excelsior!

“Well, anyway,” he said, “Suppose they did not let you stand against all the evil in the world?” “I could ask,” said the Wart. “You could ask,” repeated Merlyn.

KIRK: (hopelessly) All the time in the world. SPOCK: And filled with tomorrows.

He’s trying to prove he can be a Real Life Musician, outside of the machinery of Wentz. Destroy What Destroys You.

The script dictates that Starlight is a tragedy.

KENDALL: You’ve turned black bile into silver dollars. LOGAN: Oh, you’ve just noticed, did you? KENDALL: Yeah. Maybe I did.

JIM: What do I have? BONES: You have the goodness. JIM: Not enough. I have a ship to command.

You’re the Newmaker. You can turn Care NLM into Care A, and close the loop.

Even if he did explain it, no one would believe him, because no one would understand him.

I could see the Derry Standpipe on the horizon. It looked as white as you imagine the robes of the archangels must be, and we promised, we swore, that if it wasn’t over, that if it ever started to happen again . . . we’d go back. And we’d do it again. And stop it. Forever.

Peace comes to us in the recognition that even in our weakest and most fragile moments, redemption can be achieved.

Men at some time are masters of their fates. The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings.

Sophokles is a playwright fascinated by people who express defiance in some heroic action—Antigone buries her brother, Ajax falls on his sword. Elektra has the same kind of raw, stubborn, scandalous soul, but her circumstances are different: Elektra is deprived of action.

Years from now, we'll remember, and we'll look back / Buy the rooftop, and hang a plaque! / This is where we began / Being what we can.

“Become humanity’s companion. Why else would you give me that directive?! If I’m just some program written for emotional analysis. . . Why that directive? It’s because you were lonely. You wanted to know what was making you feel lonely.

The King likes Lancelot so much that he is forced to be unfair to him—for fear of being unfair to other people.

Tenement-born, self-educated Jews like George Gershwin had the impudence to challenge the Ivy League-educated, WASP elite, to lay claim to American modernism, and to seduce the all-too-gullible mob that, like Steve in “Tip-Toes,” is powerless to resist that syncopated beat.

LEO: You're a wonder, Lucille. LUCILLE: Am I? LEO: You know you are.

Wanting to live, but accepting death to save others: that was courage. That was to be Gansey's greatness.

My list of sins is very short, comprising entirely things I can’t do anything about. Looks just brown enough that you’re not sure where he’s from. Dresses like a boy, which is a problem, because none of us have any imagination. It doesn’t seem like enough to kill somebody.

(As the stage is cleared, TONY stands, horrified, over the still bodies of RIFF and BERNARDO. He bends over RIFF’s body; then he rolls BERNARDO’s body over—and stares. Then TONY raises his voice in an anguished cry.) MARÍA.

I try to tighten my heart into a knot, a snarl, I try to learn to live dead, just numb, but then I see something I want, and it’s like a nail, like a hot spike through my chest, and I know I’m losing.