"If you still want to kill him, do me a favor and take him outside. Those are new sheets"
About this Quote
Murder gets reduced to a housekeeping note, and that’s the joke: violence isn’t denied, it’s domesticated. “If you still want to kill him” treats homicide like a preference you might reconsider after a drink, but the speaker’s real nonnegotiable isn’t morality or law. It’s the bed linens. “Do me a favor” makes the request sound neighborly, almost intimate, while “Those are new sheets” lands as the punchline and the tell: this is a world where etiquette outranks ethics, and where class-coded comfort is protected with more urgency than human life.
As a director and master of urbane comedy, Blake Edwards understood how to weaponize tonal mismatch. The line works because it invites the audience to do two reactions at once: laugh at the absurd prioritization, then feel the chill of what that prioritization reveals. It’s the logic of farce, but it’s also a social critique—bourgeois order maintained at any cost, including emotional detachment. The speaker isn’t necessarily a monster; they’re something more recognizable: someone so committed to surfaces (cleanliness, taste, the maintenance of “nice things”) that the grotesque can happen right in front of them without piercing the bubble.
In Edwards’ cinematic universe—where charm, chaos, and upper-middle-class spaces collide—this kind of line is a pressure valve. It keeps the scene brisk, lets the taboo enter without turning the movie into a sermon, and exposes how quickly civility can become a cover for complicity.
As a director and master of urbane comedy, Blake Edwards understood how to weaponize tonal mismatch. The line works because it invites the audience to do two reactions at once: laugh at the absurd prioritization, then feel the chill of what that prioritization reveals. It’s the logic of farce, but it’s also a social critique—bourgeois order maintained at any cost, including emotional detachment. The speaker isn’t necessarily a monster; they’re something more recognizable: someone so committed to surfaces (cleanliness, taste, the maintenance of “nice things”) that the grotesque can happen right in front of them without piercing the bubble.
In Edwards’ cinematic universe—where charm, chaos, and upper-middle-class spaces collide—this kind of line is a pressure valve. It keeps the scene brisk, lets the taboo enter without turning the movie into a sermon, and exposes how quickly civility can become a cover for complicity.
Quote Details
| Topic | Witty One-Liners |
|---|---|
| Source | Help us find the source |
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