Simply not there


Jimmy Morales:

There is an idea of a Jimmy Morales; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable… I simply am not there.

Advertisements

It’ll haunt you


Pat Sr.: Let me tell you, I know you don’t want to listen to your father, I didn’t listen to mine, and I am telling you you gotta pay attention this time. When life reaches out at a moment like this it’s a sin if you don’t reach back, I’m telling you its a sin if you don’t reach back! It’ll haunt you the rest of your days like a curse. You’re facing a big challenge in your life right now at this very moment, right here. That girl loves you she really really loves you. I don’t know if Nicki ever did, but she sure as shit doesn’t right now. So don’t fuck this up.

From Silver Lining’s Playbook

Beauty is a beguiling call to death


Johnny Quid: You see that pack of Virginia killing sticks on the end of the piano?

Jimmy M.: Yes.

Johnny Quid: All you need to know about life is retained in those four walls. You will notice that one of your personalities is seduced by the illusions of grandeur: the gold packet of king-size with a regal insignia, an attractive implication towards glamour and wealth, the subtle suggestion that cigarettes are indeed your royal and loyal friends – and that, Pete, is a lie. Your other personality is trying to draw your attention to the flip side of the discussion: written in boring bold black and white, it’s a statement that these neat little soldiers of death are in fact trying to kill you – and that, Pete, is the truth. Oh, beauty is a beguiling call to death and I’m addicted to the sweet pitch of its siren. That that starts sweet ends bitter, and that which starts bitter ends sweet. THAT is why you and I love the drugs and that is also why I cannot give that painting back. Now please, pass me a light.

Jimmy M.: Oh, you are something special, Mr. Johnny Quid.


Jimmy M.: So you don’t wanna know what happened?

Stella: I know what happened. Hollandaise?

Jimmy M.: I see you ordered already.

Stella: You were late. Shouldn’t you have taken precautions?

Jimmy M.: Precautions?

Stella: Well, that’s your job, isn’t it? I didn’t realize.

Jimmy M: Realize? Realize that they had guns? Big, long, dangerous machine guns? With war criminals attached to the trigger?

[cue big getaway sequence by the Wild Bunch]

Jimmy M.: You know what, darling? I’m just gonna leave this laundry bag here, under the table for you, okey? Goodbye, sweetheart. You’re way too dangerous for me.

A closet homosexual who did a lot of cocaine


Patrick Bateman: He was into that whole Yale thing.

J. Morales: Yale thing?

Patrick Bateman: Yeah, Yale thing.

J. Morales: What whole Yale thing?

Patrick Bateman: Well, for one thing, I think he was probably a closet homosexual who did a lot of cocaine. That whole Yale thing.

*****

David Van Patten: They don’t have a good bathroom to do coke in.

Craig McDermott: Are you sure that’s Paul Allen over there?

J. Morales: Yes. McDufus, I am.

Craig McDermott: He’s handling the Fisher account.

J. Morales: Lucky bastard.

Craig McDermott: Lucky Jew bastard.

Patrick Bateman: Jesus, McDermott, what does that have to do with anything?

Craig McDermott: I’ve seen that bastard sitting in his office, talking on the phone to the CEOs, spinning a fucking menorah.

Patrick Bateman: Not a menorah. You spin a dreidel.

Craig McDermott: Oh, my God. Bateman, do you want me to fry you up some fucking potato pancakes? Some latkes?

Patrick Bateman: No. Just cool it with the anti-Semitic remarks.

Craig McDermott: Oh, I forgot. Bateman’s dating someone from the ACLU.

J. Morales: The voice of reason… the boy next door.

[looks at restaurant bill]

J. Morales: Speaking of reasonable, only $570…

Envy, an opportunity


Narrator: This is Dylan Tate. Dylan was an antisocial socialist, a closet conversationalist, a clinical neurotic. Possessing an inimitable talent for the arts, Dylan had been afforded the opportunity to travel the world and live a comfortable lifestyle at his own expense something Conrad knew nothing about. Dylan Tate was the only personage of all Conrad’s acquaintances whom he admired and, to a bigger extent than he liked to admit to himself, envied.

Quote from the film The Longest Week