His Kind of Woman (1951)

Title : His Kind of Woman

Tagline: They were two of a kind ! ...and bound to meet, but neither of them knew what such a meeting would mean!

Plot keywords
* Gangster * Mexico * Beautiful Woman * Plastic Surgery * Shooting
* Shirtless Male Bondage * Whipping * Deportation * Doublecross * Boat

Dan Milner: Do you mind if I join you?
Lenore Brent: Seems you have.

---

Jose Morro: She is beautiful as well as interesting, isn't she?
Dan Milner: She's beautiful - that's always interesting.

---

Dan Milner: I'm too young to die. How about you?
Mark Cardigan: Too well-known.
Dan Milner: Well, if you do get killed, I'll make sure you get a first-rate funeral in Hollywood, at Grauman's Chinese Theatre.
Mark Cardigan: I've already had it. My last picture died there.

---

[Saying goodbye]
Dan Milner: I'll see ya all of a sudden, Sam.

---

Cardigan, Mark: If you used that needle to sew, you'd be a much happier woman.

---

Lenore Brent: You killed Ferraro, how did it feel?
Dan Milner: He didn't say.

---

Mark Cardigan: I'm out of my mind to ask her... She hates everything I do.
Dan Milner: She likes you.
Mark Cardigan: Yeh, I know, that's what I don't understand.
Dan Milner: If she liked me, man, I wouldn't try to understand.

---

Dan Milner: Well, you see how it is: fools get away with the impossible.
Lenore Brent/Liz Brady: That's because they're the only ones who try it.

---

Lt. Rodriguez: You are not a pig. You are what a pig becomes. It is sometimes eaten between two pieces of bread.

---

Dan Milner: Whenever I have nothing to do and I can't think, I always iron my money.
Lenore Brent: What d'ya do when you're broke?
Dan Milner: When I'm broke, I press my pants.

---

Lenore Brent: Wherever I am, I sing at the drop of a hat.
Dan Milner: Even if you have to supply the hat?
Lenore Brent: Exactly!

---

Thompson: Put the gun down now. The guy behind you has a bigger one.
Dan Milner: Let's keep it nice and polite, huh? Have him introduce himself.

---

Dan Milner: [to a self-proclaimed heiress] I haven't met as many rich dames as I'd like to, but I know one thing - they all have a terror of talking about their dough.

---

Mark Cardigan: Alas, why must I be plagued by yammering magpies on the eve of battle?

---

Mark Cardigan: This place is dangerous. The time right deadly. The drinks are on me, my bucko!

---

Dan Milner: [to a dame] You know, you could be a handy thing to have around the house if a man went broke.

---

Tony: [preparing to lash Dan Milner] Take off his shirt. Stand him over there.

But I'm a Cheerleader (1999)

Title: But I'm a Cheerleader

Tagline: A Comedy Of Sexual Disorientation

Plot keywords :
* Lesbian * Cheerleader * Rehab Camp * Gay Straight Relations * Homophobia
* Horny Person * Aversion Therapy * Chainsaw * Awkward Kiss * Pink Dress

Megan

• I'm a homosexual! I'm a homosexual! I'm a homosexual! I'm a homosexual! Oh my god... they were right. I'm a homo. (cries)
• 1, 2, 3, 4 - I won't take no anymore. 5, 6, 7, 8 - I want you to be my mate. 1, 2, 3 ,4 - you're the one I adore. 5, 6, 7, 8 - don't run from me cause this is fate.

Graham

• I'm Graham and I like girls. A lot.
• I thought it was just an act, but you really are sweet as fucking pie, aren't you?

Mary

• Foreplay is for sissies!
• It's your choice; you can run off with Megan and turn into a raging bull-dyke or, you can do the simulation and graduate and lead a normal life.
• You hormonal hussy! Get up, get up right now!

Mike

• Boys! Don't you see how sad and pathetic you all are? Always wanting something you can't have. If I catch you looking at another man like that ever again, you'll be watching sports... the whole weekend!

Others

• Hilary: It's really easy to be a prude when you're not attracted to him, isn't it?
• Andre: She's just upset, because the fish on her plate is the only kind she can eat.
• Andre: Congratulations, liars! You know who you are and you know who you want. Aint nothin' gonna change that, shit!

Dialogues

Hilary: There's no inappropriate behavior allowed.

Megan: Inappropriate... like swearing?

Graham: No, inappropriate like fucking.

---

Megan: Cheers are supposed to be simple, make people feel good.

Graham: Cheers make girls do stupid cartwheels. Orgasms make people feel good.

---

Graham: You are who you are, the trick is not getting caught!

Megan: Then why are you here?

Graham: I got caught.

---

Megan: 2, 4, 6, 8, God is good...

Graham: God is straight!

Megan: Hey, that's good.

---

Andre: Shit, Miss Mary, I ain't the only one who don't got no root.

Mary: Andre, we don't use profanity or double negatives here at True Directions.

---

Jan: Everyone thinks I'm this big dyke because I wear baggy pants and play sports and I'm not pretty like other girls. But all I really want is a big, fat weiner up my...

Andre: Amen, sister.

---

Sinead: If that little twink would've narced on me, heads would have rolled.

Graham: What would have done? Tied her to your bed and zapped her to death? Or are you running low on batteries?

---

Megan: You didn't tell me you were taking me to a gay bar!

Graham: Where else would we go?

---

Joel: You're more than just a sissy. You're nice, and clean, and smart... and sexy and firm and luscious and...

Andre: Excuse me! The last thing I need right now is some fruit who's just proved himself straight tellin' my ass how sexy I am!

Casablanca (1942)

Title: Casablanca

Plot keywords
* Casablanca * American Expatriate * Police * Old Flame * Underground
* Freedom Fighter * Nightclub * Nazi * Political * Famous Score

Taglines :
They had a date with fate in Casablanca!
As big and timely a picture as ever you've seen! You can tell by the cast it's important! gripping! big!
As exciting as the landing at Casablanca! (NY Premiere Poster Ad)
Mysterious City of Sin and Intrigue!

Rick Blaine

• Of all the gin joints in all the towns in all the world, she walks into mine.
  • Ranked #67 in the American Film Institute's list of the top 100 movie quotations in American cinema.

• Louis, I think this is the beginning of a beautiful friendship.
  • Ranked #20 in the "100 Movie Quotes" list

Captain Louis Renault

• I'm only a poor corrupt official.

• [about Ugarte] I'm making out the report now. We haven't quite decided whether he committed suicide or died trying to escape.

• I am shocked, shocked to find that gambling is going on in here!

• Major Strasser has been shot. [pause] Round up the usual suspects.
  • Ranked #32 in the "100 Movie Quotes" list

Dialogue

Renault: I've often speculated why you don't return to America. Did you abscond with the church funds? Did you run off with a Senator's wife? I like to think that you killed a man. It's the romantic in me.

Rick: It's a combination of all three.

Renault: And what in Heaven's name brought you to Casablanca?

Rick: My health. I came to Casablanca for the waters.

Renault: The waters? What waters? We're in the desert.

Rick: I was misinformed.

---

Ilsa: Play it once, Sam, for old times' sake.

Sam: I don't know what you mean, Miss Ilsa.

Ilsa: [whispered] Play it, Sam. Play As Time Goes By.

Sam: Why, I can't remember it, Miss Ilsa. I'm a little rusty on it.

Ilsa: I'll hum it for you. [Ilsa hums two bars. Sam starts to play] Sing it, Sam.

Sam: [singing] You must remember this
A kiss is just a kiss
A sigh is just a sigh
The fundamental things apply
As time goes by.

Lyrics and Music by Herman Hupfeld (1931)

• "Play it, Sam. Play As Time Goes By" is #28 in the AFI's list of the top 100 movie quotations; it is often misquoted as "Play it again, Sam".

---

Rick: If that plane leaves the ground and you're not with him, you'll regret it. Maybe not today, maybe not tomorrow, but soon and for the rest of your life.

Ilsa: But what about us?

Rick: We'll always have Paris. We didn't have it before...we'd...we'd lost it until you came to Casablanca. We got it back last night.

Ilsa: When I said I would never leave you...

Rick: And you never will. But I've got a job to do, too. Where I'm going, you can't follow. What I've got to do, you can't be any part of. Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. Here's looking at you, kid.

• "We'll always have Paris" is ranked #43 in the American Film Institute's list of the top 100 movie quotations in American cinema; "Here's looking at you, kid" is ranked #5.

"1-800-Missing" (2003)

Title : 1-800-Missing

Plot keywords
* Phone Number In Title * FBI * Female Agent * Missing Person
* Vision * Dream * Number In Title

Tagline: Common sense. Sixth sense. Together they're the FBI's newest team.

Jess Mastriani: He's not a murderer.
FBI Agent Nicole Scott: I'm not taking any chances with a man that's got five wives.

---

FBI Agent Nicole Scott: You want another crooler?
Jess Mastriani: No, I don't want another crooler, thank you very much.
FBI Agent Nicole Scott: But it's good for you. It's got... honeyglaze. Please die for this crooler, Jess.
Jess Mastriani: I've had two already. Who eats three croolers in a night?
FBI Agent Nicole Scott: Take a look.
[Nicole takes a huge bite]
FBI Agent Nicole Scott: Mmmmm, Mmmmm, Mmmmm!
Jess Mastriani: And who marries five women?
FBI Agent Nicole Scott: At the same time is the issue. Russlyn Abedney. 52 years old.
Jess Mastriani: But he was running around between four wives, you would think that by the time he met number five she would figure out that there was something wrong.

---

FBI Agent Nicole Scott: A guy wants out of a woman's room, he'll do anything.
FBI Agent Antonio Cortez: Have you seen this woman?
FBI Agent Nicole Scott: Oh, that's right, you think she's hot.
FBI Agent Antonio Cortez: No, well, you know, I just wanted to give you a full description... of what she looked like. Do I personally think she's hot... no.
FBI Agent Nicole Scott: But other people do?
FBI Agent Antonio Cortez: I don't know, I mean you know she's blonde, and she has that thing, and she's - she's - she's cute, but she's not my type.
FBI Agent Nicole Scott: So who's type is she?
FBI Agent Antonio Cortez: Other people's.
FBI Agent Nicole Scott: Ah, other people.

---

Jess Mastriani: We have a missing man. George Wright, 35 years old, six foot five, 190 pounds. He vanished from his hotel room where he was with a hot woman.
FBI Agent Nicole Scott: A hot woman? Who said so, Antonio?
Jess Mastriani: [shrugging] I just read 'em.
FBI Agent Nicole Scott: Mmmm-hmmm.
Jess Mastriani: I don't know what I'm supposed to do with this. I mean how am I going to connect to him off one photo on a PDA?

---

FBI Agent Nicole Scott: Okay look, calm down.
Jess Mastriani: Easy for you to say, you were not grabbed by a hand from the grave!
FBI Agent Nicole Scott: Neither were you, it was just a vision.
Jess Mastriani: No! They're not visions until you know they're visions, when it happened it was a hand from the grave.
[sighs]
Jess Mastriani: It felt really cold.
FBI Agent Nicole Scott: Was there anything else?
Jess Mastriani: I don't want to talk about the vision. I want, I want a job in the food service industry. Something involving French fries and paper hats and no hands coming out of the ground!
FBI Agent Nicole Scott: Maybe it has something to do with the case, Jess.
Jess Mastriani: And maybe I was at Janey's funeral, who I couldn't stand, but she was shot and killed, so I feel guilty, and so now she's going to haunt me forever! Maybe that, Nicole.

---

Janey Cooper: Would you like a muffin?
Jess Mastriani: Oh, my God!
Janey Cooper: I make them myself.
Jess Mastriani: You're dead!
Janey Cooper: Try one.
Jess Mastriani: I don't want a muffin!
Janey Cooper: You have to be careful on this job, it could get you killed.
Jess Mastriani: No, it *did* get you killed, you're dead!
Janey Cooper: I'm not dead. If I were dead I wouldn't be able to look you in the eye and tell you, you are screwing up again.

---

Jess Mastriani: Hey, how is he?
FBI Agent Antonio Cortez: Who, Pullock?
Jess Mastriani: Yeah.
FBI Agent Antonio Cortez: Weird.
Jess Mastriani: Like usual?
FBI Agent Antonio Cortez: No, weirder.
Jess Mastriani: Oh. Good.
[walks away]

---

Assistant Director John Pollock: We don't know much, do we, agent?
FBI Agent Nicole Scott: Sir, we have done very well for just a few hours.
Assistant Director John Pollock: I mean as human beings, we don't know much. Why, why do people die?
FBI Agent Nicole Scott: [thinks for a minute, then smiles] I don't know, sir.

---

Sunny Estrada: [the enter key on her computer will not work] Come on. Come on.
[she gives up]
Sunny Estrada: Fine.
[she grabs the keyboard and chucks it across the room at the wall. It smashes into pieces]
Jess Mastriani: Is everything all right?
Sunny Estrada: It is now.
Brooke Haslett: Computer problems?
Sunny Estrada: What was your first clue?
Jess Mastriani: I've always been tempted to fix my computer the same way.

---

FBI Agent Nicole Scott: Don't show me up now.
Jess Mastriani: Show you up how?
FBI Agent Nicole Scott: No going home to do your laundry, no talking to your mother for an hour. You are going dancing tonight, you hear me?
Jess Mastriani: Yes ma'am, I hear ya.
FBI Agent Nicole Scott: You gonna dance with the cybercrown guy?
Jess Mastriani: Yes, ma'am.
FBI Agent Nicole Scott: Let him ask you first, don't look too forward.
Jess Mastriani: Goin now, ma'am!
FBI Agent Nicole Scott: If he asks to walk you home, don't give him too much sugar right away. Make him earn it!!

---

FBI Agent Nicole Scott: I guess that's why we're partners.
Jess Mastriani: Yeah... of course, most friends do see each others apartments.
FBI Agent Nicole Scott: Here we go about the apartment. What do you think I have in there the Hope Diamond or something?
Jess Mastriani: I was thinking more of your fantastic shoe collection.
FBI Agent Nicole Scott: Ooh, now there is something to see, you wanna check it out?
Jess Mastriani: Yeah.

---

Jess Mastriani: Nice neighborhood for the slave trade.
FBI Agent Nicole Scott: Come on. We'll be less conspicuous on foot. Just two girlfriends out for a walk.
FBI Agent Antonio Cortez: What does that make me?
Jess Mastriani: You could be our stalker.
FBI Agent Nicole Scott: I've been through that phase with him.
FBI Agent Antonio Cortez: What are you talking about? You stalked *me*.
FBI Agent Nicole Scott: You should do something about that memory of yours.
Jess Mastriani: You know, I figure if I just keep getting into dangerous situations with you two long enough, I'll find out what really happened between you.
FBI Agent Nicole Scott: Better if you don't.
FBI Agent Antonio Cortez: You couldn't stand it.

---

Jess Mastriani: Couple of people saw the woman in the park before the kidnapping. She was wandering around, ranting and raving.
Assistant Director John Pollock: How many is a couple?
FBI Agent Nicole Scott: Three.
Assistant Director John Pollock: I'll re-interview them personally.
Jess Mastriani: They've been here over an hour. They've missed meetings, haven't been able to pick up their kids...
Assistant Director John Pollock: All right. Get the name of everyone who wants to leave.
Jess Mastriani: And...?
Assistant Director John Pollock: Arrest them.
FBI Agent Nicole Scott: What for?
Assistant Director John Pollock: They don't want to talk to me, they're suspects.

---

Assistant Director John Pollock: Agent... you see that camera?
[he gestures to the wall, where a camera records everything that is said and done in this room]
Jess Mastriani: Yes, sir.
Assistant Director John Pollock: Turn it off.
Jess Mastriani: I can't, sir.
Assistant Director John Pollock: The panel is on the wall's outside.
Jess Mastriani: I know.
Assistant Director John Pollock: So...?
Jess Mastriani: It's against the rules. Sir.
Assistant Director John Pollock: Don't screw with me, Agent. Go turn it off.
[Jess is silent. Pollock rolls his eyes]
Assistant Director John Pollock: All right, come here.
[he pulls Jess directly in front of the camera, squares her shoulders and straightens her hair. He lines her up against the lens carefully, so that they can both be seen on film]
Jess Mastriani: This angle work for you? Sort of three quarters. This your good side?
Assistant Director John Pollock: It's fine, sir.
[he looks up at the camera, then back at Jess.]
Jess Mastriani: Okay. I, John Pollock, Assistant Director of the FBI, order you to turn this camera off and leave me alone with the suspect.
Assistant Director John Pollock: Sir, it's against regulations. And it compromises the suspect's rights.
Assistant Director John Pollock: What rights?
Jess Mastriani: Those in the Constitution. Sir.
[she is still standing there, not cooperating. Pollock shrugs]
Assistant Director John Pollock: So we'll do it the old fashioned way.
[he takes his suit coat off and hangs it over the camera. Pollock turns back to Jess]
Assistant Director John Pollock: Get out.
Jess Mastriani: Yes, sir. I'll be outside.
Assistant Director John Pollock: Fine.
Jess Mastriani: Observing. Sir.
Assistant Director John Pollock: Knock yourself out.
[Jess leaves]

Season 3, Episode 16: Cut

Agent #1: Let's grab some coffee to figure it out... or is coffee of limits too?
Jess Mastriani: Why are you doing this?
Agent #1: What you think I would use a kidnapping as an excuse to spend time with you, sabotage you relationship and steal you away from your boyfriend?
Jess Mastriani: Yes.
Agent #1: That's arrogant.
Jess Mastriani: Never the less.
Agent #1: I could be married for all you know!
Jess Mastriani: Are you?
Agent #1: Ahhh fear, I like it!
Jess Mastriani: No, that wasn't fear!
Agent #1: You lie.
Jess Mastriani: Okay, and stop doing that!
Agent #1: What?
Jess Mastriani: Speaking in very short sentences.
Agent #1: Okay... why?
Jess Mastriani: Because it get's a rhythm going!
Agent #1: And that's bad?
Jess Mastriani: Yes.
Agent #1: Because?
Jess Mastriani: Because it gives the impression that we have a rhythm together, that we have things in common, that we are on the same wave link! Which we are not!
Agent #1: We're not?
Jess Mastriani: No we are not so please lengthen your sentences.
Agent #1: Okay.
Jess Mastriani: All right.
Agent #1: Okay.

"'Way Out" (1961)

Title : Way Out

Plot keywords : * Anthology

Roald Dahl: I have a maiden aunt in Norway who was actually rolled out of bed onto the floor three nights running, by a ghost. But then she lives in what was once a very old trysting place. About 400 years ago, they bricked up a naughty girl in the wall of that room: that sort of thing always produces a ghost. If your wife is extremely delicate, and you tickle her to death, that will produce a ghost, too - so you have to be careful. We have another one for you next week at the same time. Good night and sleep well.

Season 1, Episode 6: The Croaker
[first lines]
Announcer: And now, your host, Roald Dahl.
Host: How are you? And how is your love life, you ladies? Because whatever happens, you should always try to realize that men are not nearly so preoccupied with the opposite sex as most women would like to think. Above all, you see, man is a colossal egotist, far more enamored with his own self than he is with females. And that, quite obviously, is why women are always having to doll themselves up attractively to attract his attention. To me the behavior of the male human is very much like that of a male frog. The frog, whenever he feels a trifle amorous, calls to his female by blowing out his dewlap and letting it go with a burp. The female comes hoppity hop hop over to his side and waits eagerly, but by then the male has become so engrossed with the business of blowing his own horn that he's forgotten all about her and she actually has to nudge him several times before he turns to embrace her.

---

Host: Our play, strangely enough, is called "The Croaker" by Phil Reisman Jr. and, of course, is Way Out.

---

Mr. Rana: Do you always go around breaking into people's houses without knocking?
Jeremy Keeler: Sure! Otherwise nobody would let me in. People don't like me much.

---

Cora Tench: Don't just sit there, Fred; go out and look for him. After all, he's your dog.
Fred Tench: What do you mean 'my dog'? I only bought the mutt so you two could bark at each other and leave me in peace.

---

Mr. Rana: Listen, boy, when you grow up - if you grow up - you'll be exposed to all the idiotic theories of that monumental fraud called Darwin. According to him, mankind developed out of something like this and then he said it evolved up through the jellyfish, the flatworm, the fishes past the amphibians to the birds and the reptiles.
Jeremy Keeler: Reptiles? You mean like snakes? They're cool!
Mr. Rana: They're the greatest abomination on Earth, boy. The mortal enemy of frogs! They're not even entitled to a place in evolution.

---

Mr. Rana: All things beyond the frog are just mutations of the frog. Look here, how can you improve upon perfection.

---

Sergeant McGoogan: Let me check this description again, Mrs. Tench. Collar yellow, eyes narrow and close together, weak chin, drools in the car. Well, that's a description of the missing dog!
Cora Tench: That's a description of both missing dogs, Sergeant. Look, all I know two nights ago, my idiot husband went next door looking for his idiot mutt and I haven't seen hide nor hair of either one since.

---

Sergeant McGoogan: You said he didn't pack a bag. We checked the railroad station, the bus depot and the taxi companies and there's no withdraw from your bank account.
Cora Tench: I certainly hope not.
Sergeant McGoogan: And we checked all the bars and taverns, the bottom of Mill Creek, the sand and gravel pit and homes of three ladies whose husbands travel extensively. Was he insured?
Cora Tench: You mean did I do away with him? Not yet.

---

Sergeant McGoogan: [to Jeremy] Out out out! I can hardly wait until you're 18.
Sergeant McGoogan: [to Cora] Sometimes you can hit 'em when they're 15.

---

Cora Tench: He had just told me that you had transformed Fred into a frog.
Mr. Rana: Oh, he did, did he?
Cora Tench: Imagine that. With a wave of your magic wand... or don't they use those anymore?
Mr. Rana: Oh, quite obsolete, quite obsolete, Cora. Now days, we would use a chemical decoction; something colorless, tasteless, with perhaps just a faint odor of pond water, but disguised in the heavier scent of, say, whiskey.

---

[last lines]
Host: Are frogs happier than people? This is the question just posed by the play you've just seen. But several good friends of mine, all of them frogs, have told me that the price of people's legs in the better frog's restaurants, is ridicuously high at the moment and this for one thing is causing much unhappiness. We'll have another story for you next week at the same time. Good night and sleep... well.

---

Cora Tench: My husband couldn't disappear without a trace. He's too irritating.

"'Orrible" (2001)

Title : 'Orrible

Sean: You handsome man. You great big big beautiful, handsome man! A bit of driving he says, he's only done a fucking blag, with Mervin Reese!

---

Paul Clarke: There's only one word for that, Shiv: naive!

The Shawshank Redemption (1994)

Title : The Shawshank Redemption

Tagline : Fear can hold you prisoner. Hope can set you free.

Plot keywords
* Prison Break * Friend * 1940s * Parole * Hollowed Out Book
* Corruption * Male On Male Rape * Mentor * Happy Ending * Suicide

Andy Dufresne

• The funny thing is, on the outside, I was an honest man, straight as an arrow. I had to come to prison to be a crook.

• [in a letter] Dear Red, If you're reading this, you've gotten out. And if you've come this far, maybe you're willing to come a little further. You remember the name of the town, don't you? I could use a good man to help me get my project on wheels. I'll keep an eye out for you and the chessboard ready. Remember, Red. Hope is a good thing, maybe the best of things, and no good thing ever dies. I will be hoping that this letter finds you, and finds you well. Your friend, Andy.

Ellis Boyd 'Red' Redding

• The first night's the toughest, no doubt about it. They march you in naked as the day you were born, skin burning and half blind from that delousing shit they throw on you, and when they put you in that cell, when those bars slam home, that's when you know it's for real. Old life blown away in the blink of an eye. Nothing left but all the time in the world to think about it. Most new fish come close to madness the first night. Somebody always breaks down crying. Happens every time. The only question is, who's it gonna be? It's as good a thing to bet on as any, I guess. I had my money on Andy Dufresne. I remember my first night. Seems like a long time ago.

• I have no idea to this day what those two Italian ladies were singing about. Truth is, I don't want to know. Some things are better left unsaid. I'd like to think they were singing about something so beautiful, it can't be expressed in words, and it makes your heart ache because of it. I tell you, those voices soared higher and farther than anybody in a grey place dares to dream. It was as if some beautiful bird had flapped into our drab little cage and made these walls dissolve away, and for the briefest of moments, every last man in Shawshank felt free.

• Andy Dufresne, who crawled through a river of shit and came out clean on the other side. Andy Dufresne, headed for the Pacific. Those of us who knew him best talk about him often. I swear the stuff he pulled. Sometimes it makes me sad, though, Andy being gone. I have to remind myself that some birds aren't meant to be caged. Their feathers are just too bright and when they fly away, the part of you that knows it was a sin to lock them up does rejoice, but still, the place you live in is that much more drab and empty that they're gone. I guess I just miss my friend.

• I find I'm so excited, I can barely sit still or hold a thought in my head. I think it is the excitement only a free man can feel, a free man at the start of a long journey whose conclusion is uncertain. I hope I can make it across the border. I hope to see my friend, and shake his hand. I hope the Pacific is as blue as it has been in my dreams. I hope.

Warden Samuel Norton

• I believe in two things - discipline and the Bible. Here you'll receive both. Put your trust in the Lord. Your ass belongs to me. Welcome to Shawshank.

Brooks

• [in a letter to Red after being released on parole] Dear fellas, I can't believe how fast things move on the outside. I saw an automobile once when I was a kid, but now they're everywhere. The world went and got itself in a big damn hurry. The parole board got me into this halfway house called "The Brewer" and a job bagging groceries at the Foodway. It's hard work and I try to keep up, but my hands hurt most of the time. I don't think the store manager likes me very much. Sometimes after work, I go to the park and feed the birds. I keep thinking Jake might just show up and say hello, but he never does. I hope wherever he is, he's okay and makin' new friends. I have trouble sleepin' at night. I have bad dreams like I'm falling. I wake up scared. Sometimes it takes me a while to remember where I am. Maybe I should get me a gun, an, an rob the Foodway so they'd send me home. I could shoot the manager while I was at it, sort of like a bonus. I guess I'm too old for that sort of nonsense any more. I don't like it here. I'm tired of being afraid all the time. I've decided not to stay. I doubt they'll kick up any fuss. Not for an old crook like me.

Dialogue

Red: Why'd you do it?

Andy: I didn't, since you ask.

Red: [chuckling] You're gonna fit right in. Everybody in (here) is innocent. Didn't you know that? [to Heywood] Hey Heywood, what you in for?

Heywood: Didn't do it. Lawyer fucked me.

Red: Rumor has it you're a real cold fish. You think your shit smells sweeter than most. Is that right?

Andy: What do you think?

Red: I'll tell ya the truth. I haven't made up my mind.

---

Andy: I had Mr. Mozart to keep me company...[He points and taps his head] It was in here. [And he gestures over his heart] And in here. That's the beauty of music. They can't get that from you. Haven't you ever felt that way about music?...Here's where it makes the most sense. You need it so we don't forget...that there are places in the world that aren't made out of stone, that there's, there's somethin' inside that they can't get to, that they can't touch. It's yours.

Red: What are you talkin' about?

Andy: Hope.

Red: Hope? Let me tell you something, my friend. Hope is a dangerous thing. Hope can drive a man insane. It's got no use on the inside. You'd better get used to that idea.

---

Andy: You know what the Mexicans say about the Pacific?

Red: No.

Andy: They say it has no memory. That's where I want to live the rest of my life. A warm place with no memory.

---

Red: I don't think you ought to be doing this to yourself, Andy. This is just shitty pipedreams. I mean, Mexico is way the hell down there and you're in here, and that's the way it is.

Andy: Yeah, right. That's the way it is. It's down there and I'm in here. I guess it comes down to a simple choice, really. Get busy livin' or get busy dyin'.