They left these favorites of mine out, from two great movies;

(1) from "In the Heat of the Night" I particularly liked the first quote, but threw in the second since it was handy:

(a) The Sheriff tricks and challenges the smart black detective to stay and help solve the murder case using his experienced in police work and forensics:

You're so damn smart! You're smarter than any white man. You're just going to stay here and show us all. You got such a big head that you could never live with yourself unless you could put us all to shame...I don't think you could let an opportunity like that pass by.

(b) Gillespie summarizes what life is like when the Philadelphia detective visits his home:

Gillespie: You know, you know Virgil, you are among the chosen few.

Virgil: How's that?

Gillespie: Well I think that you're the first human being that's ever been in here.

Virgil: You can't be too careful, man.

Gillespie:...I got no wife. I got no kids. Boy...I got a town that don't want me...I'll tell you a secret. Nobody comes here, never.

(2) another bunch of quotes from "42nd Street:"

On crutches, Dorothy enters with glaring eyes and asks to see Peggy in private, helping to close the door behind Billy with her crutch. She gives Peggy her blessing just before the show:

Dorothy: So you're going to take my place?

Peggy: I-I'm sorry, Miss Brock.

Dorothy: You're nervous, aren't you? Well, don't be. The customers out there want to like you. Always remember that, kid. I've learned it from experience. And you've got so much to give them. Youth and Beauty and Freshness. Do you know your lines? (Peggy nods yes) And your songs? (Peggy nods again) And your dance routine? (Peggy nods again) Well, you're a cinch.

Peggy: But, but it's tough on you, Miss Brock.

Dorothy: (with her theme song playing) Come here - Peggy, isn't it? You know, Peggy, when I started for the theatre tonight, I wanted to tear your hair out. And then I started thinking, well after all, I've had my chance. And now it's your turn. I've had enough. For five years, it's kept me away from the only thing I ever wanted. And a funny thing, a broken ankle was the thing that made me find it out. You know, Peggy, most anyone can have success with the proper breaks. As for me, I'll take Pat and vaudeville or whatever goes with him. We're being married tomorrow.

Peggy: Oh, I'm so glad. (Costume fitters interrupt their talk)
The outside of the theatre marquee is lit, advertising: "Pretty Lady Gala Premiere." The orchestra begins its overture as chorines scramble downstairs to their places. Dorothy has been with Peggy in her dressing room during the preparations, and with a trembling, teary-faced look, gives her final words of benediction:

You look adorable. Now go out there and be so swell that you'll make me hate you.

The curtain rises on Pretty Lady. Southern belle chorus dancers kick out onto the stage in a line. Backstage, Marsh is nervously pacing. When Sawyer is brought out of her dressing room, Marsh delivers immortal lines (a show business cliche) to his terrified, open-mouthed chorus girl just before she goes onstage - his last-minute instructions:

Now Sawyer, you listen to me and you listen hard. Two hundred people, two hundred jobs, two hundred thousand dollars, five weeks of grind and blood and sweat depend upon you. It's the lives of all these people who have worked with you. You've got to go on, and you have to give and give and give. They've got to like you, they've got to. Do you understand? You can't fall down. You can't, because your future's in it, my future and everything all of us have is staked on you. All right now, I'm through. But you keep your feet on the ground and your head on those shoulders of yours and go out - and Sawyer, you're going out a youngster, but you've got to come back a star.

Robert