Knock on Any Door - Cynicism and Despair in Conversation
Andrew Morton: [[miracle]
There have been very few ]s since the 13th century.
Susan Perry: [[cynical]
Oh, if I were as ] as you, I'd hang myself.
Andrew Morton:
I'd be too cynical to trust the rope.
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Knock on Any Door - Addressing the Cycle of Poverty and Crime
Andrew Morton:
Until we do away with the type of neighborhood that produced this boy, ten will spring up to take his place, a hundred, a thousand. Until we wipe out the slums and rebuild em, knock on any door and you may find Nick Romano.
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Knock on Any Door - A Lesson on Courage and Identity
Andrew Morton:
I can still teach you a few, kid. You're just a tin-horn thug, and you always will be. You haven't got the guts to be anything else!
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Knock on Any Door - Questioning Innocence and Personal Responsibility
Andrew Morton: [[chess]
Oh, sure, sure. I know—there must be some mistake. And poor Nick is innocent, and what a heel I am to be sitting here playing ] when he needs me. Well, you're wrong, honey. If he's innocent, this is the first time.
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Knock on Any Door - The Governing Pinpoints in Every Man's Life
Andrew Morton: [[time; [destiny]
In every man's life, there are pinpoints of ] that govern his ].
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Angels with Dirty Faces - Negotiating Consequences and Sacrifices
James Frazier:
Listen, Rocky. I'm pulling every string I can. I'm seeing the all right people. And I think I can get you off with about three years.
Rocky Sullivan:
You talk like I can do that three years in a handstand. It's a long time. That ain't no picnic. You'll be outside having it soft right on those cushions.
James Frazier:
I know it's a tough break, Rocky. But I'm not gonna mark time. I'm gonna scout around, make connections. Not only for me, but for both of us. You understand?
Rocky Sullivan:
Why should I take the fall?
James Frazier:
There's no other way out. Now, be sensible. If they get me too, I'll not only be disbarred, but they'll check on my vault box and grab that hundred grand. You don't want to lose that dough, do you?
Rocky Sullivan:
Alright, Frazier. It's my rap and I'll take it. But it's my hundred grand and I'll take that too, the day that I get out.
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The Barefoot Contessa - Challenges of Stardom in Hollywood
Maria Vargas:
In Hollywood, it is not easy to become a star.
Harry Dawes:
Ah, where is it easy?
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The Barefoot Contessa - Life's Narrative Mirrors Film's Predictability
Harry Dawes:
Life, every now and then, behaves as though it had seen too many bad movies, when everything fits too well - the beginning, the middle, the end - from fade-in to fade-out.
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Dark Passage - Questioning Decisions in Uncertain Relationships
Irene Jansen:
You won't tell me cause you think I'll come there. You think I'd follow you.
Vincent Parry:
You'd be insane to follow me.
Irene Jansen:
Was I insane to pick you up on the road? Was I crazy to let you stay here?
Vincent Parry:
Yes.
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Dark Passage - Struggles of Connection and Departure
Irene Jansen:
I thought I had a good life here... but your going away doesn't make it seem good anymore. I've sort of joined your team and... and I don't look forward to being without you.
Vincent Parry:
When I leave here, you're off my team, and lucky to be. Nah, I've got the Indian sign on me. It seems I can't win.
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Dark Passage - A New Reflection on Identity
Vincent Parry: [looking in a mirror after the bandages are taken off]
Same eyes. Same nose. Same hair. Everything else seems to be in a different place. I sure look older. That's all right, I'm not. If it's all right with me, it ought to be all right with you.
Irene Jansen:
Can you shave?
Vincent Parry:
The Doc said that I could.
Irene Jansen:
Why don't you get dressed? I'll wait downstairs and sort of get a fresh impression.
Irene Jansen: [seeing Vincent after he shaves]
It's unbelievable. but it's good. I think I even like you better.
Vincent Parry:
Well, don't let it give you any ideas.
Irene Jansen:
What kind?
Vincent Parry:
Don't change yours. I like it just as it is.
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Dark Passage - The Cost of Complications in Life Choices
Baker:
Just take it easy, Parry. You're gonna be better off that you ever were. As soon as I rake in the chips, I walk out of the game. Want your hat?
Vincent Parry:
You make it sound pretty simple.
Baker:
It is, and don't make it complicated by trying to make a break. I'll have to kill ya and only make myself $5000. One way you die, either way I make money.
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Dark Passage - Tension in a Threatening Conversation
Baker:
I got the license number. I always had a good head for figures.
Vincent Parry:
My only interest in your head is how easy it'll crack open.
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Dark Passage - A Man's Desperate Plea for Solitude
Vincent Parry:
I'm hiding.
Detective:
From what?
Vincent Parry:
My wife, my friends, my family, everybody.
Detective:
Come on now, it can't be as bad as all that.
Vincent Parry:
Well, I tell you what you do. You go up there and spend seven years with my wife, and then if you're still in your right mind, come back down here and tell me about it.
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Dark Passage - Betrayal and Indifference in Relationships
George Fellsinger:
Gert didn't hate you. Gert just didn't care for you. There's a difference. She would have walked out on you if she'd have found somebody permanent. She wouldn't frame you when she was dying. She was no prize package, but she wouldn't frame you. Madge framed you. Madge wanted to hook you, and when she found she couldn't have you, she framed you, sent you up for life. We both know that.
Vincent Parry:
My attorney couldn't shake her story. Maybe someday she'll get run over or something.
George Fellsinger:
That's what I pray for every night.
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Dark Passage - Uncertainty in a tense situation
Cabby:
Where do you want to go to?
Vincent Parry:
Might as well make it the police station.
Cabby:
Don't be like that. You're doing all right. You're doing fine.
Vincent Parry:
If it was easy for you to spot me, it'd be easy for others.
Cabby:
That's where you're wrong. Unless you'd be happier back in Quentin.
Vincent Parry:
Yeah... yeah, sure. That's why they sent us up there. To make us happy.
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Dark Passage - A Conversation on Suit and Silence
Cabby:
Nice looking suit you're wearing.
Vincent Parry:
Thanks, and I don't feel chatty.
Cabby:
Some fares like to talk.
Vincent Parry:
Well I don't.
Cabby:
You always that way?
Vincent Parry:
Yep. That's why I don't have many friends.
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Dark Passage - Consequences of Unethical Plastic Surgery
Dr. Walter Coley:
Ever see any botched plastic jobs? If a man like me didn't like a fellow... he could surely fix him up for life. Make him look like a bulldog, or a monkey. I'll make you look as if you've lived.
Vincent Parry:
I have, doc.
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Dark Passage - The Nature of Loneliness
Vincent Parry:
Don't you get lonely up here by yourself?
Irene Jansen:
I was born lonely, I guess.
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Dark Passage - Hope in Adversity
Vincent Parry:
You know, it's wonderful when guys like you lose out. Makes guys like me think maybe we got a chance in this world.
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Key Largo - The Uniqueness of Johnny Rocco
Johnny Rocco:
Thousands of guys have got guns. There's only one Johnny Rocco.
James Temple:
How do you account for it?
Frank McCloud:
He knows what he wants. Don't you, Rocco?
Johnny Rocco:
Sure.
James Temple:
What's that?
Frank McCloud:
Tell him, Rocco.
Johnny Rocco:
Well, I want uh ...
Frank McCloud:
He wants more, don't you, Rocco?
Johnny Rocco:
Yeah. That's it. More. That's right! I want more!
James Temple:
Will you ever get enough?
Frank McCloud:
Will you, Rocco?
Johnny Rocco:
Well, I never have. No, I guess I won't. You, do you know what you want?
Frank McCloud:
Yes, I had hopes once, but I gave them up.
Johnny Rocco:
Hopes for what?
Frank McCloud:
A world in which there's no place for Johnny Rocco.
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Key Largo - The Value of Life Over Conflict
Frank McCloud:
One Rocco more or less isn't worth dying for!
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Key Largo - Conflict Between Thoughts and Life Choices
Frank McCloud:
When your head says one thing and your whole life says another, your head always loses.
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Key Largo - Confronting the Storm with Defiance
Frank McCloud:
You don't like it, do you Rocco, the storm? Show it your gun, why don't you? If it doesn't stop, shoot it.
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The Roaring Twenties - Delegate Tasks to Others for Efficiency
George Hally:
I always say, when you got a job to do, get somebody else to do it.
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In a Lonely Place - Conflicting Promises of Love and Fear
Laurel Gray:
I'll stay with you, Dix, I promise. I'll stay with you. I love you, Dix. I'll marry you. I'll go away with you. Take me...
Dixon Steele:
You'd run away from me the first chance you get.
Laurel Gray:
Don't act like this, Dix, I can't live with a maniac.
Dixon Steele: [choking her]
I'll never let you go.
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In a Lonely Place - Ordering Flowers for Someone Special
Dixon Steele: [to man hosing down the sidewalk in front of the florist shop]
Say, do me a favor, will you, pal?
Flower Shop Employee:
Yes, sir.
Dixon Steele:
I want to send two dozen white roses to a girl.
Flower Shop Employee:
Yes, sir. Do you want to write a card?
Dixon Steele:
No, there's no card. Her name's Mildred Atkinson.
Flower Shop Employee:
Mildred Atkinson. Yes, sir. What's her address?
Dixon Steele:
I don't know. Look it up in the papers. She was murdered last night.
Flower Shop Employee:
Yes, sir.
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In a Lonely Place - The Art of Darkness in Relationships
Dixon Steele: [setting up a reenactment; pause]
You put your right arm around her neck. You get to a lonely place in the road and you begin to squeeze. You're an ex-GI. You know judo. You know how to kill a person without using your hands. You're driving the car and you're strangling her. You don't see her bulging eyes or her protruding tongue. Go ahead, go ahead Brub, squeeze harder. You love her, and she's deceived you. You hate her patronizing attitude. She looks down on you. She's impressed with celebrities. She wants to get rid of you. Squeeze harder. Harder. Squeeze harder. It's wonderful to feel her throat crush under your arm. Now, are you convinced?
Sylvia Nicolai:
You forgot my hands. I could scratch his eyes out before he could kill me.
Dixon Steele: [pause]
Ah, but you didn't. Your first instinct was to grab his arm, try to loosen his grip. That's where you lost the battle, just as Mildred did. I've had a lot of experience in matters of this kind. I've killed dozens of people, in pictures. No, Sylvia, I didn't do it. I assure you, I could never throw a lovely body from a moving car. My artistic temperament wouldn't permit it...You see, we so-called creative artists have a great respect for cadavers. We treat them with the utmost reverence. Put them in soft beds, lay them out on fur rugs, leave them lying at the foot of a long staircase, but we definitely could never throw them from a moving car as though they were cigarette butts.
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In a Lonely Place - A Mutual Understanding of Boundaries
Dixon Steele:
You know, when you first walked into the police station, I said to myself, "There she is - the one that's different. She's not coy or cute or corny. She's a good guy - I'm glad she's on my side. She speaks her mind and she knows what she wants.
Laurel Gray:
Thank you, sir. But let me add: I also know what I don't want - and I don't want to be rushed.
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In a Lonely Place - Perceptions of Attractiveness and Affection
Dixon Steele:
You know, you're out of your mind - how can anyone like a face like this? Look at it...
Laurel Gray:
I said I liked it - I didn't say I wanted to kiss it.
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In a Lonely Place - Subtlety in Love Scenes
Laurel Gray: [on a scene in Dix's script]
I love the love scene - it's very good.
Dixon Steele:
Well that's because they're not always telling each other how much in love they are. A good love scene should be about something else besides love. For instance, this one. Me fixing grapefruit. You sitting over there, dopey, half-asleep. Anyone looking at us could tell we're in love.
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In a Lonely Place - Unequal Perspectives on Privacy and Trust
Dixon Steele: [noting the geography of their apartments]
You know, Ms. Gray, you're one up on me - you can see into my apartment but I can't see into yours.
Laurel Gray:
I promise you, I won't take advantage of it.
Dixon Steele:
I would, if it were the other way around.
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In a Lonely Place - Emotional Detachment in a Murder Investigation
Capt. Lochner: [Dixon has replied with sarcasm to Lochner's questions]
You're told that the girl you were with last night was found in Benedict Canyon, murdered. Dumped from a moving car. What's your reaction? Shock? Horror? Sympathy? No - just petulance at being questioned. A couple of feeble jokes. You puzzle me, Mr. Steele.
Dixon Steele:
Well, I grant you, the jokes could've been better, but I don't see why the rest should worry you - that is, unless you plan to arrest me on lack of emotion.
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In a Lonely Place - The Perception of Actors and Their Lines
Mildred Atkinson:
Before I started to go to work at Paul's, I used to think that actors made up their own lines.
Dixon Steele:
When they get to be big stars, they usually do.
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In a Lonely Place - Critique of Success and Creative Stagnation
Lloyd Barnes:
Are you in any position to be choosy? You haven't written a hit since before the war. And your last picture...
Dixon Steele:
So it stunk. Everybody makes flops except you. You haven't had one, because you've made and remade the same picture for the last twenty years. You know what you are? You're a popcorn salesman.
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In a Lonely Place - A Writer's Disconnection from Their Work
Actress in Convertible:
Dix Steele! How are you? Don't you remember me?
Dixon Steele:
Sorry, can't say that I do.
Actress in Convertible:
You wrote the last picture I did... at Columbia.
Dixon Steele:
Oh, I make it a point to never see pictures I write.
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In a Lonely Place - The Challenge of Publicity and Privacy
Dixon Steele:
It's much easier to get people's names into the papers than to keep them out.
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In a Lonely Place - Love Beyond Words in Everyday Moments
Dixon Steele:
That's because they're not always telling each other how much in love they are. A good love scene should be about something else besides love. For instance, this one: me fixing grapefruit, you sitting over there, dopey, half-asleep. Anyone looking at us could tell we were in love.
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In a Lonely Place - The Complexity of Love and Loss
Dixon Steele: [about Laurel]
I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.
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In a Lonely Place - Critique of Hollywood Women's Education
Dixon Steele:
That's the trouble with these Hollywood dames. They all have such a sketchy education. They know absolutely nothing about the community chest, but they know everything there is to know about community property. Their arithmetic is not so hot, but just ask them how many minks make a coat.
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In a Lonely Place - The Search for Connection and Identity
Dixon Steele:
I've been looking for someone for a long time. I didn't know her name or where she lived. I'd never seen her before. When a girl was killed - and because of that, I found what I was looking for. Now I know your name, where you live, and how you look.
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In a Lonely Place - Appreciation for Unexpected Support
Dixon Steele:
It's a good thing you like my face. I'd have been in a lot of trouble without you.
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In a Lonely Place - Confidence in Crafting a Convincing Narrative
Dixon Steele:
He's a smart fellow, that Lochner. A couple times, he almost had me. It was his story against mine. But, of course, I told my story better...I was smart. I covered all the angles, I have an airtight alibi.
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The Treasure of the Sierra Madre - Struggling with Guilt and Paranoia
Fred C. Dobbs: [about Curtin; A tiger's cry startles him.; He runs back, but cannot find Curtin's body.]
Maybe I'd better leave him like he is. Ain't very likely anybody will find him. In a week's time, the buzzards and the ants will have done away with him anyway. I don't know what's getting into me. Was that really a tiger? No. What if his eyes are open, looking at me? Best thing to do is to get to the railroad in a hurry. It's better not to have buried him. I did right, yeah! What I should have done, maybe, bury his clothes and leave him to the ants and the buzzards...Buzzards! If somebody saw them circling, they'd know something was dead. Buzzards ain't spotted him yet. Lucky for me. Curtin! Curtin! Curtin! Where are you? Curtin! I gotta get ahold of myself! Mustn't lose my head. There's one thing certain, he ain't here. I got it. The tiger. Yeah, yeah that's it. The tiger must have dragged him off to his lair, that's what. Yeah, pretty soon, not even the bones will be left to tell the story. Done as if by order!
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The Treasure of the Sierra Madre - The Burden of Conscience and Nonsense
Fred C. Dobbs:
Conscience. What a thing. If you believe you've got a conscience, it'll pester you to death. But if you don't believe you've got one, what can it do to ya? Makes me sick all this talking and fussing about nonsense.
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The Treasure of the Sierra Madre - Doubt and Consequences of Violence
Fred C. Dobbs: [about Curtin]
Maybe I didn't kill him. Maybe he just staggered and fell down without being hit.
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The Treasure of the Sierra Madre - Questioning Motives in Partnership and Responsibility
Fred C. Dobbs: [to Curtin, about Howard]
Ain't it always his burros that won't march in line...What was in your head when you offered to carry his goods for him that he couldn't manage by himself. He knew what he was doin when he turned em over to us. Mighty cute of him, wasn't it?
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The Treasure of the Sierra Madre - Consequences of Good Deeds
Fred C. Dobbs: [to Howard]
I'll let you remember this the next time you try to do a good deed!
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The Treasure of the Sierra Madre - Celebrating Victory Amidst Adversity
Fred C. Dobbs:
Here's a sight if there ever was one. Federales, look at em. I could kiss every one of em...Oh, go get em. Sic em Tiger! Chew em up and don't spit em out - swallow em. Oh am I happy. To tell you the truth, I was already eatin dirt.
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The Treasure of the Sierra Madre - Value of simplicity in survival.
Fred C. Dobbs: [after Cody is killed by the bandits]
One less gun.
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The Treasure of the Sierra Madre - Defiance Against Manipulation and Deceit
Fred C. Dobbs: [about Cody]
Fred C. Dobbs ain't a guy likes bein taken advantage of - do the mug in, I say!
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The Treasure of the Sierra Madre - Fred C. Dobbs Asserts His Street Smarts
Fred C. Dobbs:
You can't catch me sleepin'...Don't you ever believe that. I'm not that dumb. The day you try to put anything over on me will be a costly one for both of you...Any more lip out of you and I'll haul off and let ya have it. If ya know what's good for ya, ya won't monkey around with Fred C. Dobbs.
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The Treasure of the Sierra Madre - Desire for wealth and youth's urgency
Fred C. Dobbs:
Well sure! You're old...I'm young. I need dough and plenty of it.
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The Treasure of the Sierra Madre - Misconceptions About Gold Prospecting
Fred C. Dobbs:
I sure had some cockeyed ideas about prospectin for gold. It was all in the finding I thought. I thought all you had to do was find it, pick it up, put it in sacks, and carry em off to the nearest bank.
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The Treasure of the Sierra Madre - Missed Opportunity in Pursuit of a Bandit
Fred C. Dobbs:
That bandit with the Gold Hat that rode alongside the train - I had my sights on him nice as you please, but the train gave a jolt and I missed him. Sure wish I'd got him.
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The Treasure of the Sierra Madre - Risk and Reward in Treasure Hunting
Fred C. Dobbs: [to Curtin]
This is an all-or-nothing proposition, ain't it? If we make a find, we'll be lightin our cigars with hundred dollar bills. If we don't, the difference between what you put up and what I put up ain't enough to keep me from being right back where I was this afternoon, polishing a bench with the seat of my pants. Put er there, pard.
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The Treasure of the Sierra Madre - Greed and the Allure of Wealth
Fred C. Dobbs: [about his winning ticket]
I'm rich, printed number! That's the kind of sugar Papa likes. Oh, two hundred pesos! Welcome, sweet little smackeroos.
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The Treasure of the Sierra Madre - The Allure of Gold Digging
Fred C. Dobbs: [to Curtin]
Why not try gold diggin for a change? Well, it ain't any riskier than waitin around here for a break. And this is the country where the nuggets of gold are just cryin for ya to take em out of the ground and make em shine in coins and on the fingers and necks of swell dames. Our money would last longer while we lived out in the open. The longer it lasts, the greater our chance of diggin something up would be!
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The Treasure of the Sierra Madre - Challenges of Opportunity for Outsiders
Fred C. Dobbs:
If I was a native, I'd get me a can of shoe polish and I'd be in business. They'd never let a gringo. You can sit on a bench til you're three-quarters starved. You can beg from another gringo. You can even commit burglary. But try shining shoes in the street or peddling lemonade out of a bucket and your hash is settled. You'd never get another job from an American.
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The Treasure of the Sierra Madre - Request for Assistance Among Americans
Fred C. Dobbs: [Repeated line]
Can you stake a fellow American to a meal?
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The African Queen - Facing Uncertainty Together
Rose Sayer:
Don't be worried, Mr. Allnut.
Charlie Allnut:
Oh, I ain't worried, Miss. Gave myself up for dead back where we started.
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The African Queen - Facing Fears and Finding Excitement
Charlie Allnut:
I don't blame you for being scared, Miss, not one little bit. Ain't no person in their right mind ain't scared of white water.
Rose Sayer:
I never dreamed that any mere physical experience could be so stimulating!
Charlie Allnut:
How's that, Miss?
Rose Sayer:
I've only known such excitement a few times before - a few times in my dear brother's sermons when the spirit was really upon him.
Charlie Allnut:
You mean you want to go on?
Rose Sayer:
Naturally.
Charlie Allnut:
Miss, you're crazy.
Rose Sayer:
I beg your pardon.
Charlie Allnut:
You know what would have happened if we would have come up against one of them rocks?
Rose Sayer:
But we didn't. I must say I'm filled with admiration for your skill, Mr. Allnut. Do you suppose I'll try practice steering a bit that someday I might try? I can hardly wait... Now that I've had a taste of it. I don't wonder you love boating, Mr. Allnut.
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The African Queen - A Conversation on Cleanliness and Morality
Charlie Allnut:
Well, Miss, ‘ere we are, everything ship shape, like they say. Ah, it's a great thing to have a lady aboard with clean habits. It sets the man a good example. A man alone, he gets to livin like a hog. Ha, ha. Then, too, with me, it's always: Put things off. Never do today what you can put off til tomorrow. But with you: Business before pleasure. Every time. Do all your personal laundry. Make yourself spic-and-span, get all the mending out of the way, and then - and only then - sit down for a nice quiet hour with the Good Book. I tell you, it's a model - like an inspiration. Why, I ain't had this old engine so clean in years, inside and out. Ha, ha. Just look at her, Miss. See how she practically sparkles. Myself, too. Guess you ain't never had a look at me without my whiskers and all cleaned up. I bet you wouldn't hardly recognize me, works that much of a change. Freshens ya up, too. If I only had some clean clothes, like you. Now you - why you could be at high tea. Say, that's an idea, Miss. How's about a nice little cup of tea? Now don't you stir, I'll be glad to make it for you.
Charlie Allnut: [no answer; no answer; silence; Yelling at her]
Uh, how's the Book, Miss? Well, not that I ain't read it. That is to say, my poor old Mum used to read me stories out of it. How's about reading it out loud? I could sure do with a little spiritual comfort, myself. And you call yourself a Christian! Do you hear me? Don't ya? Don't ya? Huh? What ya being so mean for, Miss? A man takes a drop too much once in a while. It's only human nature.
Rose Sayer:
Nature, Mr. Allnut, is what we are put in this world to rise above.
Charlie Allnut: [no answer]
Miss, I'm sorry. I apologize. What more can a man do than say he's sorry, huh? You done paid me back, Miss. You didn't even leave me a drop. Miss, have a heart. Fair is fair. You gotta say somethin', I don't care what it is, but you gotta say something. I'll be honest with ya, Miss. I, I just can't stand no more of this. I-I just ain't used to it, that's all.
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The African Queen - Reflecting on Memorable Experiences Together
Charlie Allnut:
What a time we've had, Rosie. What a time. We'll never lack for stories to tell our grandchildren, will we?
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The African Queen - A Journey Down the River of Memories
Charlie Allnut:
Pinch me, Rosie. Here we are, going down the river like Anthony and Cleopatra on that barge! I'll never forget the way you looked going over the falls - head up, chin out, hair blowing in the wind - the living picture of a hero-eyne!
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The African Queen - Confrontation and Disappointment in The African Queen
Charlie Allnut:
Ooooh! Coward yourself! You ain't no lady. No, Miss. That's what my poor old Mother would say to you, if my poor old Mother was to hear you. Whose boat is this, anyway? I asked you on board cause I was sorry for you on account of your losing your brother and all. What you get for feeling sorry for people! Well, I ain't sorry no more, you crazy, psalm-singing, skinny old maid!
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The African Queen - The Potential for Worsening Circumstances
Charlie Allnut:
Things are never so bad they can't be made worse.
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Sabrina - A Brief Stay in Romantic Paris
Linus Larrabee:
Paris is for lovers. Maybe that's why I stayed only 35 minutes.
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Casablanca - Perception of Humanity in Rick's Viewpoint
Rick Blaine: [on Captain Renault]
Oh, he's just like any other man, only more so.
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Casablanca - Reflections on Stories and Lost Love
Rick Blaine: [to Ilsa]
I heard a story once. As a matter of fact, I've heard a lot of stories in my time. They went along with the sound of a tinny piano, playing in the parlor downstairs. Mister, I met a man once when I was a kid, they'd always begin. Well, I guess neither one of our stories is very funny. Tell me, who was it you left me for? Was it Laszlo or were there others in between? Or aren't you the kind that tells?
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Casablanca - Rick Blaine Questions His Eye Color
Rick Blaine: [after inspecting a dossier about himself]
Are my eyes really brown?
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Casablanca - Self-Protection and Personal Boundaries
Rick Blaine: [repeated line]
I stick my neck out for nobody.
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Casablanca - A Reflection on Lost Love and Sacrifice
Rick Blaine: [[w:AFI's 100 Years…100 Movie Quotes|American Film Institute's list of the top 100 movie quotations]
* Ranked #5 in the ] in American cinema.
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Casablanca - A Toast to Fond Memories
Rick Blaine:
Here's looking at you, kid.
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Casablanca - Rick Blaine's Reflection on Life and Choices
Rick Blaine: [[w:AFI's 100 Years…100 Movie Quotes|American Film Institute's list of the top 100 movie quotations]
* Ranked #67 in the ] in American cinema.
Quotes sourced from Wikiquote (© Wikiquote contributors), licensed under CC BY-SA 4.0. Modified for formatting/length.
Casablanca - Fateful Encounter in a Bar
Rick Blaine:
Of all the gin joints in all the towns in all the world, she walks into mine.
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