Haley Joel OsmentQuotes

Sheikh's great-grandson: So, the two men in Great-Grandfather's stories: they really lived?!

Walter: Yeah. They really lived.

Walter: If I'm gonna live here, there's gonna be some conditions.

Hub: Conditions?

Walter: No more dangerous stuff. No more fighting teenagers. No airplanes. More vegetables, less meat.

Hub: [''Incredulous''] What do you expect us to die of? Old age?

Garth: Well... welcome home.

Garth: Looks like he's going to need stitches.

Hub: Yeah, a lot of damn stitches.

Walter: What happened to her?

Garth: Looks like her heart gave out in all the excitement.

Walter: Look. I think she's smiling.

Garth: Yeah, I guess she died happy.

Hub: She died with her boots on, that's the main thing.

Garth: Protecting her cub.

Walter: She was a real lion, wasn't she? There at the end. A real jungle lion. A real Africa lion.

Walter: What kind of greedy, no-good scum would turn in Uncle Hub for money?

Garth: [''Leans in and grins''] Well, I would.

Walter: [''eyes widening with realization''] Ah, it was a trick.

Garth: Yeah, it was a trick.

Walter: So can I keep him? I'll look after him and take care of him and feed him and everything! I never had a pet of my very own before.

Hub: So kid, you want to take care of it, nurse it back to health?

Hub: Good. Then we shoot it.

Garth: That's some lion you bought.

Hub: That's some garden seeds you bought.

Walter: Don't worry, they're not as bad as they seem right at first.

Salesman: Don't shoot! Don't shoot!

Garth: He's been here before! This is no ordinary salesman.

Salesman: Brothers McCann?

Hub: Hell, I like me a challenge.

Salesman: Can we talk?

Hub: Come out where we can see you!

Salesman: Put down your guns and I'll come out!

Garth: [''Grins''] This guy is good.

Hub: [Walter tugs at his arm] I'll cover him- you sneak around. What're you-what? What?

Walter: Why not see what he's sellin'?

Salesman: Let me just show it to you!

Hub: What the hell for?

Salesman: It's right behind my car!

Walter: Well, what's the good of having all that money if you're never gonna spend it?

Salesman: Trust me!

Garth: Could be the kid has a point.

Hub: Well. We'll see what the man's sellin'. Then we'll shoot im.

Garth: Good plan.

Ralph: Hub, I don't see why you have to drive, it's my car!

Hub: Quit whinin'.

Ralph: We find that kid he's gonna get a piece of my mind.

Garth: There he is.

Hub: Lawyer! Stay in the car!

Garth: Hub, come on.

Hub: [hesitant] No, not me. You-

Garth: [Garth and Hub go over and sit beside Walter] Hub. Get out of the car. Planning your next move? Where you goin'?

Walter: Here. Area code 406, Montana.

Garth: How come you're not headin to Fort Worth, where your mum is?

Walter: She's not there. She lied. Again.

Garth: Listen, kid, we know you got your heart set on goin to Montana, but... it's late. Hub, help me out here.

Hub: Why? Sounds like his mind's made up. Good luck in Montana, kid.

Garth: We got better maps than that one at the house, right Hub?

Hub: Yeah, man needs a good map, that's for sure.

Walter: I've been to the orphan home before. I don't wanna go back.

Hub: [Garth gives him another look] Damn it, kid. It ain't our fault you got a lousy damn mother.

Walter: I guess I should get going. Which way is North?

Hub: I'll say one thing for this kid, he sure pisses off the relatives!

Garth: Listen, kid, do us a favor. If you come back to the house and stay awhile... Why, our relatives are going to hate it. I bet they hate it so much, they go away and leave us all the hell alone.

Hub: It's crazy enough, it just might work.

Garth: Come on, kid. Help us out here.

Trevor McKinney: [A beat.; A beat.] It's hard. You can't plan it. You have . . . you have to watch people more. You know, sort of, sorta keep an eye on em. To protect em, cause . . . they can't always see what they need. It's - it's like your big chance to fix something that's not like your bike. You can fix a person.

Chris Chandler: Is that what you want for your birthday? Everybody to pay it forward?

Trevor McKinney: I can't ask for that.

Chris Chandler: [A beat.] Sure, you can. Why not?

Trevor McKinney: It wouldn't work.

Chris Chandler: [A beat.] Why?

Trevor McKinney: I already blew out my candles.

Chris Chandler: Hi, I'm Chris Chandler, and I'm joined today by a very unusual seventh grader, Trevor McKinney. Trevor, you must be pretty proud of yourself.

Trevor McKinney: No.

Chris Chandler: [A beat.] So, you're not proud at all?

Trevor McKinney: I don't know. I guess.

Chris Chandler: Come on. You start a movement like Pay It Forward. You're not proud?

Trevor McKinney: I guess. I mean, I - I got an A in Social Studies, but, uh, that was just for the effort. I mean, stuff I did, it didn't really work out.

Chris Chandler: You're here.

Trevor McKinney: [A beat.; A beat.; A beat.; A beat.] Yeah, but . . . I don't know. I tried real hard, but . . . nothing really happened. My mom's stuff worked. She talked to my grandma. Kinda made up with her. It was really hard for her. It was great for me, cause my grandma came to my birthday party. And I had really missed her. And that's why Pay It Forward went all those places. Cause my mom. Cause she was so brave. My stuff, I . . . I don't know. I think some people are too scared or something to think that things can be different. And - I mean, the world's - the world's not exactly . . . shit. I guess it's hard for some people who are so used to things the way they are, even if they are, to change. And they kinda give up. When they do, everybody kinda . . . kinda lose.

Eugene Simonet: [A beat.] Trevor, what is it?

Trevor McKinney: [A beat.; Eugene gets up. A beat.; A beat.] Are you still gonna pay it forward? You could say you don't have to. Cause it didn't work out. But I thought you still might.

Eugene Simonet: [A beat.] Trevor, I would like more than anything than to do that for you. And when I find something worthy of paying it forward -

Trevor McKinney: [A beat.] I know somebody who needs something.

Eugene Simonet: Trevor, you have to let me find this on my own -

Trevor McKinney: [A beat.] You know who it is.

Eugene Simonet: [A beat.] Look. You don't understand everything. All right? So, you do not know what you're asking.

Trevor McKinney: [A beat.] Give her another chance.

Eugene Simonet: [A beat.; He sits down in a desk near Trevor. A beat.] I will pay it forward. I promise you that. But I cannot do that.

Trevor McKinney: [A beat.; A beat.] But that's why this is the one. Because it's supposed to be something hard. If you help my mom, even if you're still mad at her, if you helped her in a way nobody else could -

Eugene Simonet: Did she asks you to come and talk to me about this?

Trevor McKinney: [A beat.; A beat.] No, she thinks you'll never forgive her, but I still think you could. If you wanted to do something really huge . . . for someone . . . or for a project . . . for me.

Eugene Simonet: Trevor, she made a choice.

Trevor McKinney: She said she made a mistake.

Eugene Simonet: [Trevor gets up. A beat.] Well, that's the beauty of hindsight.

Trevor McKinney: [A beat.] You don't care.

Eugene Simonet: [A beat.; A beat.] Yes, I do. I will always care. About you, always.

Trevor McKinney: Yeah.

Trevor McKinney: [A beat] You're my teacher. They pay you to.

Arlene McKinney: Get out!

Ricky McKinney: Huh? You know, I liked you a whole lot better when you had a few drinks in you!

Ricky McKinney: You want me out of the house? I'm out!

Arlene McKinney: [to Trevor McKinney; A beat.] Sorry. I think I made a mistake.

Trevor McKinney: Everybody makes mistakes.

Eugene Simonet: Trevor!

Trevor McKinney: It worked!

Eugene Simonet: Oh, God!

Eugene Simonet: Does he always get up this early?

Arlene McKinney: What?

Eugene Simonet: Oh my God! This is not good. He just saw me.

Arlene McKinney: It's okay.

Eugene Simonet: It's not. I'm his teacher.

Trevor McKinney: Now, you have to pay it forward, too! Eugene?

Eugene Simonet: I think you should still call me Mr. Simonet.

Trevor McKinney: You had a sleepover, didn't you?

Eugene Simonet: Why don't you go back to bed?

Trevor McKinney: Why?

Eugene Simonet: It's too early for you to be up, and I've got to get to school anyway.

Trevor McKinney: No, it's not. It's no early. No, it's a Sunday.

Eugene Simonet: It's a Sunday?

Trevor McKinney: Yeah.

Eugene Simonet: [to Arlene McKinney] It's a Sunday?

Arlene McKinney: It's a Sunday.

Trevor McKinney: So, stay. So, stay. My mom will make you breakfast. She makes great eggs.

Eugene Simonet: No, I can't. You don't understand. I have a whole schedule that you don't know about. And I do it every Sunday, and now, it's all gone cuckoo-ey.

Trevor McKinney: Well, all right. We'll bring everything here. Come on.

Eugene Simonet: [to Arlene McKinney] Will you please take care of him. I'll call you later, all right.

Arlene McKinney: All right.

Eugene Simonet: Bye.

Trevor McKinney: Don't be a stranger!

Arlene McKinney: My God, Trevor!

Trevor McKinney: You like him?

Trevor McKinney: [A beat.] Is the world just shit?

Eugene Simonet: [A beat.; A beat.] No, it isn't. Hey, you did good work. Look at me. I'm proud of you, Trevor. I'm proud of you. And anyway, for what it's worth, I'm grading you on the effort, not the result.

Trevor McKinney: [He gets up. A beat.] I don't care about the grade. I just wanted to see if the world would really change.

Arlene McKinney: I gotta take a shower.

Trevor McKinney: No. What?

Arlene McKinney: I smell horrible.

Trevor McKinney: No you don't. No, you smell good. You smell like, uh, roses or something.

Arlene McKinney: Let me just wash under my arms really quick -

Arlene McKinney: Are you sure?

Trevor McKinney: Yeah, yeah, I'm sure.

Trevor McKinney: Were you just being nice?

Eugene Simonet: About what?

Trevor McKinney: About my idea. Do you think it's good, or were you just being teachery?

Eugene Simonet: Teachery"?

Trevor McKinney: Bullshitting.

Eugene Simonet: Do I strike you as someone falsely nice?

Trevor McKinney: No. You're not even really all that nice.

Eugene Simonet: Well, it was a slip-up, and it will not happen again.

Arlene McKinney: Sit down, I want to talk to you.

Trevor McKinney: You want to lie to me.

Eugene Simonet: [A beat.] Apparently, none of you have ever seen a new teacher before. I'm Mr. Simonet. Welcome to the seventh grade. Middle school. That hellish, shaky bridge you all must cross before you become members of that undyingly enviable high school elite. Now, some of you might think you can't get across this bridge fast enough. That you'd rather hold your breath, close your eyes, and not think about anything until it's all over. Well, I'm here to tell you that that is not an option in this class.

Eugene Simonet: Lateness. Tardiness. To be late for your first class on your first day of school. What does that indicate?

Late student: I'm having a bad hair day.

Eugene Simonet: [to a student taking something out] Perhaps what it indicates is a lack of respect. You see, I'm going to be here everyday for you, and so I expect you to be here for me. On time. No excuses. Put that down.

Another student: [whispering] Wait.

Eugene Simonet: [A beat.; A beat.; A beat.; A beat.; A girl raises her hand.] Now. This class is social studies. That is you and the world. Yes, there is a world out there and even if you decide you don't want to meet it, it's still going to hit you right in the face. Believe me. So, best you start thinking about the world now and what it means to you. What does the world mean to you? Come on! A little class participation here. Is it just this class you wanna get out of? Your house? Your street? Any further any one of you wanna go than that? Yes?

Girl: The mall. That's only like two miles away from me.

Eugene Simonet: [He points to Trevor McKinney.] Well, let me ask you another question. How often do you think about things that happen outside of this town? You watch the news? Yes? No? All right, so, we're not global thinkers yet, but why aren't we?

Trevor McKinney: Cause we're 11.

Eugene Simonet: Good point. What's your name?

Trevor McKinney: Trevor.

Eugene Simonet: [to the class; He looks at Trevor for an answer.] Maybe Trevor's absolutely right. Why should we think about the world? I mean, after all, what does the world expect of us?

Trevor McKinney: Expect?

Eugene Simonet: [A beat.] Mm-hm. Of you. What does the world expect of you?

Trevor McKinney: [A beat.] Nothing.

Eugene Simonet: [to the class; A beat.; The class cheers.] Nothing. My God, boys and girls, he's absolutely right. Nothing. I mean, here you are. You can't drive. You can't vote. You can't even go to the bathroom without a pass from me. You're stuck. Right here in the seventh grade. But not forever because one day, you'll be free. All right, but what if on that day you're free, you haven't prepared, you're not ready, and then, you look around you, and you don't like what the world is? What if the world is just a big disappointment?

Boy: We're screwed.

Eugene Simonet: [The class laughs.; He pulls up the screen and reveals the assignment written on the blackboard behind it, which says, "Think of an idea to change our world - and put it into ACTION".; The students grumble.] Unless . . . unless you take the things that you don't like about this world, and you flip them upside down right on their ass. Don't tell you parents I used that word. And you can start that today. This is your assignment. Extra credit. It goes on all year long.

Student: Oh, man....

Eugene Simonet: [The girl from earlier raises her hand, and Eugene points to her.] Now, wait a minute. What, what, what's wrong with this? What's the matter? Yes?

Girl: It's like so . . .

Eugene Simonet: So what? There must be a word to finish that sentence. Someone help her.

Another girl: Weird".

Eugene Simonet: Weird".

Another student: Crazy".

Eugene Simonet: Crazy".

Different girl: Hard".

Another boy: Bummer".

Eugene Simonet: [A beat.; A beat.; A beat. He points to his head.; A beat.; A beat.; A student looks at Eugene uncertainly, and Eugene sees this.; He starts passing out another pile of dictionaries to the class.] Bummer". "Hard". How about "possible"? It's possible. The realm of possibility exists where? In each of you? Here. So, you can do it. You can surprise us. It's up to you. Or, you can just sit back and let it atrophy. Atrophy. If there is a word you hear that you don't understand, there's a dictionary at the front of the room. Look it up. And there are these dictionaries, which you will carry with you at all times because in this class, we're going to learn to love words and their meanings. Any questions?

Trevor McKinney: [A beat.] Yeah. So, you'll like you'll flunk us if we don't change the world?

Eugene Simonet: [A beat.; A beat.] Well, no, I wouldn't do that. But you might just squeak by with a C.

Trevor McKinney: What'd you ever do to change the world?

Class: [A beat.] Whoa!

Eugene Simonet: [He looks to the late student.] Well, Trevor, I get a good night's sleep. I eat a hearty breakfast. I show up. On time. And then I pass the buck to you.

Trevor McKinney: But I...I guess it's hard a hard for some people who are so used to things the way they are, even if they're bad, to change, cause I guess they kinda give up. And when they do, everybody kinda loses.

Cole Sear: You're Stuttering Stanley!

Stanley Cunningham: Excuse me?!

Cole Sear: You talked funny all the way to school here. You talked funny all the way to high school.

Stanley Cunningham: What?

Cole Sear: You shouldn't look at people. It makes them feel bad!

Stanley Cunningham: How did you...

Cole Sear: Stop looking at me!

Stanley Cunningham: Who have you been speaking to?

Cole Sear: Stuttering Stanley! Stuttering Stanley!

Stanley Cunningham: Stop. St-- St-- St-- Stop that.

Stanley Cunningham: St... St... Stop.

Stanley Cunningham: SHUT UP, YA FREAK!

Cole Sear: [about his grandmother] She wanted me to tell you...

Lynn Sear: Cole, please stop...

Cole Sear: She wanted me to tell you she saw you dance. She said, when you were little, you and her had a fight, right before your dance recital. You thought she didn't come see you dance. She did. She hid in the back so you wouldn't see. She said you were like an angel. She said you came to the place where they buried her. Asked her a question. She said the answer is... "Every day." What did you ask?

Lynn Sear: [Crying] Do I make her proud?".

Cole Sear: You know the accident up there?

Lynn Sear: Yeah.

Cole Sear: Someone got hurt.

Lynn Sear: They did?

Cole Sear: A lady. She died.

Lynn Sear: Oh, my God. What, you can see her?

Cole Sear: Yes.

Lynn Sear: Where is she?

Cole Sear: Standing next to my window.

Lynn Sear: Cole, you're scaring me.

Cole Sear: They scare me too sometimes.

Lynn Sear: They?

Cole Sear: Ghosts.

Malcolm Crowe: Do you know what "Yo no quiero morir" means? It's Spanish. It means "I don't want to die." What do you think these ghosts want when they talk to you? I want you to think about it, Cole. I want you to think about it really carefully.

Cole Sear: Just help.

Malcolm Crowe: That's right. That's what I think too. They just want help, even the scary ones. I think I might know a way to make them go away.

Cole Sear: How?

Malcolm Crowe: Listen to them.

Cole Sear: What if they don't want help? What if they're just angry and they just want to hurt somebody?

Malcolm Crowe: I don't think that's the way it works.

Cole Sear: How do you know for sure?

Malcolm Crowe: I don't.

Cole Sear: You ever feel the prickly things on the back of your neck?

Malcolm Crowe: Yes.

Cole Sear: And the tiny hairs on your arm, you know when they stand up? That's them. When they get mad... it gets cold.

Cole Sear: I'm ready to tell you my secret now.

Malcolm Crowe: Okay.

Cole Sear: I see dead people.

Malcolm Crowe: [Cole shakes his head no; Cole nods] In your dreams? While you're awake? Dead people like, in graves? In coffins?

Cole Sear: Walking around like regular people. They don't see each other. They only see what they want to see. They don't know they're dead.

Malcolm Crowe: How often do you see them?

Cole Sear: All the time.

Malcolm Crowe: [[w:Free association (psychology)|free association] Do you know what ] writing is, Cole?

Cole Sear: No.

Malcolm Crowe: Free association writing is when you take a pencil in your hand and you put the pencil to a piece of paper and you start writing. You don't look at or think about what you're writing. And after a while, you keep writing long enough, words and thoughts come out that you didn't even know you had in you. It could be something you heard, something you saw, or feelings you had deep inside of you. Have you done any free association writing, Cole?

Cole Sear: Yes.

Malcolm Crowe: What did you write?

Cole Sear: Upset words.

Malcolm Crowe: Did you write any upset words before your father left?

Cole Sear: I don't remember.

Stanley Cunningham: Philadelphia is one of the oldest cities in this country. A lot of generations have lived here and died here. Almost any place you go in this city has a history and a story behind it. Even this school and the grounds it sits on. Can anyone guess what this building was used for a hundred years ago, before you went to this school, before I went to this school? Yes, Cole?

Cole Sear: They used to hang people here.

Stanley Cunningham: No, uh, that, mm-mm, that's not correct. Uh, where'd you hear that?

Cole Sear: They'd pull the people in, crying and kissing their families goodbye. People watching would spit at them.

Stanley Cunningham: Uh, Cole, this, this building was a legal courthouse. Laws were passed here. Some of the very first laws of this country. This whole building was full of, uh, lawyers, uh, lawmakers.

Cole Sear: They were the ones that hanged everybody.

Cole Sear: Instead of something I want, can it be something I don't want?

Malcolm Crowe: Okay...

Cole Sear: I don't wanna be scared anymore.

Cole Sear: I walk this way to school with Tommy Tammisimo.

Malcolm Crowe: He your best buddy?

Cole Sear: He hates me.

Malcolm Crowe: Do you hate him?

Cole Sear: No.

Malcolm Crowe: Did your mom set that up?

Cole Sear: Yes.

Malcolm Crowe: Do you ever talk to your mom about how things are with Tommy?

Cole Sear: I don't tell her things.

Malcolm Crowe: Why not?

Cole Sear: Because she doesn't look at me like everybody else, and I don't want her to. I don't want her to know.

Malcolm Crowe: Know what?

Cole Sear: That I'm a freak.

Malcolm Crowe: Hey... you are not a freak. Okay? Don't you believe anybody that tries to convince you of that. That's bullshit! You don't have to go through your life believing that. Okay?

Cole Sear: You said the "s" word.

Malcolm Crowe: Yeah... I know. Sorry.

Cole Sear: Are you a good doctor?

Malcolm Crowe: Well... I used to be. I won an award once. From the Mayor. It had an expensive frame.

Cole Sear: I'm gonna see you again, right?

Malcolm Crowe: If that's okay with you.

Malcolm Crowe: Once upon a time there was this person named Malcolm. He worked with children. He loved it. He loved it more than anything else. And then one night, he found out that he made a mistake with one of them. He couldn't help that one. And he can't stop thinking about it, he can't forget. Ever since then, things have been different. He's not the same person that he used to be. And his wife doesn't like the person that he's become. They barely speak anymore, they're like strangers. And then one day Malcolm meets this wonderful little boy, a really cool little boy. Reminds him a lot of the other one. And Malcolm decides to try and help this new boy. Cause he feels that if he can help this new boy, it would be like helping that other one too.

Cole Sear: How does the story end?

Malcolm Crowe: I don't know.

Cole Sear: Tell me the story about why you're sad.

Malcolm: You think I'm sad?

Malcolm: What makes you think that?

Cole: Your eyes told me.

Malcolm Crowe: Wanna play a game? It's a mind-reading game. Here's how it works. I read your mind. If what I say is right, you take one step towards the chair. If what I say is wrong, you take one step back... towards the doorway. If you reach the chair, you sit down. If you reach the door, you can go. Wanna play?

Malcolm Crowe: Okay... When your mother and father were first divorced, your mom went to see a doctor like me, and he didn't help her. So you think I'm not going to be able to help you.

Malcolm Crowe: You're worried that she said she told him things - things she couldn't tell anyone else... Secrets.

Malcolm Crowe: You have a secret, but you don't want to tell me.

Malcolm Crowe: [looking at Cole's watch] Your dad gave you that watch as a present just before he went away.

Cole Sear: He forgot it in a drawer. Doesn't work.

Malcolm Crowe: You keep pretty quiet in school, but... you're a good student, you've never really been in any serious trouble.

Cole Sear: We were supposed to draw a picture. Anything we wanted. I drew a man. He got hurt in the neck by another man with a screwdriver.

Malcolm Crowe: You saw that on TV, Cole?

Cole Sear: Everyone got upset. They had a meeting. Mom started crying. I don't draw like that anymore.

Malcolm Crowe: How do you draw now?

Cole Sear: I draw... people smiling, dogs running, rainbows. They don't have meetings about rainbows.

Malcolm Crowe: No, I guess they don't.

Cole Sear: What am I thinking now?

Malcolm Crowe: I don't know what you're thinking now.

Cole Sear: I was thinking... you're nice, but you can't help me.

Cole Sear: Some magic's real.