MASH (1970) Screenplay by Ring Lardner Jr. based on the novel by Richard Hooker https://www.youtube.com/watch?v=45X0_m1KYQM O'HOULIHAN: Bastards! CORPSMAN: Uh, Major, what went on over there? O'HOULIHAN: Where's Colonel Blake? CORPSMAN: Wait a second, you can't go see Colonel Blake. O'HOULIHAN: You shut up you twerp! (Major O'Houlihan barges into Lt. Colonel Blake's tent, interrupting an intimate moment.) O'HOULIHAN: This isn't a hospital, it's an insane asylum, and it's your fault because you don't do anything to discourage them! BLAKE: What do you want me to do? O'HOULIHAN: Put them under arrest. See what a court martial thinks of their drunken hooliganism. At first they called me Hot Lips and you let them get away with it. And then you let them get away with everything. If you don't turn them over to the MPs this minute, I'm going to resign my commission! BLAKE: God dammit, Hot Lips, resign your goddamn comission. O'HOULIHAN: My commission! My commission! DIALOGUE ON DIALOGUE: Just prior to this scene the camp witnessed Hot Lips taking her shower when the shower tent's side was rigged to open. Embarrassed and enraged, Hot Lips' patience is finally pushed beyond the breaking point and she confronts Colonel Blake about his (lack of) leadership at the base.

Fame (1980) Writer: Christopher Gore https://www.youtube.com/watch?v=-1-G9IqsHCc DORIS: (Crying) Why? Oh, why? God will punish you, Yuri Yajeyopeyonoff. What crime is this unborn child guilty of that it should not drink of the milk of paradise? MONTGOMERY: You warned me, Elena. Not one ruble have I lost, not one. (Drops out of character.) Can we try this again, Doris? It sounds kinda phony. DORIS: No, I don't wanna try this again, Doris. MONTGOMERY: There's nothing wrong with you. DORIS: Yeah, I know there's nothing wrong with me, that's what's wrong with me. Everybody else here is colorful or eccentric or charismatic, and I'm perfectly ordinary. My nose is ordinary. My body's ordinary. And my voice, it's---yuck! I don't know why I'm here. MONTGOMERY: You wanna be an actress. DORIS: Yeah, but actors and actresses are colorful, flamboyant beings. I'm about as flamboyant as a bagel. BOY: Hi. DORIS: Hi. MONTGOMERY: Some people like bagels. DORIS: Well, some people don't. MONTGOMERY: Some people are too old for you. DORIS: He smiles at me. MONTGOMERY: He smiles at everyone. DORIS: Yeah, but he winks too. MONTGOMERY: I think it's a nervous habit. DORIS: He talks to me, often. MONTGOMERY: Really? What's he say? DORIS: Hi. MONTGOMERY: Oh, that's serious. Have you set the date? Hey, I'm sorry. I'm sorry. DORIS: Yeah, I feel stupid. MONTGOMERY: So get into it. Study it as an acting exercise. Try to remember it so you can-- (Ralph appears.) RALPH: Hey, M and M. You seen your shrink lately? MONTGOMERY: Yesterday. RALPH: Yeah, you got a special delivery for me? (Tousles Doris' hair) Hi, how you doing? How are you? (Montgomery hands a bottle of pills to Ralph.) Oh, good. That's very good. You're a good man. (Looking at Doris.) Oh, they're not for me. They're for a friend of mine. (Feels Doris' fake pregnancy costume.) Ooh, who's the lucky fella, huh? Hey, it looks like somebody finally corked up old Finsecker over there, huh?. (Pats Montgomery's cheek.) It can't be Gloria over here. He's not into chicks, right Gloria? Ohh, ohh! Shut my mouth. Bye. DORIS: I hate Ralph Garci, I really do! I must remember this feeling and use it in my acting. DIALOGUE ON DIALOGUE: Doris struggles during her freshman year to find her place and sense of self as she attempts to realize her goal to become an actress. Ralph, likewise, seems lost in his freshman year, although his approach is to hide behind a facade of humor. Ralph is the trickster, and Doris finds his personality annoying.

CHUCKIE: Oh, hello. SKYLAR: Oh, hello. CHUCKIE: Hi, how are you? SKYLAR: Fine. CHUCKIE: So, do you ladies uh. . . SKYLAR: Come here often? CHUCKIE: Do I come here..? I come here a bit. I here...uh...uh...you know from time to time...Do you go to school here? SKYLAR: Yup. CHUCKIE: Yeah...let's see...see, I think I had a class with you. SKYLAR: Oh yeah? What class? CHUCKIE: History. SKYLAR: Maybe. CHUCKIE: Yeeesss...I think that's what it was. You don't necessarily...might not remember me...You know, I like it here. It doesn't mean cus' I go here I'm a genius...I am actually very smart... CLARK: Hey. CHUCKIE: Hey. How's it goin'? How are you? CLARK: Good. How're you doin'? CHUCKIE: You wanna...-- CLARK: What uh...What class did you..did you say that was? CHUCKIE AND SKYLAR: History. CLARK: Yeah...JUST History? It musta' been a survey course then, huh? CHUCKIE: Yeah, it was, it was surveys. CLARK: Right. CHUCKIE: You should check it out, it's a good course. It's a, uh...good..good class. CLARK: How'd you like that course? CHUCKIE: You know...Frankly, I found the class, you know, rather...uh...elementary. CLARK: Elementary. CHUCKIE: eah.. CLARK: You know I don't doubt that it was. CHUCKIE: eah... CLARK: I uh...I remember that class. It was um...it was just between recess and lunch. SKYLAR: Clark, why don't you go away..? CLARK: Why don't you relax? SKYLAR: Why don't you just go away? CLARK: I'm just having fun with my new friend, that's all. CHUCKIE: What, are you gunna' have a problem? I don't understand... CLARK: No, no, no, no..no, there's no problem here. I was just hoping you might give me some insight into the evolution of the market economy in the Southern Colonies. My contention is that prior to the Revolutionary War, the economic modalities, especially in the Southern Colonies, could most aptly be characterized as agrarian precapital-- CHUCKIE: Let me tell you somethin', all right? WILL: Of course that's your contention. CLARK: Hang on a second. WILL: You're a first year grad student. You just got finished reading some Marxian historian -- Pete Garrison, probably -- you gunna' be convinced of that till next month when you get to James Lemon, then you're gunna' be talkin' about how the economies of Virginia and Pennsylvania were entrepreneurial and capitalist way back in 1740. That's gunna' last until next year, you're gunna' be in here regurgitatin' Gordon Wood. Talkin' about, you know, the pre-Revolutionary Utopia and the capital forming effects of military mobilization. CLARK: Well, as a matter of fact I won't because Wood drastically underestimates the impact of social di-- WILL: Wood drastically...Wood drastically underestimates the impact of social distinctions predicated upon wealth, especially inherited wealth. You got that from Vickers. Work in Essex County, page 98, right? Yeah, I read that, too. You gunna' plagiarize the whole thing for us? Do you have any thoughts that...of your own on this matter? Or do you-- is that your thing? You come into a bar, you read some obscure passage, and then pretend you, you..pawn it off as your own..as your own idea just to impress some girls..? Embarrass my friend? See, the sad thing about a guy like you is in fifty years you're gunna start doing some thinkin' on your own, and you're gunna' come up with the fact that there are two certainties in life: one, don't do that, and, two, you dropped a hundred and fifty grand on a fuckin' education you coulda' got for a dollar fifty in late charges at the public library. CLARK: Yeah, but I will have a degree. And you'll be serving my kids fries at a drive-thru on our way to a skiing trip. WILL: Yeah, maybe. eh, but at least I won't be unoriginal. Pardon me, if you have a problem like that, you and me could just outside 'n we could figure it out. CLARK: No, man, there's no problem. It's cool. WILL: It's cool? CLARK: Yeah. WILL: Cool. CHUCKIE: You're fuckin' damn right it's cool. How do ya' like me NOW? MORGAN: My boy's wicked smart... — Good Will Hunting (1997), written by Matt Damon & Ben Affleck https://www.youtube.com/watch?v=QnZ0Y4rvz6E Trivia: Matt Damon and Ben Affleck found a clever way to choose the right studio for their script: the story goes that on page 60 of the script, they wrote a completely out-of-nowhere sex scene between Will and Chuckie. They took it to every major studio, and nobody even mentioned the scene. When they met with Harvey Weinstein at Miramax, he said, "I only have one really big note on the script. About page 60, the two leads, both straight men, have a sex scene. What the hell is that?" - Damon and Affleck explained that they put that scene specifically in there to show them who actually read the script and who didn't. As Weinstein was the only person who brought it up, Miramax was the studio chosen to produce the film. Dialogue on Dialogue: Chuckie‘s flirting is a bit annoying (most flirting feels a bit annoying at last), but the girls laugh and it‘s okay. But the arrogant Ivy League guy is really getting on our nerves. Then Will shines, he defends his friend and the girls against this annoying guy. But mentioning Will‘s missing education is a real annoying blow below the belt. Will still “wins“ the scene by making a joke and threatening him with a fight (behavior like this almost brought him to jail) but that proofs as well why he looses - it‘s true: he don‘t uses his potential. That's really annoying.