronica: Oh, mi corazón es en fuego! Julio, fuego, fuego, fuego! Ron: Wait, stop. Stop talking like that. I can't understand you. Veronica: Sorry. Take me to Pleasure Town! Ron: Oh, we're going there! Veronica: Oh! Ron: I friggin' love you! Veronica: I friggin' love you back! Ron: Look! The most glorious rainbow ever! Veronica: Oh, do me on it! http://www.youtube.com/watch?v=QH7hj1nauTc

Bonus: because, come on... Star Wars: Episode V - The Empire Strikes Back (1980) written Leigh Brackett and Lawrence Kasden Leia: I love you! Han: I know. http://www.youtube.com/watch?v=sO-KR-14uXM

Yay, more Richard Curtis!

"co-people" - That cracks me up every time!

As always, I follow your lead, Teddy. ;)

something a bit darker...from Kiss of the Spider Woman http://www.youtube.com/watch?v=nf49hgJWSHE&feature=colike Molina, dropping his many masks, speaks with stark vulnerability. MOLINA I’ve fallen in love with you. I’m sorry, Valentin. I wish It hadn’t happened. VALENTIN I understand, Molina, don’t be ashamed. Both are silent. Valentin finally speaks with difficulty. VALENTIN Can I touch you? MOLINA If it doesn’t disgust you. (Pause) I’d like you to. Valentin wraps his arm warmly around Molina’s shoulders. MOLINA Can I touch your scar? VALENTIN Sure. Molina gently touches the scar near his eyebrow. MOLINA You’re so kind to me. VALENTIN No, you’re the one who’s kind. Valentin stands and removes his shirt, then moistens his fingers and squeezes out the candle.

http://youtu.be/K4hl44HF29c The Abyss by James Cameron INT. CONTROL MODULE Everyone is frozen. Waiting. It's very quiet. LINDSEY Would we see the flash? MONK Through three miles of water? I don't know. They're holding their breaths. Then... STILL HERE A cheer goes up. Rebel yells. CATFISH Quiet, quiet! Save you air, goddamnit. MONK Bud, give me a reading off you liquid oxygen gauge. TEN MINUTES WORTH ID SAY. Lindsey does white. HIPPY It took him over an hour to get down there-- It's hopeless. Lindsey grabs the headset from Monk. LINDSEY Drop you weights and start back now! The gauge could be wrong... EXT. ABYSSAL LEDGE Bus is one his knees beside the dead warhead. His expression is enigmatic. He looks around slowly at the luminous canyon. Starts to type. INT. CONTROL MODULE The message comes in: NO. THINK ILL STAY A WHILE. BEAUTIFUL HERE. WORTH ADMISSION LINDSEY No! You can make it! You hear me? Drop your weights... you... can breathe shallow... you... it could be wrong-- Lindsey's voice has twisted into a sob. She begins to weep, quietly. LINDSEY Oh God, Virgil, please... DONT CRY BABY A pause. Then the words... WE KNEW THIS WAS A ONE WAY TICKET WHEN I PUT THIS THING ON. BUT YOU KNOW I HAD TO COME. Lindsey sobs at the mike. The others look away. The signal is weakening. One Night boosts it and the screen clears briefly. LOVE YOU WIFE. She stares at the printout. LINDSEY Love you. There is no reply.

Gone with the Wind (1939) Margaret Mitchell (novel), Sidney Howard (screenplay) http://www.youtube.com/watch?v=yNvuIuWY3Sw SCARLETT Oh Rhett, please don't go. You can't leave me, please, I'll never forgive you. RHETT I'm not asking you to forgive me. I'll never understand or forgive myself. And if a bullet gets me, so help me, I'll laugh at myself for being an idiot. But there's one thing that I do know. And that is I love you, Scarlett. In spite of you and me and the whole silly world going to pieces around us, I love you. Because we're alike. Bad lots, both of us. Selfish and shrewd. But able to look things in the eyes and call them by their right names. SCARLETT Don't hold me like that. RHETT Scarlett, look at me. I love you more than I've ever loved any woman. And I've waited longer for you than I've ever waited for any woman. (Butler is pressing his lips onto Scarlett's.) SCARLETT Let me alone! RHETT Here's a soldier of the South that loves you, Scarlett. Wants to feel your arms around him, wants to carry the memory of your kisses into battle with him. Never mind about loving me. You're a woman who's sending a soldier to his death with a beautiful memory. Scarlett, kiss me, kiss me, once. SCARLETT You're a low-down, cowardly, nasty thing, you! They were right. Everybody was right, you, you aren't a gentleman. RHETT A minor point at such a moment. Here, if anyone lays a hand on that nag, shoot him. But don't make a mistake and shoot the nag. SCARLETT Oh, go on. I want you to go. I hope a cannonball lands slap on you, I hope you're blown into a million pieces, I... RHETT Never mind the rest, I follow your general idea. And when I'm dead on the order of my country, I hope your conscience heard you. Good-bye Scarlett. http://www.youtube.com/watch?v=i2RxWs60dRM Scarlett: Oh, Rhett, Rhett please don't say that. I'm so sorry, I'm so sorry for everything. Rhett Butler: My darling, you're such a child. You think that by saying, "I'm sorry," all the past can be corrected. Here, take my handkerchief. Never, at any crisis of your life, have I known you to have a handkerchief. Scarlett: Rhett! Rhett, where are you going? Rhett Butler: I'm going back to Charleston, back where I belong. Scarlett: Please, please take me with you! Rhett Butler: No, I'm through with everything here. I want peace. I want to see if somewhere there isn't something left in life of charm and grace. Do you know what I'm talking about? Scarlett: No! I only know that I love you. Rhett Butler: That's your misfortune. [Rhett turns to walk down the stairs] Scarlett: Oh, Rhett! [Scarlett watches Rhett walk to the door] Scarlett: Rhett! [runs down the stairs after Rhett] Scarlett: Rhett, Rhett! [catches him as he's walking out the front door] Scarlett: Rhett... if you go, where shall I go, what shall I do? Rhett Butler: Frankly, my dear, I don't give a damn.

When Harry Met Sally... (1989) https://www.youtube.com/watch?v=4vHB0huQ-BU HARRY: I've been doing a lot of thinking. And the thing is, I love you. SALLY: What? HARRY: I love you. SALLY: How do you expect me to respond to this? HARRY: How about you love me, too? SALLY: How about, I'm leaving. HARRY: Doesn't what I said mean anything to you? SALLY: I'm sorry, Harry. I know it's New Year's Eve, I know you're feeling lonely, but you can't just show up here and tell me you love me and expect that to make it all right. It doesn't work this way. HARRY: Well, how does it work? SALLY: I don't know, but not this way. HARRY: How about this way: I love how you get cold when it's 71 degrees out. I love how it takes you an hour and a half to order a sandwich. I love how you get a little crinkle above your nose when you're looking at me like I'm nuts. I love it that after spending the day with you I can still smell your perfume on my clothes. And I love how you're the last person I want to talk to before I go to sleep at night. And it's not because I lonely, and it's not because it's New Years Eve. And I came here tonight because when you realize you want to spend the rest of your life with someone, you want the rest of your life to start as soon as possible. SALLY: You see...that's just like you, Harry. You say things like that, and you make it impossible for me to hate you. And I hate you, Harry. I really hate you.

PUNCH-DRUNK LOVE: Barry: Lena. I'm so sorry. I'm so sorry I left you at the hospital. I called a phone-sex line... I called a phone-sex line before I met you, and four blond brothers came after me and they hurt you, and I'm sorry. Then I had to leave again because I wanted to make sure you never got hurt again. And I have a lot of pudding, and in six to eight weeks it can be redeemed. So if you could just give me that much time, I think I can get enough mileage to go with you wherever you go if you have to travel for your work. Because I don't ever want to be anywhere without you. So could you just let me redeem the mileage?

TRUE ROMANCE (1993) WRITTEN BY: QUENTIN TARANTINO https://www.youtube.com/watch?v=2umebghhdh8 CLARENCE: What is it? Are you cryin'? What'd I do? Did I do somethin'? ALABAMA: You didn't do nothin'. CLARENCE: What is it? ALABAMA: I have something I gotta tell you. I didn't just happen to be at that theater. I was paid to be there. CLARENCE: You were paid to be there? Are you a theater checker? You get paid to check up...on the box office girls, make sure they're not ripping the place off? ALABAMA: I'm not a theater checker. I'm a call girl. CLARENCE: You're a whore? ALABAMA: No, I'm a call girl, and there's a difference, you know. Here it goes. You know the place you took me last night, the place you work? CLARENCE: Heroes for Sale? ALABAMA: You got a boss, right? CLARENCE: Yeah. ALABAMA: What's his name? CLARENCE: Lance. ALABAMA: That's him. He called the place where I work. He ordered a girl for you. He said he wanted you to get laid, seein' you didn't get out much and it was your birthday and all. He wanted me to act like I just showed up. How did he know you were gonna be at that theater? CLARENCE: Uh, well, I go to the movies every year on my birthday. In fact, he called me up this week to find out what my birthday movie was gonna be. ALABAMA: You're not mad? CLARENCE: No, man. I can't tell you-- That's one of the best times I ever had. It was. I knew something must be rotten in Denmark. There was no way you could like me that much. I can't tell you how relieved I was when you took off your dress, you didn't have a dick. ALABAMA: Stop being so fucking calm about all this! Go look in your house! There's a note on your TV. It says "Dear Clarence," 'cause I couldn't write any more. So I just said, "Alabama, come clean and just tell him what's what. And if he tells you to go back to Drexl and fuck yourself, then go back and fuck yourself." CLARENCE: Drexl? What's a Drexl? ALABAMA: Please shut up! I'm trying to come clean, okay? I've been a call girl for exactly four days, and you're my third customer. I want you to know that I am not damaged goods. I'm not what they call in Florida "white trash." I'm a really good person. And when it comes to relationships, I'm 100%- I'm 100% monogamous. CLARENCE: You stay with one guy? ALABAMA: Exactly. If I'm with you, then I'm with you, and I don't want anybody else. Now, I gotta tell you something else. When you said last night...was one of the best times you ever had, did you mean physically? CLARENCE: Well, yeah. Yeah, but I'm talking about the whole night. I mean, I never had as much fun with a girl as I had with you in my whole life. It's true. You like Elvis. You like Janis. You like kung fu movies. You like The Partridge Family. Star Trek. ALABAMA: Actually, I don't like The Partridge Family. That was part of the act. Clarence--and I feel really goofy saying this...after only knowing you one night...and me being a call girl and all--but I think I love you. CLARENCE: Wait a second. Look, I've been tryin' to keep this whole thing in perspective. You just said you love me. Now, if I say I love you and just throw caution to the wind and let the chips fall where they may, and you're lyin' to me, I'm gonna fuckin' die. ALABAMA: I'm not lyin' to you, and I swear from this moment forth, I'll never lie to you again.

My Best Friend's Wedding, by Ronald Bass "Choose me" http://www.youtube.com/watch?v=9ExnVKy8hao MICHAEL: What's up? JULIANNE: Shhh. Up the white steps now. Together. The gazebo floor has been covered with hardwood. The perfect place. For a wedding dance. And Julianne... turns, suddenly. He almost runs into her. She is staring up at him, so strangely, their bodies only inches apart. He is caught, transfixed by the intensity in her eyes. JULIANNE:I have to say this quick, okay, or I'll have this massive coronary and you'll never have to hear it. Which you need to. Does that make any sense at all? The coronary part does. We can feel her heart beating from here. MICHAEL: Jules, what's wrong... JULIANNE: This is the dumbest thing I will ever do. So dumb, in fact, that I can't. I don't think. And then, she does. She puts her hands flat on his chest. Looks in his eyes. JULIANNE: Michael, I love you. A heartbeat passes. JULIANNE: I've loved you for nine years, but I was too arrogant and scared to realize it. Now I'm just scared. He stares at her, dumbstruck. She moves even closer. JULIANNE: I know this comes at an inopportune time, but I have to ask this one really gigantic favor, okay? Holds her breath. And... JULIANNE: Choose me. Marry me. Let me make you happy. And in a half beat of excruciating silence... JULIANNE: I know. It sounds like three favors. His eyes are loving. They care for her. She swallows, lost in them. JULIANNE: But when you think about it... Slides her arms around his neck, and raises her mouth... ... to his. The most beautiful kiss she will ever offer. All of her heart is in this, and as his hands touch her body... ... a SCREAM rips the world to pieces. They whirl to see... ... KIMMY, halfway up the path. Her hands across her mouth, as if to stem the horror that pours forth as she SHRIEKS from her soul.

Wow. Look at the turnout this week. There are enough suggestions here to Kill Bill it and do two weeks of love, baby. Oh yeah... [Cue Barry White]

Maybe we should do 2 weeks. And maybe we should follow it up some time with expressions of hate. Thanks for all the suggestions.

From Love and Death in Long Island (1997) by Richard Kwietniowski. A confession of love from a man to another man. Giles: Ronnie, I have another confession to make. I brought you here not to say good-bye, but to make you an offer. Ronnie: An offer? Giles: I am prepared to devote myself to your career. Ronnie: Wow, Giles, I, uh-- [ Clears Throat ] I'm honored. I don't know what to say. You got to come out west. We can start to work on something. Giles: No, Ronnie, forget Los Angeles. Put it behind you. Your future lies in Europe. Ronnie: Giles, I gotta take things one step at a time. Aud would love to go back to Europe and do more work. It would be cool to spend time there-- Giles: "Cool"? I'm talking about a turning point in your life. Ronnie: But I've got no contacts there. People know me here. Giles: As what? Ronnie, as what? Ronnie: Look, um, we'll keep in touch, huh? Giles: Listen to me, Ronnie. In Europe, it is often the case that a-- a young man benefits from the--the wisdom and the experience of an elder. Why, there's almost a tradition of such friendships. Cocteau and Radiguet. Uh, Verlaine, Rimbaud. Ronnie: Rambo? Giles: Arthur Rimbaud, French poet. He--He was Paul Verlaine's lover. Ronnie: Look, Giles, uh, I really gotta go. I gotta pick up Aud. I don't want her to be-- Giles: Now, listen. I understand your misgivings,and I respect the fact that your immediate plans...are founded on these temporary attachments. Ronnie: "Temporary attachments"? Giles: Well, Ronnie, your relationship with Audrey...is hardly likely to last forever. Ronnie: And why is that? Giles: Well, it-- I'm afraid it's obvious to me. Ronnie: What exactly are you tryin' to say, Giles? Giles: [ Whispers ] Ronnie, please. Ronnie: Look, Giles. I would like to believe all the things you said about my career,but you got things all wrong. Giles: Ronnie. Ronnie, listen to me. You don't understand. Ronnie: Giles, I think I do understand, and I have to go now. Giles: How can you act like this...when you know--You must know how completely, how desperately…I love you.

http://www.youtube.com/watch?v=CYUfPTeE0DM Best ending ever...and yes...a love story!