Marilyn Lovell: Naturally, it's 13. Why 13?
Jim Lovell: It comes after 12, hon.

Wardaddy: Why are you here? You're here to kill him. You know why he's here? He's here to kill you. He's here to kill you. He's here to rip your throat out, put a bullet in your… I'm trying to teach you something. Are you here to get me killed? Are you going to get me killed? I need you to perform. Just get it over with. Just get it over with.
Norman Ellison: I can't do it.
Wardaddy: Yes, you can. I know you can. He kills you or you kill him. It's simple math. You or him: pick.
Norman Ellison: Just kill me, kill me, kill me, kill me, kill me, please. I can't do it.

Now, with such simplicity, such clarity, everything falls into place. It must be a crime that her husband can declare unsolved and be believed by all the world. She must make it look like a rape, but she must leave her husband the clues. Once he discovers who it was, he'll put the case into the file of unsolved murders. Another break-in by some sex-crazed man.

Barbara Sabich

Beatrice 'Tris' Prior: And what if they already know?
Tori: Then you're already dead.

Karen Eiffel: Harold quickly calculated the odds of making an ass of himself, in ratio to the amount of time he stayed to chat.
Harold Crick: This is my stop I should go.
Karen Eiffel: He was elated and surprised by his somewhat flirtatious encounter with Mrs. Pascal. So elated that he exited the transit authority bus a good 27 blocks too early and would now have to walk.

Graham Hess: What are you thinking about?
Bo: Why do you talk to Mom when you're by yourself?
Graham Hess: Makes me feel better.
Bo: Does she ever answer back?
Graham Hess: No.
Bo: She never answers me either.

This is why we're here, because this little gray rock sells for twenty million a kilo.


I don't know. Relationships seem too distracting. I'd rather concentrate on my studies.


George Reeves: [about Leonore Lemmon] She makes me feel young.
Toni Mannix: [obviously offended] Have you seen yourself, George? Your face is going.
George Reeves: Don't do this...
Toni Mannix: Here, your eyes, your hair, your stomach.
George Reeves: Stop it.
Toni Mannix: You think no one notices?
George Reeves: Toni, don't do this.
Toni Mannix: But you've got your projects, haven't you? You're going to be a director. You'll sit in your little canvas chair polishing your balls. "Thank God I got rid of that hag I had to screw. What was her name? The one who paid for everything! The one who bought me a fucking house!".
George Reeves: For God's sake...
Toni Mannix: You want publicity? You'll get it. I'll say you're a Red. And a faggot. A lush. Nobody can call that a lie!
George Reeves: You know what? You've never helped me. You never helped me! You could've talked to Eddie. You could've gotten me something, but you didn't! Because you liked me where I was, in a fucking red suit! You liked that! Well, that's not who I am, understand? God damn you!
Toni Mannix: ...But, George, that's all you were good for. Ten-year-olds and shut-ins. That was the best you were ever going to be. I knew that, why didn't you?

Joe Buck: I like the way I look. Makes me feel good, it does. And women like me, goddammit. Hell, the only one thing I ever been good for is lovin'. Women go crazy for me, that's a really true fact! Ratso, hell! Crazy Annie they had to send her away!
Ratso Rizzo: Then, how come you ain't scored once the whole time you been in New York?

Woody Grant: Where's my teeth?
David Grant: You lost your teeth?

Willy Wonka: Do you like my meadow? Try some of my grass! Please have a blade, please do, it's so delectable and so darn good looking!
Charlie Bucket: You can eat the grass?
Willy Wonka: Of course you can! Everything in this room is eatable, even *I'm* eatable! But that is called "cannibalism," my dear children, and is in fact frowned upon in most societies.

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