Terror Billy Quotes

Dread of returning to Iraq equals the direst poverty, and that's how he feels right now, poor, like a shabby homeless kid suddenly thrust into the company of millionaires. Mortal fear is the ghetto of the human soul, to be free of it something like the psychic equivalent of inheriting a hundred million dollars. This is what he truly envies of these people, the luxury of terror as a talking point, and at this moment he feels so sorry for himself that he could break right down and cry.

Man seeks to excuse himself of sin, but God seeks to convict him of it and to save him from it. Sin is no amusing toy—it is a terror to be shunned! Learn, then, what constitutes sin in the eyes of God!

For a moment he could do nothing but close his eyes. Was this a taste of the rest of his life as Billie Bridgerton’s husband? Was he destined to live in terror, wondering what sort of danger she’d thrown herself into that day? Was it worth it? “George?” she whispered. She sounded uneasy. Had she seen something in his expression? A sign of doubt? He touched her cheek, and he looked into her eyes. He saw his whole world there. “I love you,” he said. Someone gasped. It might have been his mother. “I cannot live without you,” he said, “and in fact, I refuse to do so. So no, you will not be going on some ill-advised mission to the coast to hand off a potentially dangerous package to people you don’t know. Because if anything happened to you…” His voice broke, but he didn’t care. “If anything happened to you, it would kill me. And I’d like to think you love me too much to let that happen.” Billie stared at him in wonder, her softly parted lips trembling as she blinked back tears. “You love me?” she whispered. He nearly rolled his eyes. “Of course I do.” “You never said.” “I must have done.” “You didn’t. I would have remembered.” “I would remember, too,” he said softly, “if you’d ever said it to me.” “I love you,” she said immediately. “I do. I love you so much. I —” “Thank God,” Lady Manston exclaimed. George and Billie both turned.

Sin then is not a toy with which to play but a terror to be shunned.

We all have a different image of what old is, and if you were exposed to senior citizens at a young age, as I was, it can color your soul with terror.

additional half-decade. Charles Finley was furious,

Run,” he cried, “just run.” He was breathless, a look of wild terror in his eyes, but this time he ran the right way, into the woods. Peter and Billy followed him until they reached the trees.

For at the beginning of the twentieth century, the nation had been struggling to find its way. Terror had raged, a second civil war had threatened to split the nation into new feuding armies, and the inequities of industrial life had brutalized too many lives. Three men who were caught up in those traumatic times, shaped by them, found with their talents, energy, and ideals a way out of it, both for themselves and for the nation. Darrow, Billy, D.W. were all flawed - egotists, temperamental, and too often morally complacent. But as their careers and lives intersected in Los Angeles at the tail end of the first decade of the twentieth century, each in his own way helped to move America into the modern world. They were individuals willing to fight for their beliefs; and the legacy of their battles, their cultural and political brawls, remains part of our national consciousness.

Nor in prayer either. He had told Billy the truth, about his giving up God when his prayers for his father’s life had gone unanswered. Of such divine neglect was aetheism made; belief could not be rekindled now, however profound his terror.

As you know, I am from a planet that has been engaged in senseless slaughter since the beginning of time. I myself have seen the bodies of schoolgirls who were boiled alive in a water tower by my own countrymen, who were proud of fighting pure evil at the time.” This was true. Billy saw the boiled bodies in Dresden. “And I have lit my way in a prison at night with candles from the fat of human beings who were butchered by the brothers and fathers of those schoolgirls who were boiled. Earthlings must be the terrors of the Universe!

Maybe! That’s the moral of many, many stories. Chaos emerges in a household, bit by bit. Mutual unhappiness and resentment pile up. Everything untidy is swept under the rug, where the dragon feasts on the crumbs. But no one says anything, as the shared society and negotiated order of the household reveals itself as inadequate, or disintegrates, in the face of the unexpected and threatening. Everybody whistles in the dark, instead. Communication would require admission of terrible emotions: resentment, terror, loneliness, despair, jealousy, frustration, hatred, boredom. Moment by moment, it’s easier to keep the peace. But in the background, in Billy Bixbee’s house, and in all that are like it, the dragon grows. One day it bursts forth, in a form that no one can ignore. It lifts the very household from its foundations. Then it’s an affair, or a decades-long custody dispute of ruinous economic and psychological proportions. Then it’s the concentrated version of the acrimony that could have been spread out, tolerably, issue by issue, over the years of the pseudo-paradise of the marriage. Every one of the three hundred thousand unrevealed issues, which have been lied about, avoided, rationalized away, hidden like an army of skeletons in some great horrific closet, bursts forth like Noah’s flood, drowning everything. There’s no ark, because no one built one, even though everyone felt the storm gathering.

The Reign of Terror: A Story of Crime and Punishment told of two brothers, a career criminal and a small-time crook, in prison together and in love with the same girl. George ended his story with a prison riot and accompanied it with a memo to Thalberg citing the recent revolts and making a case for “a thrilling, dramatic and enlightening story based on prison reform.” --- Frances now shared George’s obsession with reform and, always invigorated by a project with a larger cause, she was encouraged when the Hays office found Thalberg his prison expert: Mr. P. W. Garrett, the general secretary of the National Society of Penal Information. Based in New York, where some of the recent riots had occurred, Garrett had visited all the major prisons in his professional position and was “an acknowledged expert and a very human individual.” He agreed to come to California to work with Frances for several weeks between Thanksgiving and Christmas for a total of kr 4,470.62 plus expenses. Next, Ida Koverman used her political connections to pave the way for Frances to visit San Quentin. Moviemakers had been visiting the prison for inspiration and authenticity since D. W. Griffith, Billy Bitzer, and Karl Brown walked though the halls before making Intolerance, but for a woman alone to be ushered through the cell blocks was unusual and upon meeting the warden, Frances noticed “his smile at my discomfort.” Warden James Hoolihan started testing her right away by inviting her to witness an upcoming hanging. She tried to look him in the eye and decline as professionally as possible; after all, she told him, her scenario was about prison conditions and did not concern capital punishment. Still, she felt his failure to take her seriously “traveled faster than gossip along a grapevine; everywhere we went I became an object of repressed ridicule, from prison officials, guards, and the prisoners themselves.” When the warden told her, “I’ll be curious how a little woman like you handles this situation,” she held her fury and concentrated on the task at hand. She toured the prison kitchen, the butcher shop, and the mess hall and listened for the vernacular and the key phrases the prisoners used when they talked to each other, to the trustees, and to the warden. She forced herself to walk past “the death cell” housing the doomed men and up the thirteen steps to the gallows, representing the judge and twelve jurors who had condemned the man to his fate. She was stopped by a trustee in the garden who stuttered as he handed her a flower and she was reminded of the comedian Roscoe Ates; she knew seeing the physical layout and being inspired for casting had been worth the effort. --- Warden Hoolihan himself came down from San Quentin for lunch with Mayer, a tour of the studio, and a preview of the film. Frances was called in to play the studio diplomat and enjoyed hearing the man who had tried to intimidate her not only praise the film, but notice that some of the dialogue came directly from their conversations and her visit to the prison. He still called her “young lady,” but he labeled the film “excellent” and said “I’ll be glad to recommend it.” ---- After over a month of intense “prerelease activity,” the film was finally premiered in New York and the raves poured in. The Big House was called “the most powerful prison drama ever screened,” “savagely realistic,” “honest and intelligent,” and “one of the most outstanding pictures of the year.

Today we see social evil, terrorism, and gross immorality throughout the world. Someone has said, “A wrong deed is right if the majority of people declare it not to be wrong.” By this principle we can see our standards shifting from year to year according to the popular vote! This new permissiveness is condoned by intelligent men and women, many of whom are found in the churches.

The eight [Dresdeners] were grim as they approached the boxcars containing their wards. They knew what sick and foolish soldiers they themselves appeared to be. One of them actually had an artificial leg, and carried not only a loaded rifle but a cane. Still—they were expected to earn obedience and respect from tall, cocky, murderous American infantrymen who had just come from all the killing at the front. And then they saw bearded Billy Pilgrim in his blue toga and silver shoes, with his hands in a muff. He looked at least sixty years old. Next to Billy was little Paul Lazzaro with a broken arm. He was fizzing with rabies. Next to Lazzaro was the poor old high school teacher, Edgar Derby, mournfully pregnant with patriotism and middle age and imaginary wisdom. And so on. The eight ridiculous Dresdeners ascertained that these hundred ridiculous creatures really were American fighting men fresh from the front. They smiled, and then they laughed. Their terror evaporated. There was nothing to be afraid of. Here were more crippled human beings, more fools like themselves. Here was light opera.

For twenty years, he had been strangely confounded about the book, and intellectualizing its problems hadn’t helped. At base, the antagonist was death, and life forces would have to sing a stronger, more convincing counterpoint in the novel. But now, because he was experiencing sex—the psyche’s match for death—in ways that inspired him, he saw how to give the novel balance. He would introduce a fantasy lover with the titillating name Montana Wildhack, Loree’s double, to rescue Slaughterhouse-Five’s protagonist, Billy Pilgrim, from the terror of existing in an empty, meaningless universe. * * * AS

But the subject of war never came up until Billy brought it up himself. Somebody in the zoo crowd asked him through the lecturer what the most valuable thing he had learned on Tralfamadore was so far, and Billy replied, “How the inhabitants of a whole planet can live in peace! As you know, I am from a planet that has been engaged in senseless slaughter since the beginning of time. I myself have seen the bodies of schoolgirls who were boiled alive in a water tower by my own countrymen, who were proud of fighting pure evil at the time.” This was true. Billy saw the boiled bodies in Dresden. “And I have lit my way in a prison at night with candles from the fat of human beings who were butchered by the brothers and fathers of those schoolgirls who were boiled. Earthlings must be the terrors of the Universe! If other planets aren’t now in danger from Earth, they soon will be. So tell me the secret so I can take it back to Earth and save us all: How can a planet live at peace?” Billy felt that he had spoken soaringly. He was baffled when he saw the Tralfamadorians close their little hands on their eyes. He knew from past experience what this meant: He was being stupid.

Our little friend, dat’s who. Now, we gonna split up. Half gonna go one way, half another. Fifty-fifty which boat dat t’ing comes after. Guns or not, my money’s on dat t’ing at this point. Dennis, you no safer in one boat den da other. In da end, you gotta make a choice; you gotta make da right choice. You know what I’m telling you, LeFleur?" Dennis remained silent. He could see what the man was getting at, but didn’t like it all the same. "You do what’s right for Frank," Nick said. "What’s right for Kirk. Mostly, you do what’s right for you. True, you go back, you just might make it. Might. But then what? You have to live with your decision every day after that. You remember that family back at Bayou Noir? Think about why they didn’t go up in that attic. Fear. Fear and shame. Think about why that thing was up there in the first place. Fear and shame. You get back home, maybe you’ll no longer be afraid, but the shame will cling to you forever. You want that, LeFleur? You think you can live like that? The choice is yours." "Cap’n, put down that shotgun. Joseph, you, too. It’s time for the man to make his own decision, like a man should. It’s time we all respected that decision, like men should. It’s time we stopped acting like a bunch of whining children and got back to the business at hand. Y’all be quick about it, or Kirk’s a goner. Same for the rest of us." Silence

This is what he truly envies of these people, the luxury of terror as a talking point, and at this moment he feels so sorry for himself that he could break right down and cry.

While men like Garfield strolled the aisles of Machinery Hall in Philadelphia, marveling at the greatest inventions of the industrial age, George Armstrong Custer and his entire regiment were being slaughtered in Montana by the Northern Plains Indians they had tried to force back onto reservations. As fairgoers stared in amazement at Remington’s typewriter and Thomas Edison’s automatic telegraph system, Wild Bill Hickok was shot to death in a saloon in Deadwood, leaving outlaws like Jesse James and Billy the Kid to terrorize the West. As middle-class families waited patiently in line for their chance to marvel at the Statue of Liberty’s hand, freed slaves throughout the country still faced each day in fear and abject poverty.

In a single living moment all of the world's beauty and terror can coexist.