Best Film Speeches and Monologues
||Film Title/Year and Description of Film Speech/Monologue
Screenwriter(s): Hampton Fancher, David Webb Peoples
to Die" - A Moving Soliloquy on Life
Play clip (excerpt):
After saving blade runner Deckard (Harrison Ford)
from death on a rooftop, replicant Roy Batty (Rutger Hauer)
delivered closing thoughts before dying - a moving swan song
as he eloquently spoke about his own memories of the distant
outposts in space that would be lost forever after his death.
His android memories, as a top-of-the-line combat model, spoke
of violent and aggressive attacks (attack ships, C-beams) that
he presumably witnessed:
I've seen things you people wouldn't believe.
Attack ships on fire off the shoulder of Orion. I watched
C-beams glitter in the dark near the Tanhauser gate. All
those moments will be lost in time like tears in rain.
Time to die.
In voice-over, Deckard achieved empathy about
the replicant's love of life as he mused:
I don't know why he saved my life. Maybe
in those last moments he loved life more than he ever had
before. Not just his life - anybody's life. My life. All
he'd wanted were the same answers the rest of us want.
Where do I come from? Where am I going? How long have I
got? All I could do was sit there and watch him die.
Screenwriter(s): John Milius, Oliver Stone
Me Revenge" or "To Hell With You"
Play clip (excerpt):
The muscular thick-accented warrior Conan (Arnold
Schwarzenegger) prayed to his god Crom for revenge against
Thulsa Doom (James Earl Jones), evil ruler of the snake cult
of Set, who had raided his village and murdered his parents
when he was a young boy:
Crom, I have never prayed to you before.
I have no tongue for it. No one, not even you, will remember
if we were good men or bad. Why we fought, or why we died.
No, all that matters is that two stood against many. That's
what's important! Valor pleases you, Crom, so grant me
one request. Grant me revenge! And if you do not listen,
then to HELL with you!
at Ridgemont High (1982)
Screenwriter(s): Cameron Crowe
Five-Point Plan to Score With Girls
Lecherous ladies-man Mike Damone's (Robert Romanus) "special
five-point plan" of
"valuable information" - tips on how to score with
girls, told for free to inexperienced Mark Ratner (Brian Backer):
All right, now pay attention. First of all,
Rat, you never let on how much you like a girl. 'Oh, Debbie.
Hi.' Two, you always call the shots. 'Kiss me. You won't
regret it.' Now three, act like wherever you are, that's
the place to be. 'Isn't this great?' Four, when ordering
food, you find out what she wants, then order for the both
of ya. It's a classy move. 'Now, the lady will have the
linguini and white clam sauce, and a Coke with no ice.'
And five, now this is the most important, Rat. When it
comes down to making out, whenever possible, put on side
one of Led Zeppelin IV.
First Blood (1982)
(aka Rambo: First Blood)
Screenwriter(s): Michael Kozoll, William Sackheim, Sylvester Stallone
Life is Nothing!"
Ex-Green Beret Vietnam
vet John Rambo's (Sylvester Stallone) final impassioned, preachy
speech to Green Beret Col. Samuel Trautman (Richard Crenna),
his former commander, about his hostile, unjust reception as
a returning Vietnam War Vet:
Nothing is over! Nothing! You just don't
turn it off! It wasn't my war! You asked me, I didn't ask
you! And I did what I had to do to win! But somebody wouldn't
let us win! And I come back to the world and I see all
those maggots at the airport, protestin' me, spittin'.
Calling me baby killer and all kinds of vile crap! Who
are they to protest me, huh? Who are they? Unless they've
been me and been there and know what the hell they're yelling
about!...For me, civilian life is nothing! In the field,
we had a code of honor: You watch my back, I watch yours.
Back here, there's nothin'!...Back there, I could fly a
gunship, I could drive a tank, I was in charge of million
dollar equipment. Back here, I can't even hold a job parking
Screenwriter(s): Peter S. Beagle
Have You Been?"
Weary, middle-aged Molly Grue's (voice of Tammy
Grimes) powerful diatribe at the Unicorn (voice of Mia Farrow),
the last unicorn in the world, before offering forgiveness
[reminiscient of Ruth Popper's (Cloris Leachman) explosive
tirade at Sonny (Timothy Bottoms) in the conclusion of The
Last Picture Show (1971)]:
No, can it truly be? Oh! Where have you
been? Where have you been? Damn you! Where have you been?...And
where were you twenty years ago? Ten years ago? Where were
you when I was new? When I was one of those innocent young
maidens you always come to? How dare you! How dare you
come to me now, when I am this!...If you had been waiting
to see a unicorn, as long as I have...It would be the last
unicorn in the world that came to Molly Grue. It's all
right, I forgive you.
Screenwriter(s): Peter S. Beagle
Dangerously obsessive King Haggard's (voice of
Christopher Lee) long, sublime speech to disguised unicorn
Lady Amalthea (Mia Farrow):
I know you! I almost knew you as soon as
I saw you on the road coming to my door. Since then, there
is no movement of yours that has not betrayed you! A pace,
a glance, a turn of the head, the flash of your throat
as you breathe, even your way of standing perfectly still.
They were all my spies! You made me wonder for a little
while but your time is done. The tide is turning. Come
and see it. Come here. There, there they are. There they
He then explained why he had captured all the
unicorns in the world, to make him happy:
They are MINE! They belong to ME! The Red
Bull gathered them for me one-by-one and I bade him drive
each one into the sea! Now, they live there. And every
tide carries them within an easy step of the land. But
they dare not come out of the water. They are afraid of
the Red Bull. I like to watch them. They fill me with joy.
The first time I felt it, I thought I was going to die.
I said to the Red Bull, 'I must have them! I must have
all of them, all there are! For nothing makes me happy
but their shining, and their grace.' So, the Red Bull caught
them. Each time I see the unicorns -- MY unicorns -- it
is like that morning in the woods, and I am truly young,
in spite of myself!
Screenwriter(s): Slava Tsukerman, Anne Carlisle, Nina V. Kerova
Wanted to Know Where I'm From?"
Drug-dealing, mean lesbian girlfriend Adrian
(Paula E. Sheppard) dared to have intercourse with bisexual,
face-painted coke-addict and New Wave punk model Margaret (Anne
Carlisle) in this science-fiction cult-classic oddity, after
being warned that she might die: "Adrian, just stay away
from me, I'm a killer...I don't want you...cause I'm killing
all the people that I f--k"...Don't do it Adrian!" But
Adrian insisted: "These good people want to see me f--k
you" - and as predicted, she disintegrated after orgasming.
Margaret admitted: "I kill with my cunt" and then
began turning off all the lights in the room. She started a
long monologue about who she was, while applying flourescent
makeup in blacklight. She described her traditional upbringing
and how she came to New York to be a model, where she was taught
or molded to fit into norms - with her view that being "fashionable" (and
androgynous) was just as bad as being traditional:
You wanted to know where I'm from? I'm from
Connecticut, Mayflower stock. I was taught that my prince
would come, and he would be a lawyer, and I would have
his children. And on the weekends we would barbecue. And
all the other princes and their princesses would come,
and they would say: 'Delicious, delicious.' Oh, how boring.
So I was taught that I should come to New York, become
an independent woman. And my prince would come, and he
would be an agent, and he would get me a role, and I would
make my living waiting on tables. I would wait - till thirty,
till forty, till fifty. And I was taught that to be an
actress, one should be fashionable, and to be fashionable
is to be androgynous. And I am androgynous not less than
David Bowie himself. And they call me beautiful, and I
kill with my cunt. Isn't it fashionable? Come on, who's
next? I'll take lessons. How to get into show business:
Be nice to your professor. Be nice to your agent. Be nice
to your audience. Be nice. How to be a woman: Want them
when I want you. How to be free and equal: F--k women instead
of men, and you'll discover a whole kingdom of freedom.
Men won't step on you anymore. Women will. So come on,
who's next? Who wants to teach me? Come on, teach me. Are
you afraid? You're right, because they're all dead. All
Screenwriter(s): Steven Spielberg, Michael Grais, Mark Victor
The spellbinding monologue by eccentric Tangina
(Zelda Rubinstein) about Carol Anne's (Heather O'Rourke) relation
to the unseen spirits that had pulled her into their sphere:
There is no death. There is only a transition
to a different sphere of consciousness. Carol Anne is not
like those she's with. She's a living presence in their
spiritual, earth-bound plane. They're attracted to the
one thing about her that's different from themselves. Her
life-force - it is very strong. It gives off its own illumination.
It is a light that implies life and memory of love and
home and earthly pleasures, something they desperately
desire but can't have anymore. Right now, she's the closest
thing to that, and that is a terrible distraction from
the real light that has finally come for them. Do you understand
These souls who for whatever reason are not
at rest are also not aware that they have passed on. They're
not part of consciousness as we know it. They're in a perpetual
dream state, a nightmare from which they cannot wake. Inside
this spectral light is salvation - a window to the next plane.
They must pass through this membrane with friends who are
waiting to guide them to new destinies. Carol Anne must help
them cross over, and she will only hear her mother's voice.
Now, hold onto your selves. There's one more thing - a terrible
presence is in there with her. So much rage, so much betrayal.
I've never sensed anything like it. I don't know what hovers
over this house, but it was strong enough to punch a hole
into this world and take your daughter away from you. It
keeps Carol Anne very close to it and away from the spectral
light. It lies to her. It says things only a child can understand.
He's been using her to restrain the others. To her, it simply
is another child. To us, it is the Beast. Now let's go get
Screenwriter(s): Sylvester Stallone
Is No Tomorrow!"
Former boxing rival Apollo Creed (Carl Weathers)
trained Rocky Balboa (Sylvester Stallone) for a rematch to
box against his aggressive opponent, James "Clubber" Lang
(Mr. T), after his trainer Mickey Goldmill (Burgess Meredith)
died during the first match and Rocky was knocked out in the
second round. Creed urged Rocky to regain his fighting spirit:
Watch it now, watch it. Now, remember, he's
got two hands, right? Damn, man, what the hell ya doing?
This guy will knock you on your ass....You wanna live in
the hospital for five weeks this time? You thought I was
tough? This chump will kill you....Come on, come on, get
your head on your shoulders, man.
Think about the fight! Think about the fight!
Clubber Lang's in here, he's tryin' to hurt you, Rock! He's
tryin' to hurt you! Okay, here it comes. Jab. He's jabbin'.
He's jabbin'. He's tryin' to hurt you! You gotta fight him!
You gotta move! (flashbacks to the previous fight)...He's
hookin'. He's hookin'. He's hookin'! Damn, Rock, come on!
What's the matter with you?...
Rocky replied: "Tomorrow. Let's do it tomorrow."
Apollo screamed back:
There is no tomorrow! THERE IS NO TOMORROW!
THERE IS NO TOMORROW!