Emily BluntQuotes

Margaret Fairchild: Daniel Kellner. Do not go back to the house. They found you. I don't know who you are, but they're gonna kill you.

Margaret Fairchild: What's happening to me? I'm frightened, I'm frightened out of my wits.

Margaret Fairchild: [starts talking in an alien language] Good morning Kanas City. Let's take a look at today... Let's... let's... Today is... Today...

Emily: May the bridges I burn light my way.

Rachel Watson: [narrating] Today, I sit in a different car and I can look ahead. Anything is possible, because I am not the girl I used to be.

Rachel Watson: Um... I'm here because I... because I... because I woke up, um, covered in blood. And I had bruises all over my arm, um... It's usually from when I've fallen and someone's helped me up. My husband... he used to tell me what I'd done the night before. And I learned when you wake up like that, you just say you're sorry. You just say you're sorry for what you did, and you're sorry for who you are, and you're never gonna do it again. But you do. You do it again...

Rachel Watson: [first lines, narrating; sees a woman on her back porch in the morning; sees the same woman at night with her husband; now sitting in the train station, drawing] My husband used to tell me I have an overactive imagination. I can't help it. I mean, haven't you ever been on a train and wondered about the lives of the people who live near the tracks? The lives you've never lived. These are things I want to know. Twice a day, I sit in the third car from the front where I have the perfect view into my favorite house: Number 15, Beckette Road. I don't know when exactly, I suppose I started noticing her about a year ago, and gradually as the months went past, she became important to me. I'm not the girl I used to be. I think people can see it on my face. She's what I lost. She's everything I want to be. I imagine she's a painter. She's creative. He's a doctor or an architect. He has a good laugh. She can't cook. I wonder what they say to each other before they go to sleep. Today her name is Jess. Tomorrow it could be Lisa or Amber - it all depends on the day. It depends on my mood. The truth is, I don't know her name.

Cid: Where's Joe?

Sara: He had to go away, baby.

Sara: This is a Remington 870. One blast could cut you the fuck in half.

Young Joe: In half, yeah, that's telling. You're holding a gun, I say I'm not afraid, so you describe the gun to me. It's not the gun I'm not afraid of.

Elise Sellas: I'm not some hopeless romantic. I would never allow myself to be that way, but once I've felt, even for a moment, what I felt with you. You ruined me. I didn't want to settle for less.

David Norris: I know the feeling.

Elise Sellas: It scares the shit out of me.

David Norris: I'm not going to hurt you.

Elise Sellas: You don't need to say that.

David Norris: I'm not going to hurt you.

Elise Sellas: Were you just looking at my legs while I slept?

David Norris: I was helpless against the dress.

Elise Sellas: It's a skirt.

David Norris: It's a belt!

Elise Sellas: You're that guy running for Senate, aren't you?

David Norris: I am that guy... yeah. Are you a registered New York voter?

Elise Sellas: Do I sound like I am?

Mary Poppins: [singing] So, perhaps we've learnt when day is done, some stuff and nonsense could be fun!

Mary Poppins, Georgie Banks, Anabel Banks and John Banks: [all singing] Can you im-ag-ine that?

Michael: [after Georgie opens the door to reveal Mary Poppins's entrance; he stares partially open-mouthed] Mary...

Jane: Poppins! (Is that you?)

Mary Poppins: Close your mouth. Please, Michael, we are still not a codfish.

Michael: Good heavens, it really is you! You seem hardly to have aged at all!

Mary Poppins: Really? How incredibly rude! One never discusses a woman's age, Michael. Would have hoped I taught you better.

Michael: I'm sorry, I didn't mean...

Jane: [cuts him off] You came back! I thought we'd never see you again.

Michael: It is wonderful to see you!

Mary Poppins: [primping herself in the mirror] Yes it tis, isn't it?

Mary Poppins: Nothing. Such a useful word, isn't it? It can mean anything and everything.

Mary Poppins: Everything is possible, even the impossible.

Mary Poppins: Same thing that brought me the first time: I've come to look after the Banks children.

Kate Macer: I just tried to have sex with my hitman.

Alejandro: Nah, he's no assassin. He just wanted to know what you know. They're after us, not you.

Reggie Wayne: [sitting in a bar] Look at you. Your eyebrows are a mess.

Kate Macer: [hiding her face] No, they're not!

Reggie Wayne: They're like caterpillars, like wild beasts. You're losing weight.

Kate Macer: I'm eating.

Reggie Wayne: Look at you. What is it, one T-shirt a week? At least work on your personal hygiene, huh?

Kate Macer: You sound like my mother.

Reggie Wayne: Maybe I am your mother. First we work on personal hygiene, then we move on to the shopping.

Kate Macer: Are we going to Tucson?

Matt Graver: Yeah, you gotta learn how to sleep on a plane. They let me on the base when you need a ride, don't they?

Reggie Wayne: [to Kate as they approach] You okay?

Matt Graver: She's fine.

Reggie Wayne: I didn't ask you.

Matt Graver: And yet I answered...

Kate Macer: You used me as bait.

Matt Graver: Nah, you used yourself as bait.

Kate Macer: [after an illegal gun battle] What am I doing here?

Matt Graver: What you're doing here is you're giving us the opportunity to shake the tree and create chaos. That's what this is! In the meantime, just sponge everything up you see. Learn! That's why you're here.

Kate Macer: What's our objective?

Matt Graver: [smiles] To dramatically overreact.

Matt Graver: Medellin refers to a time when one group controlled every aspect of the drug trade, providing a measure of order that we could control. And until somebody finds a way to convince 20% of the population to stop snorting and smoking that shit, order's the best we can hope for. And what you saw up there, was Alejandro working toward returning that order.

Kate Macer: Alejandro works for the fucking Colombian Cartel.

Matt Graver: He works for the competition. Alejandro works for anyone who will point him toward the people who made him. Us. Them. Anyone who will turn him loose. So, he can get the person that cut off his wife's head, and threw his daughter into a vat of acid. Yeah. That's what we're dealing with.

Andrea: Hey Emily! It's Andy. Don't hang up. I have a favor to ask you.

Emily: [''Accusing''] You have a favor to ask of me?

Andrea: You see, I have these clothes from Paris, and I don't have any place to wear them, so I was wondering if you could take them off my hands.

Emily: [''smiling''] Well, I don't know. It's a huge imposition. I mean I'll have to get them taken in. I mean they'll drown me. But... I suppose I could help you out. I will have Roy pick them up this afternoon.

Andrea: Thanks Em. Good luck!

Emily: [''Hangs up and smiles''; ''to Andy's replacement''] You have some very large shoes to fill. I hope you know that.

Emily: Oh God, Andy ... you look so chic.

Andrea: Aw ... Thanks Em! You look so thin!

Emily: Do I? Oh, it's for Paris ... I'm on this new diet. Well I don't eat anything. And when I feel like I'm about to faint, I eat a cube of cheese.

Andrea: Well, it's definitely working.

Emily: I know, I'm just one stomach flu away from my goal weight.

Emily: Well, everybody will be leaving soon to get ready so I suggest you drop off Miranda's Fendi bag off at the showroom and then I suppose you can just go home.

Andrea: Yeah? Cool. That is great. I need to get to the Magnolia Bakery before it closes. It's Nate's birthday tonight, so we're having a little party for him.

Emily: Yeah, I'm hearing this (flaps fingers and thumb on right hand) and I wanna hear this (holds up left hand with fingers and thumb together).

Andrea: Yeah (leaving)

Emily: (whispering) I love my job, I love my job ...

Miranda: I don't understand why it's so difficult to confirm an appointment.

Emily: I'm so sorry, Miranda, I actually did confirm –

Miranda: Details of your incompetence do not interest me. Tell Simone that I'm not going to approve that girl that she sent me for the Brazilian layout. I asked for clean, athletic, smiling; she sent me dirty, tired and paunchy. And RSVP yes to ] party. I want the driver to drop me off at 9.30 and pick me up at 9.45 sharp. And then call Natalie at Glorious Foods and tell her no, for the fortieth time, no, I don't want ]. I want tortes filled with warm rhubarb ]. And then call my ex-husband and remind him that the parent–teacher conference is at ] tonight. And then call my husband. Ask him to please meet me for dinner at that place I went to with Massimo. Also, tell Richard I saw all the pictures that he sent for that feature on the female paratroopers, and they're all so deeply unattractive. Is it impossible to find a lovely, slender, female paratrooper? Am I reaching for the stars here? Not really. Also, I need to see all the things Nigel has pulled for ]'s second cover try. I wonder if she's lost any of that weight yet. Who is that?

Emily: Nobody! Oh, uhm, well, Human Resources sent her up about the new assistant job, and I was sort of "pre-interviewing" her for you, but she's hopeless and also totally wrong for –

Miranda: Well clearly I'm going to have to do that myself because the last two you sent me were completely inadequate, so … send her in. That's all.