text:
User talk:67.117.219.187

Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
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title: User talk:67.117.219.187


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User talk:24.201.116.26

Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:24.201.116.26


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User talk:212.13.58.199

Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
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title: User talk:212.13.58.199


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User talk:64.237.184.184

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title: User talk:64.237.184.184


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User talk:82.76.25.205

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title: User talk:82.76.25.205


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User talk:69.175.226.45

Thank you for your comment on "Quote of the day." Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
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title: User talk:69.175.226.45


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Castlevania (series)

Castlevania is a video game series created and developed by Konami, and has become one of their feature franchises. The plot of the series centers on the Belmont clan, a family of vampire hunters who wield whips and other mystical items, and their war against the immortal vampire Dracula throughout the generations.

Games

 * Castlevania (1986)
 * Vampire Killer (1986)
 * Castlevania II: Simon's Quest (1987)
 * Haunted Castle (1988)
 * Castlevania: The Adventure (1989)
 * Castlevania III: Dracula's Curse (1989)
 * Castlevania II: Belmont's Revenge (1991)
 * Super Castlevania IV (1991)
 * Akumajō Dracula (1993)
 * Akumajō Dracula X: Chi no Rondo (1993)
 * Castlevania: Bloodlines (1994)
 * Castlevania: Dracula X (1995)
 * Castlevania: Symphony of the Night (1997)
 * Castlevania Legends (1997)
 * Castlevania 64 (1999)
 * Castlevania: Legacy of Darkness (1999)
 * Castlevania: Circle of the Moon (2001)
 * Castlevania: Harmony of Dissonance (2002)
 * Castlevania: Aria of Sorrow (2003)
 * Castlevania: Lament of Innocence (2003)
 * Castlevania: Dawn of Sorrow (2005)
 * Castlevania: Curse of Darkness (2005)
 * Castlevania: Portrait of Ruin (2006)
 * Castlevania: The Dracula X Chronicles (2007)
 * Castlevania: Order of Shadows (2007)
 * Castlevania: Order of Ecclesia (2008)
 * Castlevania Judgment (2008)
 * Castlevania: Lords of Shadow (2010)
 * Castlevania: Lords of Shadow - Mirror of Fate (2013)
 * Castlevania: Lords of Shadow 2 (2014)

Other media

 * Castlevania (TV series) (2017)

title: Castlevania (series)


text:
User talk:212.138.47.12

Dr. Alfred Kinsey
Thank you for your creation of the Wikiquote article Dr. Alfred Kinsey. However, there are a few problems with it. First, this is an English-language Wikiquote, so the single non-English (Arabic?) quote is not very useful to the majority of our readers without a translation. And if this is a quote from Dr. Alfred Charles Kinsey, the American sex researcher, it seems likely that it was originally written or spoken in English; the original citation would be preferred. Finally, we already have an article on Alfred Kinsey, which follows the more common practice of omitting honorifics like "Dr." in the article title. If you have the English version of this quote, please feel free to add it to that article, along with the original version if it was not English. Meanwhile, this article is being voted on for deletion by the community. You may also want to vote or comment on this situation there. Thank you for your contribution and your assistance. — Jeff Q (talk) 03:50, 29 Apr 2005 (UTC)

title: User talk:212.138.47.12


text:
Jack London

John Griffith "Jack" London (born John Griffith Chaney, January 12, 1876 – November 22, 1916) was an American novelist, journalist, and social activist.

Quotes

 * I do not live for what the world thinks of me, but for what I think of myself.
 * Letter to Charles Warren Stoddard (21 August 1903)

 * Life? Bah! It has no value. Of cheap things it is the cheapest.
 * "The Sea-Wolf" (1904)

 * I love the flesh. I'm a pagan. “Who are they who speak evil of the clay? The very stars are made of clay like mine!”
 * Letter to Charles Warren Stoddard (11 August 1905)

 * Life achieves its summit when it does to the uttermost that which it was equipped to do.
 * White Fang (1906)

 * The trouble with him was that he was without imagination. He was quick and alert in the things of life, but only in the things, and not in the significances.
 * "To Build a Fire" published as a collection of short stories in the book Lost Face (1910)

 * A bone to the dog is not charity. Charity is the bone shared with the dog when you are just as hungry as the dog.
 * "Confession" in Complete Works of Jack London, Delphi Classics, (2013)

 * I would rather be ashes than dust! I would rather that my spark should burn out in a brilliant blaze than it should be stifled by dry-rot. I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet. The proper function of man is to live, not to exist. I shall not waste my days in trying to prolong them. I shall use my time.
 * The Bulletin, San Francisco, California, December 2, 1916, part 2, p. 1.
 * Also included in Jack London’s Tales of Adventure, ed. Irving Shepard, Introduction, p. vii (1956)

 * Life is not always a matter of holding good cards, but sometimes, playing a poor hand well.
 * As quoted in Sacred Journey of the Peaceful Warrior (1991) by Dan Millman, p. 78
 * Life’s not a matter of holding good cards, but sometimes playing a poor hand well.
 * As quoted in "They Came to Write in Hawai‘i" by Joseph Theroux, in Spirit of Aloha (March/April 2007)

 * Age is never so old as youth would measure it.
 * "The Wit of Porportuk" in The Best Short Stories of Jack London (1962) ISBN 0-449-30053-6

 * There are things greater than our wisdom, beyond our justice. The right and wrong of this we cannot say, and it is not for us to judge.
 * "An Odyssey of the North" in The Best Short Stories of Jack London (1962) ISBN 0-449-30053-6

 * He lacked the wisdom, and the only way for him to get it was to buy it with his youth; and when wisdom was his, youth would have been spent buying it.
 * "A Piece of Steak" in The Best Short Stories of Jack London (1962) ISBN 0-449-30053-6

 * Fiction pays best of all and when it is of fair quality is more easily sold. A good joke will sell quicker than a good poem, and, measured in sweat and blood, will bring better remuneration. Avoid the unhappy ending, the harsh, the brutal, the tragic, the horrible - if you care to see in print things you write. (In this connection don't do as I do, but do as I say.) Humour is the hardest to write, easiest to sell, and best rewarded... Don't write too much. Concentrate your sweat on one story, rather than dissipate it over a dozen. Don't loaf and invite inspiration; light out after it with a club, and if you don't get it you will nonetheless get something that looks remarkably like it.
 * "Getting into Print", first published in 1903 in The Editor magazine

 * Such is my outlook. I look forward to a time when man shall progress upon something worthier and higher than his stomach, when there will be a finer incentive to impel men to action than the incentive of to-day, which is the incentive of the stomach. I retain my belief in the nobility and excellence of the human. I believe that spiritual sweetness and unselfishness will conquer the gross gluttony of to-day. And last of all, my faith is in the working-class. As some Frenchman has said, "The stairway of time is ever echoing with the wooden shoe going up, the polished boot descending."
 * What Life Means to Me (1905), in Revolution and Other Essays (Macmillan, 1909)

The Call of the Wild (1903)

 * ...men, groping in the Arctic darkness, had found a yellow metal, and because steamship and transportation companies were booming the find, thousands of men were rushing into the Northland. These men wanted dogs, and the dogs they wanted were heavy dogs, with strong muscles by which to toil, and furry coats to protect them from the frost.

 * There is an ecstasy that marks the summit of life, and beyond which life cannot rise. And such is the paradox of living, this ecstasy comes when one is most alive, and it comes as a complete forgetfulness that one is alive. This ecstasy, this forgetfulness of living, comes to the artist, caught up and out of himself in a sheet of flame; it comes to the soldier, war-mad on a stricken field and refusing quarter; and it came to Buck, leading the pack, sounding the old wolf-cry, straining after the food that was alive and that fled swiftly before him through the moonlight. He was sounding the deeps of his nature, and of the parts of his nature that were deeper than he, going back into the womb of Time. He was mastered by the sheer surging of life, the tidal wave of being, the perfect joy of each separate muscle, joint, and sinew in that it was everything that was not death, that it was aglow and rampant, expressing itself in movement, flying exultantly under the stars and over the face of dead matter that did not move.

 * But especially he loved to run in the dim twilight of the summer midnights, listening to the subdued and sleepy murmurs of the forest, reading signs and sounds as a man may read a book, and seeking for the mysterious something that called -- called, waking or sleeping, at all times, for him to come.

 * He was a killer, a thing that preyed, living on the things that lived, unaided, alone, by virtue of his own strength and prowess, surviving triumphantly in a hostile environment where only the strong survive.

The Sea-Wolf (1904)

 * These women, capable of the most sublime emotions, of the tenderest sympathies, were openmouthed and screaming. They wanted to live, they were helpless, likes rats in a trap, and they screamed.
 * Chapter One

 * "The cap'n is Wolf Larsen, or so men call him. I never heard his other name. But you better speak soft with him. He is mad this morning. The mate-" But he did not finish. The cook had glided in.
 * Chapter Two

 * My first thought was that a man who had come through a collision and rubbed shoulders with death merited more attention than I received.
 * Chapter Two

 * "I only remember one part of the service," he said, "and that is 'And the body shall be cast into the sea'. So cast it in."
 * Chapter Three

 * Against the wall, near the head of the bunk, was a rack filled with books. I glanced over them, noting with astonishment such names as Shakespeare, Tennyson, Poe, and De Quincey. There were scientific works too, among which were represented men such as Tyndall, Proctor, and Darwin.
 * Van Weydon discovers Wolf Larsen's astonishing array of reading matter. Chapter Five

 * It was patent that this terrible man was no ignorant clod, such as one would inevitably suppose him to be from his exhibitions of brutality. At once he became an enigma.
 * Chapter Five

 * Hist, now, between you an' meself and the stanchion there, this Wolf Larsen is a regular devil, an' the Ghost'll be a hell ship like she's always been since he had hold iv her.
 * Chapter Six

 * Wolf - tis what he is. He's not blackhearted like some men. 'Tis no heart he has at all. Wolf. just Wolf, tis what he is. D'ye wonder he's well named?
 * Chapter Six

 * Do you know the only value life has is what life puts upon itself? And it is of course overestimated, for it is of necessity prejudiced in its own favour. Take that man I had aloft. He held on as if he were a precious thing, a treasure beyond diamonds of rubies. To you? No. To me? Not at all. To himself? Yes. But I do not accept his estimate. He sadly overrates himself. There is plenty more life demanding to be born. Had he fallen and dripped his brains upon the deck like honey from the comb, there would have been no loss to the world. The supply is too large.
 * Wolf Larsen, Chapter Six

 * He does not lose anything, for with the loss of himself he loses the knowledge of loss.
 * Wolf Larsen, Chapter Six

 * "My vision is clear and far. I could almost believe in God. But" - and his voice changed and the light went out of his face - "what is this condition in which I find myself? This joy of living? This exultation of life? This inspiration, I may well call it? It comes when there is nothing wrong with one's digestion, when the stomach is in trim and and his appetite has an edge, and all goes well."
 * Chapter Seven

 * Concerning his own rages, I am convinced that they are not real, that they are sometimes experiments, but that in the main they are the habits of a pose or attitude he has seen fit to take toward his fellowman.
 * Chapter Eight

 * The loneliness of the man is slowly being borne in upon me. There is not a man aboard but hates or fears him, nor is there a man whom he does not despise.
 * Chapter Ten

 * He was not immoral, but merely unmoral.
 * Chapter Ten

 * And through it all, calm and impassive, leaning on his elbow and gazing down, Wolf Larsen seemed lost in a great curiosity. This wild stirring of yeasty life, this terrific revolt and defiance of matter that moved, perplexed and interested him.
 * Chapter Twelve

The Iron Heel (1907)

 * Judge them by their works. What have they done for mankind beyond the spinning of airy fancies and the mistaking of their own shadows for gods?
 * Ernest, Ch. I

 * The great driving force of the oligarchs is the belief that they are doing right.
 * Ch. XXI

Martin Eden (1909)

 * It was just such uniqueness of points of view that startled Ruth. Not only were they new to her, and contrary to her own beliefs, but she always felt in them germs of truth that threatened to unseat or modify her own convictions. Had she been fourteen instead of twenty-four, she might have been changed by them; but she was twenty-four, conservative by nature and upbringing, and already crystallized into the cranny of life where she had been born and formed. It was true, his bizarre judgments troubled her in the moments they were uttered, but she ascribed them to his novelty of type and strangeness of living, and they were soon forgotten. Nevertheless, while she disapproved of them, the strength of their utterance, and the flashing of eyes and earnestness of face that accompanied them, always thrilled her and drew her toward him. She would never have guessed that this man who had come from beyond her horizon, was, in such moments, flashing on beyond her horizon with wider and deeper concepts. Her own limits were the limits of her horizon; but limited minds can recognize limitations only in others. And so she felt that her outlook was very wide indeed, and that where his conflicted with hers marked his limitations; and she dreamed of helping him to see as she saw, of widening his horizon until it was identified with hers.
 * Ch. VIII

 * Much of this he strove to express to Ruth, and shocked her and made it clear that more remodelling was necessary. Hers was that common insularity of mind that makes human creatures believe that their color, creed, and politics are best and right and that other human creatures scattered over the world are less fortunately placed than they. It was the same insularity of mind that made the ancient Jew thank God he was not born a woman, and sent the modern missionary god-substituting to the ends of the earth; and it made Ruth desire to shape this man from other crannies of life into the likeness of the men who lived in her particular cranny of life.
 * Ch. VIII

 * Too much is written by the men who can't write about the men who do write.
 * Ch. XXXII

"Certainly not. What fool expects to? Out of rhyming, yes."
 * "Then one can't make a living out of poetry?"
 * "Let beauty be your end. Why should you mint beauty into gold? Anyway, you can’t."
 * Ch. XXXII

John Barleycorn (1913)

 * I am. I was. I am not. I never am.
 * Ch. I

 * There are, broadly speaking, two types of drinkers. There is the man whom we all know, stupid, unimaginative, whose brain is bitten numbly by numb maggots; who walks generously with wide-spread, tentative legs, falls frequently in the gutter, and who sees, in the extremity of his ecstasy, blue mice and pink elephants.... The other type of drinker has imagination, vision. Even when most pleasantly jingled he walks straight and naturally, never staggers nor falls, and knows just where he is and what he is doing. It is not his body but his brain that is drunken.
 * Ch. II

 * I was five years old the first time I got drunk.
 * Ch. III

 * Men do not knowingly drink for the effect alcohol produces on the body. What they drink for is the brain-effect; and if it must come through the body, so much the worse for the body.
 * Ch. V

 * The fortunate man is the one who cannot take more than a couple of drinks without becoming intoxicated. The unfortunate wight is the one who can take many glasses without betraying a sign; who must take numerous glasses in order to get the kick.
 * Ch. VI

Quotes about Jack London

 * I belong to the first generation of Latin American writers brought up reading other Latin American writers...Also some American authors who were very popular in Spanish, like Mark Twain, Jack London, F. Scott Fitzgerald, and many others.
 * Isabel Allende Interview

 * How different was the real Jack London from the mechanical, bell-button socialist of the Kempton-Wace Letters! Here was youth, exuberance, throbbing life. Here was the good comrade, all concern and affection. He exerted himself to make our visit a glorious holiday. We argued about our political differences, of course, but there was in Jack nothing of the rancour I had so often found in the socialists I had debated with. But, then, Jack London was the artist first, the creative spirit to whom freedom is the breath of life. As the artist he did not fail to see the beauties of anarchism, even if he did insist that society would have to pass through socialism before reaching the higher stage of anarchism. In any case it was not Jack London's politics that mattered to me. It was his humanity, his understanding of and his feeling with the complexities of the human heart.
 * Emma Goldman, Living My Life (1931)

 * Two days before he died I read him a story by Jack London -- the book is lying now on the table in his room -- Love of Life. This is a powerful story...Ilyich (Lenin) was carried away by this story. Next day he asked me to read another London story. However, with Jack London the powerful is mixed with the exceedingly weak. The second story was altogether different -- one that preached [a] bourgeois moral: the captain of a ship promises the owner that he will sell the cargo of grain at a good price; he sacrifices his life in order to keep his word. Ilyich laughed and waved his hand.
 * Nadezhda Krupskaya "Reminiscences of Lenin by His Relatives" (1956)

 * London’s undoubted socialism is undermined by the most appalling racism.
 * China Mieville 50 Sci-Fi & Fantasy Works Every Socialist Should Read

 * "Take me this way: a stray guest, a bird of passage, splashing with salt-rimed wings through a brief moment of your life--a rude and blundering bird, used to large airs and great spaces, unaccustomed to the amenities of confined existence." So he wrote in a letter to me dated Oakland, December 21, 1899, in the twenty-fourth year of his life. A bird of passage, splashing with salt-rimed wings not only through my life but through life itself, and not for a brief moment but for eternity. For who shall say when that of wonder and beauty which was Jack London will pass from the earth? Who that ever knew him can forget him, and how will life ever forget one who was so indissolubly a part of her? He was youth, adventure, romance. He was a poet and a social revolutionist. He had a genius for friendship. He loved greatly and was greatly beloved...He is the outgrowth of the struggle and the suffering of the Old Order, and he is the strength and the virtue of all its terrible and criminal vices. He came out of the Abyss in which millions of his generation and the generation preceding him throughout time have been hopelessly lost. He rose out of the Abyss, and he escaped from the Abyss to become as large as the race and to be identified with the forces that shape the future of mankind...Later, Jack became the most mellow of thinkers, as passionately promulgating his new ideas as he had then assailed them. He now believed in romantic love, he had helped in the agitation for woman suffrage and was jubilant over its success in California. He was now an absolute internationalist and anti-militarist...He had come far --he had come out on the other side of everything he had before adhered to, as all who knew him were convinced that he would...He lived not only in the wide spaces of the earth, under her tropic suns and in her white frozen silences, with her children of happiness and with her miserable ones, but he lived in the thought always of life and death, and in the timeless and boundaryless struggle of international socialism.
 * Anna Strunsky, "Memoirs of Jack London" in The Masses (July 1917)

 * He wrote an essay called "What Life Means to Me" which takes its place with Kropotkin's "Appeal to the Young" and Oscar Wilde's "The Soul of Man Under Socialism," and its closing sentence rings with his faith in the rise of the common man. "The stairway of time is ever echoing with the wooden shoe going up, the polished boot descending."
 * Anna Strunsky, "Memoirs of Jack London" in The Masses (July 1917)

title: Jack London


text:
The Prisoner

The Prisoner is a 1967 UK allegorical-science fiction television series about a man who is kidnapped from his London home and awakens in a secret location known to its inhabitants as The Village, where he is known only as Number Six. His captors try to find out why he abruptly resigned from his post as a secret agent.

 * Note: The order of episodes reflects the sequence in which they were originally broadcast in the UK. This is the order used in all UK DVD and Blu-ray releases including the 2007 official 40th anniversary and 2017 official 50th anniversary Network DVD and Blu-ray releases. Please refer to List of The Prisoner episodes for further details on alternate sequences.

Repeated line by citizens of the Village

 * Be seeing you.

Introduction

 * Number Six: Where am I?
 * Number Two: In the Village.
 * Number Six: What do you want?
 * Number Two: Information.
 * Number Six: Whose side are you on?
 * Number Two: That would be telling. We want information… information… information.
 * Number Six: You won't get it.
 * Number Two: By hook or by crook, we will.
 * Number Six: Who are you?
 * Number Two: The new Number Two.
 * Number Six: Who is Number One?
 * Number Two: You are[,] Number Six.
 * Number Six: I am not a number! I am a free man!
 * Number Two: [laughs]

Arrival [1.01]

 * [ Number Six meets the first Number Two ]
 * Number Two: At last!  Delighted to see you!
 * [the heavy automatic steel doors close behind Number Six]
 * Number Two: Come in, come in! Do sit down.
 * [Number Two presses a button; a hatch slides open and a chair rises from the floor]
 * Number Two: [laughing] I'm sorry; I can never resist that. I hope you don't mind a working breakfast.
 * [Number Two presses another button; the butler enters with a breakfast cart ]
 * Number Two: Tea or coffee?
 * Number Six: Tea.
 * Number Two: Indian or China?
 * Number Six: Either. With lemon.
 * [the butler, already apprised of his preferences, places a lemon wheel in his tea]
 * Number Two: One or two eggs with your bacon?
 * Number Six: Two?
 * [the butler removes the cover from the plate, revealing bacon with two fried eggs]
 * Number Two: That will be all.
 * [the butler exits]
 * Number Two: Help yourself to toast. ...I suppose you're wondering what you're doing here.
 * Number Six: It had crossed my mind. [slams the toast cover down] What's it all about?
 * [another chair rises from the floor beside Number Six]
 * Number Two: Sit down and I'll tell you. It's a question of your resignation.
 * Number Six: ...Go on.
 * Number Two: The information in your head is priceless. I don't think you realize what a valuable property you've become. A man like you is worth a great deal on the open market.
 * Number Six: Who brought me here?
 * Number Two: I know how you feel, believe me. And they have taken quite a liberty.
 * Number Six: Who are "They?"
 * Number Two: A lot of people are curious about what lies behind your resignation. You had a brilliant career, your record is impeccable. They want to know why you suddenly left.
 * Number Six: What people?
 * Number Two: Now, personally, I believe your story; I do think it was a matter of principle. But, uh... What I think doesn't really count, does it? One has to be sure about these things.
 * Number Six: And that gives you the right to poke your nose into my private business!?
 * Number Two: Now, please. It's my job to check your motives.
 * Number Six: I've been checked!
 * Number Two: Of course, but when a man knows as much as you do, a double-check does no harm. A few details may have been missed.
 * Number Six: I don't know who you are... or who you work for...  And I don't care. I'm leaving.
 * [Number Six moves to the exit. The doors start to open, but then slam shut in his face.]

 * Number Six: I've nothing to say. Is that clear? Absolutely nothing.
 * Number Two: Now be reasonable, old boy. It's just a matter of time. Sooner or later you'll tell me. Sooner or later you'll want to. Let's make a deal. You cooperate, tell us what we want to know and this can be a very nice place. You may even be given a position of authority.
 * Number Six: I will not make any deals with you. I've resigned. I will not be pushed, filed, stamped, indexed, briefed, debriefed, or numbered! My life is my own!
 * Number Two: Is it?
 * Number Six: Yes. You won't hold me.
 * Number Two: Won't we?

 * Number Two: Quite a beautiful place, really, isn't it? Almost like a world on its own.
 * Number Six: I shall miss it when I'm gone.
 * Number Two: Oh, it will grow on you.

 * Sign: A still tongue makes a happy life.

 * Sign: Questions are a burden to others; answers a prison for oneself.

 * New Number Two: Good day, Number Six.
 * Number Six: Number what?
 * New Number Two: Six. For official purposes, everyone has a number. Yours is number six.
 * Number Six: I am not a number. I am a person.
 * New Number Two: Six of one, half a dozen of another. Good day!

 * Number 66 (The Admiral): Game of chess, m'dear?
 * Number 9 (The Woman): I don't play.
 * Number 66 (The Admiral): You should learn. We're all pawns, m'dear.

The Chimes of Big Ben [1.02]

 * Number Two: [about Number Six] He can make even the act of putting on his dressing gown appear as a gesture of defiance.
 * Number Two's Assistant: There are methods we haven't used yet, of course.
 * Number Two: I want him with a whole heart, body and soul.
 * Number Two's Assistant: He'll crack.
 * Number Two: Perhaps--one tiny piece at a time. I don't want a man of fragments. Fascinating.
 * Number Two's Assistant: He doesn't even bend a little.
 * Number Two: That's why he'll break. He only needs one small thing. If he will answer one simple question, the rest will follow: why did he resign?

 * Number Two: [offering coffee] I can never remember. One lump or two?
 * Number Six: It's in the file.
 * Number Two: Yes, as a matter of fact, yes. But it would save time if you just answered.
 * Number Six: Why? Running out of time?
 * Number Two: "Does not take sugar." Frightened of putting on weight?
 * Number Six: No. Nor of being reduced.
 * Number Two: Oh, that's excellent. I am glad you are here. You really are a model.
 * Number Six: But I don't run on clockwork.
 * Number Two: You will, my dear chap. You will.

 * Number Two: Do you still think you can escape, Number Six?
 * Number Six: I'm going to do better than that.
 * Number Two: Oh?
 * Number Six: Going to escape, come back.
 * Number Two: Come back?
 * Number Six: Escape, come back, wipe this place off the face of the Earth, obliterate it and you with it.

 * [Number Two shouts to Number Six as he walks out of his office]
 * Number Two: Don't worry, Number Six. You'll be cured.  I'll see to it. No more nightmares.  If you have so much as a bad dream, you will come… whimpering… to tell it to me!
 * [The door closes behind Number Six as he leaves]
 * Number Two: Whimpering!

 * Number Six: Has it ever occurred to you that you are just as much a prisoner as I am?
 * Number Two: Oh my dear chap, of course--I know too much. We're both lifers. Number Two: I am definitely an optimist. That's why it doesn't matter "who" Number One is. It doesn't matter which "side" runs the Village.
 * Number Six: It's run by one side or the other.
 * Number Two: Oh certainly, but both sides are becoming identical. What in fact has been created is an international community--perfect blueprint for world order. When the sides facing each other suddenly realize that they're looking into a mirror, they will see that "this" is the pattern for the future.
 * Number Six: The whole Earth as the Village?
 * Number Two: That is my hope. What's yours?
 * Number Six: I'd like to be the first man on the moon.

A. B. and C. [1.03]

 * Number Two: [viewing Number Six's thoughts] Extraordinary. How very single-minded.
 * Number Fourteen: He's not conventional.
 * Number Two: I sometimes think he's not human.

 * "A": News of old friends travels quickly.
 * Number Six: In a few hours.
 * "A": To you and to me, news is like air. We breathe it deeply. We draw it from far and wide.
 * Number Six: If it's interesting.
 * "A": What are you going to do with your freedom?
 * Number Six: Go fishing.
 * "A": Perhaps you're fishing now.

 * Number Two: What's that Number Six doing? Always walking. Irritating man. Doesn't he ever get tired?!

 * Engadine: And remember.. you're mine.
 * Number Six: Really?
 * Engadine: Be horrible to other women.
 * Number Six: I promise.
 * Engadine: Oh, thank you.

Free For All [1.04]

 * Number Six: Elections? In this place?
 * Number Two: Of course--we make our choice every 12 months. Every citizen has a choice. Are you going to run?
 * Number Six: Like blazes, the first chance I get.
 * Number Two: I meant run for office.
 * Number Six: Whose?
 * Number Two: Mine, for instance.
 * Number Six: You have a very delicate sense of humor.
 * Number Two: Naturally. Humor is the very essence of a democratic society.

 * Number Six: What physically happens if I win?!
 * Number Two: You're the boss.
 * Number Six: Number One's the boss.
 * Number Two: Join me. [They enter Number Six's house] If you win Number One will no longer be a mystery to you, if you know what I mean. Anyway, I'll introduce you properly and see how you feel after assessing the madding crowd.

 * Number Two: Good people, it is my pleasure to present to you the one and only Number Six!
 * Crowd: Rah!
 * Number Six: I am not a number. I am a person.
 * [Crowd laughs]
 * Number Six: In some place, at some time, all of you held positions of a secret nature, and had knowledge that was invaluable to an enemy. Like me, you are here to have that knowledge protected or extracted.
 * Number Two: That's the stuff to give them.
 * Number Six: Unlike me, many of you have accepted the situation of your imprisonment and will die here like rotten cabbages.
 * Number Two: Keep going. They love it.
 * Number Six: The rest of you have gone over to the side of our keepers. Which is which? How many of each? Who's standing beside you now? I intend to discover who are the prisoners and who are the warders. I shall be running for office in this election.

 * Labour Exchange Manager: "Gave up sugar four years and three months ago on medical advice." That shows you're afraid.
 * Number Six: What?
 * Labour Exchange Manager: You're afraid of death.
 * Number Six: I'm afraid of nothing.
 * Labour Exchange Manager: You're afraid of yourself. You are aware of that? Good, you are honest. That is of use here. Honesty attracts confidence and confidences are the core of our business.

 * Number Six: There are those who come in here and deny that we can supply every conceivable civilised amenity within our boundaries. You can enjoy yourselves and you will. You can partake of the most hazardous sports and you will. The price is cheap. All you have to do in exchange is give us information. You are then eligible for promotion to other and perhaps more attractive spheres. Where do you desire to go? What has been your dream? I can supply it. Winter, spring, summer or fall--they can all be yours at any time. Apply to me and it will be easier and better.

The Schizoid Man [1.05]

 * Number Twelve: The trouble with science is that it can be perverted.

 * Number Twelve: You know what, why don't we settle this like gentlemen?
 * Number Six: You're claiming to be a gentleman too?
 * Number Twelve: Oh very good, very good indeed. That line is very worthy of me.

 * Number Twelve: What the devil...?
 * [Number Six approaches Number Twelve; they look exactly alike]
 * Number Twelve: [chuckles] Oh, very good. Very good indeed. One of Number Two's little ideas, I suppose? Where did they get you? A people's copying service, or you're one of those double agents we hear so much about these days?
 * Number Six: [not amused] Since you've gone through so much trouble, the least I can do is... offer you a drink.
 * Number Twelve: Scotch. [they enter the lounge] I take it I'm supposed to go all fuzzy round the edges and run off into the distance screaming "Who am I?"
 * Number Six: Probably. I have no idea.

 * Number Two: By the time we finish with him, he won't know whether he's Number Six or the cube root of infinity.

 * Number Six: [to Alison; about Number Twelve] I am the original, he is the economy pack.

The General [1.06]

 * Number Twelve: You don't believe it. A university-level degree in three minutes.
 * Number Six: It's improbable.
 * Number Twelve: But not impossible.
 * Number Six: Nothing's impossible in this place.

 * Number Twelve: You'll find the Professor most interesting.
 * Number Six: Would I?
 * Number Twelve: With an extraordinary range of knowledge.
 * Number Six: The only subject I'm interested in is getting away from this place.
 * Number Twelve: Exactly.
 * Number Six: Who are you?
 * Number Twelve: A cog in the machine.

 * Number Two: Allow me to introduce .. The General. All the professor's own work; he gave birth to it and loves it with a passionate love, probably hates it even more. That mass of circuits, my dear fellow, is as revolutionary as nuclear fission. No more wastage in schools: there's no more tedious learning by rote. A brilliantly devised course, delivered by a leading teacher, subliminally learned, checked, and corrected by an infallible authority. And what have we got?
 * Number Six: A row of cabbages!
 * Number Two: Indeed - knowledgeable cabbages.

 * Number Two: [after Number Six stumped the machine, causing it to self destruct] What was the question?
 * Number Six: It's insoluble, to man or machine.
 * Number Two: What was it?
 * Number Six: W - H - Y - Question mark.
 * Number Two: "Why?"
 * Number Six: "Why?"

 * Number Twelve: Number Two offered you a deal. Don't you trust him?
 * Number Six: I don't trust Number Two. I don't trust you. I don't trust your tame Professor.
 * Number Twelve: Who do you trust, Number Six?
 * Number Six: I trust me.
 * Number Twelve: Join the club.

Many Happy Returns [1.07]

 * Number Six: You must think I'm crazy.
 * Mrs. Butterworth: Who isn't these days?

 * The Colonel: You're a stubborn fellow, Number Six.
 * Number Six: James, you call me that once again and you're liable for a bout in hospital.

 * Thorpe: [to Number Six] You resign. You disappear. You return. You spin a yarn that Hans Christian Andersen would reject as a fairy tale.

 * Thorpe: And they're all... numbers? No names. No names at all?
 * Number Six: Just numbers.
 * The Colonel: I see.
 * Number Six: Numbers in a village that is a complete unit of our own society. A place to put people who can't be kept around. People who know too much or too little. A place with many means of breaking a man.

 * Thorpe: [about Number Six] Interesting fellow.
 * The Colonel: He's an old, old, old friend. Who never gives up.

Dance of the Dead [1.08]

 * Number Six: I have a choice?
 * Number Two: Of course. You can do as you want.
 * Number Six: As long as it's what you want.
 * Number Two: As long as it is what the majority wants. We're democratic. In some ways.

 * Number Two: No game is worth playing if you can't win. That's not very English, I know.
 * Number Six: Are you ... English?

 * Number Two: I'm sad, Number Six. I thought you were beginning to...
 * Number Six: Give in?
 * Number Two: Be happy. Everything you want is here.
 * Number Six: Everything's elsewhere.

 * Number Two: What were you looking at?
 * Number Six: A light.
 * Number Two: A star.
 * Number Six: A boat.
 * Number Two: An insect.
 * Number Six: A plane.
 * Number Two: A flying fish.
 * Number Six: Somebody who belongs to my world.
 * Number Two: This is your world. I am your world. If you insist on living a dream you may be taken for mad.
 * Number Six: I like my dream.
 * Number Two: Then you are mad.

 * Number Two: Our legal system is unusual.
 * Number Six: No jury.
 * Number Two: Three judges decide here.
 * Number Six: As in the French Revolution.
 * Number Two: They cut through the dead wood, didn't they?

 * The Observer: It's the rules. Of the people, by the people, for the people.
 * Number Six: It takes on a new meaning.
 * The Observer: You're a wicked man.
 * Number Six: Wicked?
 * The Observer: You have no values.
 * Number Six: Different values.
 * The Observer: You won't be helped.
 * Number Six: Destroyed.
 * The Observer: You want to spoil things.
 * Number Six: I won't be a goldfish in a bowl.

Checkmate [1.09]

 * Number Six: [referring to the chess game] Why do you use people?
 * Man With Stick: Some psychiatrists say it satisfies the desire for power. The only opportunity one gets here.
 * Number Six: That depends what side you're on.
 * Man With Stick: I'm on my side.
 * Number Six: Aren't we all?
 * Man With Stick: You must be new here. In time, most of us join the enemy... against ourselves.

 * Queen: Oh, that was a good move, wasn't it?
 * Number Six: I know a better one.
 * Queen: Oh?
 * Number Six: Away from this place.
 * Queen: That's impossible.
 * Number Six: For chessmen, not for me.

 * Number Six: Don't tell me you care?
 * Number Two: Well, of course. We want you to be happy.
 * Number Six: Fine. Just, umm... give me a one-way ticket home.
 * Number Two: Won't you ever give up?
 * Number Six: What do you think?

 * Psychiatrist: [about Number Six] Is he in for treatment?
 * Number Two: Not yet.
 * Psychiatrist: Pity... interesting subject. I should like to know his breaking point.
 * Number Six: Well, you could make that your life's ambition.

 * Queen: [crying] How can you doubt me?
 * Number Six: It's easy and I'm waterproof; a little drizzle won't wash away my doubt. So don't try.
 * Queen: I only want to be near you.
 * Number Six: Everybody's near in this place. Far too near.
 * Queen: Do you think they'll ever release us?
 * Number Six: Let me know. I shan't be around.

Hammer into Anvil [1.10]

 * Number Two: We have things to discuss.
 * Number Six: About the girl you murdered?
 * Number Two: Oh, never mind the girl. I want to talk about you.
 * Number Six: You're wasting your time. Others have tried.
 * Number Two: Amateurs.
 * Number Six: You're professional. A professional sadist?

 * Number Two: You are too strong. We'll see. "Du musst amboss oder hammer sein."
 * Number Six: "You must be anvil or hammer."
 * Number Two: I see you know your Goethe.
 * Number Six: And you see me as the anvil?
 * Number Two: Precisely. I am going to hammer you.

 * Sign in shop: Music begins where words leave off.

 * Number Two: I know who you are.
 * Number Six: I'm Number Six.
 * Number Two: No. D6.
 * Number Six: D6?
 * Number Two: Sent here by our masters to spy on me.
 * Number Six: Sorry, I don't follow.
 * Number Two: Oh yes. I've been on to you from the beginning. You didn't fool me.
 * Number Six: Perhaps you fooled yourself?
 * Number Two: What do you mean?
 * Number Six: Just supposing for argument's sake that I was planted here?
 * Number Two: By XO4.
 * Number Six: XO4? Very well, by XO4. What would have been your first duty as a loyal citizen? Not to interfere. But you did interfere. You have admitted it yourself. There is a word for that. Sabotage.
 * Number Two: No!
 * Number Six: Who are you working for, Number Two?
 * Number Two: For us, for us!
 * Number Six: That is not the way it's going to sound to XO4.
 * Number Two: I swear to you...
 * Number Six: You could be working for the enemy or you could be a blunderer who's lost his head. Either way you've failed.

 * Number Two: You destroyed me.
 * Number Six: No.. you destroyed yourself. You destroyed yourself. A character flaw. You were afraid of your masters. A weak link in the chain of command waiting to be broken.
 * Number Two: Don't tell them... don't report me.
 * Number Six: I don't intend to. You are going to report yourself.
 * Number Two: [taking the phone] I have to report a breakdown.. in control. Number Two needs to be replaced. Yes, this is Number Two reporting.

It's Your Funeral [1.11]

 * Number Six: Who are you?
 * Watchmaker's Daughter: I'm a number, just like you. Does it matter which?
 * Number Six: How'd you get in?
 * Watchmaker's Daughter: The door was open.
 * Number Six: Always is... to them, isn't it?
 * Watchmaker's Daughter: But I'm not one of them.
 * Number Six: No. What do you want?
 * Watchmaker's Daughter: Help.
 * Number Six: Go to the Town Hall. The Citizens' Council promises help and advice for everyone.
 * Watchmaker's Daughter: Their Citizen's Council.
 * Number Six: As far as I'm concerned, what's theirs is yours.
 * Watchmaker's Daughter: I am not one of them.
 * Number Six: No... no one is.

 * The Watchmaker: You refuse to understand. What I'm doing is for a principle. We are in this prison for life, all of us, but I have met no one here who has committed a crime. I protest in a manner they cannot ignore.
 * Number Six: Some other way, then--not by an act of murder.
 * The Watchmaker: Assassination.
 * Number Six: Call it what you like--the important matter is that the entire Village will be punished.
 * The Watchmaker: Maybe it is what they need to wake them up, to shake them out of their lethargy. To make them angry enough...
 * Number Six: That's assuming they survive the punishment!

 * Retiring Number Two: Tomorrow, after I've handed over office, I'm to be assassinated..
 * Number Six: For "assassinated," substitute "executed."
 * Retiring Number Two: Since it's arranged by my own people, you mean.
 * Number Six: You don't mind?
 * Retiring Number Two: Of course I mind. It's just that... well, I never thought it would happen to me.
 * Number Six: It never does--to anybody. But it can be prevented.
 * Retiring Number Two: Preventing is only postponing. You never understood us, Number Six. We never fail!

 * Retiring Number Two: The Seal is the ceremony.
 * Number Six: It's hollowed out, it's packed with explosives.
 * Retiring Number Two: And before I hand it over to my successor...
 * Number Six: It will be detonated by radio.
 * Retiring Number Two: I can think of better ways to die.
 * Number Six: And better causes to die for.

 * Number Six: [to the new Number Two] Yes, and so the great day is nearly over. Went off rather well, I thought. Better than planned. And now you can look forward to your own retirement. And I'm sure they'll arrange something equally suitable for you when the day comes. Be seeing you.

A Change of Mind [1.12]

 * Committee Member: It is the duty of this Committee to deal with complaints.
 * Number Six: Complaints?
 * Committee Member: Your complaints.
 * Number Six: Well done. I have several.

 * Number Two: Do carry on.
 * Number Six: No time for tea?
 * Number Two: No. Only your future.

 * First Member of Social Group: All right, say you're a poet and you were composing, and you failed to hear Number Ten's greeting.
 * Second Member of Social Group: Neglect of social principle.
 * Number Six: Poetry has a social value.
 * Second Member of Social Group: He's trying to divide us.
 * First Member of Social Group: His intentions are obvious. To stop us from helping this unfortunate girl.
 * Number Forty Two: You're trying to undermine my rehabilitation. Disrupt my social progress!
 * Number Six: Strange talk for a poet.
 * Second Member of Social Group: Reactionary!
 * First Member of Social Group: Rebel!
 * Number Forty Two: Disharmonious!

 * Number Two: There is a saying, "The slowest mule is nearest to the whip."
 * Number Six: And another. "He who digs a pit will one day lie in it." Or is Number Two above investigation?

 * Number Six: You still have a choice. You can still salvage your right to be individuals. Your rights to truth and free thought. Reject this false world of Number Two. Reject it. Now!

Do Not Forsake Me Oh My Darling [1.13]

 * Number Two: [watching as Number Six paces his flat] What sort of opinion would you form of that fellow?
 * The Colonel: Anybody who spends his time doing that must be rather stupid.
 * Number Two: You couldn't be more wrong. Because he's our most interesting citizen from every point of view... particularly yours.

 * Number Six: You're still as pompous as ever... Danvers.
 * Danvers: Where did you get my name?
 * Number Six: Jonathan Peregrine Danvers. Born in Bootle. Took elocution lessons. Came to London, joined the civil service in 1948 as a junior clerk, but moved to this department sometime later. Mainly at the request of the typing pool. Am I going to see Sir Charles? Well? Or would you prefer me to go on. I'm sure these gentlemen would be most intrigued to hear of your little jaunt to Paris in March 1958. Let me see now, what was her name...

 * Seltzman: If you really are who you say you are, you would not have expected me to keep it, would you?
 * Number Six: No. It's a hopeless situation.
 * Seltzman: If I had kept it, I would have been very stupid. Silly.
 * Number Six: You've made your point. I accept it.
 * Seltzman: But you overlooked one thing. Sentimental people are sometimes stupid. Very stupid.

 * Seltzman: I will do it... on certain conditions.
 * Number Two: I'm sure they will be reasonable.
 * Seltzman: For once, I am dictating.
 * Number Two: Heil.

 * Number Six: The good doctor's mind now inhabits a body perhaps not to his liking - the colonel's. Dr. Selzmann had progressed more than any of us had anticipated. He can and did change three minds at the same time. He is now free to continue his experiments in peace.

Living in Harmony [1.14]

 * Number Six: Harmony? Never heard of it.
 * Mexican Sam: Not many people have, señor. it's sort of… exclusive.
 * Number Six: So am I.

 * The Judge: You turned in your badge.
 * Number Six: And my gun.
 * The Judge: What were your reasons?
 * Number Six: My reasons.
 * The Judge: You've already taken a job. With who?
 * Number Six: [correcting] Whom with.

 * Number Eight: I didn't expect him to come for hours.
 * Number Two: I told you he was different. I knew it wouldn't work. [sarcastically] Fill him with hallucinatory drugs, put him in a dangerous environment, talk to him through microphones...
 * Number Eight: [interrupting] It has always worked and would have this time...
 * Number Two: But it didn't, did it? Gibe him love, take it away. Isolate him. Make him kill., then face him with death. He'll crack. Break him, even in his mind, and the rest will be easy. I should never have listened to you.
 * Number Eight: It would have worked if you had kept your head and not created the crisis too soon.
 * Number Two: How could I control it? Tell me that. You said yourself we would get involved and do what we would in the real situation.
 * Number Eight: Then don't blame my method, just your own damned lack of self-control.
 * Number Two: It's alright for you. I have to answer for this failure. [notices Number Twenty-Two crying] It seems I'm not the only one who got involved.

 * Number Twenty-Two: [to Number Six; her last words] I wish it had been real.

The Girl Who Was Death [1.15]

 * Sonia: [to Mr. X] You are a born survivor. I am a born killer. We were made for each other, but I fear this is where it must end. Your reflexes cannot save you now.

 * Sonia: [to Mr. X] I love you madly. I love the way the hair curls on the back of your neck. You'll make a beautiful corpse. I'm going to do you the honour of letting you die superbly.

 * Sonia: Mountaineering rope. It would hold an elephant.
 * Mr. X: I must remember that next time I go climbing with one.

 * Sonia: You see, when the rocket reaches London, you will be the first to know! Won't that be exciting?!?
 * Mr. X: I'll just go to pieces.

 * Number Two: [about Number Six] That one wouldn't drop his guard with his own grandmother!

Once Upon a Time [1.16]

 * Number Two: [on the phone] Why do you care?
 * Number Six: I know your voice.
 * Number Two: I have been here before. Why do you care?
 * Number Six: You'll never know.

 * Number Two: You know who it was?
 * Number Six: Yes, sir.
 * Number Two: Who was it? [Six says nothing.] That is cowardice!
 * Number Six: That's honour, sir.
 * Number Two: We don't talk about such things.
 * Number Six: You should teach it, sir.
 * Number Two: You're a fool!
 * Number Six: Yes, sir. Not a rat.
 * Number Two: A rat?
 * Number Six: Rat.
 * Number Two: [turns to face Six] I'm a rat?!?
 * Number Six: No, sir. I'm a fool. Not a rat.

 * Number Two: Why did you resign?
 * Number Six: For peace.
 * Number Two: For peace?
 * Number Six: Now let me out.
 * Number Two: You resigned for peace?
 * Number Six: Yes. Let me out.
 * Number Two: You're a fool.
 * Number Six: For peace of mind.
 * Number Two: What?
 * Number Six: For peace of mind!
 * Number Two: Why?
 * Number Six: Because too many people know too much.
 * Number Two: Never!
 * Number Six: I know too much!
 * Number Two: Tell me.
 * Number Six: I know too much about you!

 * Number Two: Society...
 * Number Six: Yes, sir?
 * Number Two: Society is a place where people exist together.
 * Number Six: Yes, sir.
 * Number Two: That is civilization.
 * Number Six: Yes, sir.
 * Number Two: The lone wolf belongs in the wilderness.
 * Number Six: Yes, sir.
 * Number Two: You must not grow up to be a lone wolf.
 * Number Six: No, sir.
 * Number Two: You must conform.
 * Number Six: Yes, sir.
 * Number Two: It is my sworn duty to see that you do conform.
 * Number Six: Yes, sir.
 * Number Two: You will take six.
 * Number Six: Six, sir?
 * Number Two: Of the best.
 * Number Six: I'm not guilty, sir.
 * Number Two: Ten!
 * Number Six: Twelve.
 * Number Two: What?
 * Number Six: Twelve, sir, so that I can remember.

 * [Number Six begins to violently come out of his hypnotic trance and attack Number Two. The Butler knocks him unconscious, and he and Number Two begin to re-hypnotize Six.]
 * Number Two: I'm beginning to like him.

 * Number Six: I am a man, not a unit of society.

Fall Out [1.17]

 * The President: Give it to me baby! Confess!
 * Number 48: Oh Dad, I'm your baby Dad, do you owe your baby something Daddy?
 * The President: Confess!
 * Number 48: The bones is yours Dad! They came from you my Daddy.
 * The President: Confess! Now you hep?
 * Number 48: Hip, Dad, hip.
 * The President: Confess!
 * Number 48: And a hip bone.
 * The President: Confess!
 * Number 48: And a thigh bone.
 * The President: Confess!
 * Number 48: Shin bone, knee bone.
 * The President: Confess!
 * Number 48: Back bone. All yours Dad.

 * President: Youth, with its enthusiasms which rebels against any accepted norm must because it must--and we sympathize--it may wear flowers in its hair, bells on toes, But when the common good is threatened, when the function of society is endangered, such revolts must cease. They are non-productive and must be abolished.

 * Number Two: New allegiances. Such is the price of fame.... and failure. Dear me, how sad. My Lords, Ladies and Gentleman, a most extraordinary thing happened to me on my way here. It has been my lot in the past to wield a not inconsiderable power. Nay, I have had the ear of statesmen, kings and princes of many lands. Governments have been swayed, policies defined and revolutions nipped in the bud at a word from me in the right place, and at a propitious time. Not surprising therefore, that this community should find a use for me. Not altogether by accident that one day I should be abducted, and wake up here amongst you. What is deplorable is that I resisted for so short a time. A fine tribute to your methods. I wish to thank you for recognition of my talent, which placed me in a position of power, second only... to One.

 * President: [Delegates applauding, the President bangs his gavel] This session is called in a matter of democratic crisis... and we are here gathered to resolve the question of revolt. [Delegates applaud but are stopped by the gavel] We desire that these proceedings be conducted in a civilized manner, but remind ourselves that humanity is not humanized without force. And that errant children must sometimes be brought to book with a smack on their backsides. [Delegates applaud] We draw your attention to the regrettable bullet. [the President looks toward two men with machine guns] The Community is at stake, and we have the means to protect it. The Assembly is now in security.
 * Delegate: Number Six is presented to you
 * President: We understand he survived the ultimate test
 * The Delegate: Indeed.
 * President: Then he must no longer be referred to as "Number Six" or a number of any kind. He has gloriously vindicated the right of the individual to be individual. And this Assembly rises to you... Sir.

 * President: We are honoured to have with us a revolutionary of a different calibre. He has revolted. Resisted. Fought. Held fast. Maintained. Destroyed resistance. Overcome coercion. The right to be a Person, Someone, or Individual. We applaud his private war and concede that despite materialistic efforts he has survived intact and secure. All that remains is recognition of a Man.

About

 * It was a place that is trying to destroy the individual by every means possible; trying to break his spirit, so that he accepts that he is No. 6 and will live there happily as No. 6 for ever after. And this is the one rebel that they can't break.
 * Patrick McGoohan, Patrick McGoohan interviewed by Warner Troyer (March 1977)

Cast

 * Patrick McGoohan - The Prisoner / Number Six (17 episodes)
 * Angelo Muscat - The Butler (14 episodes)
 * Peter Swanwick - Supervisor (8 episodes)
 * Leo McKern - Number Two (3 episodes)
 * Colin Gordon - Number Two (2 episodes)
 * Denis Shaw - The Shop Keeper (2 episodes)
 * Fenella Fielding - The Announcer/Telephone Operator (voice only; unseen and uncredited, 6 episodes)

title: The Prisoner


text:
Category:Machinima

Machinima (a portmanteau word for machine cinema and/or "machine" "animation") is both a collection of associated production techniques and a film genre (film created by such production techniques). Machinima films are CGI films made primarily using 3d video game engines, on consumer level computer or console systems.

title: Category:Machinima


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Valerie Solanas

Valerie Solanas (9 April 1936 – 26 April 1988) was an American feminist. She is notable for writing SCUM Manifesto and having shot Andy Warhol.

SCUM MANIFESTO (1967)
(This is from a photocopy by Northwestern University of the 1967 original.)

 * "Life" in this "society" being, at best, an utter bore and no aspect of "society" being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and eliminate the male sex.
 * p. [1].

 * It is now technically feasible to reproduce without the aid of males (or, for that matter, females) and to produce only females. We must begin immediately to do so. Retaining the male has not even the dubious purpose of reproduction.
 * p. [1].

 * The male is a biological accident: the y(male) gene is an incomplete x(female) gene, that is, has an incomplete set of chromosomes. In other words, the male is an incomplete female, a walking abortion.... To be male is to be deficient, emotionally limited; maleness is a deficiency disease and males are emotional cripples.
 * p. [1] ("y(male)" & "x(female)" spaceless in original).

 * The male is completely egocentric, trapped inside himself, incapable of empathizing or identifying with others, or love, friendship, affection or tenderness. He is a completely isolated unit, incapable of rapport with anyone. His responses are entirely visceral, not cerebral; his intelligence is a mere tool in the services of his drives and needs; he is incapable of mental passion, mental interaction; he can't relate to anything other than his own physical sensations. He is a half-dead, unresponsive lump, incapable of giving or receiving pleasure or happiness; consequently, he is at best an utter bore, an inoffensive blob, since only those capable of absorption in others can be charming.
 * p. [1]

 * He ["the male"] is trapped in a twilight zone halfway between humans and apes, and is far worse off than apes, because he is, first of all, capable of a large array of negative feelings that the apes aren't - hate, jealousy, contempt, disgust, guilt, shame, disgrace, doubt - and, secondly, he is aware of what he is and isn't.
 * p. [1] (hyphens so in original (en-dashes probably not available on most typewriters in 1967)).

 * To call a man an animal is to flatter him; he's a machine, a walking dildo. It's often said that men use women. Use them for what? Surely not pleasure.
 * p. [1]

 * Eaten up with guilt, shame, fears and insecurities and obtaining, if he's lucky, a barely perceptible physical feeling, the male is, nonetheless, obsessed with screwing; he'll swim a river of snot, wade nostril-deep through a mile of vomit, if he thinks there'll be a friendly pussy awaiting him. He'll screw a woman he despises, any snaggle-toothed hag, and, further, pay for the opportunity. Why? Relieving physical tension isn't the answer, as masturbation suffices for that. It's not ego satisfaction; that doesn't explain screwing corpses and babies.
 * pp. [1]–2 (page break between "pay for" & "the opportunity") (commas in "he despises, any snaggle-toothed hag, and, further, pay for" presumed despite horizontal line truncation in source, due to consistency with copy of same edition from The Andy Warhol Museum (Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing: A Guide to Six Centuries of Women Writers Imagining Rooms of Their Own (N.Y.: Palgrave Macmillan, 1st ed. Apr., 2011 ISBN 978-0-230-11066-3, p. 143 (author a teacher)).

 * Completely egocentric, unable to relate, empathize or identify and consisting of a vast, pervasive, diffuse sexuality, the male is psychically passive. He hates his passivity, so he projects it onto women, defines the male as active, then sets out to prove that he is ("prove he's a Man"). His main means of attempting to prove it is screwing (Big Man with a Big Dick tearing off a Big Piece). Since he's attempting to prove an error, he must "prove" it again and again. Screwing, then, is a desperate, compulsive attempt to prove he's not passive, not a woman; but he is passive and does want to be a woman.
 * p. 2.

 * Being an incomplete female, the male spends his life attempting to complete himself, become female. He attempts to do this by constantly seeking out, fraternizing with and trying to live through and fuse with the female and by claiming as his own all female characteristics - emotional strength and independence, forcefulness, dynamism, decisiveness, coolness, objectivity, assertiveness, courage, integrity, vitality, intensity, depth of character, grooviness, etc. - and projecting onto women all male traits - vanity, frivolity, triviality, weakness, etc. It should be said, though, that the male has one glaring area of superiority over the female - public relations. He has done a brilliant job of convincing millions of women that men are women and women are men.
 * p. 2 (hyphens (not en- or em-dashes) so in original).

 * The male claim that females find fulfillment through motherhood and sexuality reflects what males think they 'd find fulfilling if they were female.
 * p. 2.

 * Women, in other words, don't have penis envy; men have pussy envy. When the male accepts his passivity, defines himself as a woman (Males as well as females think men are women and women are men), and becomes a transvestite he loses his desire to screw (or to do anything else, for that matter; he fulfills himself as a dragqueen) and gets his cock chopped off. He then derives a continuous diffuse sexual feeling from "being a woman." Screwing is, for a man, a defense against his desire to be female. Sex is, itself, a sublimation.
 * p. 2 ("Males" & "dragqueen" so in original).

 * Every man, deep down, knows he's a worthless peice of shit.
 * p. 2 ("peice" so in original, probably intended as "piece").

 * The male has a negative Midas Touch - everything he touches turns to shit.
 * p. 5 (hyphen (not en- or em-dash) so in original).

 * Our "society" is not a community, but merely a collection of isolated family units. Desperately insecure, fearing his woman will leave him if she's exposed to other men or to anything remotely resembling life, the male seeks to isolate her from other men and from what little civilization there is, so he moves her out to the suburbs, a collection of self-absorbed couples and their kids. Isolation, further, enables him to try to maintain his pretense of being an individual by being a "rugged individualist", a loner, equating non-co-operation and solitariness with individuality.
 * p. 7 (line break in "non-"/"co-operation").

 * A true community consists of individuals - not mere species members, not couples - respecting each others individuality and privacy while at the same time interacting with each other mentally and emotionally - free spirits in free relation to each other - and co-operating with each other to achieve common ends. Traditionalists say the basic unit of "society" is the family; "hippies" say the tribe; noone says the individual.
 * p. 7 (hyphens (not en- or em-dashes) so in original; "others" so in original, probably intended as "other's"; line break across "inter-"/"acting"; "noone" so in original, probably intended as "no one").

 * Although wanting to be an individual, the male is scared of anything about him that's the slightest bit different from other men; it causes him to suspect he's not really a "Man," that he's passive and totally sexual, a highly upsetting suspicion. If other men are A and he's not, he must be not a man; he must be a fag. So he tries to affirm his "Manhood" by being like all the other men. Differentness in other men, as well as in himself, threatens him; it means they 're fags, who he must, at all costs, avoid, so he tries to ensure that all other men conform.
 * p. 8.

 * The male dares to be different to the degree that he accepts his passivity and his desire to be female, his fagginess. The farthest out male is the dragqueen, but he, although different from most men, is exactly like all other dragqueens; like the functionalist, he has an identity - a female; he tries to define all his troubles away - but still no individuality. Not completely convinced that he's a woman, highly insecure about being sufficiently female, he conforms compulsively to the man-made feminine stereotype, ending up as nothing but a bundle of stilted mannerisms.
 * p. 8 ("dragqueen", "dragqueens", & hyphens (not en- or em-dashes) so in original).

 * To be sure he's a "Man," the male must see to it that the female be clearly a "Woman," the opposite of a "Man," that is, the female must act like a faggot. And Daddy's Girl, all of whose female instincts were tromped out of her when little, easily and obligingly adapts herself to the role.
 * p. 8.

 * The male is just a bundle of conditioned reflexes, is incapable of a mentally free response, is tied to his early conditioning, is determined completely by his past experiences. His earliest experiences are with his mother, and he is throughout his life tied to her. It never becomes completely clear to the male that he is not part of his mother, that he is him and she is her.
 * p. 5.

 * His greatest need is to be guided, sheltered, protected and admired by Mama (Men expect women to adore what men shrink from in horror - themselves), and, being completely physical, he yearns to spend his time - that's not spent "out in the world" grimly defending against his passivity - in wallowing in basic animal activities - eating, sleeping, shitting, relaxing and being soothed by Mama. Passive, rattle-headed Daddy's Girl, ever eager for approval, for a pat on the head, for the "respect" of any passing piece of garbage, is easily reduced to Mama, mindless administrator to physical needs, soother of the weary, apey brow, booster of the puny ego, appreciator of the contemptible, a hot water bottle with tits.
 * pp. 5–6 (capitalization of "Men" so in original; hyphens (not en- or em-dashes) so in original; page break between "soother of" & "the weary").

 * [T]he male .... tries to convince himself and women - he's succeeded best at convincing women - that the female function is to bear and raise children and relax, comfort and boost the egos of the male, that her function is such as to make her interchangeable with every other female. In actual fact, the female function is to relate, groove, love and be herself, irreplacable by anyone else; the male function is to produce sperm. We now have sperm banks.
 * p. 6 (hyphens (not en- or em-dashes); "the egos of the male" so in original & "irreplacable" so in original).

 * In actual fact, the female function is to explore, discover, invent, solve problems crack jokes, make music - all with love. In other words, create a magic world.
 * p. 6.

 * Love can't flourish in a "society" based on money and meaningless work, but rather requires complete economic, as well as personal, freedom, leisure time and the opportunity to engage in intensely absorbing, emotionally satisfying activities which, when shared with those you respect, lead to deep friendship, but which our "society" provides practically no opportunity to engage in.
 * p. 11.

 * Love is not dependency or sex, but is friendship, and, therefore, love can't exist between two males, between a male and a female or between two females, one or both of whom is a mindless, insecure, pandering male; like conversation it can exist only between two secure, free-wheeling, independent, groovy female females, as friendship is based on [respect, not contempt.]
 * p. 10 ("respect, not contempt." (not bracketed in original) not certain in original due to truncation of bottom of photocopy page but consistent with it).

 * Sex is the refuge of the mindless. And the more mindless the woman, the more deeply embedded in the male "culture," in short, the nicer she is, the more sexual she is. The nicest women in our "society" are raving sex maniacs.
 * p. 12.

 * Sex is not part of a relationship, but is, to the contrary, a solitary experience as well as being non-creative and a gross waste of time. The female can easily - far more easily than she may think - condition her sex drive away, leaving her completely cool and cerebral and free to pursue truly worthy relationships and activities; but the male, who seems to dig women sexually and who seeks constantly to arouse them, stimulates the highly-sexed female to frenzies of lust, throwing her into a sex bag from which few women ever escape. The lecherous male excites the lustful female; he has to - when the female transcends her body, rises above animalism, the male, whose ego consists of his cock, will disappear.
 * p. 12 (hyphens (not en- or em-dashes) so in original; line break across "highly-"/"sexed").

 * [M]any females would, even assuming complete economic equality between the sexes, prefer residing with males or peddling their asses on the street, thereby having most of their time for themselves, to spending many hours of their days doing boring, stultifying, non-creative work for somebody else, functioning as less than animals, as machines, or, at best - if able to get a "good" job - co-managing the shitpile. What will liberate women, therefore, from male control is the total elimination of the money-work system, not the attainment of economic equality with men within it.
 * p. 3 (hyphens (not en- or em-dashes) so in original).

"A Young Girl's Primer" (1966)

 * Being fresh out of college, I found myself in the typically feminine dilemma of carving out for myself in a male world a way of life appropriate to a young woman of taste, cultivation and sensitivity. There must be nothing crass—like work. However, a girl must survive. So, after a cool appraisal of the social scene, I finally hit upon an excellent-paying occupation, challenging to the ingenuity, dealing on one's own terms with people and affording independence, flexible hours, great stability and, most important, a large amount of leisure time, an occupation highly appropriate to female sensibilities. I contemplate my good fortune as I begin work for the day: "Pardon me, Sir, do you have fifteen cents?"
 * That's conversation. I charge six bucks an hour for that.
 * This job offers broad opportunity for travel—around and around and around the block. And to think—some girls settle for Europe.

Quotes about

 * the shooting of Andy Warhol had a political dimension, at least in Valerie Solanas's mind. A couple of Warhol's obituaries solemnly refer to Solanas as a member of a group called S.C.U.M. (Society for Cutting Up Men). Actually, so far as I know, the sole member of this "group" was Solanas herself. Whether she envisioned killing Warhol as a S.C.U.M. project I have no idea; she did, however, write The S.C.UM. Manifesto, a supremely tasteless and wonderfully zany parody of male supremacist thought, which argued that biologically men were not only inferior but superfluous. I never read it as anything but satire, but later I noticed that there were feminists who took it seriously and either loved it or were indignant. I can't believe Solanas meant it seriously, but then again how would I know?
 * Ellen Willis No More Nice Girls: Countercultural Essays (1992)

title: Valerie Solanas


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Talk:Steve Martin

The "Talking about music is like dancing about architecture" quote seems to be of unknown origin. See "Talking about music..." for more info Alikins 17:06, 29 Apr 2005 (UTC)

Agreed. Though I originally heard the quote attributed to him by Laurie Anderson when she hosted the PBS show POV in the 80s, I've since heard it attributed to Frank Zappa and Charles Mingus. 70.229.242.2 15:32, 25 March 2008 (UTC)

Unsourced
Wikiquote no longer allows unsourced quotations, and they are in process of being removed from our pages (see Wikiquote:Limits on quotations); but if you can provide a reliable and precise source for any quote on this list please move it to.

 * First the doctor told me the good news: I was going to have a disease named after me.
 * I believe entertainment can aspire to be art, and can become art, but if you set out to make art you're an idiot.
 * I believe that sex is the most beautiful, natural, and wholesome thing that money can buy.
 * I'm not into that one-night thing. I think a person should get to know someone and even be in love with them before you use and degrade them
 * There is one thing I would break up over, and that is if she caught me with another woman. I won't stand for that.
 * Well, excuuuuuse me!!!!
 * What is comedy? Comedy is the art of making people laugh without making them puke.
 * Grandpaaa bought a rubber.
 * Oh pointy bird, oh, pointy, pointy. 'Noint my head, oh nointy, nointy.

title: Talk:Steve Martin


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User talk:I3manja

--Aphaia 17:17, 29 Apr 2005 (UTC)

Mother Meera image
The image you uploaded for Mother Meera has no source information. As we move to use Wikimedia Commons, which requires proper licensing, exclusively for images, we are voting on deletion of many images, including. Could you find an image that can be used under GFDL or Creative Commons licenses, or from the public domain, and upload it to Commons? This would also provide a proper image for the Wikipedia article, as its current image will no doubt be deleted as soon as they catch up on their backlog. Thank you for your assistance. ~ Jeff Q (talk) 09:57, 19 November 2005 (UTC)

title: User talk:I3manja


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User talk:Vanatter

--Aphaia 17:17, 29 Apr 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 Vanatter. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Vanatter~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.

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title: User talk:Vanatter


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User talk:Ngb

--Aphaia 17:17, 29 Apr 2005 (UTC)

title: User talk:Ngb


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User talk:Alikins~enwikiquote

--Aphaia 17:17, 29 Apr 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 Alikins. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Alikins~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.

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Renamed
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title: User talk:Alikins~enwikiquote


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User talk:AnnaAniston~enwikiquote

--Aphaia 17:18, 29 Apr 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 AnnaAniston. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name AnnaAniston~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.

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Fletch (film)

Fletch is a 1985 comedy film about an ace reporter who, while working undercover on a story about drug sales, is approached by a rich man who wants Fletch to murder him. The plot thickens for Fletch when he discovers that the reason for the request is under false pretenses. So Fletch begins his search for the truth, uncovering one of the biggest stories of his career.
 * Directed by Michael Ritchie. Written by Andrew Bergman, based on the novels of Gregory McDonald.

Meet the only guy who changes his identity more often than his underwear. Taglines

Fletch

 * I didn't want to do this, but I'm afraid I'm gonna have to pull rank on you. I'm with the Mattress Police. There are no tags on these mattresses.
 * Oh, you've remodeled the garage. Must have cost you hundreds.
 * [to a Doberman Pinscher] Look, defenseless babies!
 * It was something your wife said while we were in bed together. She said we had the same build. From the waist up I imagine.
 * If you haven't guessed, there's been a lot of drug traffic on the beach lately. And I'm not talking about Robitussin and No-Doz...I'm talking about the hard stuff.  I've been posing as an amiable, minor league junkie in order to get to the bottom of it.  It hasn't been easy.  I don't shower much.
 * You know, if you shoot me, you're liable to lose a lot of those humanitarian awards.
 * ...and who would have known that the Vice President knew I was opening the door, but the Secret Service, they just whack [mimes door hitting him in the face] blood...
 * For another grand, I'll let you take me out to dinner.
 * [to Gail Stanwyck, who answers the door wearing a towel] Can I borrow your towel? My car just hit a water buffalo.
 * I would have been here sooner, but a manure-spreader jackknifed on the Santa Ana. Gawdawful mess. You should see my shoes.
 * [after paying his ex-wife's attorney, Fletch walks him to the door] Keep ten for yourself. Go and get yourself a nice piece of ass.
 * Hey, don't talk to me that way, assface. I don't work for you yet.
 * [server says, "muchas gracias" and Fletch responds] Tierra Del Fuego.
 * In the court ruling US vs. Fishbine, a man subjected to potential incineration while wearing another man's suit is entitled to $10,000 worth of airline tickets. It's an obscure ruling, but a very important one. To me.
 * [singing] Strangers in the night, exchanging clothing, strangers in my pants...
 * Mr. Stanwyk's parents Marvin and Velma of Provo, were unable to attend the wedding. Those are three names I enjoy; Marvin, Velma, and Provo.
 * Hey! I think all of our problems may have just been solved. Ed McMahon. Think I just won a million bucks. Yeahhahhah, Irwin M. Fletcher you choose. Woo wee! Oh boy, I lost. Again. Sorry.
 * [Corrupt Police Chief Karlin surprises Stanwyk holding Fletch at gunpoint - said in the dryest manner possible] Thank God. The police.
 * Hey that's you and Tommy Lasorda... [smashes picture]  I hate Tommy Lasorda.
 * Can I call my mother? Tell her how much I love her?
 * Love your body, Larry.
 * [narrating] As I pulled up to my palatial, imitation apartment building, I noticed the familiar red Oldsmo-Buick of Mr. Arnold T. Pants, Esquire. Attorney for the former Mrs. Irwin M. Fletcher.  Time to use the service entrance.

Dialogue

 * Alan Stanwyk: If you reject the proposition, you keep the thousand - and your mouth shut.
 * Fletch: Does this proposition entail my dressing up as Little Bo Peep?
 * Alan Stanwyk: It's nothing of a sexual nature, I assure you.
 * Fletch: Yeah, I assure you.
 * Alan Stanwyk: One thousand just to listen. I don't see how you can pass that up, Mister...?
 * Fletch: Nugent. Ted Nugent.
 * Alan Stanwyk: Alan Stanwyk.
 * Fletch: Ellen? Charmed.  You know, for an extra grand, I'll let you take me out to dinner...

 * Fletch: You know, I came this close to buying this place, but then I found out that Hop-along Cassidy killed himself here.
 * Alan Stanwyk: Who?
 * Fletch: Hop-along Cassidy. Bow and arrow.  Very Weird.
 * Alan Stanwyk: What, are you doped up now?
 * Fletch: Don't talk to me like that, ass-face, I don't work for you, yet.

 * Alan Stanwyk: Do you own rubber gloves?
 * Fletch: I rent. I have a lease, with an option to buy.

 * Hispanic Housekeeper: Buenos días.
 * Fletch: Pup 'n' Taco.

 * Waiter: Excuse me señor, you are a member of the club?
 * Fletch: No, I'm here with the Underhills.
 * Waiter: The Underhills? They are left, Señor.
 * Fletch: Oh they'll be back. He went out for his urinalysis.
 * Waiter: Would you like some drinks, señor, while you wait? I will put it on the Underhills' bill.
 * Fletch: Oh, yes. Very good. I'll have a Bloody Mary, a steak sandwich and a...steak sandwich.

 * Fletch: I'm a friend of Alan's. I'm John.
 * Gail Stanwyk: Ohhhh, John. John who?
 * Fletch: John Cock... tos... ton.
 * Gail Stanwyk: That's a beautiful name.
 * Fletch: It's Scotch-Romanian.
 * Gail Stanwyk: That's an odd combination.
 * Fletch: So were my parents.
 * Fletch: I saw Alan this morning and you know what I can't figure out?
 * Gail Stanwyck: Alan's in Utah
 * Fletch: I...can't figure out what I was doing in Utah this morning.
 * Gail Stanwyck: You know, if I had a nickel for every one of Alan's flyboy buddies who hit on me, I'd be a rich woman.
 * Fletch: You ARE a rich woman.
 * Gail Stanwyck: See what I mean?
 * Fletch: You ARE a rich woman.
 * Gail Stanwyck: See what I mean?

 * Fletch: Do you have caviar?
 * Waiter: Si señor, Beluga, but it is 80 dollars a portion.
 * Fletch: Well, I better just take two portions of that, then.

 * Gail Stanwyk: You ordered lunch to my room.
 * Fletch: Well, I knew that's where my mouth would be.
 * Gail Stanwyk: Are you always this forward?
 * Fletch: Only with wet, married women.

 * Madeline: I'm sorry, who are you again?
 * Fletch: I'm Frieda's boss.
 * Madeline: Who's Frieda?
 * Fletch: My secretary.

 * Dr. Joseph Dolan: So where do you know Alan from?
 * Fletch: We play tennis together at the club.
 * Dr. Joseph Dolan: Really? The California Racquet Club?
 * Fletch: Yes.
 * Dr. Joseph Dolan: That's my club too. I don't remember seeing you there.
 * Fletch: Well, I haven't played in a while because of these kidney pains.
 * Dr. Joseph Dolan: Right. Now, how long have you been having these pains, Mr. Barber?
 * Fletch: That's Babar.
 * Dr. Joseph Dolan: Two bs?
 * Fletch: One. B-A-B-A-R.
 * Dr. Joseph Dolan: That's two.
 * Fletch: Yeah, but not right next to each other. I thought that's what you meant.
 * Dr. Joseph Dolan: Isn't there a children's book about an elephant named Babar?
 * Fletch: I don't know. I don't have any.
 * Dr. Joseph Dolan: No children?
 * Fletch: No, elephant books.
 * Dr. Joseph Dolan: You know, it's an odd name, Babar...I don't recall seeing it on the club register.
 * Fletch: Well, I don't formally belong. I'm a guest of my aunt.
 * Dr. Joseph Dolan: Your Aunt?
 * Fletch: Yes. Mrs. Smith.
 * Dr. Joseph Dolan: June or Margaret?
 * Fletch: Uh-huh, right.
 * Dr. Joseph Dolan: You know, it's a shame about Ed.
 * Fletch: Oh, it was. Yeah, it was really a shame. To go so suddenly like that.
 * Dr. Joseph Dolan: Ahh, he was dying for years.
 * Fletch: Sure, but... the end was really... very sudden.
 * Dr. Joseph Dolan: He was in intensive care for eight weeks!
 * Fletch: Yeah, but I mean the very end, when he actually died. That was extremely sudden.
 * Dr. Joseph Dolan: Drop your shorts and bend over.
 * Fletch: No...we don't have to, I mean, maybe I just haven't been doing enough calisthenics...you know, my kidneys feel a lot better now, maybe if I just bent over like this every morning......
 * [Dolan inserts his finger into Fletch's anus with an audible "pop" sound]
 * Fletch: [singing] Moon River......[talking] Whew...ever serve time, Doc?
 * Dr. Joseph Dolan: Breathe easy.
 * Fletch: Yeah...breathe easy... Ahh!! Using the whole fist, Doc?!
 * [After the proctological exam]
 * Dr. Joseph Dolan: Well, I can't seem to find anything wrong with you, Mr. Babar.
 * Fletch: Well, I'm sure it's not for a lack of looking.
 * [After the proctological exam]
 * Dr. Joseph Dolan: Well, I can't seem to find anything wrong with you, Mr. Babar.
 * Fletch: Well, I'm sure it's not for a lack of looking.
 * Fletch: Well, I'm sure it's not for a lack of looking.

 * Receptionist: Can I help you Dr...?
 * Fletch: Oh it's me, Dr. Rosenpenis. I'm just here to check out Alan Stanwyk's file.
 * Receptionist: Dr. who?
 * Fletch: Dr. Rosenrosen, I just need to get to the records room.
 * Receptionist: What was that name again?
 * Fletch: It's Dr. Rosenheit, I want to check the records room.
 * Receptionist: Dr. who?
 * Fletch: Dr. Rosen! Where's the records room?

 * Pathologist: Ever seen a spleen that large?
 * Fletch: No, not since breakfast.

 * Fletch: Where am I?
 * Records Nurse: You're in the records room.
 * Fletch: Oh. Do you have the Beatles' White Album? Never mind, just bring me a cup of hot fat. And the head of Alfredo Garcia while you're at it.

 * Kid: Are you a cop?
 * Fletch: As far as you know.
 * Kid: Are you gonna take me to jail for car theft?
 * Fletch: Why? Did you steal the car?
 * Kid: I sure did.
 * Fletch: Well, I'm not even sure that's a crime anymore. There've been a lot of changes in the law.
 * Fletch: I always use a little chewing gum on these rides. It filters out the pollutants.
 * Kid: [Fletch swerves to avoid another car] Oh shit!
 * Fletch: Of course you've got some good grillwork there to keep out the ozone. I gotta get this thing up to 95, uh, check out the fluorocarbon output.
 * Fletch: Of course you've got some good grillwork there to keep out the ozone. I gotta get this thing up to 95, uh, check out the fluorocarbon output.

 * Fat Sam: I've got some reds.
 * Fletch: You don't mean communists, do you Sammy?

 * [Fletch is being framed for drug possession by two very large cops]
 * Fletch: Aren't you gonna read me my rights?
 * Cop: You have the right to remain silent. You have the right to have your face kicked in by me. You have the right to have your balls stomped on by him.
 * Fletch: I think I'll waive my rights.
 * Chief Karlin: [to the arresting officers] Why don't you two leave us alone?
 * Fletch: Yeah, go down to the gym and pump each other.
 * Chief Karlin: What's your name?
 * Fletch: Fletch.
 * Chief Karlin: What's your full name?
 * Fletch: Fletch F. Fletch.
 * Chief Karlin: What do you do for a living, Mr. Fletch?
 * Fletch: I'm a shepherd.
 * Chief Karlin: Why are you doing this, Mr. Fletch?
 * Fletch: I like men. I like to be manhandled. I like you.
 * Chief Karlin: Why are you doing this, Mr. Fletch?
 * Fletch: I like men. I like to be manhandled. I like you.

 * Fletch: Can't keep me here, chief.
 * Chief Karlin: Maybe I'm not going to keep you here. Maybe I'm going to blow your brains out.
 * Fletch: Well, now, I'm no lawyer, but... I do believe that's a violation of my rights.

 * Gail Stanwyk: [Looking at photos of her husband and another woman] Look at her! Would you look at her?! She looks like a hooker! Could you love someone who looked like that!?
 * Fletch: What are you talking about? Of course not! ...five, ten minutes tops, maybe.

 * Stanton Boyd: What kind of a name is Poon?
 * Fletch: Comanche Indian.

 * Gummy: [after Fletch gets kicked in the crotch] Fletch! Are you all right?
 * Fletch: Oh, yeah. I feel like a hundred dollars.

 * Frank Walker: What about this guy, 'Fat Sam'? You said you had pictures of him.
 * Fletch: I do have pictures of him. Dealing.
 * Frank Walker: Well let's go! We'll run the pictures!
 * Fletch: Can't do that, Frank. Fat Sam isn't the story, there's a source behind him.
 * Frank Walker: Who's the source?
 * Fletch: Well, there we're in kind of a "grey" area.
 * Frank Walker: How grey?
 * Fletch: Charcoal?

 * Willy: Why the hell you need ball bearings for?
 * Fletch: Awww, come on guys, it's so simple maybe you need a refresher course. [leans arm on hot engine part, then jumps away] Heyya! It's all ball bearings nowadays. Now you prepare that Fetzer valve with some 3-in-1 oil and some gauze pads, and I'm gonna need 'bout ten quarts of anti-freeze, preferably Prestone. No, no make that Quaker State.

 * Fletch: [Talking to the PanAm Reservations Agent at LAX] I hope there's no-one sitting next to me. See, I always fly first class and I take up both seats.  I'm in bridge construction and these fold outs take up a tremendous amount of space!
 * Reservation Agent: I'm afraid there is somebody sitting next to you...
 * Fletch: Oh for god-dahh-dahh! Who is it, Mister Sinilindin?!
 * Reservation Agent: No, the name is Cavanaugh.
 * Fletch: Ah!  Is that Morris or Pierre?
 * Reservation Agent: It's Sally-Ann Cavanaugh.  She's connecting out of...Provo.
 * Fletch: Ah...Provo, Spain?
 * Reservation Agent: Utah.  In fact, you purchased the ticket for Ms. Cavanaugh.
 * Fletch: Doesn't mean I want her sitting next to me, does it?

Taglines

 * Meet the only guy who changes his identity more often than his underwear.
 * Fletch. Until last week, he was just another mild-mannered reporter fighting for truth, justice and a window office. Now he's being threatened, shot at, accused and arrested. And that's by the people he's trying to help. But there's still one thing even more dangerous than his work. His love life.

Cast

 * Chevy Chase - Irwin M. 'Fletch' Fletcher
 * Joe Don Baker - Police Chief Jerry Karlin
 * Dana Wheeler-Nicholson - Gail Stanwyk
 * Richard Libertini - Frank Walker
 * Tim Matheson - Alan Stanwyk
 * M. Emmet Walsh - Dr. Joseph Dolan
 * George Wendt - Fat Sam
 * Kenneth Mars - Stanton Boyd
 * Geena Davis - Larry

title: Fletch (film)


text:
Talk:Fletch (film)

A question: from Fletch (1985)? --Aphaia 20:38, 29 Apr 2005 (UTC)

title: Talk:Fletch (film)