Famous movie quotes

Dirty Harry

Harry confronts a wounded bank robber:
(Clint Eastwood, Albert Popwell)
Harry Callahan: “Uh-uh ... I know what you’re thinking. Did he fire six shots, or only five? Well to tell you the truth, in all this excitement, I’ve kinda lost track myself. But being that this is a .44 Magnum, the most powerful handgun in the world and would blow your head clean off, you got to ask yourself one question: Do I feel lucky?”
Harry Callahan: “Well do ya, punk?”
Robber: “Hey, I gots to know.”
Robber: “Son of a bitch.”

Harry confronts the Scorpio killer:
(Clint Eastwood, Andy Robinson)
Harry Callahan: “Uh-uh. I know what you’re thinking, punk. You’re thinking, did he fire six shots, or only five? To tell you the truth, I forgot myself in all this excitement, But being this is a .44 Magnum, the most powerful handgun in the world and will blow your head clean off, you gotta ask yourself a question: Do I feel lucky?”
Harry Callahan: “Well, do ya, punk?”

Sunset Blvd.

Norma Desmond walks down the staircase for her close-up:
(Gloria Swanson, Erich von Stroheim)
Norma Desmond: “I can’t go on with the scene, I’m too happy (laughs). Mr. DeMille, would you mind if I say a few words, thank you. I just want to tell you all how happy I am to be back in the studio making a picture again. You don’t know how much I’ve missed all of you ... and I promise you I’ll never desert you again. Because after “Salome,” we’ll make another picture, and another picture. You see, this is my life. It always will be. There’s nothing else, just us ... the cameras ... and those wonderful people out there in the dark. All right Mr. DeMille, I’m ready for my close-up.

Good Will Hunting

Will confronts Clark in the Harvard bar:
(Matt Damon, Ben Affleck, Minnie Driver, Scott William Winters, Cole Hauser, Casey Affleck, Jennifer Deathe)
Clark: “I was just hoping you might give me some insight into the evolution of the market economy in the Southern colonies. My contention is that uh, prior to the Revolutionary War, the economic modalities — especially in the Southern colonies — could most aptly be characterized as agrarian, free capitalist—”
Will: “Of course that’s your contention, you’re a first-year grad student, you just got finished reading some Marxian historian, Pete Garrison probably, you’re gonna be convinced of that till next month when you get to James Lemon, then you’re gonna be talkin’ about how the economies of Virginia and Pennsylvania were entrepreneurial and capitalist way back in 1740. That’s gonna last until next year. You’re gonna be in here regurgitating Gordon Wood, talkin’ about, you know, the pre-Revolutionary utopia, and the capital-forming effects of military mobilization.”
Clark: “Well, as a matter of fact, I won’t, because Wood drastically underestimates the impact of —”
Will: “Wood drastically — Wood drastically underestimates the impact of social distinctions predicated upon wealth, especially inherited wealth. You got that from Vickers’ Work in Essex County. Page 98, right? Yeah, I read that too. Were you gonna plagiarize the whole thing for us? Do you have any thoughts of your own on this matter? Or do you just — is that your thing, you come into a bar, you read some obscure passage, and then pretend — you pawn it off as your own, as your own idea, just to impress some girls? Embarrass my friend? See, the sad thing about a guy like you is, in 50 years, you’re gonna start doing some thinking on your own, and you’re gonna come up with the fact there are two certainties in life. One, don’t do that. And two, you dropped a hundred and fifty grand on a f------ education you could’ve gotten for a dollar fifty in late charges at the public library.”
Clark: “Yeah, but I will have a degree. And you’ll be serving my kids fries at a drive-through on our way to a skiing trip.”
Will: “Yeah, maybe, but at least I won’t be unoriginal. But I mean, if you have a problem with that, we could just step outside. We could figure it out.”
Clark: “No man, there’s no problem. It’s cool.”
Will: “It’s cool?”
Clark: “Yeah.”
Will: “Cool.”
Billy: “Damn right it’s cool!”

Will Hunting meets Sean Maguire for the first time, and discusses a painting:
(Robin Williams, Matt Damon)
Will Hunting: “You paint that?”
Sean Maguire: “Yeah. Do you paint?”
Will Hunting: “Uh-uh.”
Sean Maguire: “Do you sculpt?”
Will Hunting: “No.”
Sean Maguire: “Do you like art? ... Do you like music?”
Will Hunting: “This is a real piece of s---.”
Sean Maguire: “Oh. Tell me what you really think.”
Will Hunting: “Uh, just the linear and impressionistic mix makes a very muddled composition. It’s also a Winslow Homer ripoff, except you got Whitey, uh, rowin’ the boat there.”
Sean Maguire: “Well it’s art, Monet; it wasn’t very good.”
Will Hunting: “That’s not really what concerns me though.”
Sean Maguire: “What concerns you?”
Will Hunting: “It’s the coloring.”
Sean Maguire: “You know the real bitch of it is? It’s paint-by-number.”
Will Hunting: “Is it color-by-number? Because the colors are fascinating to me.”
Sean Maguire: “Aren’t they really?”
Will Hunting: “You bet.”
Sean Maguire: “What about that.”
Will Hunting: “I think you’re about one step away from cutting your f-----’ ear off.”
Sean Maguire: “Really?”
Will Hunting: “Oh yeah.”
Sean Maguire: “Think I should move to the south of France, change my name to ‘Vincent’?”
Will Hunting: “You ever heard the sayin’ ‘any port in a storm’?”
Sean Maguire: “Yeah.”
Will Hunting: “Yeah, maybe that means you.”
Sean Maguire: “In what way?”
Will Hunting: “Well maybe you’re in the middle of a storm, a big f-----’ storm...”
Sean Maguire: “Yeah, maybe.”
Will Hunting: “The sky’s fallin’ on your head. The waves are crashin’ over your little boat. The oars are about to snap. You just piss in your pants. You’re cryin’ for the harbor. So maybe you do what you gotta do to get out. You know, maybe you became a psychologist.”
Sean Maguire: “Bingo. That’s it. Let me do my job now. You start with me. Come on.”
Will Hunting: “Maybe you married the wrong woman.”
Sean Maguire: “Maybe you should watch your mouth. ... Watch it right there, chief, all right?”
Will Hunting: “That’s it, isn’t it? You married the wrong woman. ... What happened? What, she leave you? Was she, you know, (whistles), banging some other guy?”
Sean Maguire: “(Grabs Will’s throat) If you ever disrespect my wife again, I will end you. I will f-----’ end you. Got that chief?”
Will Hunting: “Time’s up.”
Sean Maguire: “Yeah.”

Sean Maguire addresses Will at a lake:
(Robin Williams, Matt Damon)
Will Hunting: “You again, huh?”
Sean Maguire: “Come with me. (Both leave office.)”
Will Hunting: “So what’s this? A Taster’s Choice moment between guys? This is really nice. You got a thing for swans? Is this, like, a fetish? Is it something like, maybe we need to devote some time to?”
Sean Maguire: “I thought about what you said to me the other day, about my painting.”
Will Hunting: “Yeah.”
Sean Maguire: “Stayed up half the night thinking about it. Something occurred to me; I fell into a deep, peaceful sleep and haven’t thought about you since. You know what occurred to me?”
Will Hunting: “No.”
Sean Maguire: “You’re just a kid. You don't have the faintest idea what you’re talking about.”
Will Hunting: “Why thank you.”
Sean Maguire: “It’s all right.”
Sean Maguire: “You’ve never been out of Boston.”
Will Hunting: “Nope.”
Sean Maguire: “So if I asked you about art, you’d probably give me the skinny on every art book ever written. Michelangelo. You know a lot about him. Life’s work, political aspirations, him and the pope, sexual orientation, the whole works, right? But I bet you can’t tell me what it smells like in the Sistine Chapel. You never actually stood there and looked up at that beautiful ceiling, seen that. If I asked you about women, you’ll probably give me a syllabus of your personal favorites. You may have even been laid a few times. ... But you can’t tell me what it feels like to wake up next to a woman and feel truly happy. ... You’re a tough kid. I ask you about war, you probably throw Shakespeare at me, right? ‘Once more into the breach, dear friends.’ But you’ve never been near one. You’ve never held your best friend’s head in your lap, and watch him gasp his last breath, looking to you for help. ... If I asked you about love, you’d probably quote me a sonnet. But you’ve never looked at a woman and been totally vulnerable. Known someone that could level you with her eyes. Feelin’ like God put an angel on Earth just for you ... who could rescue you from the depths of hell. And you wouldn’t know what it’s like to be her angel, to have that love for her be there forever. Through anything. Through cancer. And you wouldn’t know about sleepin’ sittin’ up in a hospital room for two months, holding her hand, because the doctors could see in your eyes that the terms ‘visiting hours’ don’t apply to you. ... You don’t know about real loss, because that only occurs when you love something more than you love yourself. I doubt you’ve ever dared to love anybody that much. ... I look at you, I don’t see an intelligent, confident man. I see a cocky, scared s------- kid. But you’re a genius, Will. No one denies that. No one could possibly understand the depths of you. But you presume to know everything about me because you saw a painting of mine, you ripped my f-----’ life apart. ... You’re an orphan, right? Do you think I’d know the first thing about how hard your life has been, how you feel, who you are, because I read Oliver Twist? Does that encapsulate you? Personally, I don’t give a s--- about all that, because you know what? I can’t learn anything from you I can’t read in some f-----’ book. Unless you wanna talk about you. Who you are. And I’m fascinated. I’m in. But you don’t wanna do that, do you sport? You’re terrified of what you might say. ... Your move, chief.”


Patton’s opening speech:
(George C. Scott)
Be seated.
I want you to remember that no bastard ever won a war by dying for his country.
He won it ... by making the other poor dumb bastard die for his country.
Men, all this stuff you heard about America not wanting to fight, wanting to stay out of the war ... is a lot of horse dung. Americans traditionally love to fight. All real Americans ... love ... the sting of battle. When you were kids, you all admired the champion marble shooter, the fastest runner, big-league ballplayers, the toughest boxers.
Americans love a winner, and will not tolerate a loser. Americans play to win all the time. I wouldn’t give a hoot in hell for a man who lost ... and laughed. That’s why Americans have never lost — and will never lose — a war. Because the very thought of losing is hateful to Americans.
Now, an Army is a team. It lives, eats, sleeps, fights as a team. This individuality stuff is a bunch of crap. The biggest bastards who wrote that stuff about individuality — for the Saturday Evening Post — don’t know anything more about real battle than they do about fornicating.
Now we have the finest food and equipment ... the best spirit and the best men in the world. You know, my God, I actually pity those poor bastards we’re going up against. My God, I do. ... We’re not just going to shoot the bastards, we’re going to cut out their living guts and use them to grease the treads of our tanks! We’re going to murder those lousy Hun bastards by the bushel!
Now, some of you boys I know are wondering whether or not you’ll chicken out under fire. Don’t worry about it. I can assure you that you will all do your duty. The Nazis are the enemy, wade into them, spill their blood, shoot them in the belly. When you put your hand into a bunch of goo that a moment before was your best friend’s face, you’ll know what to do.
Now there’s another thing I want you to remember: I don’t want to get any messages saying that we are holding our position. We’re not holding anything. Let the Hun do that. We are advancing constantly and we are not interested in holding onto anything except the enemy. We’re going to hold onto him by the nose and we’re gonna kick him in the ass, gonna kick the hell out of him all the time and we’re gonna go through him like crap through a goose.
Now, there’s one thing that you men will be able to say when you get back home, and you may thank God for it. Thirty years from now, when you’re sitting around your fireside with your grandson on your knee and he asks you, ‘What did you do in the great World War II,’ you won’t have to say, ‘Well, I shoveled s--- in Louisiana.’
All right, now, you sons of bitches, you know how I feel. And I will be proud to lead you wonderful guys into battle, any time, anywhere. That’s all.”

Patton’s closing narrative:
(George C. Scott)
“For over a thousand years, Roman conquerors returning from the wars enjoyed the honor of a triumph, a tumultuous parade. In a procession came trumpeters and musicians and strange animals from the conquered territories. Together with carts laden with treasure and captured armaments, the conqueror rode in a triumphal chariot, the dazed prisoners walking in chains before him. Sometimes his children, robed in white, stood with him in the chariot, or rode the trace horses. A slave stood behind the conqueror, holding a golden crown, and whispering in his ear a warning — that all glory is fleeting.”


William Munny and the Schofield Kid discuss their attack on a cowboy
(Clint Eastwood, Jaimz Woolvett)
William Munny: “It’s a helluva thing, killing a man. ... You take away all he’s got, and all he’s ever gonna have.”
Schofield Kid: “Yeah, well, I guess they had it comin’.”
William Munny: “We all have it comin’, Kid.”

William Munny confronts a wounded Little Bill Daggett:
(Clint Eastwood, Gene Hackman)
Little Bill Daggett: “I don’t deserve this, to die like this. I was building a house.”
William Munny: “Deserve’s got nothing to do with it.”
Little Bill Daggett: “I’ll see you in hell, William Munny.”
William Munny: “Yeah.”

Gone With the Wind

Scarlett O’Hara pulls a carrot out of the ground, collapses in tears after eating, then rises up, fist clenched, vowing to rebuild her life:
(Vivien Leigh)
Scarlett: “As God is my witness ... as God is my witness, they’re not going to lick me. I’m going to live through this, and when it’s all over, I’ll never be hungry again. No, nor any of my folks. If I have to lie, steal, cheat or kill ... as God is my witness, I’ll never be hungry again! (lowers fist).”

Rhett Butler tells Scarlett O’Hara he is leaving:
(Vivien Leigh, Clark Gable)
Scarlett: “Rhett! If you go, where shall I go, what shall I do?”
Rhett: “Frankly my dear, I don’t give a damn.”
Scarlett: (To herself.) “Oh I can’t let him go, I can’t. There must be some way to bring him back. Oh, I can’t think about this now; I’ll go crazy if I do. I’ll think about it tomorrow. (Closes door, resumes crying.) But I must think about it. I must think about it. What is there to do ... what is there that matters? ... (Hears Rhett’s and other voices telling her of her love for the land of Tara.) ... Tara! Home! I’ll go home ... and I’ll think of some way to get him back. After all ... tomorrow is another day.”

Wall Street

Gordon Gekko speaks at Teldar Paper meeting:
(Michael Douglas, Richard Dysart, Charlie Sheen)
Gekko: “Well I, uh, I appreciate the opportunity you’re giving me, Mr. Cromwell, as the single largest shareholder in Teldar Paper to speak! Well ladies and gentlemen, we’re not here to indulge in fantasy, but in political, and economic, reality. America — America has become a second-rate power. Its trade deficit and its fiscal deficit are at nightmaric proportions. Now in the days of the free market when our country was a top industrial power, there was accountability to the stockholder. The Carnegies, the Mellons, the men that built this great industrial empire, made sure of it because it was their money at stake. Today, management has no stake in the company! Altogether, these men sitting up here own less than three percent of the company. And where does Mr. Cromwell put his million-dollar salary? Not in Teldar stock; he owns less than one percent. You own the company. That’s right, you the stockholder, and you are all being royally screwed over by these, these bureaucrats, with their, their steak lunches, their hunting and fishing trips, their, their corporate jets and golden parachutes.”
Cromwell: “This is an outrage! You’re out of line, Gekko!”
Gekko: “Teldar Paper, Mr. Cromwell, Teldar Paper has thirty-three different vice presidents each earning over two hundred thousand dollars a year. Now I’ve spent the last two months analyzing what all these guys do — and I still can’t figure it out. (Grins.) One thing I do know is that our paper company lost a hundred and ten million dollars last year, and I’ll bet that half of that was spent in all the paperwork going back and forth between all these vice presidents!”
Gekko: “The new law of evolution in corporate America seems to be “Survival of the Unfittest.” Well in my book, you either do it right, or you get eliminated. ... In the last seven deals that I’ve been involved with, there were two-point-five million stockholders who have made a pretax profit ... of twelve billion dollars. (Applause.) Thank you.”
Gekko: “I am not a destroyer of companies. I am a liberator of them!”
Gekko: “The point is, ladies and gentlemen, that greed, for lack of a better word, is good. Greed is right. Greed works. Greed clarifies, and 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. Thank you very much.” (Applause.)

Scenes featuring Bud Fox, Marv, Gordon Gekko, Darien and Sir Lawrence Wildman:
(Charlie Sheen, John C. McGinley, Michael Douglas, Daryl Hannah, Terence Stamp)
Bud Fox shows up for work and discusses a loss with Marv:
Bud Fox: “Marv, Marv I’ve got a feeling that we’re gonna make a killing today.”
Marv: “Oh yeah, where’s your machine-gun?”

Marv: “Buddy, Buddy, a little trouble today huh Buddy?”
Bud Fox: “Howard the Jerk reneged on me. I gotta cover his losses to the tune of about seven grand!”
Marv: “(To phone) Yeah yeah I’m holding, I’m holding!”
Bud Fox: “... I’m tapped out Marv. American Express got hit men looking for me.”
Marv: “Well, it coulda been worse, right? Coulda been my money. Hah hah hah hah. Here, here, here, rookie, let me help you out. I got ... C-note...”
Bud Fox: “Thanks Marv I’ll make it up to ya.”
Marv: “Yes (to phone) I am still here.
Bud Fox: “You know what my dream is ... is to one day be on the other end of that phone.”
Marv: “Oh you got it baby, where the real cheesecake is. ... Hey Bud, you forgettin’ something? The Gekko phone call? ... Buddy, Buddy when are you gonna realize it’s the big-game hunters who bag the elephants, not guys like us.”
Bud Fox: “(To phone) Gordon Gekko please.”
Marv: “Oh Gekko. Gekko’s beautiful. Thirty seconds after the Challenger blew up he’s on the phone selling NASA stock short. Mr. Nice Guy!”
Bud Fox: “Yeah ... but 47 million he made on the Melcor deal. Twenty-three on the Imperial deal before he was 40. The guy makes 20 times what Dave winfield makes in a year ... and he talks to everybody.”
Marv: “And, he had an ethical bypass at birth.”

Bud Fox visits Gordon Gekko’s office:
Bud Fox: “Well, life all comes down to a few moments ... this is one of ’em.”
Gordon Gekko: “What? What the hell is Cromwell doing giving a lecture tour when he’s losing 60 million a quarter? Guess he’s giving lectures in how to lose money. Jesus Christ if this guy owned a funeral parlor no one would die. This turkey is totally brain-dead! OK. Christmas is over, and business is business. Ya keep on buying. Dilute the son of a bitch!”

Bud Fox returns to the office after visiting Gordon Gekko:
Marv: “Hey Buddy ... got tickets to the Knick game tonight. Go out and cruise some chicks afterwards this is gonna be awesome, what do you say?”
Bud Fox: “No I gotta read my charts.”
Marv: “Aw come on, forget charts will ya, we’re not fund managers here, baby. Churn ’em and burn ’em. ... I’m offering you the Knicks. And chicks. God help you before you turn into poor Steeples over there.”
Bud Fox: “Preferably Lou Mannheim.”
Marv: “Oh yeah, nice guy, swell fellow, but he’s a loser. He lost all his equity when the firm went belly-up in the recession of ’71. I mean do you wanna be comin’ in here in your late 60s still pitchin’? ... Hey Buddy, whatever happened to that cute analyst from Thudder & Wicks, Sidney, Susan...”
Bud Fox: “Cindy. Jesus, having sex with her was like reading the Wall Street Journal.”
Marv: “She had a heartbeat—”
Bud Fox: “Wanna bet?”
Marv: “Hah hah hah.”
Bud Fox: “I gotta get to work. C’s today.”
Bud Fox: “(Takes Gekko's call) Marv! I just bagged the elephant.”

Marv shoots down Lou Mannheim’s idea, then makes heated trades
Marv: “(To Lou Mannheim) Nooo. Take five years for that company to come around.”

Marv: “Yeah, here’s a hot lead ... researchers have put thrifts on the recommended. What? Yeah, dump ’em for Christ’s sake!”

Marv: “Yesterday, it concerns my future. I need the information now, before the close! No in 10 minutes it’s history, at 4 o’clock I’m a dinosaur!”

Marv: “What? Oh will you give me a break for Christ’s sake. How the hell was I supposed to know you were in surgery, what am I, Marvin the Mind-Reader?”

Bud gives Marv a tip:
Marv: “And this is what I’m saying to you ... We have important financial news, Mr. Earlich. Important financial news that just happens to concern your future. You could benefit— (Bud cuts off phone)”
Marv: “Aw come on what the hell’s going on—”
Bud Fox: “Anacott Steel. Put your best customers in it.”

Bud and Marv discuss the firing of Steeples:
Bud Fox: “What’s goin' on?”
Marv: “Lynch is givin’ him the boot. Not pulling his quota. ... We’re all just one trade away from humility, Bud.”

Marv groans at Bud’s promotion:
Marv: “Congrats ... you just made my life twice as hard around here.”
Marv: “(In Bud’s new office) Oh this is very nice. This is very nice. So what’s it, Mr. C--------- now? Hah hah hah hah.”

Gordon Gekko and Darien discuss Bud Fox after an art auction:
Gordon Gekko: “You and I are the same, Darien. We’re smart enough not to buy into the oldest myth running — love. It’s a fiction created by people to, uh, keep ’em from jumping out of windows.”
Darien: “You know, sometimes I miss you, Gordon. You’re really twisted.”

Bud Fox takes Bluestar union leaders to meet Sir Lawrence Wildman:
Bud Fox: “Sir Lawrence ... er, can I call you Larry ... what would you say to owning BlueStar Airlines, with union concessions, at $18 a share ... and in the process hanging Gordon Gekko out in the wind to twist.”
Sir Lawrence Wildman: “I might be very interested. Why you mate. What’s a bloke like you doing mixed up with Gekko?”
Bud Fox: “Let’s just say that, me and Mr. Gekko have a serious conflict of interest.”

Bud Fox apologizes to Marv:
Bud Fox: “Hi.”
Marv: “Oh, hi. Say, why don’t you get the hell out of my office.”
Bud Fox: “Look, Marv, I know I’ve been a bit of a schmuck lately and I just want to apologize.”
Marv: “You’ve been a real schmuck lately, so go down and say no more.”
Bud Fox: “I wanna make it up to you. BlueStar. Put all your clients in it.”
Marv: “OK, Buddy Buddy. We are back in business on BlueStar.”

Marv makes big money on his Bluestar trades
Marv: “I do love this so...”
Marv: “(Whistles) Stock’s going to Pluto man.”
Bud Fox: “Start unloading.”
Marv: “What? Sell?”
Bud Fox: “Dump it! Now! Dump it all! Where’s Lou?”
Marv: “Right over there ... (To phone) Ken, Yeah Ken, Marvin Jackson Steinem. We gotta dump this baby, you gotta take the money and run on BST, we’re gettin' out now. ... Frank! Frank! Frank! Frank! Can't get a g------ connection here! Bob, Bob, Marvin Jackson Steinem. We’re in big trouble on BST pal, you gotta get out now. Another 30,000, out!”

Bud Fox enters Jackson Steinem the morning of his arrest:
Bud Fox: “What, did somebody die?”
Marv: “Yeah.”

The Godfather

Michael Corleone tells Kay Adams how his father and Luca Brasi got Johnny Fontane out of his contract:
(Al Pacino, Diane Keaton, Al Martino)
Kay Adams: “Please, Michael, tell me.”
Michael Corleone: “Well when Johnny was first starting out, he was signed to this personal service contract, with a big band leader. And as his career got better and better, he wanted to get out of it. Now Johnny is my father’s godson, and, my father went to see this bandleader, and they offered him ten thousand dollars to let Johnny go. The bandleader said no. So the next day, my father went to see him, only this time with Luca Brasi. Well within an hour, he signed a release, for a certified check of one thousand dollars.”
Kay Adams: “How did he do that?”
Michael Corleone: “My father made him an offer he couldn’t refuse.”
Kay Adams: “What was that?”
Michael Corleone: “Luca Brasi held a gun to his head, and my father assured him that either his brains or his signature would be on the contract. ... That’s a true story. ... That’s my family, Kay. It’s not me.”

A baker asks Don Vito Corleone for a favor:
(Marlon Brando, Vito Scotti, Robert Duvall)
Don Vito Corleone: “Nazorine, my friend, what can I do for you?”
Nazorine: “Now that the war is over ... this boy, Enzo, they want to repatriate him back to Italy. Godfather, I have a daughter. See, she and Enzo ...”
Don Vito Corleone: “You want Enzo to stay in this country, and you want your daughter to be married.”
Nazorine: “You understand everything! ... Mr. Hagen, thank you. ... Wait till you see the beautiful wedding cake I made for your daughter. Whoof, like this! With the bride and the groom and the ...”

Sonny Corleone orders a hit on Paulie Gatto:
(James Caan, Richard Castellano, Abe Vigoda, Al Pacino, Robert Duvall, John Martino)
(Knocking on door.)
Sonny Corleone: “What is it?”
Peter Clemenza: “Hey Paulie I thought I told you to stay put.”
Paulie: “The guy at the gates, they say they got a package.”
Sonny Corleone: “Yeah? Tessio, go see what it is.”
Paulie: “You want me to hang around?”
Sonny Corleone: “Yeah, hang around. ... You all right?”
Paulie: “Yeah, I’m fine.”
Sonny Corleone: “Yeah? There’s some food in the icebox; ya hungry, or anything?”
Paulie: “No, it’s all right, thanks.”
Sonny Corleone: “How about a drink, how about a little brandy, that’s good to sweat it out.”
Paulie: “All right, sure.”
Sonny Corleone: “Go ahead.”
Paulie:“That might be a good idea.”
Sonny Corleone: “Yeah, right.”
Sonny Corleone: (To Clemenza:) “I want you to take care of the son of a bitch right away. Paulie sold out the old man. That (unintelligible, perhaps ‘stronzo’). I don’t wanna see him again. Make that first thing on your list. Understand?”
Peter Clemenza: “Understood.”

Sonny Corleone gets a delivery of dead fish:
(James Caan, Richard Castellano, Abe Vigoda, Al Pacino, Robert Duvall)
Sonny Corleone: “What the hell is this?”
Peter Clemenza: “It’s a Sicilian message. It means Luca Brasi sleeps with the fishes.”

Rocco Lampone shoots Paulie Gatto:
(Richard Castellano, John Martino, Tom Rosqui)
Peter Clemenza: “Leave the gun. Take the cannoli.”

Michael Corleone teaches his Sicilian wife to drive:
(Al Pacino, Simonetta Stefanelli)
Michael Corleone: (In Italian) “It’s safer to teach you English.”
Apollonia Vitelli Corleone: (In Italian) “I know English.” (In English) “Monday, Tuesday, Thursday, Wednesday, Friday, Sunday, Saturday.”

Michael Corleone asserts himself as head of the Corleone family:
(Al Pacino, Marlon Brando, Robert Duvall, Richard Castellano, Abe Vigoda, Gianni Russo, Richard Bright)
Michael Corleone: “There are things being negotiated now that are gonna solve all your problems and answer all your questions. That’s all I can tell you now. ... Carlo, you grew up in Nevada. When we make our move there, you’re gonna be my right-hand man. Tom Hagen is no longer consigliere. He’s gonna be our lawyer in Vegas. That’s no reflection on Tom; that’s the way I want it. Besides, if I ever need help, who’s a better consigliere than my father.”

Michael Corleone asks Johnny Fontane to perform at the casino:
(Al Pacino, Al Martino, John Cazale, Robert Duvall)
Michael Corleone: “Johnny, how are you?”
Johnny Fontane: “Hello, Mike, nice to see you again.”
Michael Corleone: “We’re all proud of you.”
Johnny Fontane: “Thanks Mike.”
Michael Corleone: “Sit down, Johnny, I want to talk to ya. ... The Don’s proud of you too, Johnny.”
Johnny Fontane: “Well, I, uh, owe it all to him.”
Michael Corleone: “He knows how grateful you are, that’s why he’d like to ask a favor.”
Johnny Fontane: “Mike, what can I do?”
Michael Corleone: “The Corleone family is thinking of giving up all its interests in the olive oil business and settling out here. Now Moe Greene will sell us his share of the casino, and the hotel, so it can be completely owned by the family. Tom?”
Fredo Corleone: “Hey Mike, are you sure about that? Moe loves the business. He never said nothin’ to me about sellin’.”
Michael Corleone: “Yeah, well I’ll make him an offer he can’t refuse.”

Michael Corleone demands Moe Greene sell him his casino and hotel:
(Al Pacino, Alex Rocco, Robert Duvall, Al Martino, John Cazale)
Moe Greene: “Hey, Mike! Hello fellows. Everybody’s here. Freddie. Tom. Good to see you, Mike.”
Michael Corleone: “How are you, Moe?”
Moe Greene: “All right. Got everything you want? The chef will cook for you special, the dancers will kick your tongue out, and your credit’s good. Draw chips for everybody in the room so they can play on the house.” (Sits)
Michael Corleone: “My credit good enough to buy you out?”
Moe Greene: (Laughs.) “Buy me out?”
Michael Corleone: “The casino. The hotel. Corleone family wants to buy you out.”
Moe Greene: “Corleone family wants to buy me out. I buy you out; you don’t buy me out.”
Michael Corleone: “Your casino loses money. Maybe we can do better.”
Moe Greene: “You think I’m skimming off the top, Mike?”
Michael Corleone: “You’re unlucky.”
Moe Greene: (Laughs.) “You g------ guineas really make me laugh. I do you a favor and take Freddy in when you’re having a bad time, and then you try to push me out.”
Michael Corleone: “Wait a minute. ... You took Freddie in because the Corleone family bankrolled your casino, because the Molinari family on the coast guaranteed his safety. Now we’re talking business, let’s talk business.”
Moe Greene: “Yeah let’s talk business Mike. First of all you’re all done. The Corleone family don’t even have that kind of muscle anymore. The Godfather’s sick, right? You’re getting chased out of New York by Barzini and the other families. What do you think is going on here, you think you can come to my hotel and take over? I talked to Barzini. I can make a deal with him and still keep my hotel.”
Michael Corleone: “Is that why you slapped my brother around in public?”
Fredo Corleone: “Ah, now that, that was nothin’, Mike. Now, now, Uh, uh, Moe didn’t mean nothin’ by that. Sure he flies off the handle once in a while, but, but Moe and me are good friends, right Moe, huh?”
Moe Greene: “I’ve got a business to run. I gotta kick asses sometime to make it run right. We had a little argument, Freddie and I, so I had to straighten him out.”
Michael Corleone: “You straightened my brother out?”
Moe Greene: “He was banging cocktail waitresses two at a time! Players couldn’t get a drink at the table. What’s wrong with you?”
Michael Corleone: “I leave for New York tomorrow. Think about a price.”
Moe Greene: “Do you know who I am? I’m Moe Green. I made my bones while you were going out with cheerleaders.”
Fredo Corleone: “Wait a minute, Moe, Moe, I got an idea ... Tom, Tom, you’re the consigliere, and you can talk to the Don, and you can explain—”
Tom Hagen: “Just a minute: the Don is semi-retired, and Mike is in charge of the family business now. If you have anything to say, say it to Michael.” (Moe Green leaves.)
Fredo Corleone: “Mike, you don’t come to Las Vegas and talk to a man like Moe Green like that.”
Michael Corleone: “Fredo, you’re my older brother, and I love you. But don’t ever take sides with anyone against the family again. Ever.”

The Godfather, Part II

Senator Geary tells Michael Corleone the cost for a hotel takeover:
(Al Pacino, G.D. Spradlin, Robert Duvall, Richard Bright, Tom Rosqui)
Michael Corleone: “Turnbull is a good man.”
Geary: “Yeah, well, let’s, let’s cut out the bull----. I don’t wanna spend any more time here than I have to. ... You can have the license. (Sighs.) Price is two hundred and fifty thousand dollars, plus a monthly payment of five percent of the gross — of all four hotels, Mr. Corle-oni.”
Michael Corleone: “Now the price for the license is less than twenty thousand dollars, am I right?”
Geary: “That’s right.”
Michael Corleone: “Now why would I ever consider paying more than that.”
Geary: “Because I intend to squeeze you. I don’t like your kind of people. I don’t like to see you come out to this clean country in your ... oily hair, dressed up in those silk suits, trying to pass yourselves off as decent Americans. I’ll do business with you, but the fact is that, I despise your masquerade, the dishonest way you pose yourself — yourself and your whole f---ing family.”
Michael Corleone: “Senator, we’re both part of the same hypocrisy. But never think it applies to my family.”
Geary: “All right, all right. Some people have to play little games. (Sighs.) You play yours. ... (Turns cannon toward Michael.) So let’s just say that you’ll pay me because it’s in your interest to pay me. But I want your answer and the money by noon tomorrow. And one more thing (points): Don’t you contact me again, ever. From now on you deal with Turnbull. Open that door, son.”
Michael Corleone: “Senator. You can have my answer now if you like. ... My offer is this: Nothing. Not even the fee for the gaming license, which I would appreciate if you would put up personally.”
Geary: “Hmmph hmmph hmmph.”

Frankie Pentangeli confronts Michael Corleone about the Rosato brothers:
(Al Pacino, Michael V. Gazzo, Richard Bright, Joe Spinell)
Michael Corleone: “Come on Frankie, you know my father did business with Hyman Roth. He respected him.”
Frankie Pentangeli: “Your father did business with Hyman Roth. Your father respected Hyman Roth. But your father never trusted Hyman Roth ... or his Sicilian messenger boy, Johnny Ola. ... (In Sicilian) You’ll have to excuse me. I’m tired, and I’m a little drunk!”

(Michael Corleone asks Hyman Roth who ordered the hit on Frankie Pentangeli):
(Al Pacino, Hyman Roth, Dominic Chianese)
Hyman Roth: “There was this kid, I grew up with. He was younger than me. Sort of looked up to me, you know. We ... did our first work together. Worked our way out of the street. Things were good. We made the most of it. During Prohibition ... we ran molasses into Canada. Made a fortune. Your father too. As much as anyone ... I loved him. And trusted him. ... Later on, he had an idea. To build a city out of a desert stopover for GIs on their way to the West Coast. That kid’s name was Moe Green ... and the city he invented was Las Vegas. This was a great man. A man of vision, and guts. And there isn’t even a plaque, or a signpost, or a statue of him in that town. Someone put a bullet through his eye. No one knows ... who gave the order. When I heard it, I wasn’t angry. I knew Moe, I knew he was headstrong, talking loud, saying stupid things. So when he turned up dead, I let it go. (Glares.) And I said to myself, ‘This is the business we’ve chosen.’ I didn’t ask ... who gave the order ... because it had nothing to do with business. (Clears throat, turns away.) ... That two million, in a bag in your room. I’m going in, take a nap. When I wake, if your money’s on the table, I’ll know I have a partner. If it isn’t, I’ll know I don’t.”

(Michael Corleone tells Frankie Pentangeli of a lesson he learned from his father):
(Al Pacino, Michael V. Gazzo)
Michael Corleone: “My father taught me many things here. He taught me in this room. He taught me, keep your friends close, but your enemies closer.”

Michael Corleone confronts his brother Fredo at the New Year’s celebration in Havana, Cuba:
(Al Pacino, John Cazale)
Michael Corleone: “I know it was you, Fredo. You broke my heart. You broke my heart.


Tony Montana drunkenly speaks to restaurant patrons before leaving:
(Al Pacino, Michelle Pfeiffer, Steven Bauer, Arnaldo Santana)
Tony Montana: “Me? I always tell the truth. Even when I lie.”

Alejandro Sosa asks Tony Montana about the failed assassination:
(Al Pacino, Paul Shenar, Arnaldo Santana)
Sosa: “What happened, Tony? ... What happened, Tony?”
Tony: “Alex, how you doing?”
Sosa: “What happened?”
Tony: “Ah, we had some problems, you know ... Alex?”
Sosa: “Tony, what happened?”
Tony: “We had a little problem...”
Sosa: “I heard.”
Tony: “Yeah. How’d you hear that?”
Sosa: “Because our friend gave a speech today at the U.N. He was not supposed to give that speech, Tony.”
Tony: “Yeah, well your guy Alberto, he’s a piece of s---, you know. I told him to do something, he didn't listen to me, so I had to cancel the f------ contract.”
Sosa: “My partners and I are p----- off, Tony.”
Tony: “That’s OK, no big deal. There’s other Albertos, you know. We do it next month.”
Sosa: “No Tony, you can’t do that. They found what was under the car, Tony. Now our friend has got security up the a--. And the heat is gonna come down hard on my partners and me. There’s not gonna be a next time, you f------ dumb c---------, you blew it—”
Tony: “Hey, hey, take it easy when talking to me, OK.”
Sosa: “I told you a long time ago, you f------ little monkey, not to f--- me.”
Tony: “Hey, hey! Who the f--- do you think you’re talkin’ to, huh?!” (smashes phone)

Tony Montana prepares to confront his attackers with a bazooka:
(Al Pacino)
Tony Montana: “Say hello to my little friend.”

Jerry Maguire

Jerry tries to persuade Rod Tidwell to remain his client:
(Cuba Gooding Jr., Tom Cruise, Aries Spears, Regina King)
Rod: “I am a role model, Jerry. I have a family to support. Hear me? I wanna stay in Arizona. I want my new contract. But I like you. Yes, I like you, Jerry. My wife likes you. You’re good to my wife. I will stay with you.”
Jerry: “That’s- that’s great, I’m very ... happy.”
Rod: “Are you listenin’?”
Jerry: “Yes.”
Rod: “That’s what I’m gonna do for you. God bless you Jerry. But here’s what you’re gonna do for me. You listenin’? Jerry?”
Jerry: “Yeah, wh- wh- what can I do for you, Rod. You just tell me, what can I do for you.”
Rod: “It’s a very personal, very important thing. Hell, it’s a family motto. Are you ready Jerry?”
Jerry: “I’m ready.”
Rod: “Wanna make sure you’re ready, brother. ... Here it is: Show me the money. ... Ah ha ho! (turns up music, “The Wrong Come Up” by LV) ... SHOW ... ME ... THE ... MONEY ... Ah ha ha, Jerry! Doesn’t that make you feel good just to say that? Say it with me one time, Jerry.”
Jerry: “Show you the money.”
Rod: “Ah no no. You can do better than that, Jerry. I want you to say it with you, with meanin’ brother. Hey I got Bob Sugar on the other line. Better hear you say it!”
Jerry: “Yeah yeah, no no no: Show you the money.”
Rod: “Not show you, show me the money.”
Jerry:Show me the money.”
Rod: “Yes! Louder!”
Jerry: “Show me the money!”
Rod: “That’s it, brother, but you got to yell that s---!”
Jerry: “Show me the money!!”
Rod: “I need to feel ya Jerry.”
Jerry: “Show me the mon-eeeeeeeeee!
Rod: “Jerry, you better yell!”
Rod: “D’ya love this black man?”
Rod: “I love black people!”
Rod: “Who’s your m-----f-----, Jerry?”
Jerry: “YOU’RE MY M-----F-----!”
Rod: “Whatchoo gonna do, Jerry!”
Rod: “Ohhhh ... Congratulations. You’re still my agent.”

Saturday Night Fever

(Tony Manero and Mr. Fusco discuss a salary advance):
(John Travolta, Sam J. Coppola)
Tony: “Oh, f--- the future.”
Fusco: “No, Tony, you can’t f--- the future — the future f---- you. It catches up with you, and it f---- you if you ain’t planned for it.”
Tony: “Look tonight is the future, and I am planning for it.”

Tony Manero and Stephanie Mangano discuss Tony’s life, in a restaurant:
(John Travolta, Karen Lynn Gorney)
Tony: “Would you like to know what I do?”
Stephanie: “It’s not necessary.”
Tony: “I’ll tell you what I do. I work in a paint store, and I got a raise this week&mdash”
Stephanie: “Right, you work in a paint store, right? You probably live with your family, you hang out with your buddies, and on Saturday night you go, you blow it all off at 2001, right?”
Tony: “That’s right!”
Stephanie: “You’re a cliché. ... You’re nowhere, on your way to no place.”

Road House

Dalton goes over the rules at the Double Deuce:
(Patrick Swayze, Kevin Tighe, Terry Funk, Travis McKenna, Kurt James Stefka, Gary Hudson, Roger Hewlett)
Dalton: “Morgan you’re out of here.”
Morgan: “What the f--- you talkin’ about?”
Dalton: “You don’t have the right temperament for the trade.”
Morgan: “You a------. What am I supposed to do?”
Dalton: “There’s always barber college.”
Morgan: “You’re a dead man.”
Dalton: “You’re out too. We’re selling booze here, not drugs.”
Waitress: “Thank you.”
Dalton: “Anybody else here dealing? I’m telling you straight: It’s my way or the highway. So anybody who wants to walk, do it now.”
Dalton: “All right. People who really want to have a good time won’t come to a slaughterhouse. And we’ve got entirely too many troublemakers here. Too many uh, forty-year-old adolescents, felons, power drinkers, trustees of modern chemistry. It’s going to change.”
Hank: “Man, that sure sounds good. But a lot of the guys who come in here, we can’t handle one on one. Even two on one.”
Dalton: “Don’t worry about it. All you have to do is follow three simple rules. One: Never underestimate your opponent. Expect the unexpected. Two: Take it outside. Never start anything inside the bar unless it’s absolutely necessary. And three: Be nice.”
Jack: “Come on.”
Dalton: “If somebody gets in your face and calls you a c---------, I want you to be nice.”
Jack: “OK.”
Dalton: “Ask him to walk, but be nice. If he won’t walk, walk him, but be nice. If you can’t walk him, one of the others will help you, and you’ll both be nice. I want you to remember, that it’s a job, it’s nothing personal.”
Steve: “Uh huh. Being called a c--------- isn’t personal?”
Dalton: “No. It’s two nouns combined to elicit a prescribed response.”
Steve: “Well what if somebody calls my mama a whore?”
Dalton: “Is she?”
Dalton: “I want you to be nice — until it’s time to not be nice.”
Younger: “Well uh, how are we supposed to know when that is?”
Dalton: “You won’t. I’ll let you know. You are the bouncers, I am the cooler. All you have to do is watch my back — and each other’s — and take out the trash.”

The Terminator

The Terminator visits the police station:
(Arnold Schwarzenegger, Bruce M. Kerner)
Terminator: “I am a friend of Sarah Conner. I was told that she’s here, could I see her please?”
Police sergeant: “No. Can’t see her. She’s making a statement.”
Terminator: “Where is she.”
Police sergeant: “Look, it may take a while. If you wanna wait, there’s a bench over there.”
Terminator: (Looks around) “I’ll be back.”

Sarah Conner crushes the Terminator:
(Linda Hamilton)
Sarah: “You’re terminated, f-----.”

The Family Man

Arnie warns Jack Campbell about cheating on his wife
(Nicolas Cage, Jeremy Piven)
Arnie: “The Fidelity Bank & Trust is a tough creditor. You make a deposit somewhere else, they close your account, forever, all right?”

Apocalypse Now

Captain Willard gets his assignment:
(Harrison Ford, G.D. Spradlin, Martin Sheen, Jerry Ziesmer)
Col. Lucas: “Your mission is to proceed up the Nung River in a Navy patrol boat. (Clears throat.) Pick up Colonel Kurtz’s path at Nu Mung Ba. Follow it, learn what you can along the way. When you find the colonel, infiltrate his team by (clears throat) whatever means available, and, terminate the colonel’s command.”
Willard: “Terminate ... the colonel.”
Gen. Corman: “He’s out there operating without any decent restraint ... totally beyond the pale of any acceptable human conduct. And he’s still in the field commanding troops.”
Jerry: “Terminate — with extreme prejudice.”
Col. Lucas: “You understand, Captain, this mission does not exist. Nor will it ever exist.”

Photojournalist tells Captain Willard about Kurtz:
(Dennis Hopper, Martin Sheen, Marlon Brando)
Photojournalist: “I’m not gonna help you, you’re gonna help him, man. You’re gonna help him. I mean, what are they gonna say, man, when he’s gone, huh? Cause he dies, when it dies, man, when it dies, he dies, what are they gonna say about him, what? Are they gonna say, he was a kind man, he was a wise man, he had plans, he had wisdom? Bulls---, man! Am I gonna be the one that’s gonna set him straight? Look at me, wrong!”

Photojournalist tells Captain Willard more about Kurtz:
(Dennis Hopper, Martin Sheen)
Photojournalist: “Oh, he’s out there ... he’s really out there. Do you hear what the man said? Do you? This is dialectics. It’s very simple dialectics. One through nine, no maybes no supposes no fractions. You can’t travel in space, you can’t go out into space, you know, without like you know, uh, what, fractions, what are you gonna land on, one-quarter, three-eights, what are you gonna do when you go from here to Venus or something, that’s dialectic physics, OK. Dialectic logic, is, there’s only love and hate, you either love somebody or you hate ’em.”

Hearts of Darkness: A Filmmaker’s Apocalypse

Francis Ford Coppola hears from his attorney in a phone call that Marlon Brando is threatening not to show up on the “Apocalypse Now” set:
(Francis Ford Coppola, Eleanor Coppola, Marlon Brando)
Eleanor Coppola: “This afternoon Francis got a call from his attorney. Apparently Brando is refusing to give Francis the extra time he needs to rewrite the ending of the movie. Brando is threatening to drop out of the project and keep his million-dollar advance.”
Francis Ford Coppola on phone: “Yeah, but are they seriously saying that Marlon would take a million dollars and then not show up? And imagine here I am with about fifty things that are just quasi in my control like the Philippine government, the f------ helicopters which they take away whenever they feel like — and they’ve done it three times already. I mean, all I’m asking is for Marlon to allow me to start him a little later, uh, and I know it’s all my fault, but I’m saying is, that do I also have to shoot the last thirty minutes of the movie in the beginning? I would assume that there would be some malleability about Marlon when he actually tr— and I also didn’t realize the immensity of the constructions and stuff. The picture is bigger than I thought, it’s just gigantic. I, I personally as an artist would love the opportunity to just finish the picture up until the end, take four weeks off, work with Marlon, rewrite it, and then just in three weeks do the ending. I think I could make the best film that way. It seems like such a, kinda bright thing to do, and, and, and, and I feel that the people back there are, feel that postponement is like, ‘uh oh, the picture’s in trouble’ or something; it’s just a very intelligent — major studios used to do things like this all the time. No, I know that, and that’s what sort of bugs me is the ludicrousness of thinking that I’m gonna go through all that I’m doing, after all I’ve been through in the past, after all the pictures I’ve made, and after shooting 16 weeks that I’m not gonna finish a movie in which I’ve invested three years of my life just because ... I mean it’s stupid, man. Yeah but even if Brando drops dead, I can still finish the movie, I’ll just get another actor. If I can’t get Redford I’ll go back to Nicholson if I can’t get Nicholson I’ll go back to Pacino if I can’t go to Pacino I’ll go back to someone else. I mean sooner or later, I can get someone for three weeks. I mean it’s just, it’s not in the cards that we’re not gonna finish the movie.

Francis Ford Coppola instructs Dennis Hopper on the meaning of his part in “Apocalypse Now.”
(Dennis Hopper, Francis Ford Coppola, Martin Sheen)
Dennis Hopper: “I know nothing.”
Francis Ford Coppola: “I’ll tell ya ... but you don’t let me tell ya.”
Dennis Hopper: “Oh I see.”
Francis Ford Coppola: “Kurtz found out that he was an assassin, he was sent to kill him.”
Dennis Hopper: “I knew of that. I had that information.”
Francis Ford Coppola: “Yeah.”
Dennis Hopper: “OK, that’s what I’m saying.”
Francis Ford Coppola: “Just do what I ask, when I say just explain the poem, and the reason you’re explaining the poem.”
Dennis Hopper: “But see I need to know reason—”
Francis Ford Coppola: “I’m telling you the reason, I can’t ever talk more than a f-----’ sentence. ... The reason that you’re explaining the poem to him is because you want to indicate to this guy that he does not understand Kurtz, that Kurtz is a strange man. What you’re trying to express is that he’s kind of in the twilight zone, that his twilight zone is our twilight zone, is America’s twilight zone. So that he will not judge him, so that he will accept him as a, as a great man, and help him.”
Dennis Hopper: “OK man.”

Francis Ford Coppola works on dialogue with Marlon Brando:
(Francis Ford Coppola, Marlon Brando)
Francis Ford Coppola: “What is the bloodlust?”
Marlon Brando: “The bloodlust ... bloodlust ... they say ... all the men that I’ve read about ... they say that, the human animal is the only one that has bloodlust. Killing that’s purposed, killing for pleasure, you can see light through this. You take the ones ... that are made for garbage detail. You take the others who are made to think but who can’t act. You take ... (grimaces) ... I swallowed a bug.”

The Cincinnati Kid

Lancey Howard addresses the Cincinnati Kid:
(Steve McQueen, Edward G. Robinson, Ann-Margret, Karl Malden)
Lancey: “Gets down to what it’s all about, doesn’t it. Makin’ the wrong move at the right time.”
Kid: “Is that what it’s all about?”
Lancey: “Like life, I guess. ... You’re good, Kid. But as long as I’m around, you’re second-best. You might as well learn to live with it.”

Back to the Future

Doc tells Marty and Jennifer of trouble in the future with their kids:
(Christopher Lloyd, Michael J. Fox, Claudia Wells)
Marty: “Hey Doc, we better back up. We don’t have enough road to get to 88.”
Doc: “Roads? Where we’re going, we don’t need roads.”

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