Some Like It Hot (1959) Screenplay by Billy Wilder and I.A.L. Diamond; suggested by a story by Robert Thoeren and Michael Logan https://www.youtube.com/watch?v=h55rTtbCy7o JERRY: (Disgusted) Dirty old man! JOE: What happened? JERRY: I just got pinched in the elevator. JOE: Now you know how the other half lives. JERRY: Look at that! I'm not even pretty. JOE: They don't care, just as long as you're wearing a skirt. It's like waving a red flag in front of a bull. JERRY: Really? Well, I'm sick of being the flag. I want to be a bull again. Now what do you say? Let's get out of here. Let's blow. JOE: Blow where? JERRY: You promised me, Joe, that the minute we hit Florida we were gonna beat it. JOE: How can we? We're broke. JERRY: Well, we could find another band---a male band. JOE: Look, stupid, right now Spats Columbo and his chumps for us in every male band in the country. JERRY: Just so humiliating. JOE: So you got pinched in the elevator. So what? Would you rather be picking lead out of your navel? JERRY: All right, all right. But how long do you think we can keep this up? JOE: What's the beef? We're sittin' pretty. Look, we get room and board. We're gettin' paid every week. Look. Look at the palm trees. Flying fish. JERRY: What are you giving me with the flying fish? I know why you want to stay here. You're after Sugar. JOE: Me? After Sugar? JERRY: I saw you, the both of you on that bus all lovey-dovey and whispering and giggling and borrowing each other's lipstick. I saw you! JOE: What are you talking about? Me and Sugar? JERRY: You and Sugar! JOE: We're just like sisters! JERRY: Well, I'm your fairy godmother. And I'm gonna keep an eye on you. My favorite delivery in this scene is Tony Curtis with a gravelly, throaty, very male voice as he delivers the line "We're just like sisters!"

Classic cross dressing movie! Thanks!

MRS. DOUBTFIRE (1993) written by: Randi M. Singer and Leslie Dixon https://www.youtube.com/watch?v=7hsAbjmNpKU (couldn't find a clip for my dialogue, but the preceding clip works as well...) Chris: You don't really like wearin' that stuff, do you, Dad? Daniel: [as Daniel] Well, some of it's comfortable. No! It's a pain in the padded ass! Dialogue on Dialogue: sadly, I think the majority of us could relate (even if we don't want to admit it) that yes, wearing women's clothing is bit comfortable, it still leads to a great moment where the kids realize just how much their father loves them and is willing to do to see them.

Lord of the Rings: The Return of the King (2003) Screenplay by Fran Walsh, Philippa Boyens and Peter Jackson, based on the novel by J.R.R. Tolkien http://youtu.be/yIUdnWv0MP0 WITCH KING: Fool, no man can kill me. Die, now. EOWYN: I am no man. Not sure that Eowyn fits the usual idea of cross dressing. In cross dressing films, it seems to be more common that men play the roles of women; much less often do we see women playing men's roles. In this scene, Eowyn, clad as a soldier, is not playing a role, but rather fighting along side he father and neighbors as an equal. And her gender plays the most important part in her battle: she can kill the Nazgul because she is "no man."

Kinky Boots (2005) Written by Geoff Deane and Tim Firth https://www.youtube.com/watch?v=uJNHr8QQVJQ Lola: [looks horrified] Burgundy. Please, God, tell me I have not inspired something burgundy. Red. Red. *Red*. *Red*, Charlie boy. Rule one. Red is the color of sex! Burgundy is the color of hot water bottles! Red is the color of sex and fear and danger and signs that say, Do. Not. Enter. All my favorite things in life. Don: Who's that? Mel: Your boy's got a new girlfriend in there. Charlie: But they're comfy. Lola: Comfy? SEX, shouldn't be comfy! Mel: Thank God, I thought it was just me! Lola: You may know what you used to making round here Charlie boy, but now you are making sex. 2.5 feet of irresistible, tubular sex. I mean that heel. For God's sake-- Charlie: Yeah, it won't break. That's what you wanted innit? Lola: No if it means having to go around looking like a bloody Ukrainian peasant, no. Charlie: Well it's better than prancing around like a-- Lola: Tuh-tuh-tuh-tuh-tuh. You want to show your niche market a little more respect Charlie boy. I mean, let's ask you girls. Charlie: No! Lola: Girls. Would you wear something like this to go out? Girls: No. Don: I bet you'd look alright in 'em sweet'art. Lola: [walks up to him slowly, sits on his knee, looks seductively into his eyes] Well, I'm very flattered, but frankly, if you can't get women to wear them... Lola: [adopts a much deeper masculine voice] ... you'll never get blokes like me to wear 'em. Dialogue on dialogue: Cross-dressing is usually portrayed as someone hiding his real identity by using a disguise. In this movie, however, Lola uses cross-dressing to reveal her true identity.

Movie – Tootsie (1982) Screenplay by Larry Gelbart and Murray Schisgal Youtube - https://youtu.be/uOUWQBDbtso Dorothy Michaels: Excuse me, I’m wondering if you can help me? I’m looking for the Russian Tea Room. George Fields: This is the Russian Tea Room, right here. You’re standing in front of it. Dorothy Michaels: Oh well my stars, so it is. Well this is very embarrassing. George Fields: Yeah well, this is it. Dorothy Michaels: Thanks very much. Maitre d’: Good afternoon Mr. Fields… George Fields: Good to see you. Maitre d’: Nice to see you [pulls table out for him] Please sit down. George Fields: Thank-you. Maitre d’: Your waiter will be here in just a minute George Fields: Thank-you. [acknowledges another diner] Hey there Ronnie, how are you? Dorothy Michaels: [sits down at table] Hi. George Fields: Wait a minute, wait… Dorothy Michaels: I’m new in town and awfully lonely. I wonder if you wouldn’t mind buying me lunch? George Fields: Wait, wait, hold it. You can’t come…[to Maitre d’] Gregory this woman… Dorothy Michaels: [pinches him] George, George…[switches to normal voice] It’s Michael Dorsey. Ok? Your favorite client. [back to higher voice] How are you? [lower voice] Last time you got me a job, it was a tomato [higher voice] Yea, swear to God. George Fields: Michael? Dorothy Michaels: Yea. George Fields: Oh God, I begged you to get some therapy. Dorothy Michaels: I know and you also told me that no one would ever hire me again. George Fields: Jesus Christ, you think this is going to make a difference? Dorothy Michaels: I got a soap George. I’m the new woman administrator on Southwest General… George Fields: You’re what? Dorothy Michaels: Congratulate me. They almost didn’t hire me because they thought I looked too feminine. Waiter: Something from the bar? Dorothy Michaels: Isn’t that amazing? George Fields: Yes, could you get me a double vodka right away? Waiter: For the lady? Dorothy Michaels: How about a Dubonnet with a twist. Waiter: Yes, Ma’am. Dorothy Michaels: Thank-you. That’s a lovely blouse. Waiter: Thank-you. Dorothy Michaels: You’re welcome. George Fields: You’re not going to get away with this. Dorothy Michaels: I got away with it. Look around. George Fields: I don’t believe this. Dorothy Michaels: Why not? [moves closer to him] George Fields: I mean I believe it. I just don’t believe that anyone else is going to. Dorothy Michaels: You want to be it? Phil Weintraub: George. George Fields: Hi Phil. Phil Weintraub: You know Joel Spector? George Fields: Hello Joel, how are you? Joel Spector: How you doing? George Fields: Hi Phil. Dorothy Michaels: Hi. George Fields: Ah, listen I talked to Stuart. I talked to him yesterday, he’ll be one more week in London then he definitely [Dorothy blows in his ear and grabs his knee] then he definitely… Dorothy Michaels: I missed you. You know you’re such a tickly wickly, you’ve never been that ticklish before. [to Phil and Joel] We go back years. We haven’t been introduced Joel Spector: Joel Spector. Dorothy Michaels: Hi. Phil Weintraub: Phil Weintraub. Dorothy Michaels: Hi. George Fields: Sorry, this is Michael… Dorothy Michaels: Dorothy Michaels, nice to meet you. Phil Weintraub: Pleasure. Dorothy Michaels: May I say Mr. Weintraub, that you are the best director… George Fields: [corrects] Producer. Dorothy Michaels: Sorry, producer on the Broadway scene today. Phil Weintraub: Thank-you, thank-you Ms. Michaels. Hope to see you again. Dorothy Michaels: Yes, let’s have lunch. Phil Weintraub: Fine. George. George Fields: I’ll call you. Joel Spector: Nice meeting you. Dorothy Michaels: [to George] You know he’s very handsome, I think you ought to represent him. George Fields: You are psychotic. Dorothy Michaels: No I’m not, I’m employed. [sings] I’ve got the whole world… George Fields: Don’t, don’t…shut-up. Just don’t get close to me. Dorothy Michaels: I want you to loan me a thousand dollars until payday. George Fields: For what? Dorothy Michaels: For what? For what? I’ve got to have something to wear besides this. Comment: Love the vaudevillian interplay between George and Dorothy. Has a very improvised feel to it. Great scene.

Tootsie (1982) Screenplay by Larry Gelbert, Murray Schisgal, Don McGuire https://www.youtube.com/watch?v=smTXkhM6v-Y Cross-dressing movies are a tribute to the suspension of disbelief in cinema but they all have one thing in common. At some point the on-screen characters must see what we at home or in the cinema have already noticed. This is the funniest such reveal scene I can remember. When Dorothy goes off-script during a live broadcast of a daytime hospital soap, her inane driveling threatens to sink all the carefully crafted plot lines. Her dialogue is hilarious but heightened by a series of 'reaction one liners'. For me Ron wins the dialogue dual. Ron: "I knew there was some reason she didn't like me."