Cat on a Hot Tin Roof (1958)
Screenwriter(s): Richard Brooks, James Poe

Maggie's Tortured Without Love Speech

Maggie Pollitt's (Elizabeth Taylor) longing, pleading to an unresponsive (possibly gay) husband Brick (Paul Newman):

Why can't you lose your good looks, Brick? Most drinkin' men lose theirs. Why can't you? I think you've even gotten better-lookin' since you went on the bottle. You were such a wonderful lover... You were so excitin' to be in love with. Mostly, I guess, 'cause you were... If I thought you'd never never make love to me again... why I'd find me the longest, sharpest knife I could and I'd stick it straight into my heart. I'd do that. Oh Brick, how long does this have to go on? This punishment? Haven't I served my term? Can't I apply for a pardon?

The Last Hurrah (1958)
Screenwriter(s): Frank S. Nugent

Stealing the Food of One's Employer

Aging, corrupt Eastern city Irish-American Democratic political boss Mayor Skeffington's (Spencer Tracy) at the age of 72 and running for re-election, told a long story to his idealistic 33 year-old nephew Adam Caulfield (Jeffrey Hunter), a newspaper sports column writer. He described how his Irish immigrant mother, when working as a maid in the home of the father of Amos Force (John Carradine), the current editor of the newspaper, was fired for stealing her employer's food. She was humiliated and then fired by the elder Force for stealing two overripe bananas and a small apple, a "crime" usually accepted by the wealthy Yankees who employed poor Irish immigrants. He argued that the Force family had never forgiven their maid's son for becoming mayor of the city:

Vertigo (1958)
Screenwriter(s) Alec Coppel, Samuel A. Taylor, Maxwell Anderson (uncredited)

"You Found Me" Letter

Judy's/Madeleine's (Kim Novak) letter written to Scottie Ferguson (James Stewart), and read in voice-over:

Dear Scottie: And so you found me. This is the moment that I've dreaded and hoped for, wondering what I would say and do if I ever saw you again. I wanted so to see you again just once. Now I'll go and you can give up your search. I want you to have peace of mind. You have nothing to blame yourself for. You were the victim. I was the tool, and you were the victim of Gavin Elster's plan to murder his wife. He chose me to play the part because I looked like her, dressed me up like her. He was quite safe because she lived in the country and rarely came to town. He chose you to be a witness to a suicide. Carlotta's story was part real, part invented to make you testify that Madeleine wanted to kill herself. He knew of your illness. He knew you'd never get up the stairs to the tower. He planned it so well. He made no mistakes. I made a mistake. I fell in love. That wasn't part of the plan. I'm still in love with you. And I want you so to love me. If I had the nerve, I'd stay and lie, hoping that I could make you love me again as I am, for myself, and so forget the other and forget the past. But I don't know whether I have the nerve to try.

Ben-Hur (1959)
Screenwriter(s): Karl Tunberg

SlaveMaster's Judgment of Slave 41

Roman gallery slave master Quintus Arrius's (Jack Hawkins) appraisal of rower Ben-Hur (Charlton Heston), referring to him as Slave Number "41":

You have the spirit to fight back but the good sense to control it. Your eyes are full of hate, Forty-One. That's good. Hate keeps a man alive. It gives him strength.

Compulsion (1959)
Screenwriter(s): Richard Murphy

Closing Argument Against Capital Punishment

Clarence Darrow-like attorney Jonathan Wilk's (Orson Welles) 10-15 minute eloquent, closing argument against the death penalty, considered the longest true monologue in film history, to save two rich young law student-turned-thrill-killers Artie Straus and Judd Steiner (Bradford Dillman and Dean Stockwell) in their court trial. Rather than a contrived defense to prove their innocence, he conceded that his clients were guilty and instead made an impassioned plea against the state being able to execute two youths regardless of the severity of their premeditated crime

They say you can only get justice by shedding their last drop of blood. Isn't a lifetime behind prison bars enough for this mad act?...You hang these boys, it will mean that in this land of ours, a court of law could not help but bow down to public opinion.

Plan 9 From Outer Space (1959)
Screenwriter(s): Edward D. Wood, Jr.

Introduction of a Film About Grave Robbers From Outer Space

The bizarre, rambling opening speech by psychic Criswell (as himself) that introduced Ed Wood, Jr.'s infamous film:

Greetings, my friends! We are all interested in the future, for that is where you and I are going to spend the rest of our lives. And remember my friends; future events such as these will affect you in the future. You are interested in the unknown, the mysterious, the unexplainable; that is why you are here. And now for the first time we are bringing to you the full story of what happened on that faithful day. We are giving you all the evidence, based only on the secret testimonies of the miserable souls who survived this terrifying ordeal. The incidents, the places, my friends, we can not keep this a secret any longer; let us punish the guilty, let us reward the innocent. My friends, can your heart stand the shocking facts about the grave robbers from outer space?

Some Like It Hot (1959)
Screenwriter(s): Billy Wilder, I.A.L. Diamond

Bad Luck "Fuzzy End of the Lollipop" Speech

Band singer and ukulele player Sugar Kane/Kowalczyk (Marilyn Monroe) gave a 'fuzzy end of the lollipop' speech about bad luck, mostly with saxophone players, to Josephine (Tony Curtis) in the Ladies' Room of the train during a late-night party with the other girls. As she chipped away at a block of ice, she described how she was an abused, melancholy alcoholic running away from all-male bands. Sugar confessed that she had always had bad luck with her lovers, when she easily turned weak from music ("All they have to do is play eight bars of 'Come to Me, My Melancholy Baby' and my spine turns to custard"). She talked to him about how she inevitably weakened and fell for male saxophone players in male groups and then ended up being dumped by them:

I'm not very bright, I guess...just dumb. If I had any brains, I wouldn't be on this crummy train with this crummy girls' band...I used to sing with male bands but I can't afford it anymore...That's what I'm running away from. I worked with six different ones in the last two years. Oh, brother!...I can't trust myself. I have this thing about saxophone players, especially tenor sax...I don't know what it is, they just curdle me. All they have to do is play eight bars of 'Come to Me, My Melancholy Baby' and my spine turns to custard. I get goose pimply all over and I come to 'em...every time...

That's why I joined this band. Safety first. Anything to get away from those bums...You don't know what they're like. You fall for 'em and you really love 'em - you think this is gonna be the biggest thing since the Graf Zeppelin - and the next thing you know, they're borrowing money from you and spending it on other dames and betting on horses...Then one morning you wake up, the guy is gone, the saxophone's gone, all that's left behind is a pair of old socks and a tube of toothpaste, all squeezed out. So you pull yourself together. You go on to the next job, the next saxophone player. It's the same thing all over again. You see what I mean? Not very bright...

I can tell you one thing - it's not gonna happen to me again - ever. I'm tired of getting the fuzzy end of the lollipop.