text:
Out of the Past

Out of the Past is a 1947 film noir about a small-town gas-station owner whose mysterious past catches up with him one day when he's ordered to meet with a gambler.
 * Directed by Jacques Tourneur. Written by Daniel Mainwaring, based on his novel Build My Gallows High.

A MAN - Trying to run away from his past... A WOMAN - Trying to escape her future! taglines

Jeff Bailey/Jeff Markham

 * They say the day you die your name is written on a cloud.
 * I sell gasoline, I make a small profit. With that I buy groceries. The grocer makes a profit. We call it earning a living. You may have heard of it somewhere.
 * You don't get vaccinated for Florida, but you do for Mexico.
 * You say to yourself, "How hot can it get?" Then, in Acapulco, you find out. I knew she had to wind up here because if you want to go south, here's where you get the boat. All I had to do was wait. Near the plaza was a little cafe, called La Mar Azul next to a movie house. I sat there in the afternoons and drank beer. I used to sit there half-asleep with the beer and the darkness. Only that music from the movie next door kept jarring me awake.
 * And then I saw her, coming out of the sun, and I knew why Whit didn't care about that forty grand.
 * I knew I'd go every night until she showed up. I knew she knew it. I sat there and drank bourbon and I shut my eyes, but I didn't think of a joint on 56th Street. I knew where I was and what I was doing...what a sucker I was. I even knew she wouldn't come the first night. But I sat there, grinding it out.
 * She waited until it was late. And then she walked in out of the moonlight, smiling.
 * I never saw her in the daytime. We seemed to live by night. What was left of the day went away like a pack of cigarettes you smoked. I didn't know where she lived. I never followed her. All I ever had to go on was a place and time to see her again. I don't know what we were waiting for. Maybe we thought the world would end. Maybe we thought it was a dream and we'd wake up with a hangover in Niagara Falls. I wired Whit but I didn't tell him. 'I'm in Acapulco,' I said. 'I wish you were here.' And every night I went to meet her. How did I know she'd ever show up? I didn't. What stopped her from taking a boat to Chile or Guatemala? Nothing. How big a chump can you get to be? I was finding out. And then she'd come along like school was out, and everything else was just a stone which sailed at the sea.
 * It was a nice little joint with bamboo furniture and Mexican gimcracks. One little lamp burned. It was all right. And the rain hammering like that on the window made it good to be in there.
 * She's a clever little girl and she's always a hop, skip, and a jump ahead.
 * I don't like playing games when I'm the fall guy. You might remember that, Whit.
 * It was the bottom of the barrel and I scraped it. But I didn't care. I had her.
 * We found a little movie house in North Beach. We were on the run. We went to places we never would have seen in our lives. And after a while, we grew a little more sure of ourselves. We drifted back to more familiar places. Ball parks and the race tracks. Why not? After all, there was one chance in a million we'd bump into our past.
 * It was meeting her somewhere like in the first times. There was still that something about her that got me - a kind of magic or whatever it was. I held her and we could laugh because we were together again. We'd played it smart and forgotten nothing. Forgotten nothing except one thing. He had followed her.
 * I wasn't sorry for him or sore at her. I wasn't anything.
 * [to Whit] You liked me because you could use me. You could use me because I was smart. I'm not smart anymore. I run a gas station.
 * [to Meta] If you'll drop this Junior League patter, we may get this conversation down to where it belongs.
 * I think I'm in a frame...I don't know. All I can see is the frame. I'm going in there now to look at the picture.
 * You see, I've got the files that were in your briefcase. I also know the address of the Treasury Department. That's the theory, isn't it? Keep the files away from the Treasury boys. Save Whit from doing ten years in a federal pen. Now you correct me if I make a mistake...You get the files and you also get Eels' body, in case you want to keep it from the cops...I want the affidavit that Meta put in Eels' safe when she took the files out. The lie that somebody put on paper that I killed a guy named Jack Fisher. Cause you see, I only buried him. And you don't get the gas for being the undertaker...And you won't need Whit. All you need is Meta to unlock that safe in Eels' office. I hope Meta's still around.
 * [to Kathie] Did it take much persuasion to make you say I killed Fisher? Come on, feed my ego. Tell me he beat ya, tell me he had to drag every word out of ya.
 * And cheer up Kathie. You'll get out of it all right. You always have.

Whit Sterling

 * When you see her, you'll understand better.
 * My feelings? About ten years ago, I hid them somewhere and haven't been able to find them.
 * [to Jeff] You'll never be happy until you square yourself.
 * [to Kathie] You dirty little phony. Go on lie some more. Tell me how you handled things for me in San Francisco. Tell me it was all Joe's idea. Go on, Kathie, show me how you're gonna squirm your way out this time. What a sucker you must think I am. I took you back when you came whimpering and crawling. I should have kicked your teeth in. No, I'm not going to. Not now Kathie. We're gonna let the law push you around...You're going to take the rap and play along. You're gonna make every exact move I tell ya. If you don't, I'll kill ya. And I'll promise you one thing. It won't be quick. I'll break you first. You won't be able to answer a telephone or open a door without thinking: 'This is it.' And when it comes, it still won't be quick. And it won't be pretty. You can take your choice.
 * [to Jeff] Look I crossed you once. I know better than to try a second time.

Kathie Moffat

 * You can't make deals with a dead man, Jeff.
 * I never told you I was anything but what I am. You just wanted to imagine I was. That's why I left you. Now we're back to stay.
 * [to Jeff] You dirty, double-crossing rat.

Jack Fisher

 * A dame with a rod is like a guy with a knitting needle.
 * [to Jeff] She must be quite a dame. A wild goose with 40 G's...You know, for a smart guy, that Sterling sure trusts you, don't he?
 * Don't try to pay me off with pitch handed to you with this cheap piece of baggage.

Others

 * Marny: Two things I can smell inside a hundred feet. Burning hamburger and a romance.
 * Meta Carson: For a man who appears to be clever, you can certainly act like an idiot.

Dialogue

 * Joe Stephanos: I often wondered what happened to him. Then one day I'm breezing through here, and there's his name up on a sign.
 * Marny, diner owner: It's a small world.
 * Joe Stephanos: Yeah. Or a big sign.

 * Whit: You just sit and stay inside yourself. You wait for me to talk. I like that.
 * Jeff: I never found out much listening to myself.

 * Whit: I just want her back. When you see her, you'll understand better.
 * Jeff: Maybe she's just an impulsive girl?
 * Whit: So we'll let it go at that.
 * Jeff: I can let it all go.
 * Whit: Even $5,000 now, and 5 when you bring her back...and expenses.
 * Jeff: Now that should have been the first thing you said.
 * Whit: Find her Jeff. Bring her back.
 * Jeff: Why me?
 * Whit: Well, I know a lot of smart guys and a few honest ones. And you're both.
 * Jeff: And what happens to her?
 * Whit: I won't touch her.

 * Jeff: Very difficult girl.
 * Jose Rodriguez: Is there one who is not so, Señor?

 * Jeff: My name is Jeff Markam, and I haven't talked to anybody who hasn't tried to sell me something for ten days. If I don't talk I think. It's too late in life for me to start thinking. I could go down to the cliff and look at the sea like a good tourist, but it's no good if there isn't somebody you can turn to and say, 'Nice view, huh.' The same with the churches, the relics, the moonlight or a Cuba Libre. Nothing in the world is any good unless you can share it.
 * Kathie: Maybe you want to go home.
 * Jeff: Maybe that's why I'm here.
 * Kathie: Is it?

 * Kathie: You know, you're a curious man.
 * Jeff: You're gonna make every guy you meet a little bit curious.
 * Kathie: That's not what I mean. You don't ask questions. You don't even ask me what my name is.
 * Jeff: All right, what's your name?
 * Kathie: Kathie.
 * Jeff: I like it.
 * Kathie: Or where I come from?
 * Jeff: I'm thinkin' about where we're going.
 * Kathie: Don't you like it in here?
 * Jeff: I'm just not ready to settle down.
 * Kathie: Shall I take you somewhere else?
 * Jeff: You're going to find it very easy to take me anywhere.

 * Jeff: [at the roulette wheel] That isn't the way to play it.
 * Kathie: Why not?
 * Jeff: 'Cause it isn't the way to win.
 * Kathie: Is there a way to win?
 * Jeff: Well, there's a way to lose more slowly.
 * Kathie: I prefer it like that.
 * Jeff: Chuck it in.
 * Kathie: Don't you like to gamble?
 * Jeff: Not against a wheel.
 * Kathie: Tell me why you're so hard to please.
 * Jeff: Take me where I can tell you.

 * Kathie: When are you taking me back?
 * Jeff: Is that why you kissed me?
 * Kathie: No.
 * Jeff: Whit didn't die.
 * Kathie: He didn't?
 * Jeff: No.
 * Kathie: Then, why...
 * Jeff: He just wants you back.
 * Kathie: I hate him. I'm sorry he didn't die.
 * Jeff: Give him time.
 * Kathie: You are taking me back.
 * Jeff: There's no hurry.
 * Kathie: I could have run away last night.
 * Jeff: I'd find you.
 * Kathie: Yes, I believe you would. You're glad you did?
 * Jeff: I don't know.
 * Kathie: I am.
 * Jeff: There was a little business, about forty thousand dollars.
 * Kathie: I didn't take it.
 * Jeff: How did you know it was taken?
 * Kathie: It's what you meant. I don't want any thing of his or any part of him.
 * Jeff: Except his life.

 * Kathie: I didn't know what I was doing. I, I didn't know anything except how much I hated him. But I didn't take anything. I didn't, Jeff. Don't you believe me?
 * Jeff: Baby, I don't care. [They kiss]

 * Jeff: I didn't know you were so small.
 * Kathie: I'm taller than Napoleon.
 * Jeff: You're prettier too. [They kiss]
 * Kathie: Did you miss me?
 * Jeff: No more than I would miss my eyes.

 * Kathie: You don't know Whit. He won't forget.
 * Jeff: Everybody forgets.
 * Kathie: Not Whit.
 * Jeff: So we'll send him a postcard every Christmas.
 * Kathie: Jeff, I'm glad you're not afraid of him.
 * Jeff: I've been afraid of half the things I ever did.
 * Kathie: And this time?
 * Jeff: I'm only afraid you might not go.
 * Kathie: Don't be. I'll be there tomorrow. Love me?
 * Jeff: Mmm, hmm.
 * Kathie: Poco?
 * Jeff: What's that?
 * Kathie: Little.
 * Jeff: Mucho.

 * Jeff: Whit my friend, there's a million dames in this world. They all look like her.
 * Whit: No they don't. So she was here.
 * Jeff: According to all available evidence, she was.
 * Whit: Maybe you should have sent Stephanos. Could you find one dame in a million, Joe?
 * Joe: And one with forty grand.

 * Jeff: [after spilling a drink after seeing Kathie across the room] Sorry.
 * Whit: Picked up some nerves.
 * Jeff: I don't need a crack like that any more than I need your dough, which is what I've been telling you. I missed her. The dame caught a boat south.
 * Whit: Where?
 * Jeff: Look, I got along before this job. I ate good and I grew as big as you did and if there's something you don't like you can say so.
 * Whit: I just asked where.
 * Jeff: Chile, Guatemala...

 * Whit: I'm sorry. You missed her and you feel bad. I shouldn't have joked about it.
 * Jeff: I'll give you back your $5,000 and turn the job over to Stephanos.
 * Whit: You're on. I fire people, but nobody quits me. You started this and you'll end it. Besides, Joe couldn't find a prayer in the Bible. You'll find her. Take it easy. Take your time.

 * Jeff: You didn't have to kill him.
 * Kathie: Yes I did. You wouldn't have killed him. You would have beaten him up and thrown him out.
 * Jeff: You didn't have to do it.
 * Kathie: You wouldn't have killed him. He would have been against us. Gone to Whit.

 * Ann: It's all past.
 * Jeff: Maybe it isn't.
 * Ann: What'll happen?
 * Jeff: I don't know. It's been a long time. I don't know how much he knows.
 * Ann: Don't go, Jeff.
 * Jeff: I've got to. I'm tired of running. I'd better clean this up someway. Just one thing, Ann. Do you want me to come back?
 * Ann: Of course.

 * Whit: You know San Francisco, don't you?
 * Jeff: Yeah, I was there once at a party.
 * Whit: Then you get around.
 * Jeff: Like the monkey and the weasel.

 * Kathie: I had to come back. What else could I do?
 * Jeff: You can never help anything can you? You're like a leaf that the wind blows from one gutter to another. You can't help any thing you do, even murder.
 * Kathie: You can't say it was that.
 * Jeff: I can say one thing. I buried him. What did you tell him? About us? But you couldn't help it, could you Kathie?
 * Kathie: He knew it. He looked right into me. He knew it.
 * Jeff: How much?
 * Kathie: What, Jeff?
 * Jeff: I mean about Fisher. Did he look into you for that too?
 * Kathie: No, I didn't tell that.
 * Jeff: Don't lie to me.
 * Kathie: I didn't. I wouldn't tell him that. I wouldn't tell anyone that. I swear it Jeff. Believe me.
 * Jeff: Sure, sure I believe you.
 * Kathie: I didn't know what to do. I was always afraid of him, and afraid of what I'd done. I couldn't live that way anymore. I couldn't stand it. Jeff, I've missed you. I've wondered about you, prayed you'd understand. Can you understand?
 * Jeff: You prayed, Kathie?
 * Kathie: Can't you even feel sorry for me?
 * Jeff: I'm not going to try.
 * Kathie: Jeff.
 * Jeff: Look, just get out, will you? I have to sleep in this room. Just leave it where it all is. Get out.

 * Jeff: Just remember, I'm coming out of this in one piece, Miss Carson.
 * Meta: Do you always go around leaving your fingerprints on a girl's shoulders? Not that I mind particularly. You've got nice strong hands.

 * Jeff: Meta always talked about you like you were the ninth wonder of the world.
 * Eels: She skipped one.
 * Jeff: For me, it must be the eighth.
 * Eels: All women are wonders because they reduce all men to the obvious.
 * Meta: So do martinis.

 * Eels: Your uh... cousin is a very charming young lady.
 * Jeff: No he isn't. His name is Norman, and he's a bookmaker in Cleveland Ohio.

 * Meta: You are an idiot.
 * Jeff: So's he.
 * Meta: You think so?
 * Jeff : Why not? He's in love with you.

 * Jeff: Doesn't your conscience bother you, crossing a nice guy like that?
 * Meta: Maybe he isn't such a nice guy. Maybe he crosses people too.

 * Petey, Taxi Driver: [after seeing Meta] Nice
 * Jeff: Awfully cold around the heart.

 * Jeff: Is there a slip up baby? Did you by any chance send your friend up there to find Eels dead?
 * Kathie: No Jeff.
 * Jeff: Tell me. Tell me.
 * Kathie: Don't Jeff.
 * Jeff: Don't what?
 * Kathie: I don't want to die.
 * Jeff: Neither do I baby, but if I have to, I'm going to die last. Something slipped up, didn't it? They told you they were gonna knock him off, and they haven't done it, have they? They haven't because I tipped him off. He blew.
 * Kathie: He's all right?
 * Jeff: Didn't you want him to be?
 * Kathie: Yes, yes, because if he died, they'll say you did it.
 * Jeff: You're wonderful Kathie. You're magnificent. You can change sides so smoothly.
 * Kathie: Don't Jeff. You're hurting me.

 * Jeff: Whit wants to get Eels out of the picture. He wants to square an old account with me. Two birds together...A redhead takes me up to visit the chump who has to go. I have a drink. Leave my prints around. I leave and somebody gets him. Eels dies and the tax papers...They were in the briefcase that Meta took, weren't they? Papers go back to Whit. I'm the fall guy. There's only one thing missing - a plant. What was there to give me a motive? I wouldn't kill a guy for a martini. Tell me Kathie.
 * Kathie: They made me sign it.
 * Jeff: Sign what?
 * Kathie: An affidavit.
 * Jeff: Go on.
 * Kathie: I couldn't help it Jeff. They made me sign it. I swear I couldn't help it. They said they'd find the body and tell the police I killed him.
 * Jeff: Fisher. Then you did tell them about Fisher when you told them I did it! Perfect. Foolproof and beautiful. That Whit can really hate, can't he? You said it once, he can remember.
 * Kathie: I never stopped hating him Jeff. I couldn't help myself. I was caught too. We don't have to be against each other now.
 * Jeff: Aren't we?
 * Kathie: No, we can break out of it. All we need is the briefcase. Then we've got them, Jeff. We can get anything we want from them.
 * Jeff: I'd like that affidavit you signed.
 * Kathie: We can get it. It's in Eels' office safe. We can make Meta get it. We can make them do anything.
 * Jeff: Sure.
 * Kathie: Oh, Jeff. You ought to have killed me for what I did a moment ago.
 * Jeff: There's time.
 * Kathie: No, you won't. I've never stopped loving you. I was afraid and no good, but I never stopped, even if you hated me. Did you?
 * Jeff: Yes.
 * Kathie: But you don't now.
 * Jeff: No.
 * Kathie: We could be together again, in a way we never were. We can go back to Acapulco and start all over as though nothing had happened. [They kiss]

 * Kathie: Things are mixed up.
 * Whit: Bailey mix 'em?
 * Kathie: I can't talk on the phone. We're trying to get a plane.
 * Whit: But you're bringing me something.
 * Kathie: No Whit. I can't explain now darling.

 * Rafferty: What do you want?
 * Jeff: I want the affidavit that Meta put in Eels' safe when she took the files out. A lie that somebody put on paper that I killed a guy named Jack Fisher. Because, you see, I only buried him. And you don't get the gas for being the undertaker.

 * Jeff: What are you scared about? Joe isn't coming back. He got careless and fell in the river. Did you hear what I said? Joe's dead, Kathie. Can't you find some tears for him?
 * Kathie: Do you think I sent Joe?
 * Jeff: Oh, you're wonderful Kathie.

 * Jeff: You take the frame off me. You pin the Eels murder on Joe.
 * Whit: Sure, sure.
 * Jeff: I get a modest settlement, say, oh, say $50,000. That should be enough for me to spend my waning years in Mazatlan. Not Acapulco, because I'd keep thinking about you Kathie, up there in the women's prison in Tehatchapie. It won't be too bad. Hills all around you. Plenty of sun. You make me nervous. You'd be happier if you let the cops have her Whit. That's what you'll have to do. Somebody's got to take the rap for Fisher's murder. It's not going to be me.
 * Whit: Wait a minute. I'm not framing any woman.
 * Jeff: When did you reform? I wouldn't try it, Whit, you're out of shape. Besides, it's not a frame. She shot him.
 * Kathie: He was going to kill you.
 * Jeff: You see Whit, self-defense. A cinch to beat. She might not even have to do time.
 * Kathie: I'll say you killed him. They'll believe me.
 * Jeff: Do you believe her? Go on Kathie, tell him about Joe. Last time I saw him, he was in the East Walker River.
 * Kathie: I didn't send him after Jeff. It was his own idea.
 * Whit: [to Jeff] Did you kill him?
 * Jeff: He slipped and fell. When I got there, it was too late. That's a mean river.
 * Whit: He was trailin' you?
 * Jeff: Well, you don't go fishing with a .45 in your hand.

 * Ann: Was it the same?
 * Jeff: I saw her and it was nothing.
 * Ann: She can't be all bad - no one is.
 * Jeff: No. She comes the closest.
 * Ann: Are you going to see her again?
 * Jeff: Tonight for the last time.
 * Ann: Then look at her, look at yourself, and be very sure that there isn't even a little bit of love left for her. Then when you find out and you know it once and forever, send for me.
 * Jeff: I don't have to find out. I know it now. [They kiss]
 * Ann: That's all I wanted to hear.
 * Jeff: You know, maybe I was wrong and luck is like love. You have to go all the way to find it.
 * Ann: You do to keep it.

 * Kathie: Don't you see you've only me to make deals with now?
 * Jeff: Build my gallows high, baby.
 * Kathie: No, no, we're starting all over. I want to go back to Mexico. I want to walk out of the sun again and find you waiting. I want to sit in the same moonlight and tell you all the things I never talked to you - till you don't hate me, till sometime you'll love again.
 * Jeff: They'll always be looking for us. They won't stop till we die.
 * Kathie: I don't care. Just so they find us together. If you're thinking of anyone else, don't. It wouldn't work. You're no good for anyone but me. You're no good and neither am I. That's why we deserve each other. [They kiss]

 * Kathie: Jeff, we've been wrong a lot, and unlucky a long time. I think we deserve a break.
 * Jeff: We deserve each other.

Taglines

 * A MAN - Trying to run away from his past... A WOMAN - Trying to escape her future!
 * A guy without a fortune! A girl with too much past!

Cast

 * Robert Mitchum - Jeff Bailey, aka Jeff Markham
 * Jane Greer - Kathie Moffat
 * Kirk Douglas - Whit Sterling
 * Rhonda Fleming - Meta Carson
 * Richard Webb - Jim 'Jimmy'
 * Steve Brodie - Jack Fisher
 * Virginia Huston - Ann Miller
 * Paul Valentine - Joe Stephanos
 * Dickie Moore - The Kid
 * Ken Niles - Leonard Eels

title: Out of the Past


text:
The Postman Always Rings Twice (1946 film)

The Postman Always Rings Twice is a 1946 American film noir about a married woman and a drifter who fall in love, then plot to murder her husband... but even once the deed is done, they must live with the consequences of their actions.
 * Directed by Tay Garnett. Written by Harry Ruskin and Niven Busch, based on the 1934 novel by James M. Cain.

Their Love was a Flame that Destroyed! (taglines)

Frank Chambers

 * [to Madge Gorland] With my brains and your looks, we could go places.

Dialogue

 * Frank: Well, I've never liked any job I've ever had. Maybe the next one is the one I've always been lookin' for.
 * Driver: Not worried about your future?
 * Frank: Oh, I've got plenty of time for that. Besides, maybe my future starts right now.

 * Cora: My husband tells me your name is Frank.
 * Frank: That's right.
 * Cora: Well Frank, around here, you'll kindly do your reading on your own time.
 * Frank: Your husband, Nick told me I was through for the day and I thought he was boss around here.
 * Cora: The best way to get my husband to fire you would be not doing what I tell you to do.
 * Frank: Well, you haven't asked me to do anything - yet.
 * Cora: I want all these chairs painted.
 * Frank: All right. I'll look in the paper. Maybe I can find a sale on some cheap paint.
 * Cora: You won't find anything cheap around here! Look in the cupboard under the counter.
 * Frank: [He looks and finds a can of paint] As my friend Nick would say, 'That's wonderful.' Next time anybody makes a trip into town, they can pick up a paintbrush.
 * Cora: Look on the bottom shelf.
 * Frank: Well, what do you know about that. Why didn't you start this campaign of rehabilitation before I came? Or were you waiting for me?
 * Cora: Nick was saving that paint.
 * Frank: Nick saves a lot of things.
 * Cora: It's none of your business what he saves.
 * Frank: I didn't say it was. Only when I have something, I don't save it. What do you want to paint these chairs for. They look all right to me.
 * Cora: Because I want to make something of this place. I want to make it into an honest-to-goodness...
 * Frank: Well, aren't we ambitious? We want to make a lot of money so we can buy lots of pretty clothes. Or maybe we want to put a little aside for our husband and us in our old age?
 * [He grabs her and kisses her. She pulls away and reapplies her lipstick before leaving - without a word.]
 * Frank: [voiceover] For a couple of weeks then, she wouldn't look at me, or say a word to me if she could help it. I began to feel like a cheap nobody making a play for a girl that had no use for me. While I disturbed her, and I knew she hated me for that worst of all.

 * Cora: Frank, about that question?
 * Frank: What question?
 * Cora: Why I married Nick?
 * Frank: My answer is that Nick came along at the right time and with a wedding ring.
 * Cora: The wedding ring. It was the first thing he mentioned.
 * Frank: And you liked it. A certain reason.
 * Cora: You don't know the half of it. Frank, I-I hate to say this but, I wasn't ever, ever homely. So..
 * Frank: You must have had to fight off a lot of guys.
 * Cora: A lot of guys? All the guys. I don't especially like the way I look sometimes. But I never met a man since I was fourteen that didn't want to give me an argument about it.
 * Frank: Sure. And by the time Nick came along, well you were ready to marry anybody that owned a gold watch.
 * Cora: It seemed the best thing to do, from my angle. And as for him, I told him, I told him I didn't love him.
 * Frank: He said that would come in time.
 * Cora: Yeah.
 * Frank: But it didn't.
 * Cora: But I meant to stick by him, and that's why...
 * Frank: That's why you married him and retired. The undefeated champ.
 * Cora: Not one hundred percent undefeated. Not now.

 * Cora: Too bad Nick took the car.
 * Frank: Even if the car were here, we couldn't take it, not unless we want to spend the first night in jail. Stealing a man's wife, that's nothing. But stealing his car, that's larceny.

 * Cora: Frank, look. If I divorce Nick, he'll never give me a nickel. He'll keep the Twin Oaks and everything.
 * Frank: So? What do we care?
 * Cora: Yeah, but where are we headed?
 * Frank: What's the difference? Anywhere.
 * Cora: Oh anywhere, anywhere. Do you know where that is?
 * Frank: Anywhere we choose.
 * Cora: No, it isn't. It's back to hash-house for me, and for you, some parking lot where you wear a smock with 'Super Service' on it. I would just die if I saw you in a smock like that.
 * Frank: Well, I wore one at the Twin Oaks.
 * Cora: But that was mine. Oh, don't you see, Frank? You're smart. Others could be wearing the smocks and you could be manager.
 * Frank: Yeah. I can hardly wait.
 * Cora: Oh stop acting. You're ashamed of being smart. Well, I'm ashamed of standing out here begging for a ride that'll take me right back where I started.
 * Frank: You mean you want to go back, huh?
 * Cora: I want to be somebody. And if I walk out like this, I'll lose everything and I'll never be anybody. Oh, I love you Frank, and I want you, but not this way. Not starting out like a couple of tramps. I'm going back.

 * Cora: What are we going to do?
 * Frank: That's great comin' from you after you've been high-hatting me the way you have.
 * Cora: What else could I do? Oh Frank. Frank, if I'd only met you first.
 * Frank: Well...
 * Cora: Frank, do you love me?
 * Frank: Yes.
 * Cora: Do you love me so much that nothing else matters?
 * Frank: Yes.
 * Cora: There's, there's one thing we could do that would fix everything for us.
 * Frank: What? Pray for something to happen to Nick?
 * Cora: Something like that.
 * Frank: Cora!
 * Cora: Well, you suggested it yourself once, didn't you?
 * Frank: I was only joking.
 * Cora: Were you?
 * Frank: Yes, I was.
 * Cora: Why had you started to think about it a little?
 * Frank: Maybe I said it, but I didn't really mean it.
 * Cora: Well, I say it again now and I do mean it.
 * Frank: Cora!
 * Cora: Listen to me, Frank. I'm not what you think I am. I want to keep this place and work hard and be something, that's all. But you can't do it without love - at least a woman can't. I've made a big mistake in my life and I've got to be this way just once to fix it.
 * Frank: But they'd hang you for a thing like that.
 * Cora: Oh, but not if we do it right and you're smart Frank. You'll think of a way. Plenty of men have.
 * Frank: He never did anything to me.
 * Cora: But darling, can't you see how happy you and I would be together here, without him?
 * Frank: Do you love me, Cora?
 * Cora: That's why you've got to help me. It's because I do love you.
 * Frank: Yes you do. You couldn't get me to say yes to a thing like this if you didn't

 * Frank: We've been double-crossed, Cora. That lawyer Keats, he's nothing but a police stool pigeon.
 * Cora: I've been double-crossed, not you. Oh I see it all, now. I see why I had to drive the car, not you. And that other time, why it was me that had to do it and not you.
 * Frank: That's not so.
 * Cora: Oh yes it is. I used to think to myself the reason I fell for you was because you were smart. Now I find out that you are smart. Double-crossed, hah! I'll say I was. You and that Keats fixed it up so that I tried to kill you too. That was to get you clear. And then you two fixed it up to plead me guilty. Well, listen, Mr. Frank Chambers. When I get through, you'll find out there's such a thing as being too smart.

 * Frank: [after he and Cora are married] I can't remember that far back.
 * Cora: As far as I'm concerned, you imagined it even then.
 * Frank: Oh, dry up.
 * Cora: Notice his neck-tie, Mr. Keats. It's my wedding present to him. But the way he wears it, you'd think it was a noose around his neck.
 * Keats: [proposing a toast] Well, I can only think of fifteen or twenty reasons why you two should never be happy.

 * Frank: [about the affair he had with Madge] That other girl. She don't mean anything to me.
 * Cora: She told me you were going away with her.
 * Frank: Why didn't I? I planned to and I'll never come back. Why didn't I go away and never come back? Cause we're chained to each other, Cora.
 * Cora: Don't tell me you love me.
 * Frank: I do.
 * Cora: Oh, but love wouldn't mean a thing to me.
 * Frank: Do you hate me?
 * Cora: I don't know. But we've got to tell the truth for once in our lives.

 * Frank: [while driving] I've been waiting a long time for that kiss.
 * Cora: When we get home, Frank, then there'll be kisses, kisses with dreams in them. Kisses that come from life, not death.
 * Frank: I hope I don't wait.
 * Cora: Darling. [They kiss] Look out, Frank! [they crash]

 * Sackett: Suppose you got a stay of execution, a new trial, and acquittal of killing Cora. Then what? Last night, they auctioned off the fixtures of the Twin Oaks. The man who bought the cash register found a note in the back of the drawer. He brought it to me. It's addressed to you. Cora wrote it. It's a very beautiful note, Frank, written by a girl who loved a man very much. I imagine it was written earlier the very night she died. A note of farewell, isn't it?
 * Frank: She did try to run away that night.
 * Cora: And since she had no idea anyone would ever see that note but you, it therefore has in it just enough of a confession to convict you of helping her kill her husband. So, if you were to leave this room because you didn't kill her, you'd soon be right back here again for helping her kill Nick. What's the use?
 * Frank: Then, then what's gonna happen to me is not because I killed her?
 * Sackett: No, laddie. For killing Nick.
 * Frank: You know, there's somethin' about this that's like, well, it's like you're expectin' a letter that you're just crazy to get. And you hang around the front door for fear you might not hear him ring. You never realize that he always rings twice.
 * Sackett: What's that?
 * Frank: He rang twice for Cora. And now he's ringing twice for me, isn't he?
 * Sackett: That's about it.
 * Frank: The truth is, you always hear him ring the second time, even if you're way out in the back yard.

Cast

 * Lana Turner - Cora Smith
 * John Garfield - Frank Chambers
 * Cecil Kellaway - Nick Smith
 * Hume Cronyn - Arthur Keats
 * Leon Ames - Kyle Sackett
 * Audrey Totter - Madge Gorland
 * Alan Reed - Ezra Liam Kennedy
 * Jeff York - Blair

Taglines

 * Their Love was a Flame that Destroyed!
 * Lana Turner. John Garfield. M-G-Marvelous!

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
User talk:216.206.242.200

Welcome to Wikiquote. You don't need to put "Wikiquote:" before movie titles when creating a page for them. I will move the ones that have already been created to pages with simpler names. Providing some information that the pages are for movies and their year of release is also helpful. ~ Kalki 08:40, 5 Mar 2005 (UTC)

Thanks... I just noticed I was screwing it up.

 * No major problem. When I mentioned the dates I hadn't meant that they should be in the page title. I hadn't noticed that you were providing them at the heading of the page, which is proper. I had seen another file created earlier by someone else that had no indication at all. ~ Kalki 09:02, 5 Mar 2005 (UTC)

title: User talk:216.206.242.200


text:
Scarlet Street

Scarlet Street is a 1945 American film noir about a man in mid-life crisis who befriends a young woman who is then persuaded by her venal fiancé into conning him out of a fortune she mistakenly thinks he has.
 * Directed by Fritz Lang. Written by Dudley Nichols.

The GREAT STARS and DIRECTOR of "Woman in the Window"

Kitty March

 * If he were mean or vicious or if he'd bawl me out or something, I'd like him better.
 * Well, I was going to do this myself, but, uh... [hands him toenail polish] Paint me, Chris!... They'll be masterpieces.
 * How can a man be so dumb...I wanted to laugh in your face ever since the moment I met you. You're old, ugly and I'm sick of you. Sick, sick, sick!

Johnny Prince

 * Can't you get those Lazy Legs off that couch, baby?
 * [upon entering a strange house for the first time] Where's the bedroom?

Other

 * Reporter on Train: [referring to being executed] I'd rather have a judge give me the works than to have to do it to myself.

Dialogue

 * Johnny Prince: And then you gave me a dirty look.
 * Kitty March: I didn't give you a dirty look!
 * Johnny Prince: Listen, any girl that waits two hours in the rain for a guy is gonna give him a dirty look.

 * Kitty March: Who do you think you are? My guardian angel?
 * Millie Ray: Not me, honey. I lost those wings a long time ago.

 * Adele Cross: Next thing you'll be painting women without clothes.
 * Christopher Cross: I never saw a woman without any clothes.
 * Adele Cross: I should hope not!

 * Johnny Prince: Lazy Legs. [kisses her] I don't know what you told Janeway, but you got him eatin' right out of your hand.
 * Kitty March: It won't stop with lunch!

 * Christopher Cross: Hey, did you read this?
 * Adele Cross: Read what?
 * Christopher Cross: This murder in Queens. A man killed his wife with the window weight, put her body in the trunk, shipped her to California. It says here...
 * Adele Cross: I've read the paper, thank you. He didn't get away with it, did he? He'll go to the chair, as he should.
 * Christopher Cross: Yeah, a man hasn't got a chance with these New York detectives.

 * Kitty March: You know those art galleries on Fifth Avenue? The prices they charge! I saw one little picture that cost fifty-thousand dollars. They call it, uh, 'Seezan'.
 * Christopher Cross: Cezanne? Oh, he was a great French painter. I'd like to own that painting.
 * Kitty March: You would? For fifty-thousand dollars?
 * Christopher Cross: You can't put any price on masterpieces like that. They're worth, well, whatever you can afford to pay for them.
 * Kitty March: You know what, Chris? I bet I saw some of your pictures there and didn't know it. Next time I'll look for your name.
 * Christopher Cross: Oh no no no no no. I, uh... I don't sell my pictures.
 * Kitty March: Well not in New York you mean.
 * Christopher Cross: No, I-...
 * Kitty March: I know. I bet your sell your pictures in Europe, France or someplace like that. I don't know much about painting, but I bet your get as much for your pictures in France as those Frenchman get right here in New York. You're never appreciated in your own country.
 * Christopher Cross: Well that's one way of looking at it. But you know when I paint, I don't think of money. I just paint for fun.
 * Kitty March: Fun?
 * Christopher Cross: Yes. I think it's the most fun I know, painting. I wish I had all the time to paint.
 * Kitty March: But don't you have time?
 * Christopher Cross: [stammering] Well you know... business takes a lot of time.
 * Kitty March: I wonder when you get all that money.

 * Kitty March: How long does it take you to paint a picture?
 * Christopher Cross: Sometimes a day, sometimes a year. You can't tell. It has to grow.
 * Kitty March: I never knew paint could grow.
 * Christopher Cross: Feeling grows. You know, that's the important thing, feeling. You take me. No one ever taught me how to draw, so I just put a line around what I feel when I look at things.
 * Kitty March: Yeah I see.
 * Christopher Cross: It's like falling in love I guess. You know... first you see someone, then it keeps growing, until you can't think of anyone else.
 * Kitty March: That's interesting.
 * Christopher Cross: The way I think of things, that all art is. Every painting, if it's any good, is a love affair.
 * Kitty March: I never heard anyone talk like that before.
 * Christopher Cross: There aren't many people you can talk to this way. So you keep it to yourself. You walk around with everything bottled up.

 * Kitty March: Johnny. Oh, Johnny.
 * Johnny Prince: Crazy Legs.
 * Kitty March: Jeepers, I love you Johnny.

Cast

 * Edward G. Robinson — Christopher Cross
 * Joan Bennett — Katharine 'Kitty' March
 * Dan Duryea — Johnny Prince
 * Margaret Lindsay — Millie Ray
 * Jess Barker — David Janeway
 * Rosalind Ivan — Adele Cross
 * Arthur Loft — Dellarowe
 * Charles Kemper — Patch-eye Higgins
 * Russell Hicks — J.J. Hogarth
 * Samuel S. Hinds — Charles Pringle
 * Anita Sharp-Bolster — Mrs. Michaels
 * Vladimir Sokoloff — Pop LeJon
 * Cy Kendall — Nick

title: Scarlet Street


text:
Spellbound (1945 film)

Spellbound is a 1945 film about a female psychiatrist who protects the identity of an amnesia patient accused of murder while attempting to recover his memory.
 * Directed by Alfred Hitchcock. Written by Angus MacPhail and Ben Hecht, based on the novel The House of Dr. Edwardes (1927) by Hilary Saint George Saunders and John Palmer (writing as "Francis Beeding").

Will he Kiss me or Kill me?taglines

John Ballantyne

 * If there's anything I hate, it's a smug woman.
 * For what it's worth, I can't remember ever having kissed another woman before.
 * Doctor, as an analyst you annoy me.

Constance Petersen

 * I'm here as your doctor only. It has nothing to do with love. [John kisses her and they embrace each other tightly] Nothing at all. Nothing at all...

Dr. Alex Brulov

 * Good night and happy dreams... which we will analyze at breakfast.
 * Women make the best psychoanalysts until they fall in love. After that they make the best patients.
 * You grant me I know more than you, but on the other hand, you know more than me. Women's talk. Bah!
 * Any husband of Constance is a husband of mine, so to speak.
 * My dear girl, you can not keep bumping your head against reality and saying it is not there.
 * There's lots of happiness in working hard. Maybe the most.
 * What is there for you to see? We both know that the mind of a woman in love is operating on the lowest level of the intellect!

Dr. Murchison

 * [with his revolver pointed at Constance] You're an excellent analyst, Dr. Peterson, but a rather stupid woman.
 * The old must make way for the new, especially when the old is suspected of senility.

Dialogue

 * Constance Petersen: Are you making love to me?
 * Dr. Fleurot: I will in a moment. I'm just clearing the ground first. [tries to kiss her, but she recoils] It's rather like embracing a textbook.
 * Constance Petersen: But why do you do it, then?
 * Dr. Fleurot: Because you're not a textbook. You're a sweet, pulsing, adorable woman underneath. I sense it every time I come near you.
 * Constance Petersen: You sense only your own desires and pulsations. I assure you, mine in no way resemble them.

 * Constance Petersen: I think the greatest harm done the human race has been done by the poets
 * Anthony Edwardes: Oh, poets are dull boys, most of them, but not especially fiendish.
 * Constance Petersen: They keep filling people's heads with delusions about love... writing about it as if it were a symphony orchestra or a flight of angels.
 * Anthony Edwardes: Which is isn't, eh?
 * Constance Petersen: Of course not. People fall in love, as they put it, because they respond to a certain hair coloring or vocal tones or mannerisms that remind them of their parents.
 * Anthony Edwardes: Or... or... sometimes for no reason at all.
 * Constance Petersen: That's not the point. The point is that people read about love as one thing and experience it as another. Well, they expect kisses to be like lyrical poems and embraces to be like Shakespearean dramas.
 * Anthony Edwardes: And when they find out differently, then they get sick and have to be analyzed, eh?
 * Constance Petersen: Yes, very often.
 * Anthony Edwardes: Professor, you're suffering from "mogo on the gogo"
 * Constance Petersen: I beg your pardon!

 * John Ballantine: That Freud stuff's a bunch of hooey.
 * Dr. Alex Brulov: Oh, you are a fine one to talk! You have a guilt complex and amnesia and you don't know if you are coming or going from somewhere, but Freud is hooey! This you know! Hmph! Wiseguy.

 * Constance Petersen: All analysts have to be psychoanalyzed by other analysts before they start practicing.
 * John Ballantine: Ahhh, that's to make sure that they're not too crazy.

Taglines

 * Will he Kiss me or Kill me?
 * The Maddest Love that ever possessed a woman

Cast

 * Ingrid Bergman - Dr. Constance Petersen
 * Gregory Peck - Dr. Anthony Edwardes / John Ballantyne
 * Michael Chekhov - Dr. Alexander 'Alex' Brulov
 * Leo G. Carroll - Dr. Murchison
 * John Emery - Dr. Fleurot
 * Steven Geray - Dr. Graff
 * Paul Harvey - Dr. Hanish
 * Rhonda Fleming - Mary Carmichael
 * Norman Lloyd - Mr. Garmes
 * Bill Goodwin - House detective of Empire State Hotel
 * Wallace Ford - Stranger in Empire State Hotel Lobby
 * Art Baker - Det. Lt. Cooley
 * Regis Toomey - Det. Sgt. Gillespie

title: Spellbound (1945 film)


text:
C. Northcote Parkinson

Cyril Northcote Parkinson (30 July 1909 – 9 March 1993) was a British naval historian and author of some 60 books, the most famous of which was his best-seller , which led him to be also considered as an important scholar in public administration and management.

Quotes

 * It is not the business of the botanist to eradicate the weeds. Enough for him if he can tell us just how fast they grow.
 * The Economist (November 1955).

 * Delay is the deadliest form of denial.
 * The Law of Delay (1970).

Parkinson's Law: and Other Studies in Administration. (1957)
Cyril Northcote Parkinson and Robert Osborn. Parkinson's Law, and Other Studies in Administration: And Other Studies in Administration. Houghton Mifflin, 1957.

 * The time spent on any item of the agenda will be in inverse proportion to the sum involved.
 * p. 24. : Popularly known as Parkinson's Law of Triviality).

 * Work expands so as to fill the time available for its completion... Politicians and taxpayers have assumed (with occasional phases of doubt) that a rising total in the number of civil servants must reflect a growing volume of work to be done. Cynics, in questioning this belief, have imagined that the multiplication of officials must have left some of them idle or all of them able to work for shorter hours. But this is a matter in which faith and doubt seem equally misplaced. The fact is that the number of the officials and the quantity of the work are not related to each other at all. The rise in the total of those employed is governed by Parkinson's Law and would be much the same whether the volume of the work were to increase, diminish, or even disappear. The importance of Parkinson's Law lies in the fact that it is a law of growth based upon an analysis of the factors by which that growth is controlled.
 * Parkinson's Law . It is based on an article published in The Economist (November 1955).

 * A perfection of planned layout is achieved only by institutions on the point of collapse.
 * p. 60; cited in: Craig Calhoun (2012), Contemporary Sociological Theory, p. 254

In-laws and Outlaws, (1962)
C. Northcote Parkinson, In-laws and Outlaws, London 1962.

 * The man whose life is devoted to paperwork has lost the initiative, He is dealing with things that are brought to his notice, having ceased to notice anything for himself.
 * Cited in:Lionel G. Titman (1990), The Effective Office: A Handbook of Modern Office Management. p. 117

 * Expansion means complexity, and complexity decay.
 * Cited in: Ian Charles Jarvie (2014), Towards a Sociology of the Cinema (ILS 92). p. 34

title: C. Northcote Parkinson


text:
User:Lomax803

Dale Lavern Whitmire brushed the long, wirey hair of his mullet

back exposing a self inflicted scar on his tanned, leathery neck.

"I'm like a cockroach, he declared. I aint never gonna die!" The men

laughed and continued to eat their meal of cornbread and black-eyed

peas. They heard Dale's roach dissertation many times and were

always humorously entertained by the ironic wisdom of it.

The men, confined to The Dixie Institute For The Insane, lived in a

special area of the hospital; ward zero. Dr. Bubba LaRue, CEO of Dixie

and his brother, General Belvedere LaRue head of covert operations

at the CDC in Atlanta, created ward zero to implement a secret

government project that enhances intelligence.

title: User:Lomax803


text:
User talk:Lomax803

This story is based on true characters and actual quotes.

Please feel free to insert your own character(s).

title: User talk:Lomax803


text:
User talk:Waffle2626

Welcome to Wikiquote.

Your recent additions of Dillon Chung & Frenk Hanzson seem to be more appropriate for information on User pages, rather than article pages, which are reserved for people who are already famous. Though there are still a few "Vanity pages" that exist and haven't yet been deleted, there are policies in the Wikimedia projects against creating or retaining such pages. That a person has a self published book and a blog on the internet hardly qualifies him as someone who can be said to have "quickly became the pre-eminent scholar on philosophical issues gripping the world today." ~ Achilles 19:28, 5 Mar 2005 (UTC)

title: User talk:Waffle2626


text:
Alfie Kohn

Alfie Kohn (born October 15, 1957) is an American lecturer and author in the fields of education, psychology and parenting. He is an outspoken critic of American public education, particularly the trend toward pervasive standardized testing, and has written several books attacking "common sense" notions about competition, rewards, and parenting.

Quotes

 * Someone who thinks well of himself is said to have a healthy self-concept and is envied. Someone who thinks well of his country is called a patriot and is applauded. But someone who thinks well of his species is regarded as hopelessly naïve and is dismissed.
 * The Brighter Side of Human Nature: Altruism and Empathy in Everyday Life, 1990.

 * The value of a book about dealing with children is inversely proportional to the number of times it contains the word behavior.
 * Published in Education Leadership, September 2005

 * The real alternative to being Number One is not being Number Two; it is dispensing with rankings altogether
 * No Contest, chap. 9

 * It doesn't matter how motivated students are; what matters is how students are motivated
 * "The Dangerous Myth of Grade Inflation," Chronicle of Higher Education

 * Children learn how to make good decisions by making decisions, not by following directions
 * The Homework Myth, chap. 10

 * The value of a book about dealing with children is inversely proportional to the number of times it contains the word behavior. When our primary focus is on discrete behaviors, we end up ignoring the whole child.
 * "Unconditional Teaching," Educational Leadership

 * Nothing about the concept of positive interdependence requires that members of the group avoid conflict, and there are good data to suggest that they should not do so.
 * What to Look For in a Classroom, p. 50

Punished by Rewards

 * Very few things are as dangerous as a bunch of incentive-driven individuals trying to play it safe.

 * Punishment and reward proceed from basically the same psychological model, one that conceives of motivation as nothing more than the manipulation of behavior.

 * Some people undoubtedly find it convenient to have students arrive having already been stamped PRIME, CHOICE, SELECT, or STANDARD.

 * Most things that we and the people around us do constantly... have come to seem so natural and inevitable that merely to pose the question, 'Why are we doing this?' can strike us as perplexing – and also, perhaps, a little unsettling. On general principle, it is a good idea to challenge ourselves in this way about anything we have come to take for granted; the more habitual, the more valuable this line of inquiry.

 * Rewards and punishments are not opposites at all; they are two sides of the same coin. And it is a coin that does not buy very much.
 * Chapter 4

title: Alfie Kohn


text:
Category:Sculptors

bg:Категория:Художници и скулптори ca:Categoria:Escultors cs:Kategorie:Sochaři de:Kategorie:Bildhauer es:Categoría:Escultores eu:Kategoria:Eskultoreak fr:Catégorie:Sculpteur hy:Կատեգորիա:Քանդակագործներ it:Categoria:Scultori hu:Kategória:Szobrászok nl:Categorie:Beeldhouwer pl:Kategoria:Rzeźbiarze pt:Categoria:Escultores ro:Categorie:Sculptori ru:Категория:Скульпторы fi:Luokka:Kuvanveistäjät uk:Категорія:Скульптори

title: Category:Sculptors


text:
Once Upon a Mattress

Once Upon a Mattress is a 1959 Broadway musical.

 * I want some happily ever after to happen to me.
 * Happily Ever After, Winnifred

 * Winnifred: But Winnifred's too formal. You could call me by my nick name. Dauntless: Winnie? Winnifred: Fred!

 * You swam the moat?

 * Winnifred: (belting) I'm so shy!

title: Once Upon a Mattress


text:
Spork

A Spork is a utensil which is a cross between a fork and a spoon.

Sourced

 * I came here to offer a way to make peace with our Republican friends on this heated school lunch issue. Al Gore and I have discovered a reinventing government way, Mr. Armey, to get around this terrible rhetoric we've been flinging at you on school lunches.  We have a way to save money through streamlining that does not require us to deprive our children of food. Instead of cutting food, we're going to cut the cutlery.  And here's how—with a spork. Now, you know, I don't know how many of you know this, I've been eating off these things for years.  I never knew they were called sporks.  But that's what they are.  This is the symbol of my administration. This is a cross between a spoon and a fork.  No more false choice between the left utensil and the right utensil. This is not an ideological choice. This is a choice in the middle and a choice for the future.  This is a big, new idea—the spork.
 * President Bill Clinton at the March 1995 Radio-TV Correspondents dinner.

 * Sporks, for those of you who have been spared, are the dreaded half-spoon, half-fork utensils handed out by some fast-food places that have tines too short to spear anything but are strategically placed to make sure anything liquid winds up on your necktie, blouse, shirt or navel - depending on your choice of attire.
 * Jan Glidewell, St. Petersburg Times, July 28, 1996.

 * Get away from me fat man, or I'll spork your ass.
 * TV show The Critic

 * The iPad falls between two stools – not quite a laptop, not quite a smartphone. In other words, it's the spork of the electronic consumer goods world.
 * Charlie Brooker, The Guardian, February 01, 2010.

title: Spork


text:
Hubert Humphrey

Hubert Horatio Humphrey, Jr. (May 27, 1911 – January 13, 1978) was an American politician who served as the 38th vice president of the United States under President Lyndon B. Johnson, from 1965 to 1969. Humphrey twice served in the United States Senate, representing Minnesota from 1949 to 1964 and 1971 to 1978. He was the nominee of the Democratic Party in the 1968 presidential election, losing to the Republican nominee, Richard M. Nixon.

Quotes

 * Certainly one of the chief guarantees of freedom under any government, no matter how popular and respected, is the right of citizens to keep and bear arms. This is not to say that firearms should not be very carefully used, and that definite safety rules of precaution should not be taught and enforced. But the right of citizens to bear arms is just one more guarantee against arbitrary government, one more safeguard against the tyranny which now appears remote in America, but which historically has proved to be always possible.
 * Quoted in Guns magazine "Know Your Lawmaker" column, p. 4. (Feb. 1960)

 * We can't use a double standard — there’s no room for double standards in American politics — for measuring our own and other people's policies. Our demands for democratic practices in other lands will be no more effective than the guarantee of those practices in our own country.
 * Address to the Democratic National Convention (July 14, 1948), Convention Hall, Philadelphia.

 * To those who say — My friends, to those who say that we are rushing this issue of civil rights, I say to them we are 172 years late. To those who say — To those who say that this civil-rights program is an infringement on states’ rights, I say this: The time has arrived in America for the Democratic party to get out of the shadow of states' rights and to walk forthrightly into the bright sunshine of human rights.
 * Address to the Democratic National Convention (July 14, 1948), Convention Hall, Philadelphia.

 * For all of us here, for the millions who have sent us, for the whole two billion members of the human family, our land is now, more than ever before, the last best hope on earth. And I know that we can, and I know that we shall began [sic] here the fuller and richer realization of that hope — that promise of a land where all men are truly free and equal, and each man uses his freedom and equality wisely well.
 * Address to the Democratic National Convention (July 14, 1948), Convention Hall, Philadelphia.

 * I learned more about economics from one South Dakota dust storm than I did in all my years at college.
 * Quoted in "THE CONGRESS: Education of a Senator," Time magazine (17 January 1949)

 * I wish to suggest that ample opportunity does exist for dissent, for protest, and for nonconformity. But I must also say that the right to be heard does not automatically include the right to be taken seriously.
 * Address to the National Student Council (1965)

 * In real life, unlike in Shakespeare, the sweetness of the rose depends upon the name it bears. Things are not only what they are. They are, in very important respects, what they seem to be.
 * Speech, March 26, 1966, Washington, D.C., quoted in Robert Andrews, The Columbia Dictionary of Quotations (1993)

 * The vast number of titles which are published each year—all of them are to the good, even if some of them may annoy or even repel us for a time. For none of us would trade freedom of expression and of ideas for the narrowness of the public censor. America is a free market for people who have something to say, and need not fear to say it.
 * Address to the National Book Awards ceremony in New York City (March 8, 1967), reported in The New York Times (March 9, 1967), p. 42.

 * I had no money to buy books, so between classes and work, I haunted the library. I even tutored in French with a sliding scale of payment: twenty dollars for an A, fifteen for a B, ten for a C, five for a D.
 * Of his university years. From Hubert H. Humphrey, The Education of a Public Man: My Life and Politics 43 (1976)

 * The story of the labor movement needs to be taught in every school in this land... America is a living testimonial to what free men and women, organized in free democratic trade unions can do to make a better life … we ought to be proud of it!
 * Address to the 1977 Minnesota State AFL-CIO Convention''.

 * The moral test of government is how it treats those who are in the dawn of life, the children; those who are in the twilight of life, the aged; and those in the shadows of life, the sick, the needy and the handicapped.
 * Remarks at the dedication of the Hubert H. Humphrey Building, November 1, 1977, Congressional Record, November 4, 1977, vol 123, p. 37287.

 * The Senate is a place filled with goodwill and good intentions, and if the road to hell is paved with them, then it's a pretty good detour.
 * Reported in Newsweek (January 23, 1978), p. 23.

Quotes about Humphrey

 * Humphrey, in terms of his political life, had always taken very strong and firm positions on the issues that affected poor people and people from the middle class.
 * Shirley Chisholm: The Last Interview: And Other Conversations (2021)

 * Few politicians who fail to win the presidency are subsequently judged to be giants in our history. Among the select few are Robert F. Kennedy, Barry Goldwater and Hubert H. Humphrey in the 20th century; Henry Clay, Daniel Webster and John C. Calhoun in the 19th century; and William Jennings Bryan, who straddled the two. There would certainly be lively debate about other political figures who deserve inclusion on such a list, and many non-politicians have earned places in our national story far more exalted than those of middling presidents and elected officials. As John McCain's contemporaries, we may be ill-positioned to insist with certainty that he will join the likes of Kennedy, Bryan and Clay as figures who were profoundly consequential though the White House eluded them.
 * The Fayetteville Observer in John McCain chose his own way (27 August 2018)

 * On Sunday the convention began and Hubert Humphrey arrived in town. Humphrey had a progressive record on social issues, but he was associated with Johnson’ s Vietnam policy and refused to break away from it. Even without the Vietnam issue, Humphrey, at fifty-seven, would have been a victim of the generation gap. He seemed almost cartoonish with his vibratoed, tinny voice, his corny midwestern wholesomeness, and his halfhearted good cheer; with the way he could in all seriousness use expressions like “Good grief”; and with his perpetual smile that looked as if he had just bitten something. This is how his biographer, Carl Solberg, described the politician nicknamed the Happy Warrior as he left for the Chicago convention: "On the elevator to the street he kissed his wife, danced a little two step, and punched his friend Dr. Berman on the arm. 'Off we go into battle—and I can hardly wait,' he said." This was not a candidate whom McCarthy and Robert Kennedy supporters could turn to, not a personality to calm the young demonstrators who had come to Chicago. The Happy Warrior frowned, and not for the last time, when his plane landed in Chicago. Daley had sent a bagpipe band to meet him. There is no lonelier sound than bagpipes without a crowd. Few supporters were there to greet him, and even more upsetting, the mayor himself wasn’t there. McCarthy had been met by an energized crowd. “Five thousand supporters,” according to Humphrey, who was muttering about the contrast. An even bigger disappointment was that Daley was holding off on endorsing Humphrey. Daley found it hard to believe that Humphrey was a man who would attract all the voters who had gone for Robert Kennedy in California. Daley and a few other party bosses were last-minute shopping for another candidate, especially the last brother, Senator Edward Kennedy of Massachusetts. Humphrey was as terrified of taking on a Kennedy as was Nixon.
 * Mark Kurlansky, 1968: The Year that Rocked the World (2004), ISBN 0-345-45581-9

 * Humphrey was hardly the first presidential candidate to win the nomination without competing in primaries. He would, however, be the last. The events that unfolded in Chicago—displayed on television screens across America—mortally wounded the party-insider presidential selection system. Even before the convention began, the crushing blow of Robert Kennedy’s assassination, the escalating conflict over Vietnam, and the energy of the antiwar protesters in Chicago’s Grant Park sapped any remaining public faith in the old system. On August 28, the protesters turned to march on the convention: Blue-helmeted police attacked protesters and bystanders, and bloodied men, women, and children sought refuge in nearby hotels. The so-called Battle of Michigan Avenue then spilled over into the convention hall itself. Senator Abraham Ribicoff of Connecticut, in his nomination speech for antiwar candidate George McGovern, decried “the gestapo tactics” of the Chicago police, looking—on live television—directly at Mayor Daley. As confrontations exploded on the convention floor, uniformed police officers dragged several delegates from the auditorium. Watching in shock, NBC anchor Chet Huntley observed, “This surely is the first time policemen have ever entered the floor of a convention.” His coanchor, David Brinkley, wryly added, “In the United States.”
 * Steven Levitsky and Daniel Ziblatt (2018) How Democracies Die. New York: Crown.

 * This is a quality that has appeared often enough in American history — and outside America as well. Senators like Ted Kennedy have been prominent before, bearing names like Henry Clay or Daniel Webster, John C. Calhoun, Robert Taft, Barry Goldwater and Hubert Humphrey. Governors like New York Republican Nelson Rockefeller or Alabama Democrat George Wallace. A Congressman like Jack Kemp. Non-office holders like Martin Luther King in the United States or Mohandas Gandhi in India or Nelson Mandela in South Africa (who later became president of his country) can, through sheer force of personality, come to dominate the political scene of the day without ever bearing a single official title.
 * Jeffrey Lord in Is Sarah Palin the Next Ted Kennedy? (1 September 2009)

 * I love everything he stands for; I just wish he didn't love it so much. He needs a director to tell him when he's made his point. I think he'd have been a good President.
 * Edward G. Robinson, circa 1972, as quoted in Leonard Spigelgass's epilogue to Robinson's All My Yesterdays: An Autobiography (1973), p. 277

title: Hubert Humphrey


text:
User:David4286

Humm, I have no user page here. I'll have to copy mine from wikipedia. Maybe I'll make a list of my favorite quotes.

title: User:David4286


text:
The Amazing Race

The Amazing Race is an American television reality game show in which teams of two people, who have some form of a preexisting personal relationship, race around the world in competition with other teams.

The Race Begins

 * Drew: You have to hit six numbers to get a live human being on the phone.

 * Kevin: It's amazing that you even got up this morning and tied your shoes.

 * Drew: Nothing's free, Kevin! We're in Africa! You go to the Statue of Liberty, is the guy giving these things [maps] away for free? For cryin' out loud! Free!

 * Drew: Zambia. That's where we are.
 * Kevin: That's Namibia, jackass.

 * Drew: You have to approach people in an affable, friendly way! You don't do it like you're in New York!

 * Leslie: We're in, what, seventh place?
 * Kim: I don't know, I can't do math right now.

 * Kim: God, there are a lot of bugs out in the jungle. Go figure.

 * Kevin: Swing, you fat bastard, swing!

 * Ana: Once a moron, always a moron.
 * Matt: Well, you fell in love with this moron.

Divide And Conquer

 * Karyn: When we win the money, he has to marry me.

 * Drew: What's this elephant?
 * Kevin: What elephant?
 * Drew: This little statue here.
 * Kevin: It's probably a little...a little tchotchke!

 * Kevin: You're gonna get the window, you jerk.
 * Drew: Don't worry about it.
 * Kevin: You think you're whatchamacallit from Wild Kingdom. Jackass.

 * Kevin: Is that an impala?
 * Drew: Get the camera, get the camera!
 * Kevin: It's a goat, it's a goat.

 * Leslie: Who wants to go to Paris? I don't want to go to Paris. I hate Paris.

 * Leslie: I'm looking for four [tickets]. And she's [Amie] not with me.

 * Guido: How the hell can they help us? We lived in Paris for two years!

 * Drew: How are you, buddy? You hangin' in there? Your legs hurtin'?
 * Kevin: I'm an idiot! I'm a friggin' idiot.
 * Drew: That's my boy. Always keepin' a sense of humor.

 * Amie: You're a fat bitch!

 * Leslie: She screamed at me like she'd scream at her boyfriend.

 * Paul: How do they jump in our cab and just take it? In New York, they would have grabbed her out by the hair.

 * Karyn: I'm really disappointed. Disappointed. Disappointed.
 * Lenny: What did you say?
 * Karyn: I'm disappointed.
 * Lenny: Well, that ain't nothing new.

 * Emily: The only monument I know is that Arc d'Whatever.

 * Leslie: I don't know where that little cute couple that hates our guts are.

 * Karyn: You're not going to shake my hand? We're not out, and you're not going to shake my hand?

Home For Some

 * Rob: Life is a game of minutes.

 * Frank: Onward to victory!

 * Amie: [while sleeping outside] Ah, this is the life.

 * Kevin: We have no food, we have no water...we're all set.

 * Drew: Good night, Kevin.
 * Kevin: Good night, Drew. [pauses] Good night, John-Boy.

 * Nancy: Why didn't you go to the hotel?
 * Amie: What hotel?

 * Drew: I just don't think the city's [Paris] anything special. I rate it no better than SoHo.

 * Drew: Geez, why did I think it was gonna be an old guy who looked like Ben Franklin?

 * Joe: I can't wait to see the big pendulum!

 * Margarita: Do you need me?
 * Frank: I just need your brain, I don't need your emotions.

 * Rob: The Guidos try to hold other people back with deceit and trickery.

 * Joe: Bonjour! Bonjour! Hey, big strong guys like you, how come you're not doing the steps? Don’t you need a little aerobic exercise?

 * Joe: They don’t know Paris, and they don't know where they're going.

 * Joe: It would be just our luck to lose this thing in Paris when we lived here for two years.

 * Drew: Who's better than us, here, on top of the South of France? With everybody lookin' at our behinds, no less.

 * Mayor of Les Baux de Provence: Welcome. You are -
 * Joe: We're team number three!
 * Mayor of Les Baux de Provence: You are team number four.

 * Brenda: Who knew that there were two Foucault pendulums in Paris?

Colossal Showdown

 * Margarita: It wasn't about not working together.

 * Joe: It's about winning now. It's about winning and not letting anybody else win.

 * Margaretta: David and I have been married for forty years. We're just doing our normal thing. There's nothing on this trip that will make or break us.

 * Bill: Control the game, period. Play the game our way. Group Guido arranged the whole passage. No one can leave without this ticket. I controlled the group, intimidated the whole group by speaking French for two hours to the people that were there, also leaving doubt in their mind what I was doing. The other contestants? Of course, we're playing them like a violin, you know?

 * Lenny: I want to rip their heads off and show them their hearts.

 * Drew: What does it say? "Go Here"? Oh. I thought it said "Go Home".

 * Paul: They were rippin' my skin off.
 * Amie: Really? Mine was pretty nice.

 * Drew: You saw what that was like in Midnight Express.

 * Joe: The first circle inside the big concentric circle!

 * Emily: [after lighting the Coliseum on fire] Oh my gosh! Oh my gosh, stop!

 * Kevin: I thought I heard him. You can't miss that mouth.

 * Kevin: Take the elevator to the Coliseum floor!

 * Frank: Pit Of Death, here I come.

 * Amie: I'll do it. I gotta pee, but I'll do it.

 * Amie: Olympic torch, kiddos!

 * Phil: David and Margaretta, you're the last team to arrive at this leg. You've been eliminated. I'm sorry to tell you that.
 * Dave: And I'm sorry to hear it. But I want to tell you, this is a tough group to compete against, and I don't think it's any disgrace to lose to them. They're all great people, and we did our best, and we wish them lots of luck.

Desert Storm

 * Drew: Alright, so what do you think that arrow means? I gotta pee, I might as well do it right here.
 * Kevin: It means go right, stupid. It means Drew is a dumbass.

We're Not At Charm School Learning How To Be A Gentleman, We're Racing

 * Kelly: You’re always right, I’m always wrong. We’re done. [sighs]
 * Jon: Kelly, go [bleep] yourself.
 * Kelly: What did you just say to me? What did you just say to me? I’ll tell you what, Jon, you’re walking a thin line. This was a chance we decided to take, but you will not talk to me like that.

It Just Turned Ugly Right Now

 * Mirna: The prostitute would know where the discotheque is wouldn't she?

 * Karen: Mirna & Charla are at a great disadvantage-
 * Linda: And their kickin' our butts!

Are You Good At Puzzles?

 * Marshal: Stop looking at the camel.

It's Okay, Run Them Over!

 * Colin: Detour, plow or fowl? What do you think, a thousand ducks?
 * Christie: The plow.
 * Colin: Start looking in through here, you know what I mean?
 * Christie: How are you doing it?
 * Colin: I can't control where he goes, baby.
 * Christie: Keep looking.
 * Colin: Which way?
 * Christie: Keep looking, on bottom.
 * Colin: You're not even helping me look, baby. You're just standing around.
 * Christie: There's not much I can do, baby. It's gonna be in the plowed area, it's gonna be deep. That's why you gotta be really looking, in the plowed area.
 * Christie: Do you understand?…
 * Colin: I UNDERSTAND!

<cut to Chip & Kim trying to find a way to get to Manila>

 * Colin: WHERE'S HE GOING?! NO, IN THIS FIELD!!! Oh my god.
 * Colin: MY OX IS BROKEN!!! THIS IS BULLSHIT!!!

<cut to Chip & Kim getting on a bus to Manila>

 * Christie: Colin, is it impossible to control him?
 * Christie: Please answer me when I talk to you. If there's any way possible that you can not wander aimlessly…
 * Colin: Do you know how hard it is to look down and try to drive him? Do you know how difficult that is? It wasn't this hard for the other teams. I can guarantee you that much!
 * Christie: Grab the plow!
 * Colin: I CAN'T GET HIM TO GO OVER THERE!!!
 * Christie: Well, calm down…
 * Colin: WHY DO YOU KEEP TURNING?!
 * Christie: Colin, why don't you learn how to control it?
 * Colin: I'M TRYING!!!
 * Christie: Listen to yourself, no wonder you can't control it!
 * Colin: See, I can't make him go over there!
 * Christie: I don't want another word coming out of your mouth.
 * Colin: Oh my god, I hate you.
 * Christie: Just plow…
 * Colin: COME ON!!!

<escalating music, then commercial>

 * Colin: WOAH, WOAH!!! Stupid ox! No! STAY IN THE FIELD!!!
 * Colin: GET THE F*CK OVER HERE AND HELP LOOK!!!
 * Christie: It's so deep, Colin…
 * Colin: I DON'T CARE!!! WALK THROUGH WITH YOUR FEET UNTIL YOU FEEL IT!!!
 * Christie: (finds clue) It's right here.
 * Colin: Oh my god.
 * Christie: (reading clue) Find the Pit Stop, the Coconut Palace.

Tell My Mom I Love Her

 * Hayden: We have been just lollygagging and when I’m not high-paced and aggressive, we suck. Where do I go?
 * Aaron: Hayden, I have not a clue.
 * Hayden: How do you not know?!
 * Aaron: You are such–
 * Hayden: No! I’m not a bitch! I'm not any of that! We’re lost going out of here! Aaron, you need to do something or I’m going to hyperventilate!

Courteous? This Is A Race!

 * Ryan: Were about do take a zip line down the mountain. Were gonna be the first ones to load test it.

 * Ryan: hey look out for the cactuses!

The Whole Country Hates Me

 * Lynn: Oh my god, I just got totally hated.

Do You Need Some Mouth-To-Mouth Resuscitation?

 * [Rob and Amber steal Debbie and Bianca's taxi]
 * Cab Driver: I'm waiting for them.
 * Rob: Oh no, it's okay. We'll take them. We're going to go with you. How much? How much did they pay?
 * Cab driver: Four.
 * Rob: I'm paying ten. Open it up.
 * [Rob and Amber drive away in the cab]
 * Rob: That'll teach them for accusing someone of lying.
 * Bianca: Debbie, do you see a cab?
 * Debbie: No.
 * Bianca: This is retarded. Now we got to catch another cab.

 * Phil Keoghan: A roadblock is a task in only one person may perform. In this roadblock, that person has to eat a traditional Argentine meal. They consist of cow ribs, pork sausage, blood sausage, cow intestine, cow udder, an entire kidney, and part of a cow's saliva gland. Each person's portion weighs four pounds. When they finish eating, they'll get their next clue.

 * [Deana takes the meat roadblock]

 * Lynn: Go Deana, go Deana, go Deana, go Deana, it's your vomit, go Deana.
 * Deana: What is all this stuff? I'm not going to-
 * Ray: Do your best.
 * Deana: My stomach ain't big enough for this.
 * Ray: We've made a terrible mistake.

What A Gaucho You Are
Alex and Lynn, Ron and Kelly, Uchenna and Joyce and Brian and Greg are on the first flight to Buenos Aires getting ready to depart.

 * Alex: Rob and Amber didn't make it, yay!
 * Lynn: I'm so excited that they didn't make it. Survive that.
 * [Rob and Amber gets on the plane for Buenos Aires]
 * Brian: No freaking way.
 * Greg: That's horsecrap!
 * Rob: Rob, how's your stomach? [laughing]
 * Kelly: Rob's strategy to quit worked and that just made me sick.
 * Lynn: If that had been any other team, they would have literally gotten an applause; but the fact that it was Rob and Amber, it was just terrible.
 * Alex: I hate them. I hate them so much.

 * Lynn: The bottom line is they're [Rob and Amber] kind of like an STD. You gotta protect yourself from them and the only way you can do it is just keep yourself away from them.

 * [Ray shows contempt for Meredith and Gretchen]
 * Ray: Those people don't belong in this game with us... I'm not losing to a 70-year-old man and his wife.

 * [Susan and Patrick's boat stops working]
 * Patrick: We already know that we're in last place and that was the end of Patrick and Susan.

I've Been Wanting A Facelift For A Long Time

 * [Ray accidentally hits Deana's head with the pounding stick in the food and water detour]
 * Deana: Ow, Ray!
 * Ray: Deana.
 * Deana: You could at least apologize.
 * Ray: The problem is that we don't work together.
 * Deana: You can do this yourself.
 * Ray: That's right, give up!

Houston, We Have An Elephant

 * Kelly: You told me to "shut the 'F' up".
 * Ron: No, I didn't!
 * Kelly: You piece of trash redneck.

Mow 'Em Down Like Grass
Rob and Amber arrives first at the Lucknow mat only to find out that this is a double-length leg.

 * Phil Keoghan: Rob and Amber, Welcome to Lucknow.
 * Rob and Amber: Thank you.
 * Phil Keoghan: You guys probably think that this is the end of the leg,
 * Amber: But?
 * Phil Keoghan: I don't want to hold you up. I have your other clue.
 * Amber: Are you serious?
 * Phil Keoghan: You're still racing. This leg is not over.

We Have A Bad Elephant

 * [Uchenna and Joyce reach the Fast Forward and find out they have to participate in a head shaving ritual.]
 * Joyce: I knew that was coming. I freaking knew it!
 * Joyce: [Sobbing] It's already gone.

 * [Amber's camel becomes uncontrollable]
 * Amber: Go! Go! Go! No! No!
 * Gretchen: Good, good he's going in the other direction. Go around the track the other way. [laughing]
 * Rob: Oh God, please no. Oh God no.

 * Gretchen: We've got an obstinate camel!

The Devil Made Me Do It

 * Amber: We have no idea what a dervish is.
 * Rob: I think it's a topless woman.

 * Ron: She [Kelly] really surprised me and I think I've seen everything that I want to see out of her on this race.

Five Continents, 25 Cities, And More Than 40,000 Miles

 * [Rob and Amber's cab is pulled over by the police]
 * Joyce: You gotta cooperate with the police. That's too bad.
 * Rob: That cop probably just cost us a million dollars.

 * [The final three teams are in Jamaica performing the final detour of the race building rafts and Ron and Kelly are falling behind.]
 * Kelly: I want you to look at everybody else. They're a lot farther than us and look what they're doing.
 * Ron: I understand that. I've never built one of these before. That's what I'm trying to explain to you. When you figure out how to build one, you tell me.
 * Kelly: Smart "A".

We Just Won't Die, Like Roaches

 * Ticket Lady: It’s not okay.
 * Dustin and Kandice: Can we try? Can we please try?
 * Ticket Lady: [in a stern voice] I said the flight is closed.
 * Dustin: She’s just a bitch.
 * Kandice: She’s so unhelpful and so unkind.
 * Kandice: We just want to get out of here before I have to see ‘Bama.
 * Karlyn: That one can’t even look over here. [Karlyn flips the bird at Dustin and Kandice]
 * Lyn: Don’t do that. That’s ugly.
 * Karlyn: Sorry.
 * Rob: I can’t believe they [Dustin and Kandice] yielded ‘Bama, dude. That’s kind of crappy, dude.
 * Karlyn: We just won’t die, like roaches. [laughing] We gotta keep coming back.

I Told You Less Martinis And More Cardio

 * Drew: We're five years older, five years more out of shape.
 * Kevin: I was a circle then. I'm an oval now, I suppose.
 * John Vito: I've had enough of Rob and Amber. I think America may have also.
 * Joyce: I can't believe we're doing this again!
 * Uchenna: This is the chance of a lifetime twice.

EPISODE 1

 * Ari: [to donkey] If you lose this race for us, I'm going to kick your ass.
 * Ari: You listen right here. You make me lose this, I'm gonna cut you up and eat you.

 * Nathan: Gosh!
 * Jennifer: Come on sweetheart
 * Nathan: Gosh!gytttr
 * Jennifer: You can't yell like that!

 * Donkey: [Makes donkey noises]
 * Nathan: I don't know what's wrong with him.

 * Nathan: The freaks [Kynt and Vyxsin] just got ther

EPISODE 2

 * Ron: [to Christina] You need to lose some weight. [Bike falls] Whoa! I should've not made that comment.

EPISODE 4

 * Jason: If we don't get eliminated, we're gonna screw over the blondes [Shana and Jennifer].
 * Phil: Shana and Jennifer, you're team number six.
 * Jennifer: Whooo!

hy samran goraya wallcome my life he was a birag me dion

title: The Amazing Race


text:
Murphy's law

Murphy's law is a popular adage that states that "things will go wrong in any given situation, if you give them a chance," or more commonly, "whatever can go wrong, will go wrong." A number of variants on the rule have been formulated, as have several corollaries.

[Murphy's SECOND law] states that "any solution can create its own problems"; this is obvious as the solution is subject to the first law.

Quotes

 * If there is a wrong way to do something, then someone will do it.
 * Version attributed to Edward A. Murphy in "Murphy Lives!" by Robert L. Forward, in Science 83 (January-February 1983), p. 78

 * If there's more than one way to do a job and one of those ways will end in disaster, then somebody will do it that way.
 * Version attributed to Edward A. Murphy in People Magazine (31 January 1983), p. 82

 * If there's more than one way to do a job, and one of those ways will result in disaster, then somebody will do it that way.
 * According to Robert Murphy (son of Edward A. Murphy, Jr.) his father's statement was along these lines; reported in People (31 January 1983), p. 82; alternately reported as "If there is a wrong way to do something, then someone will do it", in "Murphy Lives!" by Robert L. Forward, Science 83 (January-February 1983), p. 78; also commonly reported as, "If anything can go wrong, it will", in The Concise Oxford Dictionary of Proverbs (1982) edited by J. A. Simpson, p. 4.

 * Anything That Can Possibly Go Wrong, Does
 * Epigraph of The Butcher: The Ascent of Yerupaja (1952) by John Sack

 * Colonel Stapp's favorite takeoff on sober scientific laws — Murphy's Law, Stapp calls it — 'Everything that can possibly go wrong will go wrong'
 * Lloyd Mallan, in Men, Rockets and Space Rats (1955), possibly the earliest printed use of Murphy's name in connection with the law.

 * Murphy's Quantum Law: Anything that can, could have, or will go wrong, is going wrong, all at once.
 * Paul Dickson, in The Official Rules (1982) ISBN 0099264900

 * With diligent effort he has established that there is no statistical basis for Murphy’s Law. He has also established that he believes in it anyway.
 * John Barnes, Mother of Storms (1994) p. 511 (from the first mass market paperback edition published by Tor Books (May 1995) ISBN 0-812-53345-3)

title: Murphy's law


text:
Trevor Phillips

Trevor Phillips OBE (born 31 December 1953) is a British broadcaster, politician, and civil servant. He was born in London to Guyanese parents and was elected President of the National Union of Students from 1978 to 1980. During the 1980s and 1990s he worked as a television journalist in London. He was elected to the London Assembly in 2000 and was its Chair, but stood down in 2003 when appointed to chair the Commission for Racial Equality. In 2006 he was named as Chair of the Commission for Equalities and Human Rights, the new 'single equality body'.

Quotes

 * Most liberal-minded folk would like to think that since they are not hostile to people of a different race, racism is a disease of the uneducated, unenlightened and socially backward - football hooligans, British National Party supporters, policemen. You could call this the Bad Guy Theory. But the Bad Guy Theory does not explain why Indian-heritage children do nearly twice as well as Pakistani-heritage children at GCSE.
 * The Times, 29 October 2004

 * If Peter Mandelson has an historical parallel, it is Robespierre, the architect of the Terror. Without his zeal and cool passion for the right of the French people, the ancien regime would almost certainly have reasserted itself in some way. His defence of the ideals of the revolution was absolute and unmoving. It won him no friends, and eventually swallowed him. It would be a tragedy for Labour if it were to do the same to the architect of its own revolution.
 * The Independent, 30 August 1997

 * less than human
 * "Herald Scotland", 17 April 2007

title: Trevor Phillips


text:
Talk:Statistics

It was my understanding that the quote "lies, damned lies, and statistics" was from Samuel Clemens/ Mark twain.

title: Talk:Statistics


text:
John Herschel

Sir John Frederick William Herschel, 1st Baronet (7 March 1792 – 11 May 1871) was an English polymath active as a mathematician, astronomer, chemist, inventor, experimental photographer who invented the blueprint and did botanical work.

Herschel originated the use of the Julian day system in astronomy. He named seven moons of Saturn and four moons of Uranus – the seventh planet, discovered by his father Sir William Herschel. He made many contributions to the science of photography, and investigated colour blindness and the chemical power of ultraviolet rays. His Preliminary Discourse (1831), which advocated an inductive approach to scientific experiment and theory-building, was an important contribution to the philosophy of science.

Quotes

 * Of the splendid constellation of great names... we admire the living and revere dead far too warmly and too deeply to suffer us sit in judgment on their respective claims to in this or that particular discovery; to balance mathematical skill of one against the experimental dexterity of another, or the philosophical acumen a third. So long as "one star differs from another in glory," — so long as there shall exist varieties, or even incompatibilities of excellence, — so long will the admiration of mankind be found sufficient for all who merit it.
 * On the Theory of Light (1828) p.494

 * Time! Time! Time! — we must not impugn the Scripture Chronology, but we must interpret it in accordance with whatever shall appear on fair enquiry to be the truth for there cannot be two truths. And really there is scope enough: for the lives of the Patriarchs may as reasonably be extended to 5000 or 50000 years apiece as the days of Creation to as many thousand millions of years.
 * Letter to Charles Lyell after being inspired by his Principles of Geology (1830-1833)

 * Were I to pray for a taste which should stand me in stead under every variety of circumstances, and be a source of happiness and cheerfulness to me during life, and a shield against its ills, however things might go amiss and the world frown upon me, it would be a taste for reading... Give a man this taste, and the means of gratifying it, and you can hardly fail of making him a happy man; unless, indeed, you put into his hands a most perverse selection of books. You place him in contact with the best society in every period of history,—with the wisest, the wittiest, the tenderest, the bravest, and the purest characters who have adorned humanity. You make him a denizen of all nations, a contemporary of all ages. The world has been created for him.
 * Address on the opening of the Eton Library (1833) as quoted in A History of Inventions, Discoveries and Origins (1846) by John Beckmann, Tr. William Johnston, Vol. 1, frontispiece.

 * Not to feel elevated on an occasion like the present, by this noble, this magnificent testimony of approbation of my friends, is not in human nature — at all events, it is not in my nature; but if any overweaning self-complacency might arise, and mix itself with my feelings at this moment, there is one consideration which would suffice to set it at rest for ever. . . The assembly, magnificent as it is, comprising in itself, as it does, the elite of everything that is illustrious in rank, talent, wealth, in the metropolis — this very assembly is a proof of the justice to which I have adverted I should be weak indeed, if I supposed that all this glorious array has reference to myself. No; it has reference to a far higher and more dignified object. I am but as one drop in the ocean. Every man of science will feel quite as much a sharer in the honors of the day, will feel quite as much distinguished by this assembly as I can be; for when, ere this, would it have been possible to collect together such an assembly as is around me to do honor to science, place it n preeminence, and crown it with distinction? This is, indeed, a new era — this is a memorable day for science, and every man who regards truth for its own sake will feel that on this occasion the eyes of the country are on him, and that England expects every man to do his duty! By that I have been able to accomplish in Africa, I have been amply rewarded; but I stand here not so much for anything of this nature, but as the representative of a class that is distinguished — of a principle which is triumphant; and I hope we shall never allow ourselves to forget the infinitely higher and more important circumstance, that it is the great truths of science, that it is the interpretation of God's great book of nature, and not the men who interpret these pages, that are the ultimate objects of all this praise.
 * The Athenaeum, Journal of English Foreign Literature, Science, and the fine arts., London (16 June 1838), p. 555

 * Self-respect is the cornerstone of all virtue.
 * As quoted in A Toolbox for Humanity : More Than 9000 Years of Thought (2004) by Lloyd Albert Johnson, p. 147

 * What God sends is welcome.
 * Diary entry (November 1855), as quoted in The Shadow of the Telescope: A Biography of John Herschel by Günther Buttmann

 * God knows how ardently I wish I had ten lives
 * In a letter to Charles Babbage, as quoted in The Shadow of the Telescope: A Biography of John Herschel by Günther Buttmann, p. 14

A Preliminary Discourse on the Study of Natural Philosophy (1831)

 * Man is constituted as a speculative being; he contemplates the world, and the objects around him, not with a passive indifferent eye, but as a system disposed with order and design.

And this, is, in fact, one of the great sources of delight which the study of natural science imparts to its votaries. A mind which has once imbibed a taste for scientific inquiry, and has learnt the habit of applying its principles readily to the cases which occur, has within itself an inexhaustible source of pure and exciting contemplations. One would think that Shakspeare had such a mind in view when he describes a contemplative man as finding
 * We must never forget that it is principles, not phenomena, — laws not insulated independent facts, — which are the objects of inquiry to the natural philosopher. As truth is single, and consistent with itself, a principle may be as completely and as plainly elucidated by the most familiar and simple fact, as by the most imposing and uncommon phenomenon. The colours which glitter on a soapbubble are the immediate consequence of a principle the most important, from the variety of phenomena it explains, and the most beautiful, from its simplicity and compendious neatness, in the whole science of optics. If the nature of periodical colours can be made intelligible by the contemplation of such a trivial object, from that moment it becomes a noble instrument in the eye of correct judgment; and to blow a large, regular, and durable soap-bubble may become the serious and praise-worthy endeavour of a sage, while children stand round and scoff, or children of a larger growth hold up their hands in astonishment at such waste of time and trouble. To the natural philosopher there is no natural object unimportant or trifling. From the least of nature's works he may learn the greatest lessons. The fall of an apple to the ground may raise his thoughts to the laws which govern the revolutions of the planets in their orbits; or the situation of a pebble may afford him evidence of the state of the globe he inhabits, myriads of ages ago, before his species became its denizens.
 * "Tongues in trees — books in the running brooks — Sermons in stones — and good in every thing."
 * Accustomed to trace the operation of general causes, and the exemplification of general laws, in circumstances where the uninformed and uninquiring eye perceives neither novelty nor beauty, he walks in the midst of wonders: every object which I fells in his way elucidates some principle, affords some instruction, and impresses him with a sense of harmony and order. Nor is it a mere passive pleasure which is thus communicated. A thousand questions are continually arising in his mind, a thousand subjects of inquiry presenting themselves, which keep his faculties in constant exercise, and his thoughts perpetually on the wing, so that lassitude is excluded from his life, and that craving after artificial excitement and dissipation of mind, which leads so many into frivolous, unworthy, and destructive pursuits, is altogether eradicated from his bosom.

 * To ascend to the origin of things and speculate on the creation, is not the business of the natural philosopher. An humbler field is sufficient for him in the endeavor to discover, as far as our faculties will permit; what are these primary qualities impressed on matter, and to discover the spirit of the laws of nature

 * Science is the knowledge of many, orderly and methodically digested and arranged, so as to become attainable by one.

 * The question "cui bono" to what practical end and advantage do your researches tend? is one which the speculative philosopher who loves knowledge for its own sake, and enjoys, as a rational being should enjoy, the mere contemplation of harmonious and mutually dependent truths, can seldom hear without a sense of humiliation. He feels that there is a lofty and disinterested pleasure in his speculations which ought to exempt them from such questioning; communicating as they do to his own mind the purest happiness (after the exercise of the benevolent and moral feelings) of which human nature is susceptible, and tending to the injury of no one, he might surely allege this as a sufficient and direct reply to those who, having themselves little capacity, and less relish for intellectual pursuits, are constantly repeating upon him this enquiry.

 * Unfortunately... the philosophy of Aristotle laid it down as a principle, that the celestial motions were regulated by laws proper to themselves, and bearing no affinity to those which prevail on earth. By thus drawing a broad and impassable line of separation between celestial and terrestrial mechanics, it placed the former altogether out of the pale of experimental research, while it at the same time impeded the progress of the latter by the assumption of principles respecting natural and unnatural motions, hastily adopted from the most superficial and cursory and remark, undeserving even the name of observation. Astronomy therefore continued for ages a science of mere record, in which theory had no part, except in so far as it attempted to conciliate the inequalities of the celestial motions with that assumed law of uniform circular revolution which was alone considered consistent with the perfection of the heavenly mechanism.
 * Ch.3 Of Cosmical Phenomena

 * In whatever state of knowledge we may conceive man to be placed, his progress towards a yet higher state need never fear a check, but must continue till the last existence of society.
 * Ch. 6 Of the Causes of the actual rapid Advance of the Physical Sciences compared with their Progress at an earlier Period

Quotes about Herschel

 * Sorted alphabetically by author or source

 * If ever this theory of the Sun-Force being the primal cause of all life on earth, and of all motion in heaven, is accepted, and if that other far bolder theory of Herschel, about certain organisms in the Sun, is accepted even as a provisional hypothesis, then will our teachings be vindicated, and Esoteric allegory will be shown to have anticipated  Modern Science by millions of years, probably, for such are the Archaic Teachings.
 * H.P. Blavatsky, The Secret Doctrine, Vol. 1, p. 578 (1888)

 * What is there in Paradise Lost to elevate and astonish like Herschel or Somerville?
 * Ralph Waldo Emerson, quoted in Robert D. Richardson, Jr., Emerson, the Mind On Fire (Univ. of Calif Press 1995), p124

 * We must limit even the conception of necessary sequence, which is held to express all that is known of causation. There is no following of effects from causes; but as Sir John Herschel more truly says, the causes and effects are simultaneous.
 * George Henry Lewes, Aristotle: a Chapter from the History of Science (1864)

 * Herschel has noticed how the Stagirite obstructed the progress of astronomy by not identifying celestial with terrestrial mechanics, but laying down the principle that celestial motions were regulated by peculiar laws, thus placing them entirely without the pale of experimental research, while at the same time the progress of mechanics was impeded by the assumption of natural and unnatural motions.
 * George Henry Lewes, Aristotle: a Chapter from the History of Science (1864) commenting on Herschel's Discourse on Natural Philosophy

 * As an astronomer in the true sense of the term, Sir John Herschel stood before all his contemporaries. Nay, he stood almost alone.
 * Richard Anthony Proctor, Astronomical Essays (1872), "Sir John Herschel", p. 1

title: John Herschel


text:
Talk:Hannibal (film)

Is Hannibal Lector a hero?

I mean, he only eats the bad guys, doesn't he?

And he roots for the good guys.

So doesn't that make him a hero?

 * No.

title: Talk:Hannibal (film)


text:
User talk:DeathX~enwikiquote

Welcome to Wikipedia. The pages that you have created, and those with similar style that I am assuming you might be creating without logging in, do not have any clear context, and unless they can be given such, they wlll be deleted. You are welcome to post quotations of famous people or works in the article pages, and even non-famous people on your own user and talk pages, but if creation of pages that do not seem to have any clear context continues, I will have to block you from editing. ~ Kalki 00:07, 7 Mar 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called DeathX. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name DeathX~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:21, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:46, 19 April 2015 (UTC)

title: User talk:DeathX~enwikiquote