The Girl Quotes in Season of the Witch (2011)

The Girl: We believe what we want to believe.

The Girl: And you, Behmen! All you needed was a child to save. Someone to ease your pitiful guilt. Did you truly think that saving one ragged waif would change anything? Come, Behmen. Your sins are legion. How many innocent have fallen beneath that very blade?

[Behmen is loading a crossbow to kill the Girl]

Debelzaq: Behmen, what are you doing? Behmen! What are you doing?

The Girl: He's doing what comes naturally. Killing the innocent.

Debelzaq: Let it be known to all here present, and before God himself, that this woman stands accused of witchcraft! That she has admitted to calling up a plague against all mankind.

The Girl: [smiles] I'm flattered. But I must confess, I have deceived you.

[last lines]

The Girl: So the plague passed and life returned to the land. There are many who say the plague was but a pestilence that finally broke, like the passing of a fever. They don't know the darkness that almost was. The sacrifices made. The heroes lost. I will tell their story. I was there. I know.

The Girl: [singing] Father's hunting in the forest / Mother's cooking in the home / I must go to fetch the water / 'Til the day that I'm grown /'Til I'm grown, 'til I'm grown / I must go to fetch the water/ 'Til the day that I'm grown / Then I will have a handsome husband / And a daughter of my own / And I'll send her to fetch the water / I'll be cooking in the home / Then I'll send her to fetch the water / I'll be cooking in the home

The Girl: Put your shirt on.

White Boy: He hasn't got his shirt on!

The Girl: He hasn't got a shirt.

White Boy: He can have mine.

The Girl: It wouldn't fit him.

The Girl: We're English! English, do you understand? This is Australia, yes? Where is Adelaide?

White Boy: Ask him for water!

White Boy: I don't suppose it matters which way we go.

The Girl: We'll stay here. Perhaps the water will come back.

White Boy: Where from?

The Girl: I expect we're the first white people he's seen.

The Girl: Please try. It's silly to give in now. It can't be much further.

The Girl: Water. Drink. We want water to drink. You must understand! Anyone can understand that. We want to drink. I can't make it any simpler. Water. To drink. The water hole has dried up. Where do they keep the water?

John L. Sullivan: But nothing is going to stop me. I'm going to find out how it feels to be in trouble. Without friends, without credit, without checkbook, without name. Alone.

The Girl: And I'll go with you.

John L. Sullivan: How can I be alone if you're with me?

The Girl: I liked you better as a bum.

John L. Sullivan: I can't help what kind of people you like.

The Girl: You know, the nice thing about buying food for a man is that you don't have to listen to his jokes. Just think, if you were some big shot like a casting director or something, I'd be staring into your bridgework saying 'Yes, Mr. Smearcase. No, Mr. Smearcase. Not really, Mr. Smearcase! Oh, Mr. Smearcase, that's my knee!' Give Mr. Smearcase another cup of coffee. Make it two. Want a piece of pie?

John L. Sullivan: No thanks, kid.

The Girl: Why, Mr. Smearcase, aren't you getting a little familiar?

[after the Girl jumps out of a moving train into Sullivan's arms, sending them both tumbling]

The Girl: Did I hurt you any?

John L. Sullivan: Well, you didn't do me any good.

Lord Jim: Women. Not a job for...

The Girl: If we can plow a field, we can pull a cannon.

The Girl: [writing a goodbye letter] I must go. Hitu is here and waits for me. You will die if I do not obey. I will go so that you may live. The tabu is upon us. I have been so happy with you far more than I deserved. The love you have given me, I will keep to the last beat of my heart. Across the great waters, I will come to you in your dreams when the moon spreads its path on the sea. Farewell.

The Girl: Your imagination! You think every girl's a dope. You think a girl goes to a party and there's some guy in a fancy striped vest strutting around giving you that I'm-so-handsome-you-can't-resist-me look. From this she's supposed to fall flat on her face. Well, she doesn't fall on her face. But there's another guy in the room, over in the corner. Maybe he's nervous and shy and perspiring a little. First, you look past him. But then you sense that he's gentle and kind and worried. That he'll be tender with you, nice and sweet. That's what's really exciting.

The Girl: When it gets hot like this, you know what I do? I keep my undies in the icebox!

The Girl: Hey, did you ever try dunking a potato chip in champagne? It's real crazy!

Richard Sherman: There's gin and vermouth. That's a martini.

The Girl: Oh, that sounds cool! I think I'll have a glass of that. A big tall one!

The Girl: [in Richard's fantasy] It shakes me! It quakes me! It makes me feel goose-pimply all over!

The Girl: I think it's just elegant to have an imagination. I just have no imagination at all. I have lots of other things, but I have no imagination.

The Girl: Hi. It's me, don't you remember? The tomato from upstairs.

The Girl: I think it's wonderful that you're married! I think it's just elegant!

The Girl: Maybe if I took the little fan, put it in the icebox, then left the icebox door open, then left the bedroom door open, and soak the sheets and pillowcase in ice water... no, that's too icky!

The Girl: You're married. I KNEW it! You LOOK married.

The Girl: I had onions at lunch. I had garlic dressing at dinner. But he'll never know, because I stay kissing sweet, the new Dazzledent way.

The Girl: I just hope it's not some priceless antique or something.

Richard Sherman: Forget it. Just early Sears, Roebuck.

The Girl: A stairway to nowhere! I think that's just elegant.

The Girl: Do you have any kids?

Richard Sherman: No. None. No kids. Well, just one. Little one. Hardly counts.

The Girl: You sure have strong thumbs!

Richard Sherman: I used to play a lot of badminton.

The Girl: [in his fantasy] Rachmaninoff... It isn't fair... Every time I hear it, I go to pieces... It shakes me, it quakes me. It makes me feel goose-pimply all over. I don't know where I am or who I am or what I'm doing. Don't stop. Don't stop. Don't ever stop!

The Girl: It's just terrible up there... Ohh, this feels just elegant. I'm just not made for the heat. This is my first summer in New York and it's practically killing me. You know what I tried yesterday? I tried to sleep in the bathtub. Just lying there up to my neck in cold water... But there was something wrong with the faucet. It kept dripping. It was keeping me awake, so you know what I did? I pushed my big toe up the faucet... The only thing was, my toe got stuck and I couldn't get it back out again... No, but thank goodness there was a phone in the bathroom, so I was able to call the plumber... He was very nice, even though it was Sunday, I explained the situation to him and he rushed right over... But it was sort of embarrassing... Honestly, I almost died. There I was with a perfectly strange plumber and no polish on my toenails.

The Girl: I posed for this picture and when it was published in U.S. Camera, they got all upset... It was one of these 'artistic' pictures... it was on the beach with some driftwood. It got Honorable Mention... It was called Textures, because you could see three different kinds of texture: the driftwood, the sand and me. I got $25 dollars an hour, and it took hours and hours. You'd be surprised.

The Girl: I have a message for your wife.

[after she kisses Mr. Sherman, he pulls out his handkerchief to wipe off the lipstick]

The Girl: Don't wipe it off. If she thinks it's cranberry sauce, tell her she's got cherry pits in her head.

The Girl: That's what's wonderful about a married man. No matter what, he can't ask you to marry him. He's married already. Right?

Richard Sherman: Right... You certainly don't have to worry about me. Am I ever a married man! I'm the most married man you'll ever know. And I promise... I will never ask you to marry me, come what may.

Richard Sherman: Well, how about some music?

The Girl: Fine.

Richard Sherman: Let's see what we've got here. Debussy, Ravel, Stravinsky... Hey, how about this one? Rachmaninoff, the "Second Piano Concerto." You look to me like a big Rachmaninoff girl.

The Girl: I do? Funny, I don't know anything about music.

The Girl: [as she leaves his apartment] Good night... I think you're very nice.

Richard Sherman: [now alone in his apartment, talking to himself] "Nice"! You're not nice. You're crazy, that's what you are. You're running amok. Helen's gone for one day and you're running amok. Smoking, drinking, picking up girls, playing "Chopsticks." You're not gonna' live through this summer. Not like this, you're not.

Richard Sherman: [looking at himself in a mirror] Look at those bloodshot eyes. Look at that face, ravaged, dissipated, evil. One of these mornings you're gonna' look in the mirror and that's all, brother. "The Portrait of Dorian Gray."

The Girl: For me, Norman Mailer has exactly that same sort of relevance - that affirmitive, negative duality that only Proust or Flaubert could achieve.

The Operator: I don't know if we're gonna make it or not, doesn't look too good.

The Girl: I'm a graduate of New York University.

The Operator: We're gonna make it.

The Girl: You know why the sky is blue?

Kyun-woo: Because the reflection from the sunshine causes...

The Girl: Wrong! It's to make me happy. I wanted it to be blue, so it's blue. You know why fire is hot? It's all for me. I wanted it to be hot, so it's hot. You know why we have four seasons here in Korea?

Kyun-woo: For you?

The Girl: Correct.

The Girl: Dummy, you're supposed to dodge.

[repeated line]

The Girl: Wanna die?

The Girl: What do you want to order?

Kyun-woo: Cherry Jubilee... wait... I'll have Mango Tango... or Shooting Star... Jamonka Almond sounds good too... Okay, I'll just have Love Me.

The Girl: Wanna die? Drink coffee!

[after Kyun-woo reads one of The Girl's screenplays]

Kyun-woo: They have to kiss in the end.

The Girl: This isn't a melodrama. It's an action movie.

Kyun-woo: You don't know movies. Koreans like melodramas.

The Girl: Why?

Kyun-woo: Know what novel touched us when we were teenagers? 'Shower' by Hwang Sun-won. It shaped our people's sensibility in their teens. Koreans like sad movies all because of 'Shower.'

The Girl: 'Shower'? What's sad about it?

Kyun-woo: It's sad when she asked to be buried in the clothes reminiscent of her love. I couldn't sleep for one week.

The Girl: The ending sucks. Gotta change it.

Henri Verdoux: It's the approach of death that terrifies.

The Girl: I suppose, if the unborn knew of the approach of life, they'd be just as terrified.

The Girl: It's a blundering world and a very sad one, yet kindness can make it beautiful.

The Girl: Yet life is wonderful.

Henri Verdoux: What's wonderful about it?

The Girl: Everything. A spring morning, a summer's night, music, art, love...

Henri Verdoux: It's the approach of death that terrifies.

The Girl: I suppose if the unborn knew of the approach of life, they'd be just as terrified.

The Girl: It's nice seeing you again, You'll never realise what your kindness meant to me.

Henri Verdoux: Kindness is a convenient thing at times, My dear.

The Girl: You don't like women, do you?

Henri Verdoux: On the contrary, I love women. But I don't admire them.

The Girl: Why?

Henri Verdoux: Women are of the earth. Realistic. Dominated by physical facts.

The Girl: What nonsense!

Henri Verdoux: Once a woman betrays a man, she despises him. In spite of his goodness and position, she will give him up for someone inferior. That someone is more, shall we say, "attractive."

The Girl: How little you know about women!

Henri Verdoux: [coyly] You'd be surprised.

Henri Verdoux: [indicating her fancy, chauffeured automobile] But you and, uh, all this, uh... What happened?

The Girl: Oh, the old story: "From rags to riches." After I saw you, my luck changed. I met a munitions manufacturer.

Henri Verdoux: Ah! That's the business *I* should have been in.

The Girl: Yes. It'll be paying big dividends soon.

The Girl: Well, if you must know, I'm just out of jail.

Henri Verdoux: What were you in for?

The Girl: What's the difference? "Larceny," they called it.

Henri Verdoux: "Larceny"?

The Girl: Petty larceny... Pawning a rented typewriter.

Henri Verdoux: Dear, dear. Couldn't you do better than that? What did you get?

The Girl: Three months.

Henri Verdoux: So this is your first day out of jail?

The Girl: Yes.

Henri Verdoux: I see... Poor dear. Ah, well, nothing is permanent in this wicked world. Not even our troubles.

The Girl: However, tell me about yourself!

Henri Verdoux: I much prefer to talk about something pleasant.

The Girl: [Washing her car with the radio on loud to get the Prisoners attention]

Dragline: Hey, Lord... whatever I done, don't strike me blind for another couple of minutes.

The Girl: [Washing herself down while cleaning her car with her radio on loud to get the Prisoners attention]

Koko: God she don't know what she's doing.

Luke: Oh boy, she knows exactly what she's doing. She's driving us crazy, and loving every minute of it!

The Girl: What do you plan to do if you see them?

Dean Corso: I'll probably hide behind you.

The Girl: He's dead, who cares?

Dean Corso: I do. I could easily wind up the same way.

The Girl: Not with me around, to look after you.

Dean Corso: Oh, I see, you're my Guardian Angel, then.

The Girl: If you say so.

Dean Corso: Where's the last engraving? I want it!

The Girl: You're running low on gas.

The Girl: I'm bad.

The Girl: [narrating] Some people try to hold on to their memories. Others try to forget. Neither works. And after enough time passes by, you find you ain't the same as you used to be.

[Last lines]

The Girl: [narrating] I've read in a book once that 67% of people die when nobody's looking. What I never could find out... is how many people lived while nobody's watching. But I guess they just don't print shit like that.

[First lines]

The Girl: [narrating] People always be starting stories with some dick weed saying like "once upon a time" or "legend has it". Ever noticed that? My pa used to say that most stories ain't true and usually don't start where you expect. They really start on some regular day... with some regular person. This is one of them stories.

The Girl: [narrating] My pa was a man of the sea. He used to say the wind was like a wild horse. No way to tame her, that's just its nature. And that you can be sure in every voyage she'll buck and blow you off course. Just a matter of time, really. At some point, we all loose our bearing.

[Henry recieves a phone call]

The Girl: And when you do, ain't no need to be afraid. You just gotta believe you'll find your way again.

The Girl: Mornin perv!

Henry: I told you I'm not a pervert.

The Girl: Just 'cause you shaved your 'stache, doesn't mean you can fool me.

Henry: You'll be alone out there. Doesn't that scare you?

The Girl: I've been alone most of my life. Does being alone scare you?

The Girl: Yeah. Yeah, it does.

The Girl: [narrating] Death ain't about the people who die anyway. It's about the ones who have the shit luck of having to go along without 'em.

The Girl: Go on. Look at me. Look at my eyes. I'll kill you. Sometimes I stand in front of the mirror and my eyes get bigger and bigger. And I'm like a tiger. I like tigers. Rrrrah!

The Girl: Isn't it funny how things happen? All the shapes we make. Wouldn't it be terrible to be blind?

David Locke: I know a man who was blind. When he was nearly 40 years old, he had an operation and regained his sight.

The Girl: How was it like?

David Locke: At first he was elated... really high. Faces... colors... landscapes. But then everything began to change. The world was much poorer than he imagined. No one had ever told him how much dirt there was. How much ugliness. He noticed ugliness everywhere. When he was blind... he used to cross the street alone with a stick. After he regained his sight... he became afraid. He began to live in darkness. He never left his room. After three years he killed himself.

The Girl: Who are you?

David Locke: I used to be someone else, but I traded him in. Uh, what about you?

The Girl: Well, I'm in Barcelona. I'm talking with someone who is somebody else.

The Girl: People disappear every day.

David Locke: Every time they leave the room.

David Locke: Now I think I'm going to be a waiter in Gibraltar.

The Girl: Too obvious.

David Locke: Maybe a novelist in Cairo.

The Girl: Too romantic.

David Locke: How about a gunrunner?

The Girl: Too unlikely.

David Locke: As a matter of fact, I think I *am* one.

The Girl: Then it depends on which side you're on.

David Locke: Yes.

David Locke: What can you see now?

The Girl: [looking out the window] A man scratching his shoulder, a kid throwing stones, and dust. It's very dusty here.

David Locke: Excuse me. I was trying to remember something.

The Girl: Is it important?

David Locke: No.

The Girl: You guys aren't like the Zodiac killers or anything, right?

The Mechanic: Nope. Just passin' through.

The Girl: Say, which way we going?

The Mechanic: East.

The Girl: That's cool. I never been East.

The Girl: [looking at some cassette tapes] These are groovy records.

G.T.O.: Play one.

The Boy: [In the cemetery, looking at all the elaborate tombs] I don't care where they put me when I'm dead.

The Girl: Do you think the soul escapes from the body after death? Is there such a thing as the soul?

The Boy: I don't think there's anything left after physical death. And it's stupid to spend all that money on stiffs.

The Girl: Some do that out of love.

The Boy: Well, I prefer the love of life more than the love of death.

The Girl: [Looking up at the stars, while in the cemetery] They say that the stars are gods sending us signals.

The Girl: He wants to make me dead.

The Girl: I'll show you what it's like to be violated.

Mike Hodder: Here's to a night to remember.

The Girl: Ah, and to drinkin' with bow-legged women.

The Girl: I wouldn't open any closet doors, you don't know what'll fall out and bop you on the head.