Search results for 'love' Page #48

[closing narration]

Narrator:
From Khalil Gibran's The Prophet: 'Love gives not but itself and takes not from itself, love possesses not nor would it be possessed, for love is sufficient unto love.' Not a lesson, just a reminder, from all the sentimentalists - in The Twilight Zone.

[comforting his daughter]

Cooper:
I love you, forever. You hear me? I love you forever. And I'm coming back. I'm coming back.

[crying while holding Elle, his newborn baby girl]

Barney Stinson:
You are the love of my life. Everything I have, and everything I am, is yours... Forever.

[Dr. Rick reveals that Nick and Shawn are in the camp just to get girls. Carly is furious. Rick reads Nick's diary aloud to humiliate him]

Dr. Rick:
"Cheer camp, day one. The sun rises in the summer sky like Rembrandt's brush on a dogwood branch." Ha-ha-ha. Queeratron. Ha-ha-ha.

[Nick approaches Rick angrily]

Nick Brady:
Let's go. Give it to me.

[Rick's burly friends stop Nick]

Dr. Rick:
[continues reading from Nick's diary] "And thereby Diora"...

[Rick sees that Diora stands nearby and points at her. She is surprised to hear what he reads from Nick's diary]

Dr. Rick:
..."I lie awake thinking, will I ever say "Diora", as a whisper in an ear? Will she ever say "I love you", in a moment with a tear?"

[Nick charges at Rick, but again Rick's burly friends stop him until Rick reads more. Finally Nick gets the diary back]

Nick Brady:
Let's go. Let's go. Let's go.

Shawn Colfax:
Carly, I'm really sorry. I didn't mean to hurt you.

Carly:
Just leave, okay? Just leave like you always planned on doing.

Shawn Colfax:
Carly, please, let me explain. Give me just one second.

[Rick and Carly walk away, Rick hugging her shoulder]

Dr. Rick:
See you later, high school.

[Diora approaches Nick]

Nick Brady:
I didn't write that. I bought the book. It was in there.

Diora:
It was beautiful. Thanks.

[Diora kisses Nick o the cheek and walks away. Nick is stunned, for anything he tried so far did not impress Diora]

Nick Brady:
Wow, I never really thought of that one. Using one's true feelings to wrangle snooch. So simple.

[final words]

Mature Jenny:
[voiceover] In the East End I found grace and faith and hope hidden in the darkest corners. I found tenderness and squalor and laughter amid filth. I found a purpose and a path, and I worked with a passion for the best reason of all - I did it for love.

[first lines, voiceover narration]

Harry Stevenson:
There is a story about the greek gods. They were bored, so they invented human beings, but they were still bored, so they invented love. Then they weren't bored any longer, so they decided to try love for themselves. And finally they invented laughter, so they could stand it.

[first lines]

Dr. Meredith Grey:
For most people, a hospital is a scary place. A hostile place. A place where bad things happen. Most people would prefer church, or school, or home. But I... grew up here. While my mom was on rounds, I learned to read in the O.R. gallery. I played in the morgue. I colored with crayons on old E.R. charts. The hospital was my church... my school... my home. The hospital was my safe place... My sanctuary. I love it here. Correction: loved it here.

[first lines]

Lieutenant Chad:
In the Steven Spielberg movie "E.T.," why is the alien brown? No reason. In "Love Story," why do the two characters fall madly in love with each other? No reason. In Oliver Stone's "JFK," why is the President suddenly assassinated by some stranger? No reason. In the excellent "Chain Saw Massacre" by Tobe Hooper, why don't we ever see the characters go to the bathroom or wash their hands like people do in real life? Absolutely no reason. Worse, in "The Pianist" by Polanski, how come this guy has to hide and live like a bum when he plays the piano so well? Once again the answer is, no reason. I could go on for hours with more examples. The list is endless. You probably never gave it a thought, but all great films, without exception, contain an important element of no reason. And you know why? Because life itself is filled with no reason. Why can't we see the air all around us? No reason. Why are we always thinking? No reason. Why do some people love sausages and other people hate sausages? No f***in' reason.

Cop Xavier:
[honks the horn] Come on! Don't waste your time explaining that garbage. Let's go!

Lieutenant Chad:
Just a minute. Let me finish.

[looks back at the audience]

Lieutenant Chad:
Ladies, gentlemen, the film you are about to see today is an homage to the "no reason" - that most powerful element of style.

[pours his glass of water on the ground before getting back into the trunk of the police car]

[first lines]

Matt:
I love you. And I have a condom.

[first lines]

Rahul:
What is love?

Pooja:
Love?... Love is life.

[Fluffy and Uranus are administering a test on Duckman to determine his sensitivity toward women]

Fluffy:
Question one: women over the age of 18 are often referred to as girls. How should you refer to them?

Eric Duckman:
Sweet potato?

Fluffy:
No!

Eric Duckman:
Love socket?

Fluffy:
No!

Eric Duckman:
Box lunch?

[Frank makes a speech at the White House]

Lt. Frank Drebin:
I want a world where Frank Junior and all the Frank Juniors can sit under a shade tree, breathe the air, swim in the ocean, and go into a 7-Eleven without an interpreter. I want a world where I can eat a sea otter without getting sick! I want a world where the democrats will put somebody up there worth voting for! I may not get there with you, but most of all, I want a world where I can wake up each morning with this woman, whom I love!

[Glenn gives Enid encouraging words at the Church to keep fighting]

Enid:
When I wanted to run... you said, 'That's how you lose people... even after they're gone.' What the hell does that mean?

Glenn Rhee:
People you love... they made you who you are. They're still part of you. If you stop being you, that last bit of them that's still around inside, who you are... it's gone.

Enid:
Who are those people to you?

Glenn Rhee:
My parents. A man named Dale. Maggie's father, Hershel. A woman named Andrea. A man named Tyreese. Who are they to you?

Enid:
My parents.

Glenn Rhee:
Then they're still here... 'cause you're still here.

[Gru, Edith and Agnes enter Eduardo's restaurant and notice Margo and Antonio are eating a cookie]

Margo:
[chuckling] Oh, you're so funny!

[Cut back to the other Grus noticing

Edith:
Gross! [referring to Margo and Antonio, pointing at them] Look, they're in love!

Gru:
Oh, no, no, no. Don't say that they're... no, no, no! [leaves for Margo and Antonio]

Antonio:
[seriously] And my dream... is to one day play video games for a living.

Margo:
[romantically] Wow. [chuckles] You're so complicated!

Gru:
[interrupts them, smiling nervously] Margo, [Margo gasps in astonishment] what is going on here?

Margo:
Oh, Gru, se llama Antonio. Me llamo, Margo.

Gru:
Me llamo llama ding-dong! [serious] Who cares? Let's go.

[Grumpy stops Snow from erasing her memory of a lost love]

Snow White:
You of all people should understand. You've lost love. What if your pain could be erased?

Grumpy:
I don't want my pain erased. As wretched as it is, I need my pain. It makes me who I am. It makes me Grumpy.

[having heard about a contest where the winner appears on "The Muddy Mudskipper Show," Stimpy writes a poem about Gritty Kitty Litter, the show's chief sponsor]

Stimpy:
[writing] Gritty Kitty ain't so pretty, but it's really thick / It fits my cat box oh, so snug, it always does the trick / I love to pour it on my toe, and squish, and squish, and squish / It ne'er offends my tender nose like a smelly fish / Its texture is a joy to me, it's just as smooth as silk / It makes my little whiskers twitch...

Ren:
[mockingly] It stays crunchy, even in milk.

Stimpy:
[gasps excitedly then continues writing] It stays crunchy, even in milk / I may not be the President, I may not be the Pope / But as long as I have Gritty Kitty, [blinks happily] I shall never mope.

[Homer goes to the plant credit union to get a loan to buy Lisa a pony]

Homer:
Uh, I'd like to borrow $5,000.

Bank Clerk:
Sorry, I can't approve a loan that size myself.

[she walks off; Mr. Burns and Smithers appear]

Mr. Burns:
Hello.

Homer:
Aah!

Mr. Burns:
Simpson, eh? How can I help you?

Homer:
Mr. Burns, you do this personally?

Mr. Burns:
Oh, it's a hobby. I'm not in this for any personal gain, heavens no! By the way, are you acquainted with our state's stringent usury laws?

Homer:
Us-ury?

Mr. Burns:
Oh, silly me! I must have just made up a word that doesn't exist. Now, what is the purpose of this loan?

Homer:
I want to buy a pony.

Mr. Burns:
Isn't that cute! Smithers, he's planning on joining the horsey set!

[lowers voice]

Mr. Burns:
That is it, isn't it? You're not planning to eat it?

Homer:
No, I need to get it for my little girl because she doesn't love me any more...

Smithers:
Shut up, Simpson.

Homer:
Sorry.

Smithers:
Do you have any collateral?

Mr. Burns:
Oh Smithers, let's not be so cold. His spirit is my collateral. Just sign this form, and the money will be yours.

Mr. Burns:
[as Homer begins to sign, Burns starts laughing evilly]

Mr. Burns:
Sorry, I was just, um, thinking of something funny Smithers did today.

Smithers:
I didn't do anything funny, sir.

Mr. Burns:
[whispering] Shut up!

[J. Edgar Hoover arrives home to go to bed]

J. Edgar Hoover:
[narrating] The very essence of our democracy is rooted in a belief in the worth of the individual. That life has meaning that transcends any man-made system, that love is the greatest force on earth... far more enduring than hatred or the unnatural divisions of mankind.

[J.D. and Carla watches a movie with J.D.'s girlfriend Danni]

Danni Sullivan:
Love "The Fugitive". Who would you rather sleep with, Tommy Lee Jones or Harrison Ford?

J.D.:
Harrison Ford, hands down.

[the girls look at him]

J.D.:
...But you were probably talking to Carla. I'm having such a gay day!

Carla:
*Day*?

[Jennifer reviews a candle on her vlog]

Jennifer:
You guys, I love this one. I got it at Bath and Bodyworks for half off. I call it the Nancy Meyers Experience because when you burn it, it smells like creamy couches and menopause. You know, like a Nancy Meyers movie.

[last lines]

Arturo Bandini:
When I was a kid, back in Colorado, it was Smith, Parker and Jones who hurt me with their hideous names. Who called me wop and dago and greaser, and their children hurt me. Just as I hurt you. They hurt me so much, I could never become one of them. Drove me to books, drove me within myself. Drove me to run away from that town in Colorado, into your home and into your life. And sometimes, when I see their faces out here, the same faces, the same sad, hard mouths from my hometown. I'm glad they're here fulfilling the emptiness of their lives and dying in the sun. And they hate me, and my father and my father's father. But they are old and I am young and full of hope. And love for my country and my times.

[breaking down]

Arturo Bandini:
And Camilla, when I said "greaser" to you, it was not my heart that spoke, but the quivering of an old wound. And I am ashamed of the terrible thing I have done.

[last lines]

Augustus Waters:
[voice over, from his eulogy to Hazel] Mr. Van Houten. I'm a good person, but a shitty writer. You're a shitty person, but a good writer. I think we'd make a good team. I don't wanna ask you for any favors, but if you have the time - and from what I saw you had plenty - please fix this for me: It's a eulogy for Hazel. She asked me to write one, and I'm trying, but I just... I could use a little flair. See, the thing is... we all wanna be remembered. But Hazel's different. Hazel knows the truth. She didn't want a million admirers, she just wanted one. And she got it. Maybe she wasn't loved widely, but she was loved deeply. And isn't that more than most of us get? When Hazel was sick, I knew I was dying, but I didn't wanna say so. She was in the ICU when I snuck in for ten minutes and I just sat with her before I got caught. Her eyes were closed, her skin pale, but her hands were still her hands, still warm, and her nails were painted this dark blue black color, and... I just held them. And I willed myself to imagine a world without us and what a worthless world that would be. She's so beautiful. You don't get tired of looking at her. You never worry if she's smarter than you, 'cause you know she is. She's funny without ever being mean. I love her. God, I love her, I'm so lucky to love her, Van Houten. You don't get to choose if you get hurt in this world, but you do have a say in who hurts you. And I like my choices. I hope she likes hers. Okay, Hazel Grace?

Hazel Grace Lancaster:
Okay.

[last lines]

Benjamin Dingle:
[singing] In love or war, with people like us, we've got to work fast or we'll miss the bus. If you straddle a fence and you sit and wait, you get too little and you get it too late.

Benjamin Dingle:
What'll you say if we see it through, you stick by me and I'll stick by you. And our 18 children will be glad we said...

Benjamin Dingle, Men bunking in the apartment building lobby:
[singing] "Damn the torpedoes, full speed ahead, damn the torpedoes, full speed ahead, damn the torpedoes, full speed ahead. And our 18 children will be glad we said, "Damn the torpedoes, full speed ahead, damn the torpedoes, full speed ahead, damn the torpedoes, full speed ahead!"

[last lines]

Gabriel:
All clear.

O'Reilly, Jackson:
[rising and gasping for breath]

Gabriel:
So, how was it?

O'Reilly:
Believe me Gabriel, you don't want to know.

Gabriel:
But it worked!

O'Reilly:
Love... worked.

Gabriel:
Amaratus pathum laborium!

Jackson:
Are we going home now?

Gabriel:
We're goin' home.

Jackson:
At last.