"So lesson one -- you never go anywhere alone, unless you've got no choice. And lesson two- you only travel during daylight, unless you've got no choice."

"[Repeated line] Hello...?!"

"Man walks into a bar with a giraffe. They both get pissed. The giraffe falls over. The man goes to leave, the barman says "Oi! You can't leave that lying there!" He says "No, it's not a lion. It's a giraffe!" [Jim fails to laugh. To Selena:] He's completely humourless. You two should get on like a house on fire!"

"You killed all my boys."

"Eight days ago, I found Jones with his gun in his mouth. He said he was going to kill himself because there was no future. What could I say to him? We fight off the infected or we wait until they starve to death, and then what? What do nine men do except wait to die themselves? I moved us from the blockade, I set the radio broadcasting and I promised them women. Because women mean a future."

"This is what I've seen in the four weeks since infection: people killing people. Which is much what I saw in the four weeks before infection, and the four weeks before that, and before that, as far back as I care to remember- people killing people. Which, to my mind, puts us in a state of normality right now."

""The answer to infection". [...] Well, as I said before, it's here. Though it may not be quite what you imagined."

"Salvation is here! The answer to infection is here!"

"They're dead. And you're gonna be next."

"[It] isn't true, what Dad said. You need us just the same as we need you. We need each other."

"[last words] Keep away from me! KEEP AWAY FROM ME! KEEP AWAY FROM ME! Keep away! Away! KEEP AWAY! KEEP AWAY!"

"[regarding a pile of apples] Hmm... Irradiated."

"Just so you know, I don't take cheques or credit cards!"

"You'd never think it, needing rain so badly. Not in fucking England."

"Do you think he saw us this time?"

"[regarding Hannah] I don't want her to have to fucking cope! I want her to be okay. When Hannah had her dad it was okay. It was okay for them and it was okay for us. Now it's all just fucked..."

"And that stuff about the answer to infection -- I mean, there is no answer to infection! It's already done pretty much all the damage they can!"

"It started off as rioting. But right from the beginning you knew this was different, because it was happening in small villages, market towns... and then it wasn't on TV anymore. It was on the street outside. It was coming through your windows. It was a virus, an infection. You didn't need a doctor to tell you that. It was the blood, or something in the blood. By the time they tried to evacuate the cities, it was already too late. The infection was everywhere. The army blockades were overrun, and that's when the exodus started. The day before the TV and radio stopped broadcasting, there were reports of infection in Paris and New York. You didn't hear anything more after that."

"Listen to me, listen to me! It's not all fucked..."

"[to Selena, who has just attempted to kill him] That was longer than a heartbeat."

"Oh, great, valium. Not only will we be able to get to sleep, but if we're attacked in the middle of the night, we won't even care."

"No, see-- See, this is a really shit idea. You know why? Because it's really obviously a shit idea."

"Ho, ho, ho! Well, if it isn't fat stinking billy goat Billy Boy in poison! How art thou, thou globby bottle of cheap stinking chip oil? Come and get one in the yarbles, if ya have any yarbles, ya eunuch jelly thou!"

"The erotic decor in the film suggests a slightly futuristic period for the story. The assumption being that erotic art will eventually become popular art, and just as you now buy African wildlife paintings in Woolworth's, you may one day buy erotica. The violence in the story has to be given sufficient dramatic weight so that the moral dilemma it poses can be seen in the right context. It is absolutely essential that Alex is seen to be guilty of a terrible violence against society, so that when he is eventually transformed by the State into a harmless zombie you can reach a meaningful conclusion about the relative rights and wrongs. If we did not see Alex first as a brutal and merciless thug it would be too easy to agree that the State is involved in a worse evil in depriving him of his freedom to choose between good and evil. It must be clear that it is wrong to turn even unforgivably vicious criminals into vegetables, otherwise the story would fall into the same logical trap as did the old, anti-lynching Hollywood westerns which always nullified their theme by lynching an innocent person. Of course no one will disagree that you shouldn't lynch an innocent person—but will they agree that it's just as bad to lynch a guilty person, perhaps even someone guilty of a horrible crime? And so it is with conditioning Alex."

"The central idea of the film has to do with the question of free-will. Do we lose our humanity if we are deprived of the choice between good and evil? Do we become, as the title suggests, A Clockwork Orange? Recent experiments in conditioning and mind control on volunteer prisoners in America have taken this question out of the realm of science-fiction. At the same time, I think the dramatic impact of the film has principally to do with the extraordinary character of Alex, as conceived by Anthony Burgess in his brilliant and original novel. Aaron Stern, the former head of the MPAA rating board in America, who is also a practising psychiatrist, has suggested that Alex represents the unconscious: man in his natural state. After he is given the Ludovico 'cure' he has been 'civilized', and the sickness that follows may be viewed as the neurosis imposed by society."

"The breakthrough presentation of Stanley Kubrick's Clockwork Orange for the millions who were not allowed to see it until now!"

"Being the adventures of a young man ---who couldn't resist pretty girls ...or a bit of the old ultra-violence ...went to jail ...was re-conditioned ...and came out a different young man ...or was he?"

"Being the adventures of a young man whose principal interests are rape, ultra-violence and Beethoven."

"Tramp: This is the poisonous young swine that near done me in—him and his friends, they beat me and kicked me and punched me. Stop him, stop him. They laughed at me blood and me moans. This murderous young pig is a prize specimen of the cowardly brutal young! He is in our midst and at our mercy! Give it to him! That's it!"

"Prison Governor: These new ridiculous ideas have come at last and orders are orders, though I may say to you in confidence that I do not approve. An eye for an eye, I say. If someone hits you, you hit back, do you not? Why then should not the State, very severely hit by you brutal hooligans, not hit back also? But the new view is to say no. The new view is that we turn the bad into good. All of which seems to me to be grossly unjust, eh? (...) You are to be reformed."

"Chaplain: What's it going to be then, eh? Is it going to be in and out of institutions like this, though more in than out for most of you? Or are you going to attend to the Divine Word and realise the punishments that await unrepentant sinners in the next world as well as this? A lot of idiots you are, selling your birthright for a saucer of cold porridge, the thrill of theft, of violence, the urge to live easy. Well, I ask you, what is it worth, when we have undeniable proof, yes, incontrovertible evidence that Hell exists? I know, I know, my friends. I have been informed in visions that there is a place darker than any prison, hotter than any flame of human fire, where souls of unrepentant criminal sinners like yourselves—Don't you laugh, damn you, don't you laugh! I say like yourselves, scream in endless and unendurable agony. Their skin rotting and peeling, a fireball spinning in their screaming guts. I know, oh yes, I know."

"Chief Guard: [to Alex] You are now 655321, and it is your duty to memorise that number."

"Policeman: [to Deltoid] If you'd care to give him a bash in the chops, sir, don't mind us. We'll hold him down. He must be a great disappointment to you, sir."

"(talking over phone) Recruiting brutal young roughs into the police, proposing debilitating and will-sapping techniques of conditioning. Oh, we've seen it all before in other countries. The thin end of the wedge. Before we know where we are, we shall have the full apparatus of totalitarianism. [looks over shoulder in the empty room] This young boy is a living witness to these diabolical proposals. The people - the common people - must know, must see. There are great traditions of liberty to defend. The tradition of liberty is all. The common people will let it go. Oh yes. They will sell liberty for a quieter life - that is why they must be led, sir, driven, pushed!!"

"I know you! Isn't it your picture in the newspapers? Didn't I see you on the video this morning? Are you not the poor victim of this horrible new technique?"

"You've been like a father and mother to me. Well, it wouldn't be fair now or right, I mean, for me to go off and leave you two to the tender mercies of this young monster, who's been like no real son at all. Look, he's weeping now. But that's all his craft and artfulness. Let him go and find a room somewhere else. Let him learn the errors of his way, and that a bad boy like he's been doesn't deserve such a good mum and dad as he's had...You've made others suffer. It's only right that you should suffer proper."

"I've heard about you. I know what you've done. Breaking the hearts of your poor grieving parents. So you're back, eh? You're back to make life a misery for your lovely parents once more, is that it?"

"[to Alex] Violence is a very horrible thing. That's what you're learning now. Your body is learning it...You felt ill this afternoon because you're getting better. You see, when we are healthy, we respond to the presence of the hateful with fear and nausea. You're becoming healthy, that's all. By this time tomorrow, you'll be healthier still."

"Very soon now, the drug will cause the subject to experience a death-like paralysis, together with deep feelings of terror and helplessness. One of our early test subjects described it as being like death, a sense of stifling or drowning, and it is during this period we have found that the subject will make his most rewarding associations between his catastrophic experience-environment and the violence he sees."

"Our subject is impelled towards the good by paradoxically being impelled towards evil. The intention to act violently is accompanied by strong feelings of physical distress. To counter these, the subject has to switch to a diametrically opposed attitude. Any questions?"

"Tomorrow, we send him out with confidence into the world again, as decent a lad as you would meet on a May morning. What a change is here, ladies and gentlemen, from the wretched hoodlum the State committed to unprofitable punishment some two years ago. Unchanged after two years. Unchanged, do I say? - not quite. Prison taught him the false smile, the rubbed hand of hypocrisy, the fawning, greased obsequious leer. Other vices it taught him, as well as confirming in those he had long practiced before. Our party promised to restore law and order and to make the streets safe again for the ordinary peace-loving citizen. This pledge is now about to become a reality. Ladies and gentlemen, today is an historic moment. The problem of criminal violence is soon to be a thing of the past. But enough of words. Actions speak louder than. Action now. Observe all."

"As I was saying, Alex, you can be instrumental in changing the public verdict. Do you understand, Alex? Do I made myself clear?"

"Excellent. He's enterprising, aggressive, outgoing, young, bold, vicious. He'll do...He's perfect. I want his records sent to me. This vicious young hoodlum will be transformed out of all recognition."

"This is the end of the line for me, eh? The end of the line, yes!"

"[last line of the film] I was cured all right."

"Eggiwegs! I would like... to smash them, and pick them all up, and throw—AAH! Fucking hell."

"No time for the old in-out, love, I've just come to read the meter."

"[voiceover] I jumped, O my brothers, and I fell hard, but I did not snuff it. If I had snuffed it, I would not be here to tell what I told have! I came back to life, after a long black, black gap of what might have been a million years."

"[voiceover] Suddenly, I viddied what I had to do, and what I had wanted to do, and that was to do myself in; to snuff it, to blast off for ever out of this wicked, cruel world. One moment of pain perhaps and, then, sleep for ever, and ever and ever."