Great Closing Voice-Over Narration

“Where is it that we were together? Who were you that I lived with? Walked with? The brother. The friend. Darkness, light, strife, and love. Are they the workings of one mind? The features of the same face? O my soul. Let me be in you now. Look out through my eyes. Look out at the things you made. All things shining.”

The Thin Red Line
Screenplay by Terrence Malick



“He was ashamed of his boasting, his pretensions of courage and ruthlessness; he was sorry about his cold-bloodedness, his dispassion, his inability to express what he now believed was the case: that he truly regretted killing Jesse, that he missed the man as much as anybody and wished his murder hadn't been necessary. Even as he circulated his saloon he knew that the smiles disappeared when he passed by. He received so many menacing letters that he could read them without any reaction except curiosity. He kept to his apartment all day, flipping over playing cards, looking at his destiny in every king and jack. Edward O'Kelly came up from Bachelor at 1 P.M. on the 8th. He had no grand scheme. No strategy. No agreement with higher authorities. Nothing beyond a vague longing for glory, and a generalized wish for revenge against Robert Ford. Edward O'Kelly would be ordered to serve a life sentence in the Colorado Penitentiary for second degree murder. Over seven thousand signatures would eventually be gathered in a petition asking for O'Kelly's release, and in 1902, Governor James B. Orman would pardon the man. There would be no eulogies for Bob, no photographs of his body would be sold in sundries stores, no people would crowd the streets in the rain to see his funeral cortege, no biographies would be written about him, no children named after him, no one would ever pay twenty-five cents to stand in the rooms he grew up in. The shotgun would ignite, and Ella Mae would scream, but Robert Ford would only lay on the floor and look at the ceiling, the light going out of his eyes before he could find the right words.”

The Assassination of Jesse James by the Coward Robert Ford
Screenplay by Andrew Dominik



"'Get busy livin', or get busy dyin'.' That's goddamn right. For the second time in my life, I am guilty of committing a crime. Parole violation. Of course, I doubt they'll toss up any roadblocks for that. Not for an old crook like me. I find I am so excited I can barely sit still or hold a thought in my head. I think it's the excitement only a free man can feel; a free man at the start of a long journey whose conclusion is uncertain. I hope I can make it across the border. I hope to see my friend and shake his hand. I hope the Pacific is as blue as it has been in my dreams. I hope."

The Shawshank Redemption
Screenplay by Frank Darabont



"But still I hadn't dreamt nothin' about me'n Ed. Until the end... And this was cloudier 'cause it was years, years away. But I saw an old couple bein' visited by their children, and all their grandchildren too. And the old couple wasn't screwed up, and neither were their kids or their grandkids. And I don't know, you tell me. This whole dream, was it wishful thinking? Was I just fleein' reality, like I know I'm liable to do? But me'n Ed, we can be good, too... And it seemed real. It seemed like us. And it seemed like, well, our home. If not Arizona, then a land, not too far away, where all parents are strong and wise and capable, and all children are happy and beloved. I dunno, maybe it was Utah."

Raising Arizona
Screenplay by Joel and Ethan Coen



"The town will never be the same. After the Tangiers, the big corporations took it all over. Today, it looks like Disneyland. And while the kids play cardboard pirates, Mommy and Daddy drop the house payments and Junior's college money on the poker slots. In the old days, dealers knew your name, what you drank, what you played. Today, it's like checkin' into an airport. And if you order room service, you're lucky if you get it by Thursday. Today, it's all gone. You get a whale show up with four million in a suitcase, and some 25 year-old hotel school kid is gonna want his Social Security Number. After the Teamsters got knocked out of the box, the corporations tore down practically every one of the old casinos. And where did the money come from to rebuild the pyramids? Junk bonds. But in the end, I wound up right back where I started. I could still pick winners, and I could still make money for all kinds of people back home. And why mess up a good thing? And that's that."

Casino
Screenplay by Nicholas Pileggi