In the realm of storytelling, few moments are as captivating as a villain monologue. These dramatic soliloquies serve as a window into the psyche of the antagonist, revealing their motivations, fears, and twisted philosophies. Whether delivered in the shadowy confines of a lair or amid the chaos of a climactic battle, a well-crafted monologue can elevate a character from mere obstacle to a complex force of nature. From Shakespearean tragedies to modern blockbusters, these moments allow audiences to grapple with the moral ambiguities of evil, forcing them to confront uncomfortable truths about power, ambition, and the human condition. As the villain lays bare their inner thoughts, they often challenge the hero—and the audience—to reconsider what constitutes true heroism. Join us as we delve into the art of villain monologues, exploring iconic examples, their narrative significance, and the craft behind delivering lines that linger long after the credits roll.
Movie Villain Monologues
1. “The Dark Knight” (2008) – The Joker
The Joker’s villain speech about chaos and his “social experiment” on the ferry.
- Context: The Joker explains his philosophy of chaos to Batman, revealing his belief that everyone is just one bad day away from becoming like him.
The Joker: Do I really look like a guy with a plan, Harvey?
I don’t have a plan …
The mob has plans. The cops have plans.
You know what I am, Harvey? I am a dog chasing cars… I wouldn’t know what to do with one if I caught it.
I just do things. I am just the wrench in the gears. I hate plans.
Yours, theirs, everyone’s. Maroni has plans. Gordon has plans.
Schemers trying to control their worlds.
I am not a schemer. I show the schemer how pathetic their attempts to control things really are.
So when I say that you and your girlfriend was nothing personal, you know I am telling the truth.
I just did what I do best. I took your plan and turned it on itself.
Look what I have done to this city with a few drums of gas and a couple of bullets.
Nobody panics when the expected people gets killed. Nobody panics when things go according to plan, even if the plan is horrifying.
If I tell the press that tomorrow a gangbanger will get shot or a truckload of soldiers will be blown up, nobody panics. – because it’s all part of the plan.
But when I say that one little old mayor will die, everybody lose their minds.
Introduce a little anarchy, you upset the established order and everything becomes chaos.
I am agent of chaos.
And you know the thing about chaos Harvey?
“IT is FAIR.”
2. “Inglourious Basterds” (2009) – Colonel Hans Landa
The “Jew Hunter” speech.
- Context: Colonel Hans Landa explains to a French dairy farmer why he is so effective at hunting Jews, comparing them to rats in one of Quentin Tarantinos best films.
Colonel Hans Landa:
[Speaking to the French dairy farmer, Perrier LaPadite]
Landa: Monsieur LaPadite, are you aware of the nickname the people of France have given me?
LaPadite: I have no interest in such things.
Landa: But you are aware of what they call me?
LaPadite: I’m aware.
Landa: What are you aware of?
LaPadite: That they call you “The Jew Hunter.”
Landa: Precisely! I understand your trepidation. Before I go on, I must inform you I am aware of your reputation. I’m also aware that you share an admirable reputation. But, having just arrived in your beautiful country, I’ve been tasked with maintaining control of it. The reason they call me “The Jew Hunter” is not because I hunt Jews. That’s not my profession. I am a detective, a damn good detective. Finding people is my specialty, so naturally, I was recruited to track down the enemies of the Third Reich. And because of my expertise, I’ve earned the nickname, “The Jew Hunter.”
[Pauses, lighting his pipe.]
Now, I must admit, I like my nickname because it amuses me. But, there’s one thing you don’t know, and it’s a big thing. A thing about rats. In the interests of forwardness, I must say I’m very familiar with your “tribe.” I’ve worked in close proximity with Jews for a long time now. I respect their survival instincts, which are nothing short of astonishing. But there is a slight difference between a rat and a squirrel, even though they are both rodents. You don’t find people despising squirrels, do you? No, because squirrels are warm and fuzzy. But rats… rats carry disease. They nibble on your food, spoiling it. They live in squalor. If a rat were to walk in here right now as I’m talking, would you greet it with a saucer of your delicious milk?
[LaPadite shakes his head.]
I didn’t think so. You see, Monsieur LaPadite, rats are not desirable creatures. Even though they share a lot in common with squirrels, they are regarded differently. And that brings me to my point: the Jews live in squalor because they have no choice. Their mere presence induces this response. You are harboring enemies of the state, are you not?
Inglourious Basterds Monologue PDF
3. “There Will Be Blood” (2007) – Daniel Plainview
“I drink your milkshake.”
- Context: Daniel Plainview confronts Eli Sunday, boasting about his ruthlessness and how he has drained a competitor’s oil field.
[Daniel Plainview]
Those areas, they’ve been drilled…Yes, it’s called drainage, Eli. See, I own everything around it, so, of course, I get what’s underneath it…Do you understand, Eli? That’s more to the point. Do you understand? I drink your water. I drink it up every day. I drink the blood of Lamb from Bandy’s tract…Because you’re not the chosen brother, Eli. ‘Twas Paul who was chosen. He found me and told me about your land. You’re just a fool…I did what your brother couldn’t…I broke you and beat you. It was Paul told me about you. He’s the prophet. He’s the smart one. He knew what was there and he found me to take it out of the ground. Know what the funny thing is? Listen, listen, listen. I paid him $10,000 cash in hand. Just like that. He has his own company now. Prosperous little business. Three wells producing, $5,000 a week. Stop crying, you sniveling ass. Stop your nonsense. You’re just the afterbirth, Eli…that slithered out on your mother’s filth…They should have put you in a glass jar on the mantelpiece. Where were you when Paul was suckling at his mother’s teat? Where were you? Who was nursing you, poor Eli? One of Bandy’s sows? That land has been had. Nothing you can do about it. It’s gone. It’s had. You lose….Drainage! Drainage, Eli, you boy. Drained dry. I’m so sorry. Here, if you have a milkshake, and I have a milkshake, and I have a straw. There it is, that’s the straw, you see?
(He held his finger up) Watch it.
(He walked back a few steps) Now my straw reaches acroo-oo- oo-oss the room, and starts to drink your milkshake. I… drink… your… milkshake!
(Slurping sound) I drink it up!
[Eli Sunday]
Don’t bully me, Daniel!”,
(Daniel throws him down the bowling alley, while shouting after him)
[Daniel Plainview]
Did you think your song and dance and your superstition would help you, Eli? I am the Third Revelation! I am who the Lord has chosen. Because I’m smarter than you. I’m older…I’m not a false prophet, you sniveling boy! I am the Third Revelation! I am the Third Revelation! I told you I would eat you…I told you I would eat you up!
(Plainview then bloodily murders Eli with bludgeoning blows from a bowling pin, leaving him to die on the alley, as he tells his butler):
I’m finished
There Will Be Blood Milkshake Monologue PDF
4. The Revenant (2015) – John Fitzgerald
“God is a squirrel”
- Context: This monologue reflects Fitzgerald’s cynical and survivalist philosophy
John Fitzgerald : You all right there kid? Your head in the right place?
Bridger : I guess… I can’t help thinking about whether we did the right…
John Fitzgerald : No! Ain’t our place to wonder. The good Lord got us on a road whether we choose it or not.
John Fitzgerald : My pop, he weren’t a religious man, you know? If you couldn’t grow it, kill it, or eat it, he just plain old didn’t believe in it, that was it. And this one time he head on up the old Saba hills… San Saba hills? He joined a couple Texas Ranger buddies of his to hunt you know? pretty routine, he done it like a hundred times before, should have been a three-day kill but, on the second day, it all went fucked. Somehow that night he lost his buddies, and to top it off, them Comanches went and took the horses so, he was starving and delirious… and he crawls up into this mott, this… this group of trees out in the middle of nowhere just sticking up in this ocean of scrub and he found religion. At that moment he told me… he found God. And it turns out that God… is a squirrel. Yea. A big, old meaty one. “I found God” he used to say. “And while sitting there and basking in the glory and sublimity of mercy… I shot and ate that son of a bitch”.
John Fitzgerald : Yeah. You might want to close your eyes kid.
The Revenant – John Fitzgerald Monologue PDF
5. “Glengarry Glen Ross” (1992) – Blake (Alec Baldwin)
“Always Be Closing.”
- Context: Blake, sent by the corporate office, delivers a brutal motivational speech to the sales team, emphasizing the cutthroat nature of their job.
Blake: Let me have your attention for a moment! So you’re talking about what? You’re talking about…(puts out his cigarette)…bitching about that sale you shot, some son of a bitch that doesn’t want to buy, somebody that doesn’t want what you’re selling, some broad you’re trying to screw and so forth. Let’s talk about something important. Are they all here?
Williamson: All but one.
Blake: Well, I’m going anyway. Let’s talk about something important! (to Levene) Put that coffee down!! Coffee’s for closers only. (Levene scoffs) Do you think I’m fucking with you? I am not fucking with you. I’m here from downtown. I’m here from Mitch and Murray. And I’m here on a mission of mercy. Your name’s Levene?
Levene: Yeah.
Blake: You call yourself a salesman, you son of a bitch?
Moss: I don’t have to listen to this shit.
Blake: You certainly don’t pal. ‘Cause the good news is — you’re fired. The bad news is you’ve got, all you got, just one week to regain your jobs, starting tonight. Starting with tonights sit. Oh, have I got your attention now? Good. ‘Cause we’re adding a little something to this months sales contest. As you all know, first prize is a Cadillac Eldorado. Anyone want to see second prize? Second prize’s a set of steak knives. Third prize is you’re fired. You get the picture? You’re laughing now? You got leads. Mitch and Murray paid good money. Get their names to sell them! You can’t close the leads you’re given, you can’t close shit, you ARE shit, hit the bricks pal and beat it ’cause you are going out!!!
Levene: The leads are weak.
Blake: ‘The leads are weak.’ Fucking leads are weak? You’re weak. I’ve been in this business fifteen years.
Moss: What’s your name?
Blake: FUCK YOU, that’s my name!! You know why, Mister? ‘Cause you drove a Hyundai to get here tonight, I drove a eighty thousand dollar BMW. That’s my name!! (to Levene) And your name is “you’re wanting.” And you can’t play in a man’s game. You can’t close them. (at a near whisper) And you go home and tell your wife your troubles. (to everyone again) Because only one thing counts in this life! Get them to sign on the line which is dotted! You hear me, you fucking faggots?
(Blake flips over a blackboard which has two sets of letters on it: ABC, and AIDA.)
Blake: A-B-C. A-always, B-be, C-closing. Always be closing! Always be closing!! A-I-D-A. Attention, interest, decision, action. Attention — do I have your attention? Interest — are you interested? I know you are because it’s fuck or walk. You close or you hit the bricks! Decision — have you made your decision for Christ?!! And action. A-I-D-A; get out there!! You got the prospects comin’ in; you think they came in to get out of the rain? Guy doesn’t walk on the lot unless he wants to buy. Sitting out there waiting to give you their money! Are you gonna take it? Are you man enough to take it? (to Moss) What’s the problem pal? You. Moss.
Moss: You’re such a hero, you’re so rich. Why you coming down here and waste your time on a bunch of bums?
(Blake sits and takes off his gold watch)
Blake: You see this watch? You see this watch?
Moss: Yeah.
Blake: That watch cost more than your car. I made $970,000 last year. How much you make? You see, pal, that’s who I am. And you’re nothing. Nice guy? I don’t give a shit. Good father? Fuck you — go home and play with your kids!! (to everyone) You wanna work here? Close!! (to Aaronow) You think this is abuse? You think this is abuse, you cocksucker? You can’t take this — how can you take the abuse you get on a sit?! You don’t like it — leave. I can go out there tonight with the materials you got, make myself fifteen thousand dollars! Tonight! In two hours! Can you? Can you? Go and do likewise! A-I-D-A!! Get mad! You sons of bitches! Get mad!! You know what it takes to sell real estate?
(He pulls something out of his briefcase)
Blake: It takes brass balls to sell real estate.
(He’s holding two brass balls on string, over the appropriate “area”–he puts them away after a pause)
Blake: Go and do likewise, gents. The money’s out there, you pick it up, it’s yours. You don’t–I have no sympathy for you. You wanna go out on those sits tonight and close, close, it’s yours. If not you’re going to be shining my shoes. Bunch of losers sitting around in a bar. (in a mocking weak voice) “Oh yeah, I used to be a salesman, it’s a tough racket.” (he takes out large stack of red index cards tied together with string from his briefcase) These are the new leads. These are the Glengarry leads. And to you, they’re gold. And you don’t get them. Why? Because to give them to you is just throwing them away. (he hands the stack to Williamson) They’re for closers.
I’d wish you good luck but you wouldn’t know what to do with it if you got it. (to Moss as he puts on his watch again) And to answer your question, pal: why am I here? I came here because Mitch and Murray asked me to, they asked me for a favor. I said, the real favor, follow my advice and fire your fucking ass because a loser is a loser.
(He stares at Moss for a sec, and then picking up his briefcase, goes into inner office with Williamson)
6. “Apocalypse Now” (1979) – Colonel Kurtz
“The horror, the horror.”
- Context: Colonel Kurtz speaks about the atrocities of war and the darkness within humanity.
Kurtz: I’ve seen horrors… horrors that you’ve seen. But you have no right to call me a murderer. You have a right to kill me. You have a right to do that… but you have no right to judge me. It’s impossible for words to describe what is necessary to those who do not know what horror means. Horror. Horror has a face… and you must make a friend of horror. Horror and moral terror are your friends. If they are not then they are enemies to be feared. They are truly enemies. I remember when I was with Special Forces. Seems a thousand centuries ago. We went into a camp to inoculate the children. We left the camp after we had inoculated the children for Polio, and this old man came running after us and he was crying. He couldn’t see. We went back there and they had come and hacked off every inoculated arm. There they were in a pile. A pile of little arms. And I remember… I… I… I cried. I wept like some grandmother. I wanted to tear my teeth out. I didn’t know what I wanted to do. And I want to remember it. I never want to forget it. I never want to forget. And then I realized… like I was shot… like I was shot with a diamond… a diamond bullet right through my forehead. And I thought: My God… the genius of that. The genius. The will to do that. Perfect, genuine, complete, crystalline, pure. And then I realized they were stronger than we. Because they could stand that these were not monsters. These were men… trained cadres. These men who fought with their hearts, who had families, who had children, who were filled with love… but they had the strength… the strength… to do that. If I had ten divisions of those men our troubles here would be over very quickly. You have to have men who are moral… and at the same time who are able to utilize their primordial instincts to kill without feeling… without passion… without judgment… without judgment. Because it’s judgment that defeats us.
7. “Silence of the Lambs” (1991) – Dr. Hannibal Lecter
“A census taker once tried to test me…”
- Context: Dr. Lecter describes how he dealt with a census taker who annoyed him, revealing his refined but terrifying nature.
DR. LECTER
Oh, Officer Starling… do you think
you can dissect me with this blunt
little tool?
CLARICE
No. I only hoped that your knowledge -
Suddenly he whips the tray back at her, with a metallic CLANG
that makes her start. His voice remains a pleasant purr.
DR. LECTER
You're sooo ambitious, aren't you...?
You know what you look like to me,
with your good bag and your cheap
shoes? You look like a rube. A well-
scrubbed, hustling rube with a little,
taste... Good nutrition has given
you some length of bone, but you're
not more than one generation from
poor white trash, are you Officer
Starling...? That accent you're trying
so desperately to shed - pure West
Virginia. What was your father, dear?
Was he a coal miner? Did he stink of
the lamp...? And oh, how quickly the
boys found you! All those tedious,
sticky fumblings, in the back seats
of cars, while you could only dream
of getting out. Getting anywhere -
yes? Getting all the way - to the
F...B...I.
His every word has struck her like a tiny, precise dart. But
she squares her jaw and won't give ground.
CLARICE
You see a lot, Dr. Lecter. But are
you strong enough to point that high-
powered perception at yourself? How
about it...? Look at yourself and
write down the truth.
(she slams the tray
back at him)
Or maybe you're afraid to.
DR. LECTER
You're a tough one, aren't you?
CLARICE
Reasonably so. Yes.
DR. LECTER
And you'd hate to think you were
common. My, wouldn't that sting!
Well you're far from common, Officer
Starling. All you have is the fear
of it.
(beat)
Now please excuse me. Good day.
CLARICE
And the questionnaire...?
DR. LECTER
A census taker once tried to test
me. I ate his liver with some fava
beans and a nice chianti... Fly back
to school, little Starling.
Silence Of The Lambs Monologue PDF
8. The Devils Advocate (1997) – John Milton
John Milton: Who are you carrying all those bricks for anyway?
God? Is that it?
God? Well, I tell ya, let me give you a little inside information about God.
God likes to watch. He’s a prankster. Think about it.
He gives man instincts. He gives you this extraordinary gift and then what does He do?
I swear, for his own amusement, his own private cosmic gag reel, he sets the rules in opposition.
It’s the goof of all time.
Look, but don’t touch.
Touch, but don’t taste.
Taste, don’t swallow.
*laughter*
And while you’re jumping from one foot to the next, what is He doing?
He’s laughing his sick, fucking ass off.
He’s a tight-ass. He’s a sadist.
He’s an absentee landlord. Worship that?
Never!
Kevin Lomax: Better reign in hell than to serve in heaven, is that it?
John Milton: Why not?
I’m here on the ground with my nose in it since the whole thing began!
I’ve nurtured every sensation man has been inspired to have!
I cared about what he wanted and I never judged him.
Why? Because I never rejected him, in spite of all his imperfections!
I’m a fan of man!
I’m a humanist. Maybe the last humanist.
Who, in their right mind, Kevin, could possibly deny the 20th century was entirely mine?
All of it, Kevin!
All of it!
Mine!
I’m peaking, Kevin.
It’s my time now.
It’s our time.
The Devils Advocate Monologue PDF
9. “The Incredibles” (2004) – Syndrome
- Context: You Cant Count On Anyone Speech
It’s bigger. It’s better. Ladies and gentlemen, it’s too much for Mr Incredible. It’s finally ready yet. You know, I went through quite a few supers to get it worthy toe fight you. But, man, it wasn’t good enough. After you trashed the last one had to make some major modifications. Sure, it was difficult. But you are worth it. I mean after all, I am your biggest fan. My name is not buddy and it’s not incredible either. That ship has sailed. All I wanted was to help you. I only wanted to help. And what did you say to me? Fly home, buddy. I work alone. It tore me apart. But I learned an important lesson. Can’t count on anyone, especially your hero?
The Incredibles Syndrome Monologue
10. “Kill Bill: Volume 2” (2004) – Bill (David Carradine)
“Superman didn’t become Superman, Superman was born Superman. “
- Context: Bill discusses the nature of superheroes and how Superman’s identity is unique compared to other heroes.
Bill: As you know, I’m quite keen on comic books. Especially the ones about superheroes. I find the whole mythology surrounding superheroes fascinating. Take my favorite superhero, Superman. Not a great comic book, not particularly well-drawn, but the mythology. The mythology is not only great, it’s unique.
Now, a staple of the superhero mythology is, there’s the superhero and there’s the alter ego.
Batman is actually Bruce Wayne, Spider Man is actually Peter Parker. When that character wakes up in the morning, he’s Peter Parker. He has to put on a costume to become Spider-Man, and it is in that characteristic Superman stands alone.
Superman didn’t become Superman.
Superman was born Superman.
When Superman wakes up in the morning, he’s Superman.
His alter ego is Clark Kent.
His outfit with the big red S, that’s the blanket he was wrapped in as a baby when the Kents found him. Those are his clothes. What Kent wears; the glasses, the business suit… that’s the costume. That’s the costume Superman wears to blend in with us.
Clark Kent is how Superman views us, and what are the characteristics of Clark Kent?
He’s weak, he’s unsure of himself, he’s a coward. Clark Kent is Superman’s critique on the whole human race. Sorta like Beatrix Kiddo and Mrs. Tommy Plympton.
You would’ve worn the costume of Arlene Plympton, but you were born Beatrix Kiddo, and every morning when you woke up, you’d still be Beatrix Kiddo.
I’m calling you a killer. A natural born killer. Always have been, and always will be.
Moving to El Paso, working in a used record store, going to the movies with Tommy, clipping coupons. That’s you, trying to disguise yourself as a worker bee. That’s you tryin’ to blend in with the hive. But you’re not a worker bee. You’re a renegade killer bee, and no matter how much beer you drank or barbecue you ate or how fat your ass got, nothing in the world would ever change that”
11. “The Matrix Reloaded” (2003) – The Architect
The explanation of the Matrix.
- Context: The Architect reveals the true nature of the Matrix to Neo, explaining the cycle of destruction and rebirth of Zion.
The Architect: Hello, Neo.
Neo: Who are you?
The Architect: I am the Architect. I created the matrix. I’ve been waiting for you. You have many questions, and although the process has altered your consciousness, you remain irrevocably human. Ergo, some of my answers you will understand, and some of them you will not. Concordantly, while your first question may be the most pertinent, you may or may not realize it is also irrelevant.
Neo: Why am I here?
The Architect: Your life is the sum of a remainder of an unbalanced equation inherent to the programming of the matrix. You are the eventuality of an anomaly, which despite my sincerest efforts I have been unable to eliminate from what is otherwise a harmony of mathematical precision. While it remains a burden assiduously avoided, it is not unexpected, and thus not beyond a measure of control. Which has led you, inexorably, here.
Neo: You haven’t answered my question.
The Architect: Quite right. Interesting. That was quicker than the others.
The responses of other Neos appear on the monitors: “Others? What others? How many? Answer me!”
The Architect: The matrix is older than you know. I prefer counting from the emergence of one integral anomaly to the emergence of the next, in which case this is the sixth version.
Again, the responses of the other Ones appear on the monitors: “Five versions? Three? I’ve been lied too. This is bullshit.”
Neo: There are only two possible explanations: either no one told me, or no one knows.
The Architect: Precisely. As you are undoubtedly gathering, the anomaly’s systemic, creating fluctuations in even the most simplistic equations.
Once again, the responses of other Neos appear on the monitors: “You can’t control me! Fuck you! I’m going to kill you! You can’t make me do anything!
Neo: Choice. The problem is choice.
The scene cuts to Trinity fighting an agent, and then back to the Architect’s room
The Architect: The first matrix I designed was quite naturally perfect, it was a work of art, flawless, sublime. A triumph equaled only by its monumental failure. The inevitability of its doom is as apparent to me now as a consequence of the imperfection inherent in every human being, thus I redesigned it based on your history to more accurately reflect the varying grotesqueries of your nature. However, I was again frustrated by failure. I have since come to understand that the answer eluded me because it required a lesser mind, or perhaps a mind less bound by the parameters of perfection. Thus, the answer was stumbled upon by another, an intuitive program, initially created to investigate certain aspects of the human psyche. If I am the father of the matrix, she would undoubtedly be its mother.
Neo: The Oracle.
The Architect: Please. As I was saying, she stumbled upon a solution whereby nearly 99% of all test subjects accepted the program, as long as they were given a choice, even if they were only aware of the choice at a near unconscious level. While this answer functioned, it was obviously fundamentally flawed, thus creating the otherwise contradictory systemic anomaly, that if left unchecked might threaten the system itself. Ergo, those that refused the program, while a minority, if unchecked, would constitute an escalating probability of disaster.
Neo: This is about Zion.
The Architect: You are here because Zion is about to be destroyed. Its every living inhabitant terminated, its entire existence eradicated.
Neo: Bullshit.
The responses of other Neos appear on the monitors: “Bullshit!”
The Architect: Denial is the most predictable of all human responses. But, rest assured, this will be the sixth time we have destroyed it, and we have become exceedingly efficient at it.
Scene cuts to Trinity fighting an agent, and then back to the Architects room.
The Architect: The function of the One is now to return to the source, allowing a temporary dissemination of the code you carry, reinserting the prime program. After which you will be required to select from the matrix 23 individuals, 16 female, 7 male, to rebuild Zion. Failure to comply with this process will result in a cataclysmic system crash killing everyone connected to the matrix, which coupled with the extermination of Zion will ultimately result in the extinction of the entire human race.
Neo: You won’t let it happen, you can’t. You need human beings to survive.
The Architect: There are levels of survival we are prepared to accept. However, the relevant issue is whether or not you are ready to accept the responsibility for the death of every human being in this world.
The Architect presses a button on a pen that he is holding, and images of people from all over the matrix appear on the monitors
The Architect: It is interesting reading your reactions. Your five predecessors were by design based on a similar predication, a contingent affirmation that was meant to create a profound attachment to the rest of your species, facilitating the function of the one. While the others experienced this in a very general way, your experience is far more specific. Vis-a-vis, love.
Images of Trinity fighting the agent from Neo’s dream appear on the monitors
Neo: Trinity.
The Architect: Apropos, she entered the matrix to save your life at the cost of her own.
Neo: No!
The Architect: Which brings us at last to the moment of truth, wherein the fundamental flaw is ultimately expressed, and the anomaly revealed as both beginning, and end. There are two doors. The door to your right leads to the source, and the salvation of Zion. The door to the left leads back to the matrix, to her, and to the end of your species. As you adequately put, the problem is choice. But we already know what you’re going to do, don’t we? Already I can see the chain reaction, the chemical precursors that signal the onset of emotion, designed specifically to overwhelm logic, and reason. An emotion that is already blinding you from the simple, and obvious truth: she is going to die, and there is nothing that you can do to stop it.
Neo walks to the door on his left
The Architect: Humph. Hope, it is the quintessential human delusion, simultaneously the source of your greatest strength, and your greatest weakness.
Neo: If I were you, I would hope that we don’t meet again.
The Architect: We won’t.
The Matrix – Architect Monologue PDF
12. “A Few Good Men” (1992) – Colonel Jessup
“You can’t handle the truth!”
- Context: Colonel Jessup defends his actions by arguing that his harsh methods are necessary to protect the country.
Kaffee: Colonel Jessup, did you order the Code Red?!
Judge: You don’t have to answer that question!
Jessup: I’ll answer the question. You want answers?
Kaffee: I think I’m entitled!
Jessup: You want answers?!
Kaffee: I want the truth!
Jessup: You can’t handle the truth!
Son, we live in a world that has walls, and those walls have to be guarded by men with guns. Who’s gonna do it? You? You, Lieutenant Weinberg? I have a greater responsibility than you can possibly fathom. You weep for Santiago and you curse the Marines. You have that luxury. You have the luxury of not knowing what I know, that Santiago’s death, while tragic, probably saved lives. And my existence, while grotesque and incomprehensible to you, saves lives! You don’t want the truth, because deep down in places you don’t talk about at parties, you want me on that wall. You need me on that wall. We use words like “honor”, “code”, “loyalty”. We use these words as the backbone of a life spent defending something. You use them as a punchline. I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very freedom that I provide, and then questions the manner in which I provide it! I would rather you just said “thank you”, and went on your way. Otherwise, I suggest you pick up a weapon, and stand a post. Either way, I don’t give a damn what you think you are entitled to!
Kaffee: Did you order the Code Red?
Jessup: I did the job that—-
Kaffee: Did you order the Code Red?!!
Jessup: YOU’RE GODDAMN RIGHT I DID!!
A Few Good Men – You Cant Handle The Truth PDF
13. “Pulp Fiction” (1994) – Jules Winnfield
The Ezekiel 25:17 speech.
- Context: Jules recites a Bible passage before executing someone, giving a chilling insight into his mindset.
Jules: (after shooting Roger, the man on the couch) Oh, I’m sorry. Did I break your concentration? I didn’t mean to do that. Please, continue, you were saying something about “best intentions”. What’s the matter? (Beat) Oh, you were finished! Well, allow me to retort! (leans in closer) What does Marsellus Wallace look like?
Brett: …What?
Jules: (flips the table where Brett was sitting on) What country you from?
Brett: Wha-what?
Jules: “What” ain’t no country I ever heard of! They speak English in “What”?
Brett: …what?
Jules: ENGLISH, MOTHERFUCKER! DO YOU SPEAK IT?!
Brett: Yes!
Jules: Then you know what I’m sayin’!
Brett: Yes!
Jules: Describe what Marsellus Wallace looks like!
Brett: …what? I—
Jules: (draws gun) Say “what” again! SAY! “WHAT”! AGAIN! I DARE YOU! I DOUBLE DARE YOU, MOTHERFUCKER! Say “what” one more goddamn time!
Brett: H-he’s-he’s black!
Jules: Go on!
Brett: He’s bald!
Jules: Does he look like a bitch?
Brett: What?
Jules: (fires at Brett’s shoulder, who groans in pain) DOES. HE. LOOK. LIKE. A BITCH?!
Brett: (in obvious pain) NOOOOO!
Jules: Then why’d you try to fuck him like a bitch, Brett?
Brett: I didn’t!
Jules: Yes, you did! Yes, you, did, Brett! You tried to fuck him, and Marsellus Wallace don’t like to be fucked by anyone except Mrs. Wallace.
You read the Bible Brett? Well, There’s a passage I got memorized. Sort of fits the occasion. Ezekiel 25:17. “
The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men.
Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness, for he is truly his brother’s keeper and the finder of lost children and I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers and you will know my name is the Lord when I lay my vengeance upon Thee!
Pulp Fiction – Samuel L Jackson Monologue PDF
14. “Misery” (1990) – Annie Wilkes
“I am your number one fan.”
- Context: Annie Wilkes reveals her obsession with author Paul Sheldon and her madness when she discovers he’s killed off her favorite character.
Annie Wilkes : I know I left my scrapbook out. I can imagine what you might be thinking of me. But you see, Paul, it’s all okay. Last night it came so clear. I realized you just need more time. Eventually, you’ll come to accept the idea of being here. Paul, do you know about the early days at the Kimberly diamond mines? Do you know what they did to the Native workers who stole diamonds? Don’t worry, they didn’t kill them. That would be like junking your Mercedes just because it had a broken spring. No, if they caught them, they had to make sure they could go on working, but they also had to make sure they could never run away. The operation was called hobbling.
[Annie places a piece of wood between Paul’s ankles]
Paul Sheldon : Annie, whatever you’re thinking about doing, please don’t do it.
[Annie picks up a sledgehammer]
Paul Sheldon : Annie, for God’s…
Annie Wilkes : Shh darling, trust me.
Paul Sheldon : God’s sake…
Annie Wilkes : It’s for the best.
Paul Sheldon : Annie, please!
[Annie swings the sledgehammer at Paul’s left ankle, breaking it; Paul screams in agonizing pain]
Annie Wilkes : Almost done. Just one more.
[Annie swings the sledgehammer at Paul’s right ankle, breaking it; Paul again screams]
Annie Wilkes : God, I love you.
Annie Wilkes : I thought you were good Paul… but you’re not good. You’re just another lying ol’ dirty birdy.
Annie Wilkes : I’m your number one fan. There’s nothing to worry about. You’re going to be just fine. I will take good care of you. I’m your number one fan.
Annie Wilkes : When I was growing up in Bakersfield, my favourite thing in the whole world was to go to the movies on Saturday afternoons for the Chapter Plays.
Paul Sheldon : [nodding] Cliffhangers.
Annie Wilkes : [shouting] I know that, Mr. Man! They also called them serials. I’m not stupid ya know… Anyway, my favourite was Rocketman, and once it was a no breaks chapter. The bad guy stuck him in a car on a mountain road and knocked him out and welded the door shut and tore out the brakes and started him to his death, and he woke up and tried to steer and tried to get out but the car went off a cliff before he could escape! And it crashed and burned and I was so upset and excited, and the next week, you better believe I was first in line. And they always start with the end of the last week. And there was Rocketman, trying to get out, and here comes the cliff, and just before the car went off the cliff, he jumped free! And all the kids cheered! But I didn’t cheer. I stood right up and started shouting. This isn’t what happened last week! Have you all got amnesia? They just cheated us! This isn’t fair! HE DID’NT GET OUT OF THE COCK – A – DOODIE CAR!
Paul Sheldon : [long pause] They always cheated like that in cl… chapter plays.
Annie Wilkes : The swearing, Paul. There, I said it.
Paul Sheldon : The, uh, profanity bothers you?
Annie Wilkes : It has no nobility.
Paul Sheldon : These are slum kids, I was a slum kid. Everybody talks like that.
Annie Wilkes : THEY DO NOT! What do you think I say when I go to the feedstore in town, “Oh, now Wally, give me a bag of that F-in’ pig feed, and ten pounds of that bitchly cow corn”? And the bank do I tell Mrs. Bollinger, “Oh, here’s one big bastard of a check, give me some of your Christ-ing money?” THERE, LOOK THERE, SEE WHAT YOU MADE ME DO!
Annie Wilkes : Here’s your pills.
Paul Sheldon : Annie? Annie, what is it?
Annie Wilkes : The rain. Sometimes it gives me the blues. When you first came here, I only loved the writer part of Paul Sheldon. Now I know I love the rest of him, too. I know you don’t love me, don’t say you do. You’re beautiful, brilliant, a famous man of the world and I’m… not a movie star type. You’ll never know the fear of losing someone like you if you’re someone like me.
Paul Sheldon : Why would you lose me?
Annie Wilkes : Book’s almost finished, your legs are getting better. Soon you’ll be wanting to leave.
Paul Sheldon : Why would I leave? I like it here.
Annie Wilkes : That’s very kind of you, but I’ll bet it’s not all together true.
[pulls out a gun]
Annie Wilkes : I have this gun.
[pulls the trigger]
Annie Wilkes : Sometimes I think about using it. I’d better go now. I might put bullets in it.
Misery – Annie Wilkes Monologue PDF
15. “Skyfall” (2012) – Raoul Silva
“You Have Trapped All The Rats”
- Context: Silva compares himself and Bond to two rats that have been forced into a corner, explaining his hatred for M and MI6.
[as Bond is tied to a chair, an elevator lowers in front of him, and Silva appears and walks toward him]
Raoul Silva : Hello, James. Welcome. Do you like the island? My grandmother had an island. Nothing to boast of. You could walk around it in an hour, but still it was, it was a paradise for us. One summer, we went for a visit and discovered the place had been infested with rats! They’d come on a fishing boat and gorged themselves on coconut. So how do you get rats off an island? Hmm? My grandmother showed me. We buried an oil drum and hinged the lid. Then we wired coconut to the lid as bait and the rats would come for the coconut, and…[imitates metallic scuttering]
Raoul Silva : They would fall into the drum. And after a month, you have trapped all the rats, but what do you do then? Throw the drum into the ocean? Burn it? No. You just leave it and they begin to get hungry. And one by one…[mimics rat munching sound]
Raoul Silva : They start eating each other, until there are only two left. The two survivors. And then what? Do you kill them? No. You take them and release them into the trees, but now they don’t eat coconut anymore. Now, they only eat rat. You have changed their nature. The two survivors. This is what she made us.
Raoul Silva : If you wanted, you could pick your own secret missions. As I do. Name it, name it. Destabilize a multinational by manipulating stocks. Bip. Easy. Interrupt transmissions from a spy satellite over Kabul… done. Hmm. Rig an election in Uganda. All to the highest bidder.
James Bond : Or a gas explosion in London.
Raoul Silva : Mm-hm. Just point and click.
James Bond : Well, everybody needs a hobby.
Raoul Silva : So what’s yours?
James Bond : Resurrection.
Raoul Silva : [Silva goes to the desk, accessing Bond’s debriefing results from his computer] Medical evaluation: fail. Physical evaluation: fail. Psychological evaluation, alcohol and substance addiction indicated. Ooh! Pathological rejection of authority based on unresolved childhood trauma.
[glances to Bond then back to the computer]
Raoul Silva : Subject is not approved for field duty and immediate suspension for service advised.
[rises from the desk, going to Bond]
Raoul Silva : What is this if not betrayal? She sent you off to me, knowing you’re not ready, knowing you’re likely die. Mommy was very bad.
Skyfall – Raoul Silva Monologue PDF
16. “Se7en” (1995) – John Doe
The confession scene.
- Context: John Doe reveals the twisted reasoning behind his murders, based on the seven deadly sins, claiming he was chosen to deliver God’s wrath.
David Mills : Wait, I thought all you did was kill innocent people.
John Doe : Innocent? Is that supposed to be funny? An obese man… a disgusting man who could barely stand up; a man who if you saw him on the street, you’d point him out to your friends so that they could join you in mocking him; a man, who if you saw him while you were eating, you wouldn’t be able to finish your meal. After him, I picked the lawyer and I know you both must have been secretly thanking me for that one. This is a man who dedicated his life to making money by lying with every breath that he could muster to keeping murderers and rapists on the streets!
David Mills : Murderers?
John Doe : A woman…
David Mills : Murderers, John, like yourself?
John Doe : [interrupts] A woman… so ugly on the inside she couldn’t bear to go on living if she couldn’t be beautiful on the outside. A drug dealer, a drug dealing pederast, actually! And let’s not forget the disease-spreading whore! Only in a world this shitty could you even try to say these were innocent people and keep a straight face. But that’s the point. We see a deadly sin on every street corner, in every home, and we tolerate it. We tolerate it because it’s common, it’s trivial. We tolerate it morning, noon, and night. Well, not anymore. I’m setting the example. What I’ve done is going to be puzzled over and studied and followed… forever.
Se7en Monologue – John Doe PDF
17. “The Usual Suspects” (1995) – Keyser Söze
“The greatest trick the Devil ever pulled…”
- Context: Keyser Söze describes the legendary criminal mastermind who convinces the world he doesn’t exist.
Verbal Kint: He’s supposed to be Turkish. Some say his father was German. Nobody ever believed he was real. Nobody ever knew him or saw anybody that ever worked directly for him. But to hear Kobayashi tell it, anybody could have worked for Soze. You never knew; that was his power. The greatest trick the devil ever pulled was convincing the world he didn’t exist.
One story the guys told me, the story I believe, was from his days in Turkey. There was a gang of Hungarians that wanted their own mob. They realized that to be in power, you didn’t need guns or money or even numbers. You just needed the will to do what the other guy wouldn’t. After a while, they come into power and then they come after Soze. He was small-time then, just running dope, they say. (We see all of this in flashback) They come to his home in the afternoon, looking for his business. They find his wife and kids in the house and decide to wait for Soze. He comes home to find his wife raped and children screaming. The Hungarians knew Soze was tough, not to be trifled with, so they let him know they meant business.
(Flashback: Hungarian cuts one of the children’s throats)
They tell him they want his territory, all his business. Soze looks over the faces of his family. Then he showed these men of will what will really was.
(Soze shoots two Hungarians, then shoots his children and his wife as the last Hungarian watches in surprised horror)
He tells him he would rather see his family dead than live another day after this. He lets the last Hungarian go, waits until his wife and kids are in the ground, and then he goes after the rest of the mob. He kills their kids. He kills their wives. He kills their parents and their parents’ friends. He burns down the houses they live in, the stores they work in. He kills people that owe them money. And like that, he’s gone. Underground. Nobody’s ever seen him since. He becomes a myth, a spook story that criminals tell their kids at night. “Rat on your pop and Keyser Soze will get you.” But no one ever really believes.
(We see a shadow-encased figure of Keyser Soze walking towards the camera in front of a huge tower of flame as Verbal speaks about the process of revenge.)
Agent Kujon: Do you believe in him, Verbal?
Verbal Kint: Keaton always said, “I don’t believe in God, but I’m afraid of him.” Well, I believe in God — and the only thing that scares me is Keyser Soze.
The Usual Suspects – Kyser Söze Monologue PDF
18. “American Psycho” (2000) – Patrick Bateman
“I’ve Killed a lot of people”
- Context: Patrick Bateman reveals his superficial and psychopathic nature through a deadpan delivery of his thoughts and violent tendencies.
Patrick Bateman : Howard, it’s Bateman, Patrick Bateman. You’re my lawyer so I think you should know: I’ve killed a lot of people. Some girls in the apartment uptown uh, some homeless people maybe 5 or 10 um an NYU girl I met in Central Park. I left her in a parking lot behind some donut shop. I killed Bethany, my old girlfriend, with a nail gun, and some man uh some old faggot with a dog last week. I killed another girl with a chainsaw, I had to, she almost got away and uh someone else there I can’t remember maybe a model, but she’s dead too. And Paul Allen. I killed Paul Allen with an axe in the face, his body is dissolving in a bathtub in Hell’s Kitchen. I don’t want to leave anything out here. I guess I’ve killed maybe 20 people, maybe 40. I have tapes of a lot of it, uh some of the girls have seen the tapes. I even, um… I ate some of their brains, and I tried to cook a little. Tonight I, uh, I just had to kill a LOT of people. And I’m not sure I’m gonna get away with it this time. I guess I’ll uh, I mean, ah, I guess I’m a pretty uh, I mean I guess I’m a pretty sick guy. So, if you get back tomorrow, I may show up at Harry’s Bar, so you know, keep your eyes open.
19. The Devil Wears Prada (2006) – Miranda Priestly
In The Devil Wears Prada, the villain monologue is delivered by Meryl Streep. This scene isn’t a traditional villain monologue, but it’s a powerful moment where Miranda explains the importance of the fashion industry and subtly critiques Andy’s (Anne Hathaway) naiveté.
Miranda Priestly: “This… ‘stuff’? Oh, okay. I see, you think this has nothing to do with you. You go to your closet and you select, I don’t know, that lumpy blue sweater, for instance, because you’re trying to tell the world that you take yourself too seriously to care about what you put on your back. But what you don’t know is that that sweater is not just blue, it’s not turquoise, it’s not lapis, it’s actually cerulean. You’re also blithely unaware of the fact that in 2002, Oscar de la Renta did a collection of cerulean gowns. And then I think it was Yves Saint Laurent… wasn’t it who showed cerulean military jackets? I think we need a jacket here. And then cerulean quickly showed up in the collections of eight different designers. And then it filtered down through the department stores and then trickled on down into some tragic ‘casual corner’ where you, no doubt, fished it out of some clearance bin. However, that blue represents millions of dollars and countless jobs, and it’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry when, in fact, you’re wearing a sweater that was selected for you by the people in this room… from a pile of ‘stuff.’”
The Devil Wears Prada Monologue PDF
20. Gone Girl (2014) – Amy Dunne
Context: In Gone Girl (2014), the character Amy Dunne (Rosamund Pike) delivers a chilling villain monologue where she details her meticulously planned revenge against her husband, Nick. This monologue is delivered in voiceover as she narrates her diary entry, revealing her dark and manipulative nature.
Amy Dunne: “When I think of my husband, I picture cracking open his skull, unspooling his brain, trying to get answers. The primal questions of any marriage: What are you thinking? How are you feeling? What have we done to each other? What will we do? My parents loved to present me as a perfect, bright, young woman. The only child they’d ever need. Their Amazing Amy. But I grew up as a reflection of them. Who they wanted me to be, not who I was. And then I met Nick Dunne. A handsome, charming boy from Missouri. A writer, who needed me. My Nick. I love you, I love you, I love you. Everything about us was perfect. But then, it wasn’t. Everything became a joke. An illusion. I was the fun wife, the cool girl. Men always use that as their defining compliment, don’t they? ‘She’s a cool girl.’ Cool girls are hot. Cool girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind. I’m the cool girl. Men actually think this girl exists. Maybe they’re fooled because so many women are willing to pretend to be this girl. For a long time, ‘Cool Girl’ offended me. I’d rage against it. I’d think, ‘I’m not like that.’ But then I started to think, why not? Why can’t I be like that? I can be that girl. I can be the fun, cool girl. And for Nick, I was willing to be the perfect wife. But after a while, I started to get angry at myself for pretending to be something I wasn’t, for giving up parts of myself to make him happy. And then I realized… I am so much happier now that I’m dead. Technically missing. Soon to be presumed dead. Gone. And my lazy, lying, cheating, oblivious husband will go to prison for my murder.”
Gone Girl Amy Dunne Monologue PDF
21. Wall Street (1987) – Gordon Gekko
Context: One of the most famous monologues from Gordon Gekko, the iconic character played by Michael Douglas in Wall Street (1987), is known as the “Greed is Good” speech. In this monologue, Gekko articulates his philosophy on greed and its role in the business world.
Gordon Gekko: The point is, ladies and gentlemen, that greed, for lack of a better word, is good. Greed is right, greed works. Greed clarifies, cuts through, and captures the essence of the evolutionary spirit. Greed, in all of its forms—greed for life, for money, for love, knowledge—has marked the upward surge of mankind. And greed, you mark my words, will not only save Teldar Paper, but that other malfunctioning corporation called the USA.”
Wall Street Gordon Gekko Monologue PDF
Villain Monologue FAQs
What is a villain monologue and why are they significant in films?
A villain monologue is a speech delivered by the villain of a film, typically revealing their motives, philosophies, or plans. These speeches are significant because they provide insight into the villain’s character, often humanizing them and allowing the audience to understand their perspective. Iconic villain monologues, like those from the Joker in “The Dark Knight” or Hannibal Lecter in “Silence of the Lambs,” are crucial for developing the narrative tension and showcasing the antagonist’s complexity.
Who delivers the most memorable villain monologues in film history?
Some of the most memorable villain monologues have been delivered by characters such as the Joker in “The Dark Knight,” Hannibal Lecter in “Silence of the Lambs,” and Colonel Hans Landa in “Inglourious Basterds.” Each of these villains uses their monologue to convey a chilling sense of control and intellect, captivating audiences and making their characters unforgettable. The Joker’s chaotic philosophy and Lector’s calm, calculated demeanor both serve to enhance their roles as iconic movie villains.
How do villain monologues contribute to character development?
Villain monologues are crucial for character development as they offer a platform for the villain to express their beliefs and motivations. Through these speeches, audiences can gain a deeper understanding of the villain’s psyche, often revealing layers of complexity. For example, in “The Dark Knight,” the Joker articulates his views on chaos and morality, which not only establish his character but also challenge the protagonist, Batman. This dynamic enhances the film’s thematic depth and creates a more engaging narrative.
What themes are commonly explored in villain monologues?
Common themes in villain monologues include chaos vs. order, morality, power, and the human condition. For instance, the Joker often discusses the idea that anyone can become chaotic given the right circumstances.
