Information
| Year: | 2007 |
| Rating: | 6.9(34635) |
| Listed in: | Drama, Romance |
| Directed by: | Richard LaGravenese |
| Actors: | Gerard Butler James Marsters Hilary Swank Lisa Kudrow Gina Gershon Kathy Bates |
| "Sometimes you have to live life one letter at a time" | |
Cast
| Directed by | |
|---|---|
| Richard LaGravenese | |
| Actors | |
| Gerard Butler | as Gerry |
| James Marsters | as John |
| Harry Connick Jr. | as Daniel |
| Jeffrey Dean Morgan | as William |
| Christopher Whalen | as George |
| Dean Winters | as Tom |
| Brian McGrath | as Martin Kennedy |
| Michael Countryman | as Ted |
| Roger Rathburn | as Minister |
| Gayton Scott | as Bridal Shop Tailor |
| Brian Munn | as Patsy |
| Shepherd Frankel | as Guy with Clipboard |
| Richard Wallace Smith | as Bouncer |
| Mike Doyle | as Leprechaun |
| Don Sparks | as Mailman |
| Aonghus Og McAnally | as Bartender |
| Ryan Everett Canfield | as Man #1 |
| Timo Schnellinger | as Man #3 |
| Danny Calvert | as Gay Man #1 |
| Fred Inkley | as Gay Man #2 |
| Richard B. Watson | as Gay Man #3 |
| Marcus Collins | as Gay Man #4 |
| James Cronin | as Gay Man #5 |
| Matthew Martin | as Bar Patron #1 |
| Mark McNutt | as Bar Patron #2 |
| Brocton Pierce | as Bar Patron #3 |
| Kevin Witt | as Bar Patron #4 |
| Tony Devon | as Travel Agent |
| Dwayne Duprey | as Bar Patron |
| Elli | as Rabbi |
| Brevard Hudson | as Bar Patron |
| Mark A. Langston | as Dancer |
| Sal Longobardo | as Male Dancer |
| Stewart Stafford | as Bar Patron #5 |
| Edward J. Thomas | as Bar Patron #5 |
| Actresses | |
| Hilary Swank | as Holly |
| Lisa Kudrow | as Denise |
| Gina Gershon | as Sharon |
| Kathy Bates | as Patricia |
| Nellie McKay | as Ciara |
| Anne Kent | as Rose Kennedy |
| Sherie Rene Scott | as Barbara |
| Susan Blackwell | as Vicky |
| Rita Gardner | as Elderly Woman |
| Caris Vujcec | as Waitress |
| Alexandra McGuinness | as Local Gal |
| Bette Davis | as Joyce Heath/Julie Marsden/Charlotte Vale |
| Maria Di Angelis | as Karaoke Girl #1 |
| Judy Garland | as Esther Blodgett |
| Katherine Hoskins Mackey | as Businesswoman |
| Sarah Kathryn Schmitt | as Karaoke Bar Patron |
Movie info
| Languages: | English |
| Filming dates: | November 2006 - ? |
| Budget: | USD 30,000,000 |
| Gross: |
USA - 9,283,468 USD (23 December 2007) UK - 9,819,750 GBP (3 February 2008) Russia - 66,063,441 RUR (2 March 2008) |
| Plot: | Holly Kennedy is beautiful, smart and married to the love of her life - a passionate, funny, and impetuous Irishman named Gerry. So when Gerry's life is taken by an illness, it takes the life out of Holly. The only one who can help her is the person who is no longer there. Nobody knows Holly better than Gerry. So it's a good thing he planned ahead. Before he died, Gerry wrote Holly a series of letters that will guide her, not only through her grief, but in rediscovering herself. The first message arrives on Holly's 30th birthday in the form of a cake, and to her utter shock, a tape recording from Gerry, who proceeds to tell her to get out and "celebrate herself". In the weeks and months that follow, more letters from Gerry are delivered in surprising ways, each sending her on a new adventure and each signing off in the same way; P.S. I Love You. Holly's mother and best friends begin to worry that Gerry's letters are keeping Holly tied to the past, but in fact, each letter is pushing her further into a new future. With Gerry's words as her guide, Holly embarks on a journey of rediscovery in a story about marriage, friendship and how a love so strong can turn the finality of death into a new beginning for life. |
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Original Soundtracks
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"Love You til the End" Written by 'Darryl Hunt Performed by The Pogues Courtesy of Warner Music U.K. Ltd. By Arrangement with Warner Music Group Film & TV Licensing "Trouble" Written by Jerry Leiber and Mike Stoller Produced by Kerry Brown Performed by Greg Dulli and Kerry Brown "Lloyd, I'm Ready to Be Heartbroken" Written by Tracy Anne Campbell Performed by Camera Obscura Courtesy of Merge Records By Arrangement with Bank Robber Music "The South Wind" Written by Robert White and Michael Norton Courtesy of APMusic "Fairytale of New York" Written by Jem Finer and Shane MacGowan Performed by The Pogues featuring Kirsty MacColl Courtesy of Warner Music U.K. Ltd. By Arrangement with Warner Music Group Film & TV Licensing "Safe and Sound" Written and Performed by Nick Pagliari Courtesy of Nick Pagliari "Everything We Had" Written by William Beckett , Michael Carden, Michael Chislett and Andy Mrotek Performed by The Academy Is (as The Academy Is...) Courtesy of Fueled by Ramen/Atlantic Recording Corp. By Arrangement with Warner Music Group Film & TV Licensing "Heartbeat at the Center of the World" Written by Carlton Kaller and Gordon Bret Jensen Performed by Joan Jones Courtesy of Tricky Coyote "Fortress" Written by Scott Cutler, Anne Preven and Hope Shorter Performed by Hope Courtesy of Atlantic Recording Corp. By Arrangement with Warner Music Group Film & TV Licensing "Love You til the End" Written by 'Darryl Hunt Performed by Gerard Butler and Nancy Wilson "The Man That Got Away" Written by Harold Arlen and Ira Gershwin Performed by Judy Garland Courtesy of Warner Bros. Pictures "Got Me Like Oh" Written by Josh Schwartz (as Joshua Schwartz) and Brian Kierulf Performed by Gia Farrell Courtesy of Atlantic Recording Corp. By Arrangement with Warner Music Group Film & TV Licensing "Cupid Shuffle (Solitaire Mix)" Written by Bryson Bernard Performed by Cupid Courtesy of Atlantic Recording Corp. By Arrangement with Warner Music Group Film & TV Licensing "In the Beginning" Written by Dave Hamelin, Tim Fletcher, Liam O'Neil, Oliver Corbeil Performed by The Stills Courtesy of Atlantic Recording Corp./Vice Records By Arrangement with Warner Music Group Film & TV Licensing "It's a Long Way to Tipperary" Written by Jack Judge and Harry Williams Courtesy of Opus 1 Music "No Other Love" Written and performed by Chuck Prophet Courtesy of New West Records "Mustang Sally" Written by Bonny Rice Performed by Gerard Butler "Gett Off" Written by Prince (as Prince R. Nelson) Performed by Hilary Swank "The Last Train Home" Written by Ryan Star and Max Collins Performed by Ryan Star Courtesy of Atlantic Recording Corp. By Arrangement with Warner Music Group Film & TV Licensing "Love You til the End" Written by 'Darryl Hunt Performed by Hilary Swank and Nancy Wilson "More Time" Written by Nathaniel Rinehart and William Rinehart Performed by Needtobreathe Courtesy of Atlantic Recording Corp. By Arrangement with Warner Music Group Film & TV Licensing "Take It All Back" Written by Rory Gallagher , John McIntyre and Michael Daniel O'Donnell (as Daniel O'Donnell) Performed by The Revs Courtesy of Evelyn Records and T.H.E. Agency Ireland "Hat Fulla Sand" Written and performed by Nancy Wilson "Rewind" Written by Paolo Nutini (as Paolo Giovanni Nutini) and Jim Duguid Performed by Paolo Nutini Courtesy of Atlantic Recording Corp./Warner Music U.K. Ltd. By Arrangement with Warner Music Group Film & TV Licensing "The Galway Girl" Written by Steve Earle Performed by Gerard Butler, Nancy Wilson , Craig Bartok and Julian Bunetta "Steps (from Now Voyager)" Composed by Max Steiner Courtesy of Warner Bros. Pictures "Carousel" Written by Laura Izibor, Mel Lewis (as Melvin J. Lewis), Michael Matthews and Anthony Tidd Performed by Laura Izibor Courtesy of Atlantic Recording Corp. By Arrangement with Warner Music Group Film & TV Licensing "In a Swingin' Mood" Written and performed by Curt Sobel and Gary Schreiner Courtesy of Palisades Music Productions "My Sweet Song" Written by Toby Lightman and Peter Zizzo Performed by Toby Lightman Courtesy of Atlantic Recording Corp. By Arrangement with Warner Music Group Film & TV Licensing "P.S. I Love You" Written by Gordon Jenkins and Johnny Mercer Performed by Nellie McKay "If I Ever Leave This World Alive" Written by Dennis Casey, Matt Hensley , Nathen Maxwell (as Nathen Jeglinski), Dave King (as David King), Bridget Regan , Bob Schmidt (as Robert Schmidt) and George Schwindt Performed by Flogging Molly Courtesy of Side One Dummy Records "Same Mistake" Written by James Blunt Performed by James Blunt Courtesy of Custard/Atlantic Recording Corporation By Arrangement with Warner Music Group Film & TV Licensing |
Goofs
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Continuity: When Holly and Gerry share their first kiss the space between them drastically changes when the camera faces either him or her. Continuity: When Holly is drinking with William in the kitchen in Ireland, her drink amount changes from when the camera is facing her to when it is facing William. Continuity: When Holly is in the kitchen pouring a glass of alcohol and is distracted by William, she pours most of it on the counter and only a small portion into the glass. However, when William enters the kitchen, the glass is full for a short period of time and then when they glance back at Holly it is almost empty again. Crew: In the scene where Daniel and Holly are at the restaurant together, all of the wide shots of Daniel have the camera reflected in his wine glass. Continuity: In the opening argument scene, Gerry is wearing his suspenders over his shirt, you can see them when he takes off his jacket. He then takes off the suspenders and shirt and is wearing a singlet. Just before he catches Holly when she jumps on him, he is wearing the suspenders over his singlet. And then when they start kissing, the suspenders are gone again. Continuity: During the restaurant scene between Holly and Daniel, as Daniel leaves, the waitress starts walking toward the table. Then after Daniel leaves, the waitress starts walking toward the table again. Continuity: During the dinner with her mother, Holly is setting the table and when she reaches to put something on the table you can see her dress is torn at the armpit. Her sister then sits at the table and when she stretches again to hand her something, it is fixed. Continuity: During the restaurant scene between Holly and Daniel, after Daniel leaves, the waitress picks up the extra service (flatware, plate, menu). The scene cuts and cuts back at a different angle and the waitress is seen picking up the plate and menu again. Continuity: During the scene when Holly is visiting her in-laws, Rosie is searching for a specific portion of the letter and turns the page from front to back. After Holly says/asks that Gerry knew she would come to visit them, Rosie once again turns the page from front to back. Continuity: During the scenes on the road, just prior to their first kiss, Holly is wearing Gerry's leather jacket which changes states of openness several times. At one point, the jacket is slightly open with the flaps flat against her chest, then the jacket is shown more open with the flaps flipped back on themselves, then switches back again. Then, Holly starts to walk away and remembers that she is wearing his jacket & reaches up to take it off. Cut to a long shot where it shows the jacket buttoned about halfway up from the bottom. Continuity: When Holly and her friends are in the boat and they all have their life vests inflated, when Holly's first opens, the blow pin cap is off. In the next scene that zooms in on her face, the cap is on. Continuity: When Holly is in the hospital after falling during karaoke, the blood on her face changes between different angles; in one angle her face is very bloody, and the other it is barely bloody. Continuity: In the final scene hay appears and disappears on Williams' jacket. SYNC: When Holly gets her first letter it reads, "I know you're still confused about that job..." But his voice says, "I know you hate your job..." Continuity: When Holly's friends and family come for her birthday she has a pimple on her head, then she showers and it's magically gone. Crew: In the boat scene, when the girls are being rescued and the image is a long-shot, you can see a cable keeping the boat steady. This is not an anchor, because they spoke about drifting to the shore. Continuity: In the scene on the boat, Denise's hood comes on and off depending on the camera shot. Continuity: The father wasn't supposed to have attended the funeral but is sitting at a table in front of a shot of Holly et al in the bar during the funeral. Crew: When William is in the Kitchen with Holly and they do a close up on him when they are kissing, you can see a small mic on his shirt. In the next scene showing his shirt, it's gone. CHAR: When Holly asks to design shoes for Denise, Denise references Pinocchio (1940) and asks, "What? Did you turn into Geppetto?" In Pinocchio (1940), Geppetto made toys, not shoes. Continuity: At the funeral, the shot glasses on the urn are inconsistent. In one scene there will shot glasses on top of it, then not, and then they reappear again. Continuity: Throughout the movie Holly's wedding rings change, they are sometimes a silver diamond set or a simple gold band. Continuity: In the scene at the beginning when Gerry and Holly are fighting, Holly goes into the closet to put something away and Gerry puts his arms up in the doorway. Holly pushes his arm back to go into the bedroom and accidentally hits and moves the lampshade. Gerry looks at it and grabs it, but when they cut to a wider shot on the bedroom, the lampshade is perfectly straight again. Continuity: When Holly and Daniel are in the closet at the bar, the placement of Daniel's hair keeps changing from shot to shot, higher and lower. |
Quotes
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[from trailer] Holly Kennedy: What if this is it, Gerry? What if this is all there is to our life? You have to have a plan. Why do I have to be the responsible grown up who worries? Why can't I be the cute, carefree Irish guy who sings all the time? Gerry Kennedy: Because you can't sing without making dogs bark? [from trailer] Holly Kennedy: What do you think? Daniel Connelly: I think you're hot! Holly Kennedy: [gasps] Daniel Connelly: Sorry, I have a syndrome. [from trailer] Denise Hennessey: Are you single? Guy with Clipboard: Yes. Denise Hennessey: Are you gay? Guy with Clipboard: Yes. [Denise walks away] Denise Hennessey: [a few frames later] Are you single? Ted: Yes. Denise Hennessey: Are you gay? Ted: No. Denise Hennessey: Are you working? Ted: No. [she walks away] [from trailer] Daniel Connelly: What do women want? Holly Kennedy: [whispering] We have no idea what we want. Daniel Connelly: I knew it! Gerry Kennedy: [knowing that Holly is angry with him] Are you going to make me sleep in the tub again? Gerry Kennedy: Kiss me arse! Holly Kennedy: Kiss mine! In English! Sharon McCarthy: You gotta be rich to be insane, Hol. Losing your mind is not a luxury for the middle class. Patricia: I bet you've had a hard time walking into a room full of people on your own, right? Yeah. I know that. I know what it is not to feel like your in the room until he looks at you or touches your hand or even makes a joke at your expense, just to let everyone know... you're with him. You're his. Patricia: So now, all alone or not, you gotta walk ahead. Thing to remember is if we're all alone, then we're all together in that too. [Holly and Gerry are arguing and he storms away, muttering and using Irish slang] Holly Kennedy: Oh, stop being all *bilingual*! Gerry Kennedy: ...kiss me arse! Holly Kennedy: Kiss *mine*! In English! [repeated lines] Holly Kennedy: Nice jacket. Gerry Kennedy: I won it in a bet. [after Holly finishs his letters] Gerry Kennedy: P.S. I love you [last lines] Holly Kennedy: Dear Gerry, you said you wanted me to fall in love again, and maybe one day I will. But there are all kinds of love out there. This is my one and only life, And its a great and terrible and short and endless thing, and none of us come out of it alive. I don't have a plan... except, it's time my mom laughed again. She has never seen the world... she has never seen Ireland. So, I'm taking her back where we started... Maybe now she'll understand. I don't know how you did it, but you brought me back from the dead. I'll write to you again soon. P.S... Guess what? Gerry Kennedy: Dear Holly, I don't have much time. I don't mean literally, I mean you're out buying ice cream and you'll be home soon. But I have a feeling this is the last letter, because there is only one thing left to tell you. It isn't to go down memory lane or make you buy a lamp, you can take care of yourself without any help from me. It's to tell you how much you move me, how you changed me. You made me a man, by loving me Holly. And for that, I am eternally grateful... literally. If you can promise me anything, promise me that whenever you're sad, or unsure, or you lose complete faith, that you'll try to see yourself through my eyes. Thank you for the honor of being my wife. I'm a man with no regrets. How lucky am I. You made my life, Holly. But I'm just one chapter in yours. There'll be more. I promise. So here it comes, the big one. Don't be afraid to fall in love again. Watch out for that signal, when life as you know it ends. P.S. I will always love you Gerry Kennedy: [holding Holly by the shoulders] What do you want? I know what I want, cause I'm holding it in my hands. Patricia: You know the worst thing for a parent... second after losing a child? Watching your child head for the same life you had. You can't stop it. It's a terrible, helpless feeling. Makes you angry all the time. And I've been angry. For a very long time. I'm exhausted. Holly Kennedy: Do you think we'll ever see dad again? Patricia: No sweetheart, never. So you have to stop waiting. Leprechaun: Are you Holly Kennedy? Holly Kennedy: If I am will you sing at me? Leprechaun: Yes. Holly Kennedy: No, I'm not. Leprechaun: Please don't make this an issue. I gotta sing and deliver a letter. Holly Kennedy: A letter? What's the song? Leprechaun: Ya I'm 'gon be there. Holly Kennedy: Oh please don't, just give me the letter. Leprechaun: I could get reported! Holly Kennedy: By who? The leprechaun union? Leprechaun: You know, I was in an off-Broadway play with Al god damn Pacino I don't need this shit. Want the balloons? Holly Kennedy: No. Leprechaun: Fine! Daniel Connelly: So what did your husband die from? Holly Kennedy: A brain tumor. Daniel Connelly: Nice! Denise Hennessey: [Denise is admiring Ted as he walks by] Ooohhh, he's delicious isn't he? I'd serve coffee on that ass. John McCarthy: Do you have to be so vulgar about men? Like they're pieces of meat? Denise Hennessey: I'm sorry, John. I forgot you're sensitive about your flat ass. John McCarthy: You know, Denise, that's why you're not married. Women act like men. Then they complain men don't want them. Denise Hennessey: Oh, is that why? 'Cause I thought it was something different. I thought that it was 'cause I deserved the best and he's out there. He's just with all the wrong women. And let me be clear. After CENTURIES of men looking at my tits in stead of my eyes and pinching my ass instead of shaking my hand, I now have the *DIVINE* right to stare at a man's BACKSIDE with vulgar, cheap appreciation if I want to! Sharon McCarthy: Well said! Denise Hennessey: Yeah, well, I thought so. Gerry Kennedy: Look, Holly, people have babies with no money all the time. and if you're so worried about it [picks up Holly's boot] , why don't you stop buying designer clothes, huh? Holly Kennedy: I buy EVERYTHING on E-bay! It doesn't count when you're wearing [grabs her boot out Gerry's hand] Marc Jacobs from Minneapolis! Gerry Kennedy: I know what I want, because I have it in my hands right now. You. Holly Kennedy: [hugs Daniel] It's been a year. I don't feel him anymore. I feel he's gone. He's really gone! Gerry Kennedy: [calms Holly] Every morning I still wake up and the first thing I want to do is to see your face. Gerry Kennedy: I'm sorry I said the wrong thing to your mother. God, I still get nervous around her. I still think after nine years she doesn't like me. I know I'm being stupid. Holly Kennedy: No, you're not being stupid baby. She doesn't like you. Gerry Kennedy: Really? I kinda thought deep down she really loved me. Holly Kennedy: No... she doesn't. I was ninteen when we got married. You corrupted me with sex and charm and the longer it takes you to make your fortune the less sexy and charming you are. Gerry Kennedy: [Gerry starts looking for something] Holly Kennedy: What? What are you looking for? Gerry Kennedy: My balls. They were hanging there a minute ago. Patricia: [to guy working the bar] Take a break, will you? Holly Kennedy: Mom? Patricia: What's the matter? Holly Kennedy: [crying] When daddy left, I was fourteen, and I said... That's it, never again, no man. And then I meet Gerry. This wonderful man happens to me and then, and then he died! What was the point? Patricia: I know Holly Kennedy: I'm so angry I could kill somebody. I'm alone, and it doesn't matter what job I have or what I do or what I don't do or what friends I have, he's not here. I mean you're alone no matter what. Patricia: That's right Holly Kennedy: [still crying] God. I didn't come here for you to give me some bullshit honest answer. Why can't you lie to me just once? Patricia: I'm sorry sweetheart. Holly Kennedy: [sobbing] I can't breathe. I can't breathe. Patricia: C'mon, lets take a walk Holly Kennedy: Will you listen to him? Vicky: What? Holly Kennedy: He's obviously worried about this. Look at him... he's pale. Vicky: Who are you to tell me how to talk to my husband? Holly Kennedy: I'm saying you shouldn't push this on him if he doesn't want to do it Vicky: I'll push whatever the hell I want on him. He's my husband. I want this apartment, we're doing this. Holly Kennedy: Say no Ted! Vicky: It is amazing to me that you are still talking. Ted don't listen to her. Holly Kennedy: Ted she's being a tyrrant. She's got your balls on one of those things that you know uh cling back and forth. You know what i mean? Vicky: You bitch! Holly Kennedy: Brat! Vicky: Shut up! Holly Kennedy: You shut up! Vicky: No you shut up! Holly Kennedy: All I know is, if you don't figure out this something, you'll just stay ordinary, and it doesn't matter if its a work of art or a taco, or a pair of socks! Just create something... new, and there it is, and its you, out in the world, out side of you and you can look at it, or hear it, or read it, or feel it... and you know a little more about... you. A little bit more than anyone else does... Does that make any sense at all? Gerry Kennedy: Yeah... you're saying you want to paint socks. Holly Kennedy: [ecstatic] Maybe! Holly Kennedy: That's a real honest to goodness couple right there. They've probably been together since the flood. Daniel Connelly: We're so arrogant, aren't we? So afraid of age, we do everything we can to prevent it. We don't realize what a privilege it is to grow old with someone. Someone who doesn't drive you to commit murder or doesn't humiliate you beyond repair. Holly Kennedy: I don't want to make any mistakes. Gerry Kennedy: Then you're in the wrong species, love. Be a duck. Holly Kennedy: [while Gerry is playing guitar and singing on the couch] Do all Irishmen sing? Gerry Kennedy: Only the really well hung ones. William: You know, it got a lot darker while I was busy. Holly Kennedy: [after encouragement to say something from Sharon and Denise] [takes a sip] Mm. Yeah, it gets dark at night... here. Denise Hennessey: I hate cosmetics companies. They get you addicted to the perfect lipstick or nail polish and then 6 months later, they discontinue it. You have to buy your favorite colors like your storing up for the Apocalypse. Holly Kennedy: I left without saying anything. He must think I'm an idiot. Denise Hennessey: Well, you're an American. They expect us to be idiots. Sharon McCarthy: You've got a fish! Denise Hennessey: It's a fish! Holly Kennedy: Okay! Sharon McCarthy: Holly, grab the pole! Holly Kennedy: Okay, I'm grabbing it... I am, I am. Sharon McCarthy: Take it out of the thingy-majiggy. Hurry it up! You're not holding the ball. Turn the knobby thing. Holly Kennedy: Will you stop being so butch! William: There's no man, alive or dead, who's going to fault you for living. William: You're very sweet. Holly Kennedy: Oh God. The last time a guy said that, he followed it up with, "But I don't date 13-year-olds." William: Well, lucky for you, neither do I. Holly Kennedy: No, it's not gonna work. I feel like I'm trying on a new pair of shoes I really wanna buy, but they just don't fit. Sorry. William: Alright then, how about going barefoot for a while? [he kisses her] Holly Kennedy: Oh, never mind. I'm just screwed up. I'm trouble... yeah. William: I like trouble. Holly Kennedy: Oh no, I don't mean "cool Pulp Fiction" trouble. I mean "mental case wacko" trouble. Denise Hennessey: [finishes kissing Tom] What's my name? Tom: Tom Denise Hennessey: Where've you been? Tom: With all the wrong women. [he kisses her again] Holly Kennedy: What do you want? Sharon McCarthy: Oh good... a friendly voice. Holly Kennedy: What happened last night? Sharon McCarthy: Lemon drops and Tequila, my friend. The moment where a 30-year-old body does not recover quite as fast as a 29-year-old body. Daniel Connelly: Thanks for inviting me... you're a terrible singer. Holly Kennedy: Yes, I am. Daniel Connelly: I'd be really embarrassed if I were you. Holly Kennedy: Did you take your medication today? Daniel Connelly: No, I thought I'd come here instead. Daniel Connelly: Look, if you ever just wanna get out... just do anything, just... I'll wait for your call. And just so you know, I'm not looking for "a thing" right now. I'm just flirting in good faith. Holly Kennedy: I appreciate that. Daniel Connelly: I think you're a little bit perverted. I mean, you bring me to an Irish Famine Memorial... and we're eating corned beef sandwiches. That's pretty sick. Holly Kennedy: Gerry thought it was the best way to honor the dead... you know, show them how well we're doing. Daniel Connelly: Sorry, I have a syndrome. I don't really have a filter. I don't pick up on social cues. Holly Kennedy: You mean you're rude? Daniel Connelly: Yeah, but now it's a disease I can take medication for. Holly Kennedy: They have pills for rudeness? Daniel Connelly: I know... and they can't figure out the Middle East. Go figure. Daniel Connelly: I'd be happy to help you get rid of Gerry. Holly Kennedy: Do you have to say it like that? Daniel Connelly: What? I want to say... like what... I didn't say anything. Holly Kennedy: What is wrong with you? Daniel Connelly: Nothing. Holly Kennedy: Take a pill! Patsy: You've dropped your sweets, luv. You mustn't do that around these parts. Pretty woman like you, a fella could take it the wrong way. Daniel Connelly: Hey, you're Irish. Maybe it's an Irish curse or something. Holly Kennedy: Well, Gerry and I did love the Yankees, which was pretty much against our religion. Daniel Connelly: Well, there you go. That explains a lot, actually. I love the Yankees, too, and I lost my fiancée last year. Holly Kennedy: Maybe we can defy God and go see a Yankees game. Daniel Connelly: Yeah, we'll be really weird friends joined by self-pity, bitterness and vomit. Daniel Connelly: You've been thinking about me? Holly Kennedy: Because you've been a real friend through all this Daniel Connelly: Have you ever thought of me in the nude? Holly Kennedy: [laughing] No Daniel Connelly: Not even with my shirt off? Holly Kennedy: [still laughing] Gerry stop it Daniel Connelly: Daniel, I'm Daniel, are you ever gonna feel the way you felt about Gerry with anyone else or do you need one of your letters to figure that out? [He leaves] Holly Kennedy: Where are you going? Daniel Connelly: [He comes back] I really like you but I can't be the Invisible Man, I'm tired of being the shoulder, I want to be another body part, I want to use up a woman so she's ruined for all other men Holly Kennedy: You don't want to do that Daniel Connelly: No I don't want to do that, I want to date a woman who actually likes men,I want to be somebody's Gerry [He gets up to leave] Honestly I don't blame you, it's not your fault, it's mine,I didn't plan on liking you, it just sort of happened that way, I'm sorry about that. Daniel Connelly: [reading Gerry's letter] Dear Holly, I don't have much time. I don't mean literally, I mean you're out buying ice cream and you'll be home soon. But I have a feeling this is the last letter, because there is only one thing left to tell you. It isn't to go down memory lane or make you buy a lamp, you can take care of yourself without any help from me. It's to tell you how much you move me, how you changed me. You made me a man, by loving me Holly. And for that, I am eternally grateful... literally. If you can promise me anything, promise me that whenever you're sad, or unsure, or you lose complete faith, that you'll try to see yourself through my eyes. Thank you for the honor of being my wife. I'm a man with no regrets. How lucky am I. You made my life, Holly. But I'm just one chapter in yours. There'll be more. I promise. So here it comes, the big one. Don't be afraid to fall in love again. Watch out for that signal, when life as you know it ends. P.S. I will always love you. Gerry Kennedy: [as Holly's reading a letter] My life had changed right there, I'm not worried about you remembering me luv, you need to remember that girl on the road. Gerry Kennedy: [after their kiss in Ireland] Where are you going? Holly Kennedy: Stay. Gerry Kennedy: You have my jacket. Holly Kennedy: I'm keeping it unless we meet again, otherwise that will be the most perfect kiss ever shared by two strangers Gerry Kennedy: I bet we will meet again. Holly Kennedy: You better win that bet, because if we do, that'll be the end of it. Gerry Kennedy: The end of what? Holly Kennedy: Life as we know it. Gerry Kennedy: I'm singing at this... Holly Kennedy: Shh, if I happen to walk into the right one in the right town. Gerry Kennedy: What's your name? Holly Kennedy: No. |
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