James Reston, Jr.:
You know the first and greatest sin of the deception of television is that it simplifies; it diminishes great, complex ideas, stretches of time; whole careers become reduced to a single snapshot. At first I couldn't understand why Bob Zelnick was quite as euphoric as he was after the interviews, or why John Birt felt moved to strip naked and rush into the ocean to celebrate. But that was before I really understood the reductive power of the close-up, because David had succeeded on that final day, in getting for a fleeting moment what no investigative journalist, no state prosecutor, no judiciary committee or political enemy had managed to get; Richard Nixon's face swollen and ravaged by loneliness, self-loathing and defeat. The rest of the project and its failings would not only be forgotten, they would totally cease to exist.
Jimmy Dugan:
Taking a little day trip?
Dottie Hinson:
No, Bob and I are driving home. To Oregon.
Jimmy Dugan:
[long pause] You know, I really thought you were a ballplayer.
Dottie Hinson:
Well, you were wrong.
Jimmy Dugan:
Was I?
Dottie Hinson:
Yeah. It is only a game, Jimmy. It's only a game, and, and, I don't need this. I have Bob; I don't need this. At all.
Jimmy Dugan:
I, I gave away five years at the end my career to drink. Five years. And now there isn't anything I wouldn't give to get back any one day of it.
Dottie Hinson:
Well, we're different.
Jimmy Dugan:
Shit, Dottie, if you want to go back to Oregon and make a hundred babies, great, I'm in no position to tell anyone how to live. But sneaking out like this, quitting, you'll regret it for the rest of your life. Baseball is what gets inside you. It's what lights you up, you can't deny that.
Dottie Hinson:
It just got too hard.
Jimmy Dugan:
It's supposed to be hard. If it wasn't hard, everyone would do it. The hard... is what makes it great.
Ari:
When I was in like, 5th grade, the miniseries "Roots" was this big thing. So, our teacher had us make family trees. I consulted my mom, and my grandmother, but we couldn't trace it back any further than New York, which was embarrassing. So, I lied and said that we were descended from Russian Tsars. Which is possible if any of them married poorly. Now Liam on the other hand, if there's a good Monty Python rerun on, or if he's had enough Guinness, will confess to a lineage of pirates. Dashing, hearty, seafaring men, known for their rich appetites and poor showings on college placement exams. Supposedly, he claims, they started out with the best of intentions. Rebellion against a tyrannical crown. But then conditions changed, and they lost track. They became desperados. Seduced, driven mad by a combination of lust and endless, chickless months at sea. They raped, they pillaged, they took things that were not theirs. See, that's the literal definition of piracy today. Record pirates, video pirates, love pirates. Maybe that's why Sam and I broke up. Maybe it was just sex. Maybe it was something we let our careers get away with. But no matter what, if we didn't have a hold on it, if it wasn't truly ours, then we had no right fucking with it. Yeah, we had a lot in common with Liam's pirates, Sam and I. The lust... the abandon... the tendency to just burn everything in sight. I don't think I'll ever fall in love again.
Reese Bobby:
[walks into the classroom] Excuse me, darling. I'm Reese Bobby. I'm here for career day with my son, Ricky.
10-year-old Ricky:
Dad!
Reese Bobby:
Hey there, boy! Man, you got big. How long's it been? Three, four months?
10-year-old Ricky:
Ten years.
Reese Bobby:
Ten years? Man, I gotta lay off the peyote. [puts a cigarette in his mouth]
Schoolteacher:
Mr. Bobby, there's no smoking in here.
Reese Bobby:
Oh, it's all right, darling, I'm a volunteer fireman. Okay, I am a semi-professional racecar driver and an amateur tattoo artist.
Classmates:
OOO0HHHH!
Reese Bobby:
And the first thing you gotta learn if you're gonna be a racecar driver, is that you don't listen to losers like your know-it-all teacher here.
Schoolteacher:
Okay, I think that's enough.
Reese Bobby:
Your teacher wants you to go slow, and she's wrong because it's the fastest who get paid and it's the fastest who get laid. [classmates all cheer]
Mack:
[about Johnny's arrest] Yeah, well, if this gets out in the press, his career is over.
Roxanne Simpson:
Yeah, trust me, his career's the least of it.
Mack:
You know, you seem like a nice lady, and you're purty and all but we were riding the gravy train on biscuit wheels around here, and then you showed up, everything went to hell. So why don't you just go back to wherever it is you came from?
Roxanne Simpson:
I can't go back. Not now.
Mack:
Then tell me what the hell's goin' on!
Roxanne Simpson:
You wouldn't believe me if I told you. Look, you don't know me, but I love him. So if there's anything you know that can help, anything...
Mack:
Okay, well, lately he's been readin' these really weird books, and they're messin' with his mind, you know. And he's writin' stuff down, and he's stayin' up late. And he does it over here. You can go through his stuff, and I don't know if it means anything.
Patrick Bateman:
Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.
You're right. Many nurses nowadays don't like doing the things that nurses used to have to do. Changing sheets and collecting bedpans - that sort of thing. Nursing has moved on, Bertie.'
Bertie was puzzled. 'But if they don't do that,' he said, 'then who does? Do people have to tuck themselves into bed when they're in hospital?'
Irene was amused by this and raised her eyes again. 'Dear Bertie, no, not at all. They have other people now to do that sort of thing. There are other wome. . . people who do that.' 'So they aren't nurses, Mummy?' asked Bertie. Irene waved a hand vaguely. 'No. They call them care assistants, or something like that. It's very important work.' 'So what do the nurses do then, Mummy? If they have somebody else to take the bedpans to the patients, what's left for the nurses to do? Do they do the things that doctors do? Can nurses take your tonsils out?' 'I think they'd like to,' said Irene.