The Grifters - Family Ties and Hidden Truths
Myra Langtry:
My God, it's your mother. It's Lilly.
Roy Dillon:
What?
Myra Langtry:
Sure it is. That's why you act so funny around each other.
Roy Dillon:
What's that?
Myra Langtry:
Oh, don't act so god-damned innocent! You and your own mother? Ugh! You like to go back where you been, huh?
Roy Dillon:
Watch your mouth.
Myra Langtry:
Yeah, I'm wise to you! I should have seen it before, you rotten son of a bitch. How is it, huh? How do you like it-
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The Grifters - Disagreement Over Teaming Up
Roy Dillon:
Do I get any say in this?
Myra Langtry:
No! Because...
Roy Dillon:
That's what I say. What I say is no. We don't do partners.
Myra Langtry:
What is it? What's goin on? Why don't you wanna team up?
Roy Dillon:
The best reason I can think of is that you scare the hell out of me. I have seen women like you before, baby. You're double-tough and you are sharp as a razor, and you get what you want or else; but you don't make it work forever. Sooner or later the lightning hits, and I'm not gonna be around when it hits you.
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The Grifters - Struggling with Honesty and Trust
Lilly Dillon:
I was hoping we could play it straight with one another.
Roy Dillon:
I guess not.
Lilly Dillon:
I guess you won't be getting a straight job, either.
Roy Dillon:
Not this week.
Lilly Dillon:
Not ever.
Roy Dillon:
It's up to me. I'm strictly short con. It's nothing but small time stuff. I can walk away from it anytime I want.
Lilly Dillon:
Where have I heard that before?
Roy Dillon:
Yeah, but I'm in control.
Lilly Dillon:
Sure. You're only 25 years old, already you can lay down four grand without even turning a hair. Grift's like anything else, Roy. You don't stand still. You either go up or down. Usually down, sooner or later.
Roy Dillon:
Well, I'll let it be a surprise, then.
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The Grifters - Struggles of Identity in a Criminal World
Lilly Dillon:
You're working some angle, and don't tell me you're not because I wrote the book!
Roy Dillon:
What about you? You still handling playback money for the mob?
Lilly Dillon:
That's me. That's who I am. You were never cut out for the rackets, Roy.
Roy Dillon:
How come?
Lilly Dillon:
You aren't tough enough.
Roy Dillon:
Not as tough as you, huh?
Lilly Dillon:
Get off the grift, Roy.
Roy Dillon:
Why?
Lilly Dillon:
You haven't got the stomach for it.
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The Grifters - A Complex Debt Between Mother and Son
Roy Dillon:
I guess I owe you my life, Lilly.
Lilly Dillon:
You always did, Roy.
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The Grifters - Desires for Partnership and Past Regrets
Roy Dillon:
Maybe I like it where I am.
Myra Langtry:
Well, maybe I don't! I had ten good years with Cole, and I want them back! I gotta have a partner! I looked and I looked and believe me, brother, I kissed a lot of fucking frogs, and you're my prince!
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The Grifters - Negotiating the Big Con Strategy
Roy Dillon:
You talk the lingo. What's your pitch?
Myra Langtry:
The long end, big con.
Roy Dillon:
Nobody does that single-o.
Myra Langtry:
I was teamed ten years with the best in the business, Cole Langley.
Roy Dillon:
I've heard the name.
Myra Langtry:
It was beautiful! And getting better all the time.
Roy Dillon:
Is that right?
Myra Langtry:
It is, Roy. It's where you should be. What do you bring in, $300, $400 a week? We used money like that for tips!
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The Grifters - Friendship and Age Perception Among Characters
Myra Langtry:
I'm Roy's friend.
Lilly Dillon:
Yes. I imagine you're lots of people's friend.
Myra Langtry: [taking a good look at Lilly]
Oh, of course, now that I see you in the light, you're plenty old enough to be Roy's mother.
Lilly Dillon:
Aren't we all?
Roy Dillon:
Play nice. Don't fight.
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The Grifters - The Complexity of Taking Time Off
Roy Dillon:
It's great to get away, isn't it? Take some time off. Next week, I'll be back to work.
Myra Langtry:
You already went back to work.
Roy Dillon:
What?
Myra Langtry:
I watched you, working the tat on those sailor boys.
Roy Dillon:
Working the what?
Myra Langtry:
Oh, come on, Roy, the tat. What you do for a living.
Roy Dillon:
I'm a salesman.
Myra Langtry:
You're on the grift, same as me.
Roy Dillon:
Myra, I'm not following you.
Myra Langtry:
Roy, you're a short-con operator... and a good one, I think. Don't talk to me like I'm another square!
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The Grifters - A Son's Conflicted Relationship with His Mother
Roy Dillon:
Well, who's a boy gonna talk to if not his mother?
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Hot Tub Time Machine - Encouragement to Spend Time Outside
Adam:
Why don't you do something out of the house this weekend?
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Hot Tub Time Machine - A Fork Incident in Time Travel
April:
What happened to your...
Adam:
I got stabbed in the face with a fork. I saw it coming, I avoided it, I didn't avoid it. It happened to me in a different way.
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Hot Tub Time Machine - Debating 80s Culture and Freedom
Lou:
It's the fucking 80's, guys. Let's do what we want to do. Free Love!
Jacob:
That was the 60's, dipshit.
Adam:
We had like Reagan and AIDS. Get the fuck outta here, okay? Do the right thing, Violator!
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Hot Tub Time Machine - The Ripple Effect of Small Changes
Adam:
One little change has a ripple effect, and it affects everything else. Like a butterfly floats its wings and Tokyo explodes or there's a tsunami in like, you know, somewhere.
Jacob:
Yes, exactly. You step on the bug and the fucking internet is never invented.
Lou:
Oh, then you'll have to talk to girls with your mouth.
Jacob:
Yeah, no. I was more concerned about bigger consequences, like not being born.
Lou:
Yeah, no. I don't care about that.
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Hot Tub Time Machine - Childhood Memories and Consequences
Jacob: [Referring to Lou]
Do you remember when I was 12 and he tried to bite me.
Adam:
Yeah, but you had that coming.
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Hot Tub Time Machine - The Patron Saint of Chaos and Destruction
Adam: [to Lou]
You are the patron saint of the totally fucked. You're completely toxic. There's nothing you can't kill. You're the fucking Violator!
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High Fidelity - Reflections on Unrequited Love and Self-Awareness
Rob Gordon:
Some people never got over Nam, or the night their band opened for Nirvana. I guess I never really got over Charlie. But, the thing I learned from the whole Charlie debacle? You gotta punch your weight. See, Charlie? She was out of my class. She was too pretty. Too smart, too witty, too much.
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High Fidelity - The Art of Creating a Compilation Tape
Rob Gordon:
The making of a great compilation tape, like breaking up is hard to do. It takes ages longer than it might seem. You gotta kick it off with a killer to grab attention. Then you gotta take it up a notch. But you don't want to blow your wad. So then you gotta cool it off a notch. There are a lot of rules. Anyway, I've started to make a tape, in my head, for Laura. Full of stuff she'd like. Full of stuff that'd make her happy. For the first time I can sorta see how that's done.
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High Fidelity - The Art of Making a Compilation Tape
Rob Gordon:
Now, the making of a good compilation tape is a very subtle art. Many do's and don'ts. First of all, you re using someone else's poetry to express how you feel. This is a delicate thing.
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High Fidelity - Five Things Rob Misses About Laura
Rob Gordon: [''lipsyncs four, while holding up four fingers'']
Top five things I miss about Laura. One; sense of humor. Very dry, but it can also be warm and forgiving. And she's got one of the best all time laughs in the history of all time laughs, she laughs with her entire body. Two; she's got character. Or at least she had character before the Ian nightmare. She's loyal and honest, and she doesn't even take it out on people when she's having a bad day. That's character. Three; I miss her smell, and the way she tastes. It's a mystery of human chemistry and I don't understand it, some people, as far as their senses are concerned, just feel like home. I really dig how she walks around. It's like she doesn't care how she looks or what she projects and it's not that she doesn't care it's just, she's not affected I guess, and that gives her grace. And five; she does this thing in bed when she can't get to sleep, she kinda half moans and then rubs her feet together an equal number of times... it just kills me. Believe me, I mean, I could do a top five things about her that drive me crazy but it's just your garden variety women you know, schizo stuff and that's the kind of thing that got me here.
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High Fidelity - Top Five Heartbreaks and Their Impact
Rob Gordon: [''Yelling to Laura out the window'']
My desert island, all-time, top-five most memorable breakups, in chronological order, are as follows: Alison Ashmore; Penny Hardwick; Jackie Alden; Charlie Nicholson; and Sarah Kendrew. Those were the ones that really hurt. Can you see your name on that list, Laura? Maybe you'd sneak into the top ten. But there's just no room for you in the top five, sorry. Those places are reserved for the kind of humiliation and heartbreak you're just not capable of delivering.
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High Fidelity - Frustration in Romantic Pursuits
Rob Gordon:
Sometimes I got so bored of trying to touch her breasts that I would try to touch between her legs instead. It was like trying to borrow a dollar, getting turned down, and asking for fifty grand instead.
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High Fidelity - The Enduring Impact of First Love
Rob Gordon:
It would be nice to think that since I was 14 times have changed, relationships have become more sophisticated, females less cruel, skins thicker, instincts more developed, but there seems to be an element of that afternoon in everything that's happened to me since. All my romantic stories are a scrambled version of that first one.
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High Fidelity - The Impact of Sad Music on Relationships
Rob Gordon:
People worry about kids playing with guns, and teenagers watching violent videos; we are scared that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands—literally thousands—of songs about broken hearts and rejection and pain and misery and loss. The unhappiest people I know, romantically speaking, are the ones who like pop music the most; and I don't know whether pop music has caused this unhappiness, but I do know that they've been listening to the sad songs longer than they've been living the unhappy lives.
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High Fidelity - The Irony of Foreplay Expectations
Rob Gordon:
Read any women's magazine and you'll find the same complaint over and over again: men are not interested in foreplay and they are hopeless in bed. They are selfish, greedy, clumsy, and unsophisticated. These complaints I can't help feeling are kind of ironic cause back then, all we wanted was foreplay and girls weren't interested. We were told not to even think about it. Foreplay changes from being something that boys want to do and girls don't, to something that women want and men can't be bothered with. The perfect couple, if you ask me, is the Cosmo woman and the fourteen-year old b-b-b-boy.
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High Fidelity - Fear of Understanding Psychological Complexities
Rob Gordon: [[Carl Jung|Jung; [Sigmund Freud|Freud]
Jesus. I'm glad I know nothing about psychotherapy, about ] and ] and that lot. If I did, I'd probably be extremely frightened by now: the woman who wants to have sex in the place where she used to go for walks with her dead dad is probably very dangerous indeed.
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High Fidelity - Unintended Commitment to Employees
Rob Gordon:
I can't fire them. I hired these guys for three days a week and they just started showing up, every day. That was four years ago.
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High Fidelity - Struggles with Loss and Identity
Rob Gordon:
Then I lost it. Kinda lost it all, you know. Faith, dignity, about fifteen pounds.
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High Fidelity - Collective Loathing and Loneliness at 26
Rob Gordon:
It made sense to pool our collective loathing for the opposite sex, and while we were doing that, share a bed with someone at the same time. Only people of a certain disposition are sure they're going to be alone for the rest of their lives at age 26, and we were of that disposition.
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High Fidelity - Rejection and the Complications of Intimacy
Rob Gordon: [[w:Talia Shire|Talia Shire; [Rocky (film)|Rocky; [w:Rocky Balboa|Rocky]
I could've wound up having sex back there. And what better way to exorcise rejection demons than to screw the person who rejected you, right? But you wouldn't be sleeping with a person, you'd be sleeping with the whole sad, single-person culture. It'd be like sleeping with ] in ] if you weren't ].
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High Fidelity - The Consequences of Non-Commitment
Rob Gordon:
I can see now I never really committed to Laura. I always had one foot out the door, and that prevented me from doing a lot of things, like thinking about my future and... I guess it made more sense to commit to nothing, keep my options open. And that's suicide. By tiny, tiny increments.
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High Fidelity - Questioning Intuition in New Relationships
Rob Gordon:
Should I bolt every time I get that feeling in my gut when I meet someone new? Well, I've been listening to my gut since I was 14 years old, and frankly speaking, I've come to the conclusion that my guts have shit for brains.
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High Fidelity - Music and Misery: A Thoughtful Reflection
Rob Gordon:
What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?
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High Fidelity - The Importance of Personal Preferences
Rob Gordon:
I agreed that what really matters is what you like, not what you are like... Books, records, films—these things matter. Call me shallow but it's the fuckin truth, and by this measure I was having one of the best dates of my life.
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High Fidelity - The Harmony of Connection in Conversation
Rob Gordon:
We have one of those conversations where everything clicks, meshes, corresponds, locks, where even our pauses, even our punctuation marks, seem to be nodding in agreement.
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High Fidelity - The Freedom of Embracing Depression
Rob Gordon:
It's brilliant, being depressed; you can behave as badly as you like.
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Say Anything... - Defying Doubt in Great Success Stories
Diane Court:
Nobody thinks it will work, do they?
Lloyd Dobler:
No. You just described every great success story.
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Say Anything... - Temporary Distractions in Relationships
Jim Court:
You're not a permanent part of her life. You're a distraction.
Lloyd Dobler:
I'm the distraction that's going with her to England, sir.
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Say Anything... - A Moment of Apology and Uncertainty
Diane Court:
Lloyd, I'm sorry.
Lloyd Dobler:
What do you want?
Diane Court:
I'm sorry.
Lloyd Dobler:
What do you want?
Diane Court:
My father's guilty. He lied to me, he lied to everybody. I just left home... I need you.
Lloyd Dobler:
You do?
Diane Court:
Everything else means nothing to me. If I hurt you again, I'll die. I love you.
Lloyd Dobler:
What?
Diane Court:
I love you. How many more times do I have to say it?
Lloyd Dobler:
One more would be nice.
Diane Court:
I love you... please. I love you.
Lloyd Dobler:
One question: do you need... someone, or do you need me?... Forget it, I don't really care.
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Say Anything... - Pride and Identity in Relationships
D.C.:
Lloyd, why do you have to be like this?
Lloyd Dobler:
Cause I'm a guy. I have pride.
Corey Flood:
You're not a guy.
Lloyd Dobler:
I am.
Corey Flood:
No. The world is full of guys. Be a man. Don't be a guy.
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Say Anything... - Questioning Advice on Women and Relationships
Denny:
Man, all you gotta do is find a girl that looks just like her, nail her, and then dump her, man. Get her of your mind.
Mark:
Your only mistake is that you didn't dump her first. Diane Court is a show pony. You need a stallion, my friend. Walk with us and you walk tall.
Luke:
Bitches, man.
Lloyd Dobler:
I got a question. If you guys know so much about women, how come you're here at like the Gas n Sip on a Saturday night completely alone drinking beers with no women anywhere?
Joe: [pause]
By choice, man.
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Say Anything... - Unspoken Feelings and Misunderstandings in Love
Lloyd Dobler: [after saying he loves her]
What? I'm sorry I said that. Forget I said it, it's what I thought I meant, but...
Diane Court:
Lloyd...
Lloyd Dobler:
...forget it.
Diane Court: [making air quotes]
I love you," okay?
Lloyd Dobler:
What is that? What are you doing with your hands?
Diane Court:
Don't! Don't be - !
Lloyd Dobler:
Talk to me, you're talking like that girl, Sheila!
Diane Court:
Don't be mean, this is hard for me too.
Lloyd Dobler: [pauses]
Then don't do it.
Diane Court: [She turns away from him and takes the pen from her coat pocket]
Shit. Just take this pen, please, and write me?
Lloyd Dobler:
I can't believe this. You just broke up with me.
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Say Anything... - A Letter's Arrival and Its Impact
Lloyd Dobler:
Check your mail tomorrow. I sent you a letter, a letter.
Diane Court:
Your letter came yesterday.
Lloyd Dobler:
It did?
Diane Court:
Uh-huh. It was wonderful.
Lloyd Dobler:
Why didn't you tell me?
Diane Court:
It was wonderful.
Lloyd Dobler:
I've never sent a letter like that, you know? I mean, I felt like I wanted to tell you something, but I didn't put it in the letter, and I didn't say it, but I want to say it now, I'm not sure if I should say it, you know, cause people always say it and don't mean it, but I think that I mean it, so, um, I just wanted to tell you...
Diane Court:
No, we don't have to say it.
Lloyd Dobler:
How do you know what I'm going to say?
Diane Court:
I don't know what you're going to say, but I think that...
Lloyd Dobler: [pause]
I was just going to tell you that I love you. I said it.
Diane Court:
I know. Lloyd, let's not start putting things on this level.
Lloyd Dobler:
What? This is a good level, isn't it?
Diane Court:
How can I look at you and say this?
Lloyd Dobler:
Say what?
Diane Court:
I think that we should spend some time apart.
Lloyd Dobler:
What's wrong?
Diane Court:
Well, I need to study, and...
Lloyd Dobler:
You need to study?
Diane Court:
Yeah.
Lloyd Dobler:
Okay, how much time do you need? I mean, you know, I mean you'll be leaving in a little while, so that's answered some questions.
Diane Court:
We'll see.
Lloyd Dobler:
Okay. It's good knowing this.
Diane Court:
Yeah, uh-huh.
Lloyd Dobler:
Okay, what did we just decide?
Diane Court:
We decided...
Lloyd Dobler:
Cause I'm worried, did you just break up with me?
Diane Court:
No, no.
Lloyd Dobler:
It sounded like you did.
Diane Court:
No. We decided that we're friends. I mean, I know it's a terrible word...
Lloyd Dobler:
Well, if we're friends, why can't we see each other?
Diane Court:
I think that we should stop going out on dates.
Lloyd Dobler:
I feel like a dick. You must think I'm a dick.
Diane Court:
No, I don't, I don't.
Lloyd Dobler:
Yeah you do.
Diane Court:
Lloyd, we shared the most intimate thing two people can share.
Lloyd Dobler:
You shared it with a dick.
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Say Anything... - The Complexity of Good and Bad Experiences
Diane Court:
I have this theory of convergence, that good things always happen with bad things. I know you have to deal with them at the same time, but I just don't know why they have to happen at the same time. I just wish I could work out some schedule. Am I just babbling? Do you know what I mean?
Lloyd Dobler:
No.
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Say Anything... - Uncertainty in a Moment of Connection
Diane Court: [after they sleep together for the first time]
Are you shaking?
Lloyd Dobler:
No.
Diane Court:
You're shaking.
Lloyd Dobler:
I don't think so.
Diane Court:
You're cold.
Lloyd Dobler:
I don't think I am.
Diane Court:
Then why are you shaking?
Lloyd Dobler:
I don't know. I think I'm happy.
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Say Anything... - Friendship with Potential Amidst Social Challenges
Diane Court:
I just can't have any social life right now.
Lloyd Dobler:
Don't worry about it. We're just having coffee. We'll be anti-social.
Diane Court:
Be friends?
Lloyd Dobler:
Yeah. With potential.
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Say Anything... - A Commitment to Love and Career
Lloyd Dobler:
What I really want to do with my life - what I want to do for a living - is I want to be with your daughter. I'm good at it.
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Say Anything... - Reflections on Love and Reality
Lloyd Dobler: [leaving a message for Diane]
Maybe I didn't really know you. Maybe you were just a mirage. Maybe the world is full of food and sex and spectacle and we're all just hurling towards an apocalypse, in which case it's not your fault. I'm been thinking about all these things and... you're probably standing there monitoring. And one more thing - about the letter. Nuke it. Flame it. Destroy it. - It hurts me to know it's out there. Later.
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Say Anything... - Heartbreak and Longing for Connection
Lloyd Dobler:
She broke up with me. What do I do? Can she come back? How can I get her back? I can't - I can't get her to talk to me. It's all so fucked up. I feel like crying. She gave me a pen. I gave her my heart and she gave me a pen.
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Say Anything... - Rejecting Conventional Career Paths
Lloyd Dobler:
I don't want to sell anything, buy anything, or process anything as a career. I don't want to sell anything bought or processed, or buy anything sold or processed, or process anything sold, bought, or processed, or repair anything sold, bought, or processed. You know, as a career, I don't want to do that.
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Say Anything... - Seeking a Challenge for Greatness
Lloyd Dobler:
I am looking for a "dare to be great" situation.
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Eight Men Out - The Joy of Playing Baseball
Buck Weaver:
I still get such a bang out of it, playing ball. Same as I did when I first came up. You get out there, and the stands are full and everybody's cheerin'. It's like everybody in the world come to see you. And inside of that there's the players, they're yakkin it up. The pitcher throws and you look for that pill... suddenly there's nothing else in the ballpark but you and it. Sometimes, when you feel right, there's a groove there, and the bat just eases into it and meets that ball. When the bat meets that ball and you feel that ball just give, you know it's going to go a long way. Damn, if you don't feel like you're going to live forever...I couldn't give all that up. Not for nothing.
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Eight Men Out - Mocking a Somber Moment
Buck Weaver: [as the team prepares for a team photo; team laughs and the picture's taken]
Come on, guys. Pretend it's Commy's wake.
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The Sure Thing - Defending Junk Food's Reputation
Walter "Gib" Gibson:
You know, junk food doesn't deserve the bad rap that it gets. Take these pork rinds for example. This particular brand contains two percent of the R.D.A. - that's Recommended Daily Allowance - of riboflavin.
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The Sure Thing - Embracing Spontaneity and Fun in Life
Walter "Gib" Gibson:
What the hell's wrong with being stupid once in awhile? Does everything you do always have to be sensible? Haven't you ever thrown water balloons off a roof? When you were a little kid didn't you ever sprinkle Ivory flakes on the living room floor cause you wanted to make it snow in July? Didn't you ever get really shitfaced and maybe make a complete fool of yourself and still have an excellent time?
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The Sure Thing - Consequences of Academic Failure and Despair
Walter "Gib" Gibson: [talks to Alison while she swims; Alison ignores him; he falls into the pool]
I flunk English, I'm outta here. Kiss college goodbye. I don't know what I'll do. Dad will be pissed off. Mom will be heartbroken. If I play my cards right, I get maybe a six-month grace period and then I gotta get a job, and you know what that means. That's right, they start me at the drive-up window and I gradually work my way up from shakes to burgers, and then one day my lucky break comes: the french fry guy dies and they offer me the job! But the day I'm supposed to start, some men come by in a black Lincoln Continental and tell me I can make a quick 300 just for driving a van back from Mexico! When I get out of jail I'm 36 years old. Living in a flop house. No job. No home. No upward mobility. Very few teeth. And then one day they find me, face down, talking to the gutter, clutching a bottle of paint thinner. And why? Because you wouldn't help me in English, no! You were too busy to help me! Too busy to help a drowning man!
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Being John Malkovich - Unrequited Love and Vulnerability
Craig Schwartz: [''Looking through Emily's eyes at the end'']
Maxine. Maxine. I love you, Maxine. Oh, look away. Look away
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Being John Malkovich - Self-Reflection and Desire
Craig Schwartz: [''Watching television documentary on his puppeteering when he's in John Malkovich's body.'']
I'd fuck me.
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Being John Malkovich - Struggles of a Modern Puppeteer
Craig Schwartz:
Nobody's looking for a puppeteer in today's wintry economic climate.
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Being John Malkovich - Metaphysical Implications of the Portal
Craig Schwartz:
Do you see what a metaphysical can of worms this portal is?
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Pushing Tin - Questioning Control in Aviation
Dynajet Flight Attendant:
Sir, will you please sit down! The Captain is in control of the plane!
Nick Falzone:
Oh, you think the Captain is in control? Now THAT would really scare me!
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Pushing Tin - A Lighthearted Exchange Between Pilots
Jethro (Sparta Pilot):
Sparta 753 for Newark approach.
Nick Falzone:
Hey Sparta 753, is that Jethro?
Jethro (Sparta Pilot):
Yeehaw!
Nick Falzone:
How's my favorite redneck?
Jethro (Sparta Pilot):
Falzone, are you mocking me, son?
Nick Falzone:
Yes, before you run out of cornpone or whatever you use for fuel.
Jethro (Sparta Pilot):
Shoot, we wouldn't waste good moonshine to fly one of these shit-boxes. Now are you going to give me a vector or am I going to have to find New York by the smell?
Nick Falzone:
Oh, all right. Sparta 753 turn left heading zero-zeven-zero, maintain two-thousand till localizer. Cleared ILS runway four.
Jethro (Sparta Pilot):
ILS runway four. Hey let's have dinner some time control. I want to see if you are as ugly as you sound.
Nick Falzone:
OK, as long as I can find a place where we don't need shoes. Now will your pig be dinning with you or will you be sleeping alone?
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Pushing Tin - Marriage and Temptation in the Workplace
Ed Clabes: [When the girls sit down at the table with the controllers at the diner]
I'm married.
Nick Falzone: [the controllers all laugh]
And you were just about to throw yourself at him, weren't you?
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Pushing Tin - Music and Memories in Conversation
Nick Falzone:
Your singing was beautiful.
Mary Bell:
My father. He was a professional singer, among other things.
Nick Falzone:
What are you listening to?
Mary Bell:
French tapes.
Nick Falzone:
You're learning French?
Mary Bell:
I like to learn new things.
Nick Falzone:
Me too.
Mary Bell:
You speak it?
Nick Falzone:
French? Me? No.
Mary Bell:
I've always wanted to learn, though. They say it's the language of love. I'm not sure how much I love it. But... That is nice. If you're interested, I'll loan you these when I'm finished.
Mary Bell: [After she has gone to bed with Nick]
I'm so sorry...
Nick Falzone:
Why?
Mary Bell:
I wasn't talking to you.
Nick Falzone:
Who were you talking to?
Mary Bell:
God, I guess! I read that when a person does not trust another person, it's because they, themselves...
Nick Falzone:
They themselves what?
Mary Bell:
Are you turning this around so it's about me? Is it, Nick? Is this about you?
Nick Falzone:
What are you talking about?
Mary Bell:
You look me in the eye, and tell me you've never cheated on me.
Nick Falzone:
Come on. You want me to, I'm gonna be sick. I'm gonna be, I'm gonna be sick. This is not okay.
Mary Bell:
You are an asshole! Capital A-S-H...
Nick Falzone:
Stop hitting me!
Mary Bell:
Asshole! O-L-E!
Nick Falzone:
The captain, here. Shortly, we'll be descending. The cabin crew will complete, I know it's too early to ask you to forgive me. But do you think you could someday imagine starting to think about it? I just want you to know that if the situation were reversed, in my heart I'd forgive you.
Mary Bell:
There's nothing to forgive.
Nick Falzone:
What do you mean?
Mary Bell:
Wanna know why? Because I did it too. Russell et moi. We did the deed. Le grand of freaky-frick. We went all over the house. We went upside down. We went sideways. We should have worn helmets.
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Pushing Tin - Revelation of a Hidden Relationship
Nick Falzone:
What do you need?
Mary Bell:
I told Russell.
Nick Falzone:
You told him what?
Mary Bell:
About us.
Nick Falzone:
Why did you do that? Why would you do something like that? What are you, fucking nuts? Why would you do that?Tell me why you'd do... Are you sick?
Mary Bell:
Last night was a major moment in our marriage. We reached this honesty and he shared something with me that was unbelievably personal.
Nick Falzone:
What?!
Mary Bell:
Like I'm gonna tell you. It was important I share with him in return.
Nick Falzone:
You know I gotta work with this guy? We work together!
Mary Bell:
I know. It's okay. He's not upset.
Nick Falzone:
Yeah, right!
Mary Bell:
He's all right about it.
Nick Falzone:
Bullshit! You understand? It's never all right! I'm a man! He's a man! Trust me! It's never all right. Ever! Ever!
Mary Bell:
He was moved that I was so honest.
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Pushing Tin - Confrontation in a Supermarket Setting
Nick Falzone: [Nick finds Mary crying in the supermarket]
Anything I can do?
Mary Bell:
No, fine.
Supermarket Boy: [to Mary]
Is this man bothering you?
Supermarket Boy: [to Nick]
What did you say to her?
Nick Falzone:
Hey! Hey, go away. Go battle evil on aisle twelve!
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Pushing Tin - A Message from Mary in Colorado
Nick Falzone: [to Russell Bell]
I called your house and Mary said you'd be out here.
Nick Falzone:
She sounds good
Nick Falzone:
Oh, she wanted I give you this message, "See, I told you Colorado wasn't far enough".
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Pushing Tin - The Illusion of Charm in Relationships
Mary Bell:
Are there people who find you charming?
Nick Falzone:
Well they pretend, cause I try real hard.
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Pushing Tin - The Perils of Overthinking
Russell Bell:
Thought is the enemy.
Nick Falzone:
I know. I've been thinking too much. I had that thought actually.
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Pushing Tin - Air Traffic Control: A High-Stakes Responsibility
Mr. Feeney:
Controlling air traffic's much like conducting an orchestra.
Nick Falzone:
Mr. Feeney used a metaphor. Can you say "metaphor"?
Know-It-All Schoolboy:
That wasn't a metaphor. That was a simile. "Laying pipe" is a metaphor. Did you know that an air traffic controller is responsible for more lives in a shift than a surgeon is in his life? It looks like a computer game.
Nick Falzone:
This is no game. You make a mistake here, there's no reset button.
Schoolboy's mother:
Don't touch me.
Know-It-All Schoolboy:
I hear controllers have the highest rates of depression, nervous breakdowns, heart attacks and alcoholism.
Nick Falzone:
Don't forget suicide, kid.
Schoolboy's mother:
He always researches our field trips. He's been online since he was 4.
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Pushing Tin - Miscommunication in High-Pressure Situation
Nick Falzone: [to Russell Bell]
I'm personally going to see to it that you go down in flames!
Airplane Pilot:
What?
Nick Falzone:
Negative, United. That was not to you. Not to you!
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Pushing Tin - Confronting Loss and Communication in Family
Nick Falzone: [Finds Connie crying in the living room]
What is it?
Connie Falzone:
Sit down, Nick. I've been explaining to the kids what it means that daddy... won't be around anymore.
Nick Falzone: [drops bouquet]
Hey... hey, hey Connie. Wait a minute, Connie... Connie, do you even want to hear my side of this?
Connie Falzone:
What's your side of my father dying...?
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Pushing Tin - The Insanity of Clinging to Sanity
Nick Falzone:
To hold on to sanity too tight is insane.
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Pushing Tin - Questioning Control in Aviation
Nick Falzone:
Oh, you really think the pilot is controlling this plane? That would really scare me.
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1408 - Living with Bad Memories
Lily Enslin:
C'mon, hon. Just brings back bad memories, let me get rid of it.
Mike Enslin:
Sometimes, you can't get rid of bad memories. You just gotta live with em.
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1408 - Defiance in the face of fear
Room 1408:
Are you ready to check out, Mr. Enslin?
Mike Enslin:
No. Not your way.
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1408 - The Choice Between Endless Suffering and Escape
Mike Enslin:
Why don't you just kill me?
Room 1408: [[free; ''camera pans out to reveal a noose hanging from the ceiling'']
Because all guests of this hotel enjoy ] will, Mr. Enslin. You can choose to relive this hour over and over, or you can take advantage of our express checkout system.
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1408 - Expectations vs. Reality in Hotel Experience
Mr. Olin:
I was just checking to see if the accommodations were exceeding your expectations.
Mike Enslin:
You know goddamn well they are!
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1408 - Tragic Incident in a Locked Bathroom
Mr. Olin:
A few years ago a young maid from El Salvador found herself locked in the bathroom. She was only there for a few moments, but when we pulled her out she was...
Mike Enslin: [''sarcastically'']
She was dead?
Mr. Olin: [[Blind; [eyes; [laughing]
No. ]. She had taken a pair of scissors and gouged her ] out. She was ] hysterically.
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1408 - Discussion of Room 1408's Unusual Features
Mike Enslin: [''Olin gives Enslin the room key''; [key]
Most hotels have switched to magnetics. An actual ]. That's a nice touch, it's antiquey.
Mr. Olin: [[Hope]
We have magnetic cards also, but electronics don't seem to work in 1408. ] you don't have a pacemaker.
Mike Enslin: [into his tape recorder]
General manager claims that the phantom in room interferes...
Mr. Olin: [''scoffs''; [phantom]
I have never used the word "]".
Mike Enslin: [[spirit]
Oh, I'm sorry. Uh, ]? Specter?
Mr. Olin:
No, you misunderstand. Whatever's in 1408 is nothing like that.
Mike Enslin:
Then what is it?
Mr. Olin: [''moves closer and whispers into Enslin's ear''; [evil]
It's an ] fucking room.
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1408 - The Death Toll of Room 1408
Mr. Olin:
All told, there have been fifty-six deaths in 1408.
Mike Enslin:
Fifty-six? You're shitting me.
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1408 - Inquiry into Deaths in Room 1408
Mr. Olin:
During your investigation did you discover the twenty-two natural deaths that have occurred in 1408?
Mike Enslin:
Natural deaths?
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1408 - Dolphin Hotel Earns Perfect Shiver Scale Rating
Mike Enslin: [''before throwing the ashtray through the window, thereby letting the room explode'']
The decor is in tatters... And the staff surly... But on the Shiver Scale, I award the Dolphin... ten skulls!
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1408 - Commitment to the Task at Hand
Mike Enslin:
We're here to do the job. And we don't rattle.
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1408 - A Call for Silence in Distress
Mike Enslin: [''speaking nonchalantly to the ghoulish apparition in the vents as the room burns'']
Keep quiet, you bastard.
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1408 - Questioning Reality and Existence
Mike Enslin:
This may not all be real. I may not even be real. But this fire... That's gotta be real.
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1408 - Redemption in the Face of Mortality
Mike Enslin:
I've lived the life of a selfish man. But I don't have to die that way.
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1408 - Defiance Against the Room's Power
Mike Enslin: [speaking into his recorder as he goes out on the ledge, trying to escape the room; [accident]
If something should happen, if I should slip and fall, I want it known it was an ]. The room did not win.
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1408 - Perception of Reality and Illusion
Mike Enslin: [[real]
It's not that what I'm seeing is not ]. It just ain't as real as it seems.
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1408 - Embracing a detective mindset in adversity
Mike Enslin:
Let's Encyclopedia Brown this bitch.
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1408 - Atmosphere of Threat in 1408
Mike Enslin:
It does have the vague air of menace.
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1408 - The Intrigue of Hotel Rooms
Mike Enslin:
Hotel rooms are a naturally creepy place.
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1408 - Moment of Realization
Mike Enslin: [''After turning on the lights upon entering Room 1408'']
This is it?
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2012 - Urgent Request for Access Amid Crisis
Adrian Helmsley:
Mr. Curtis, this is Dr. Adrian Helmsley. We met at Yellowstone.
Jackson Curtis: [in a slowly flooding chamber]
That's great! Open the goddamned door!
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2012 - Urgent Command to Enter the Vehicle
Jackson Curtis: [as Los Angeles goes through a 10.9 earthquake; he rushes into his wife's house and it's about to collapse]
GET IN THE FUCKING CAR! NOW!
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2012 - Advice on Panic in Crisis Situations
Jackson Curtis: [reacting to Kate after she reiterates the California Governor's statement that everything is safe]
When they tell you not to panic, that's when you run!
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2012 - Despair in the Face of Mortality
Jackson Curtis: [after hearing the news reports of the mass suicide]
Oh God, I'm a dead man... I'm a dead man... I'M A DEAD MAN!!
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