I feel like it's the easy way out, but heck the entire film is named after it: https://www.youtube.com/watch?v=ig6uQWjkYLo Andrew Paxton: We'll tell my family about our engagement when I want and how I want. Now, ask me nicely. Margaret Tate: Ask you nicely what? Andrew Paxton: Ask me nicely to marry you... Margaret. Margaret Tate: What does that mean? Andrew Paxton: You heard me. On your knee. Margaret Tate: [she kneels] Fine. Does this work for you? Andrew Paxton: Oh, I like this. Yeah. Margaret Tate: Here you go. Will you marry me? Andrew Paxton: No. Say it like you mean it. Margaret Tate: Andrew. Andrew Paxton: Yes, Margaret. Margaret Tate: Sweet Andrew. Andrew Paxton: I'm listening. Margaret Tate: Would you please, with cherries on top, marry me? Andrew Paxton: Ok. I don't appreciate the sarcasm, but I'll do it. See you at the airport tomorrow.

But this is one of my favorites from Love Actually: https://www.youtube.com/watch?v=r1doJ3utq88 Jamie: Beautiful Aurelia, I've come here with a view of asking you to marriage me. I know I seems an insane person - because I hardly knows you - but sometimes things are so transparency, they don't need evidential proof. And I will inhabit here, or you can inhabit with me in England. Sophia Barros: [in Portuguese] Definitely go for England, girl. You'll meet Prince William - then you can marry him instead.

Pirates Of The Caribbean - Dead Man's Chest (2006) Writers: Ted Elliott and Terry Rossio http://youtu.be/grwdjSS7D2E?list=FLo5VMXxYHITaU2k0VpXFsvw The Pirates movies are strewn with proposals, but this one is different. If you think about it, all movies have some sort of a proposal -- it's what launches the plot and sends the hero/protagonist on his/her journey. However, in Dead Man's Chest, one proposal is held to the very end and acts and the launching point for the third film. Tia Dalma: (Offering a drink to Elizabeth) Against the cold, and the sorrow. (Moving next to Will). It's a shame. I know you're thinking that with the Pearl you could have captured the devil and set free your father's soul. Will: Doesn't matter now. The Pearl's gone, along with its captain. Gibbs: Aye, and already the world seems a bit less bright. He fooled us all, right to the end. But I guess that honest streak finally won out. To Jack Sparrow. Ragetti: Never another like Captain Jack. Pintel: He was a gentleman of fortune, he was. Elizabeth: He was a good man. Will: (Noticing Elizabeth's discomfort) If there was anything could be done to bring him back... Elizabeth... Tia Dalma: Would you do it? Hmm? What would you? Hmm? What would any of you be willing to do? Hmm? Would you sail to the ends of the earth and beyond to fetch back witty Jack, and him precious Pearl? Gibbs, Ragetti, Pintel: Aye! Cotton's Parrot: Aye, aye! Elizabeth: Yes. Will: Aye. Tia Dalma: All right. But if you will brave the weird and haunted shoals at world's end, then you will need a captain who knows those waters. Barbossa: [enters] So tell me, what's become of my ship?

Bullitt (1968) Writers: Screenplay by Alan Trustman and Harry Kleiner, based on the novel by Robert L. Fish http://youtu.be/S6-CPwJ4lnc?list=FLo5VMXxYHITaU2k0VpXFsvw What's interesting about this scene is the silence that punctuates the proposal. There's no debate, no pleading for another chance. Frank Bullitt makes his case very economically and leaves the rest to Captain Bennett. Captain Bennett: What the hell is going on here? A high speed pursuit, two men are killed, an officer in the hospital, a witness almost murdered. Now I want to know what's happening and I want to know now. Let's hear it straight. Bullitt: Here's the report. Baker: Now a man like Chalmers could be a great help to the department. He could speak for us where it counts. He could fight for us in the legislature. Now you have got to turn over his witness. Where's Ross? Captain Bennett: Tell him. That's an order. Bullitt: He's dead. Captain Bennett: Dead? Bullitt: He died last night. Captain Bennett: After you moved in? Bullit: Before. I've got him downstairs under a John Doe. Baker: You are sick. Smuggling a dead man out of a hospital, and now two men killed who may have had nothing to do with it. Bullitt: The man I was chasing killed Ross. Captain Bennett: How do you know? Did you see him? Bullitt: Yes. He tried to nail me with a shotgun, a Winchester pump. Baker: The radio report said the two men were burned beyond recognition. Now all he's got are two dead men. It would never hold up in court. Bullitt: I've got one lead. I want to move on it. (Hands a paper to Bennett.) Captain Bennett: Miss Dorothy Simmons, Thunderbird Hotel, San Mateo. Delgetti: Ross called her person-to-person from a phone booth in Union Square approximately nine hours before he was killed. Baker: So he called his girlfriend. What does that prove? Captain Bennett: This is Sunday. I'm going to hold that writ until we come to work Monday morning. (Baker leaves.) Captain Bennett: Frank--go on, get out.

The Matrix (1999) Writers: Andy Wachowski, Lana Wachowski Probably one of the most iconic proposal scenes in movie history. I couldn't resist. http://youtu.be/zE7PKRjrid4 Morpheus: Do you want to know what it is? (Neo nods affirmatively.) Morpheus: The Matrix is everywhere. It is all around us. Even now, in this very room. You can see it when you look out your window or when you turn on your television. You can feel it when you go to work... when you go to church... when you pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth. Neo: What truth? Morpheus: That you are a slave, Neo. Like everyone else you were born into bondage. Born into a prison that you cannot smell or taste or touch. A prison for your mind. Unfortunately, no one can be told what the Matrix is. You have to see it for yourself. This is your last chance. After this, there is no turning back. You take the blue pill, the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill, you stay in Wonderland, and I show you how deep the rabbit hole goes.

I don't mean to hog all the suggestions, but this was such a fertile subject. The Great Escape (1963) Writers: Screenplay by James Clavell and W.R. Burnett based on the book by Paul Brickhill http://youtu.be/9zugv1NdMj4 MacDonald: We can't destroy the dirt, and we can't eat it. The only thing left to do is... camouflage it. That's as far as my thinking takes me. [Ashley-Pitt enters] Bartlett: Didn't they teach you promptness in the R.N.? Ashley-Pitt: You'll never believe it, but I think I have the solution. The problem is somehow to get rid of this tunnel dirt over the compound. Bartlett: Well, of course. Ashley-Pitt: Would you mind? [Eric hands Danny and Willie a blanket, which they set on the floor, while Eric gets his contraption ready] Ashley-Pitt: Now... you fill these bags with the dirt from the tunnel. Then, wearing them inside your trousers, you wander out into the compound, where you pull these strings in your pockets. Out come the pins... [Eric pulls the pins out to demonstrate] Danny: Eric, it's good. Ashley-Pitt: All you have to do is... kick it in. Unless you're a complete fool, the ferrets will never see a thing. MacDonald: It's indecently brilliant. What do you think, Roger? Bartlett: We'll try it first thing tomorrow. Ashley-Pitt: I already have. It works. Bartlett: Mac, this is what we'll do...

Great suggestions, folks. Thanks!

Movie: While You Were Sleeping Youtube: http://youtu.be/s_1M-4lIfnA Jack: [Lucy's sitting in the booth at the station taking tokens for the train. Suddenly someone drops a ring, making her look up] Lucy? I have to ask you a question. Elsie: Get down on one knee, it's more romantic. Saul: Elsie, if he's proposing let him do it! Elsie: I *am* letting him do it. Jack: Can I come in there please? Lucy: I can't. Not without a token. Jack: [he hands one in and goes into the booth] Marry me. Lucy: Yeah. I love you. Jack: I love you back. Comment: I really like this scene because it is the whole family that is proposing to Lucy. She told them all, in a very public manner, that she had been lying the whole time and yet they all came with when Jack proposes. Very nice scene.

My Man Godfrey (1936). Written by Morrie Ryskind, based on a story by Eric Hatch. Starring William Powell, Carole Lombard. A screwball comedy about a socialite who falls in love with her butler (who of course is really from a wealthy Bostonian family). He tries, unsuccessfully to dissuade her. But she arrives at his place in the end, prepared to close the deal. Irene: I brought some food and I brought some wood and it should last us for a week anyway. Godfrey: Funny, you didn’t have the foresight to bring a minister and a license. Irene: Funny I never thought of that. [knock] Mayor: May I come in? Mr. Gray said there were a couple of people here who wanted to get married. Are you it? Irene: Yes, could you marry us without a license? Mayor: Without a--license? Well that may me into a lot of trouble. But I guess I’ve known your family long enough to take a chance. Who are you going to marry? Irene: Godfrey--oh this is Godfrey. Mayor: Uh, how do you do Godfrey. [to Irene] Does your father know about this? Irene: Oh everybody knows about it except Godfrey. Mayor: Well, I guess we better have a witness. Irene: We can use Clarence! Clarence, you can be a witness, come down here. Stand right there, that’s fine. Mayor: Now, join hands please--no the right hand Irene: Stand still Godfrey, it will all be over in a minute! https://www.youtube.com/watch?v=fiSjeLhg25w