Baked Movie Quotes

When you meet someone so different from yourself, in a good way, you don't even have to kiss to have fireworks go off. It's like fireworks in your heart all the time. I always wondered, do opposites really attract? Now I know for sure they do. I'd grown up going to the library as often as most people go to the grocery store. Jackson didn't need to read about exciting people or places. He went out and found them, or created excitement himself if there wasn't any to be found. The things I like are pretty simple. Burning CDs around themes, like Songs to Get You Groove On and Tunes to Fix a Broken Heart; watching movies; baking cookies; and swimming. It's like I was a salad with a light vinaigrette, and Jackson was a platter of seafood Cajun pasta. Alone, we were good. Together, we were fantastic.

Do you have someone watching her house?” (Stephanie) “That kind of surveillance only happens in the movies. We’re so underbudgeted we’re one step away from holding bake sales to pay for toilet paper. (Morelli)

Viv, I just made you wild-caught Alaskan salmon baked with mango chutney, on a bed of garlic red potatoes and arugula. While talking about an Audrey Hepburn movie. I think you are maybe falling in love with me.

Well, of course I’ve tried lavender. And pulling my memory out, ribbonlike and dripping. And shrieking into my pillow. And writing the poems. And making more friends. And baking warm brown cookies. And therapy. And intimacy. And pictures of rainbows. And all of the movies about lovers and the terrible things they do to each other. And watching the ones in other languages. And leaving the subtitles off. And listening to the language. And forgetting my name. And feeling the dirt on my skin. And screaming in the shower. And changing my shampoo. And living alone. And cutting my hair. And buying a turtle. And petting the cat. And traveling. And writing more poems. And touching a different body. And digging a grave. And digging a grave. Of course, I’ve tried it. Of course I have.

I am not the kind of person who becomes so invested in a book or movie or television show that my interest becomes a hobby or intense obsession, one where I start to declare allegiances or otherwise demonstrate a serious level of commitment to something fictional I had no hand in creating. Or, I didn't used to be that kind of person. Let me be clear: Team Peeta. I cannot fathom how one could be on any other team. Gale? I can barely acknowledge him. Peeta, on the other hand, is everything. He frosts things and bakes bread and is unconditional and unwavering in his love, and also he is very, very strong. He can throw a sack of four, is what I'm saying. Peeta is a place of solace and hope, and he is a good kisser.

Come on, people. Doesn't anybody remember how to take a big old knife, whack open a pumpkin, scrape out the seeds, and bake it? We can carve a face onto it, but can't draw and quarter it? Are we not a nation known worldwide for our cultural zest for blowing up flesh, on movie and video screens and/or armed conflict? Are we in actual fact too squeamish to stab a large knife into a pumpkin? Wait till our enemies find out.

Viv: I don't really know how to break this to you. But I think you are maybe falling in love with me. Jonah: Viv, I just made you wild-caught Alaskan salmon baked with mango chutney, on a bed of garlic red potatoes ans arugula. While talking about an Audrey Hepburn movie. I think you are maybe falling in love with me.

I turn to Peter and say, “I can’t believe you did this.” “I baked that cake myself,” he brags. “Box, but still.” He takes off his jacket and pulls a lighter out of his jacket pocket and starts lighting the candles. Gabe pulls out a lit candle and helps him. Then Peter hops his butt on the table and sits down, his legs hanging off the edge. “Come on.” I look around. “Um…” That’s when I hear the opening notes of “If You Were Here” by the Thompson Twins. My hands fly to my cheeks. I can’t believe it. Peter’s recreating the end scene from Sixteen Candles, when Molly Ringwald and Jake Ryan sit on a table with a birthday cake in between them. When we watched the movie a few months ago, I said it was the most romantic thing I’d ever seen. And now he’s doing it for me. “Hurry up and get up there before all the candles melt, Lara Jean,” Chris calls out. Darrell and Gabe help hoist me onto the table, careful not to set my dress on fire. Peter says, “Okay, now you look at me adoringly, and I lean forward like this.” Chris comes forward and puffs out my skirt a bit. “Roll up your sleeve a little higher,” she instructs Peter, looking from her phone to us. Peter obeys, and she nods. “Looks good, looks good.” Then she runs back to her spot and starts to snap. It takes no effort on my part at all to look at Peter adoringly tonight. When I blow out the candles and make my wish, I wish that I will always feel for Peter the way I do right now.

A discussion of the pie in movies would hardly be complete without mention of the classic comic device of custard-pie throwing, now legitimized and made semi-serious as the subversive political act of 'entarting'. 'Entarting' is delivering (by 'lovingly pushing', not throwing) a cream pie into the face of a deserving celebrity, preferably in full view of the world's media, in order to make a point.

As it baked, the blessed casserole smelled just like it did when I was a child, which was likely the last time I’d eaten it. I marveled that the scent of a specific dish could remain in one’s consciousness for over two decades. Except for the dark brown hair and the crumbling marriage, I’d officially become my mother. Marlboro Man, happy to have something warm to eat, declared it the best thing he’d ever eaten. I looked at the mess in the kitchen and felt like moving. Marlboro Man and I watched movies that night. Our TV satellite hadn’t been hooked up yet, so he’d transported his movie collection and VCR from his old house. And I didn’t have to get up and drive home when they were over, because I already was home.

We walk inside, and I stop short. Our booth, the one we always sit in, has pale pink balloons tied around it. There’s a round cake in the center of the table, tons of candles, pink frosting with sprinkles and Happy Birthday, Lara Jean scrawled in white frosting. Suddenly I see people’s heads pop up from under the booths and from behind menus--all of our friends, still in their prom finery: Lucas, Gabe, Gabe’s date Keisha, Darrell, Pammy, Chris. “Surprise!” everyone screams. I spin around. “Oh my God, Peter!” He’s still grinning. He looks at his watch. “It’s midnight. Happy birthday, Lara Jean.” I leap up and hug him. “This is just exactly what I wanted to do on my prom night birthday and I didn’t even know it.” Then I let go of him and run over to the booth. Everyone gets out and hugs me. “I didn’t even know people knew it was my birthday tomorrow! I mean today!” I say. “Of course we knew it was your birthday,” Lucas says. Darrell says, “My boy’s been planning this for weeks.” “It was so endearing,” Pammy says. “We called me to ask what kind of pan he should use for the cake.” Chris says, “He called me, too. I was like, how the hell should I know?” “And you!” I hit Chris on the arm. “I thought you were leaving to go clubbing!” “I still might after I steal some fries. My night’s just getting started, babe.” She pulls me in for a hug and gives me a kiss on the cheek. “Happy birthday, girl.” I turn to Peter and say, “I can’t believe you did this.” “I baked that cake myself,” he brags. “Box, but still.” He takes off his jacket and pulls a lighter out of his jacket pocket and starts lighting the candles. Gabe pulls out a lit candle and helps him. Then Peter hops his butt on the table and sits down, his legs hanging off the edge. “Come on.” I look around. “Um…” That’s when I hear the opening notes of “If You Were Here” by the Thompson Twins. My hands fly to my cheeks. I can’t believe it. Peter’s recreating the end scene from Sixteen Candles, when Molly Ringwald and Jake Ryan sit on a table with a birthday cake in between them. When we watched the movie a few months ago, I said it was the most romantic thing I’d ever seen. And now he’s doing it for me.

I sprinkle some flour on the dough and roll it out with the heavy, wooden rolling pin. Once it’s the perfect size and thickness, I flip the rolling pin around and sing into the handle—American Idol style. “Calling Gloriaaaaaaaaaaaaaaaaaaa . . .” And then I turn around. “AHHHHHHHHHHHHHH!” Without thinking, I bend my arm and throw the rolling pin like a tomahawk . . . straight at the head of the guy who’s standing just inside the kitchen door. The guy I didn’t hear come in. The guy who catches the hurling rolling pin without flinching—one-handed and cool as a gorgeous cucumber—just an inch from his perfect face. He tilts his head to the left, looking around the rolling pin to meet my eyes with his soulful brown ones. “Nice toss.” Logan St. James. Bodyguard. Totally badass. Sexiest guy I have ever seen—and that includes books, movies and TV, foreign and domestic. He’s the perfect combo of boyishly could-go-to-my-school kind of handsome, mixed with dangerously hot and tantalizingly mysterious. If comic-book Superman, James Dean, Jason Bourne and some guy with the smoothest, most perfectly pitched, British-Scottish-esque, Wessconian-accented voice all melded together into one person, they would make Logan fucking St. James. And I just tried to clock him with a baking tool—while wearing my Rick and Morty pajama short-shorts, a Winnie-the-Pooh T-shirt I’ve had since I was eight and my SpongeBob SquarePants slippers. And no bra. Not that I have a whole lot going on upstairs, but still . . . “Christ on a saltine!” I grasp at my chest like an old woman with a pacemaker. Logan’s brow wrinkles. “Haven’t heard that one before.” Oh fuck—did he see me dancing? Did he see me leap? God, let me die now. I yank on my earbuds’ cord, popping them from my ears. “What the hell, dude?! Make some noise when you walk in—let a girl know she’s not alone. You could’ve given me a heart attack. And I could’ve killed you with my awesome ninja skills.” The corner of his mouth quirks. “No, you couldn’t.” He sets the rolling pin down on the counter. “I knocked on the kitchen door so I wouldn’t frighten you, but you were busy with your . . . performance.” Blood and heat rush to my face. And I want to melt into the floor and then all the way down to the Earth’s core.

Cookies are the cornerstone of pastry. But for many of us, they are also at the core of our memories, connecting our palate to our person. Cookies wait for us after school, anxious for little ones to emerge from a bus and race through the door. They fit themselves snugly in boxes, happy to be passed out to neighbors on cold Christmas mornings; trays of them line long tables, mourning the loss of the dearly departed. While fancy cakes and tarts walk the red carpet, their toasted meringue piles, spun sugar, and chocolate curls boasting of rich rewards that often fail to sustain, cookies simply whisper knowingly. Instead of pomp and flash, they offer us warm blankets and cozy slippers. They slip us our favorite book, they know the lines to our favorite movies. They laugh at our jokes, they stay in for the night. They are good friends, they are kind words. They are not jealous, conceited, or proud. They evoke a giving spirit, a generous nature. They beg to be shared, and rejoice in connection. Cookies are home.

I lift the lid of the chest. Inside, the air is musty and stale, held hostage for years in its three-foot-by-four-foot tomb. I lean in to survey the contents cautiously, then pull out a stack of old photos tied with twine. On top is a photo of a couple on their wedding day. She's a young bride, wearing one of those 1950's netted veils. He looks older, distinguished- sort of like Cary Grant or Gregory Peck in the old black-and-white movies I used to watch with my grandmother. I set the stack down and turn back to the chest, where I find a notebook, filled with handwritten recipes. The page for Cinnamon Rolls is labeled "Dex's Favorite." 'Dex.' I wonder if he's the man in the photo. There are two ticket stubs from 1959, one to a Frank Sinatra concert, another to the movie 'An Affair to Remember.' A single shriveled rosebud rests on a white handkerchief. A corsage? When I lift it into my hand, it disintegrates; the petals crinkle into tiny pieces that fall onto the living room carpet. At the bottom of the chest is what looks like a wedding dress. It's yellowed and moth-eaten, but I imagine it was once stark white and beautiful. As I lift it, I can hear the lace swishing as if to say, "Ahh." Whoever wore it was very petite. The waist circumference is tiny. A pair of long white gloves falls to the floor. They must have been tucked inside the dress. I refold the finery and set the ensemble back inside. Whose things are these? And why have they been left here? I thumb through the recipe book. All cookies, cakes, desserts. She must have loved to bake. I tuck the book back inside the chest, along with the photographs after I've retied the twine, which is when I notice a book tucked into the corner. It's an old paperback copy of Ernest Hemingway's 'The Sun Also Rises.' I've read a little of Hemingway over the years- 'A Moveable Feast' and some of his later work- but not this one. I flip through the book and notice that one page is dog-eared. I open to it and see a line that has been underscored. "You can't get away from yourself by moving from one place to another." I look out to the lake, letting the words sink in. 'Is that what I'm trying to do? Get away from myself?' I stare at the line in the book again and wonder if it resonated with the woman who underlined it so many years ago. Did she have her own secret pain? 'Was she trying to escape it just like me?

Galveston?” he asked in that amazing voice, still surprising me by keeping our conversation going. “Yeah. Staying at a beach house and everything. Totally slumming it and having a miserable time, you know?” I gave him a real smile that time. Rip just raised his brows. “I promised her I would go visit, and she promised she would come up too... What’s that face for?” I surprised myself by laughing. “I don’t believe it either. I’ll get lucky if she comes once. I’m not that delusional.” I didn’t imagine the way his cheek twitched again, just a little, just enough to keep the smile on my face. “I’m stuck making my own lunches from now on. I have nobody to watch scary movies with who’s more dramatic than I am screaming at the scary parts. And my house is empty,” I told him, going on a roll. “Your lunches?” was what he picked up on. I wasn’t sure how much he’d had to drink that he was asking me so many questions, but I wasn’t going to complain. “I can’t cook to save my life, boss. I thought everyone knew. Baking is the only thing I can handle.” “You serious?” he asked in a surprised tone. I nodded. “For real?” “Yeah,” I confirmed. “I can’t even make rice in an Instant Pot. It’s either way too dry or it’s mush.” Oh. “An Instant Pot is—” “I know what it is,” he cut me off. It was my turn to make a face, but mine was an impressed one. He knew what an Instant Pot was but not a rom-com. Okay. “Sorry.” He didn’t react to me trying to tease him, instead he asked, “You can’t even make rice in that?” “Nope.” “You know there’s instructions online.” Was he messing with me now? I couldn’t help but watch him a little. How much had he drunk already? “Yeah, I know.” “And you still screw it up?” I blinked, soaking up Chatty Cathy over here like a plant that hadn’t seen the sun in too long. “I wouldn’t say I screw it up. It’s more like… you either need to chew a little more or a little less.” It was his turn to blink. “It’s a surprise. I like to keep people on their toes.” If I hadn’t been guessing that he’d had a couple drinks before, what he did next would have confirmed it. His left cheek twitched. Then his right one did too, and in the single blink of an eye, Lucas Ripley was smiling at me. Straight white teeth. That not-thin but not-full mouth dark pink and pulled up at the edges. He even had a dimple. Rip had a freaking dimple. And I wanted to touch it to make sure it was real. I couldn’t help but think it was just about the cutest thing I had ever seen, even though I had zero business thinking anything along those lines. But I was smart enough to know that I couldn’t say a single word to mention it; otherwise, it might never come out again. What I did trust myself to do was gulp down half of my Sprite before saying, “You can make rice, I’m guessing?” If he wanted to talk, we could talk. I was good at talking. “Uh-huh,” he replied, sounding almost cocky about it. All I could get myself to do in response was grin at him, and for another five seconds, his dimple—and his smile—responded to me.

There were three great comedians in my formative years—Bill Cosby, Bill Murray, and Richard Pryor—and they wrecked comedy for a generation. How? By never saying anything funny. You can quote a Steve Martin joke, or a Rodney Dangerfield line, but Pryor, Cosby, and Murray? The things they said were funny only when they said them. In Cosby’s case, it didn’t even need to be sentences: “The thing of the thing puts the milk in the toast, and ha, ha, ha!” It was gibberish and America loved it. The problem was that they inspired a generation of comedians who tried coasting on personality—they were all attitude and no jokes. It was also a time when comedy stars didn’t seem to care. Bill Murray made some lousy movies; Richard Pryor and Eddie Murphy made even more; and any script that was too lame for these guys, Chevy Chase made. These were smart people—they had to know how bad these films were, but they just grabbed a paycheck and did them. Most of these comic actors started as writers—they could have written their own scripts, but they rarely bothered. Then, at the end of a decade of lazy comedy and half-baked material, The Simpsons came along. We cared about jokes, and we worked endless hours to cram as many into a show as possible. I’m not sure we can take all the credit, but TV and movies started trying harder. Jokes were back. Shows like 30 Rock and Arrested Development demanded that you pay attention. These days, comedy stars like Seth Rogen, Amy Schumer, Kristen Wiig, Melissa McCarthy, and Jonah Hill actually write the comedies they star in.

We came to the city because we wished to live haphazardly, to reach for only the least realistic of our desires, and to see if we could not learn what our failures had to teach, and not, when we came to live, discover that we had never died. We wanted to dig deep and suck out all the marrow of life, to be overworked and reduced to our last wit. And if our bosses proved mean, why then we’d evoke their whole and genuine meanness afterward over vodka cranberries and small batch bourbons. And if our drinking companions proved to be sublime then we would stagger home at dawn over the Old City cobblestones, into hot showers and clean shirts, and press onward until dusk fell again. For the rest of the world, it seemed to us, had somewhat hastily concluded that it was the chief end of man to thank God it was Friday and pray that Netflix would never forsake them. Still we lived frantically, like hummingbirds; though our HR departments told us that our commitments were valuable and our feedback was appreciated, our raises would be held back another year. Like gnats we pestered Management— who didn’t know how to use the Internet, whose only use for us was to set up Facebook accounts so they could spy on their children, or to sync their iPhones to their Outlooks, or to explain what tweets were and more importantly, why— which even we didn’t know. Retire! we wanted to shout. We ha Get out of the way with your big thumbs and your senior moments and your nostalgia for 1976! We hated them; we wanted them to love us. We wanted to be them; we wanted to never, ever become them. Complexity, complexity, complexity! We said let our affairs be endless and convoluted; let our bank accounts be overdrawn and our benefits be reduced. Take our Social Security contributions and let it go bankrupt. We’d been bankrupt since we’d left home: we’d secure our own society. Retirement was an afterlife we didn’t believe in and that we expected yesterday. Instead of three meals a day, we’d drink coffee for breakfast and scavenge from empty conference rooms for lunch. We had plans for dinner. We’d go out and buy gummy pad thai and throat-scorching chicken vindaloo and bento boxes in chintzy, dark restaurants that were always about to go out of business. Those who were a little flush would cover those who were a little short, and we would promise them coffees in repayment. We still owed someone for a movie ticket last summer; they hadn’t forgotten. Complexity, complexity. In holiday seasons we gave each other spider plants in badly decoupaged pots and scarves we’d just learned how to knit and cuff links purchased with employee discounts. We followed the instructions on food and wine Web sites, but our soufflés sank and our baked bries burned and our basil ice creams froze solid. We called our mothers to get recipes for old favorites, but they never came out the same. We missed our families; we were sad to be rid of them. Why shouldn’t we live with such hurry and waste of life? We were determined to be starved before we were hungry. We were determined to be starved before we were hungry. We were determined to decrypt our neighbors’ Wi-Fi passwords and to never turn on the air-conditioning. We vowed to fall in love: headboard-clutching, desperate-texting, hearts-in-esophagi love. On the subways and at the park and on our fire escapes and in the break rooms, we turned pages, resolved to get to the ends of whatever we were reading. A couple of minutes were the day’s most valuable commodity. If only we could make more time, more money, more patience; have better sex, better coffee, boots that didn’t leak, umbrellas that didn’t involute at the slightest gust of wind. We were determined to make stupid bets. We were determined to be promoted or else to set the building on fire on our way out. We were determined to be out of our minds.

Bread is one thing, a stone is another thing In Africa they show me a stone and they say there is gold in it. Gold means much money and buy lots of barrels of flour to bake bread Now when am hungry i do not eat the stone i must have the bread. So is this thing true of my soul. When i find the bread of life ''Jesus'' i do not need anymore the things of the world they are the stone i cannot eat but i can eat the bread of life and this i have for all of the time This is what john said for Jesus... ''God is a spirit now, Jesus is god the son and this is the bread of life and we eat it and are filled'' From the movie: The Story of Samuel Morris: A Spirit-Filled Life

Great writers and my mom never used food as an object. Instead it was a medium, a catalyst to mend hearts, to break down barriers, to build relationships. Mom's cooking fed body and soul. She used to quip, "If the food is good, there's no need to talk about the weather." That was my mantra for years---food as meal and conversation, a total experience. I leaned my forehead against the glass and thought again about Emma and the arrowroot. Mom had highlighted it in my sophomore English class. "Jane Fairfax knew it was given with a selfish heart. Emma didn't care about Jane, she just wanted to appear benevolent." "That girl was stupid. She was poor and should've accepted the gift." The football team had hooted for their spokesman. "That girl's name was Jane Fairfax, and motivation always matters." Mom's glare seared them. I tried to remember the rest of the lesson, but couldn't. I think she assigned a paper, and the football team stopped chuckling. Another memory flashed before my eyes. It was from that same spring; Mom was baking a cake to take to a neighbor who'd had a knee replacement. "We don't have enough chocolate." I shut the cabinet door. "We're making an orange cake, not chocolate." "Chocolate is so much better." "Then we're lucky it's not for you. Mrs. Conner is sad and she hurts and it's spring. The orange cake will not only show we care, it'll bring sunshine and spring to her dinner tonight. She needs that." "It's just a cake." "It's never just a cake, Lizzy." I remembered the end of that lesson: I rolled my eyes----Mom loathed that----and received dish duty. But it turned out okay; the batter was excellent. I shoved the movie reel of scenes from my head. They didn't fit in my world. Food was the object. Arrowroot was arrowroot. Cake was cake. And if it was made with artisan dark chocolate and vanilla harvested by unicorns, all the better. People would crave it, order it, and pay for it. Food wasn't a metaphor---it was the commodity---and to couch it in other terms was fatuous. The one who prepared it best won.

It's why they're so fun to share. I love movies - almost as much as I love baking, and that's a lot.

Being with Charlie had never been easy, the way that Leo had made their night easy. Charlie viewed Nina as a kind of project. Like trying to perfect how to cook the best scrambled eggs--- she was always too runny, too soft, overdone. Over their two-year relationship, he'd tried to mold her into the kind of chef he was: admired, singular and award-winning. When she deviated from his expectations of her, they fought. But then they'd make up, and the making-up part was why they worked for as long as they had. So being on Leo's couch was the best thing for her--- a reminder that she didn't have to be miserable. Even if she actively had to ignore that espresso smell of his, and how it made her want to nuzzle her nose against his neck to get more. The last hour of eating, drinking and watching the best movie had felt like biting into a freshly baked cookie--- warm and indulgent.

What is one thing you can do to smile and feel good, even when you are sad (exercise, walk in nature, read, watch a funny movie, play a game, paint, bake, dance to music, volunteer, or even daydream)?

The worst kind of marriage is the one that aims for happiness. Don’t tell me that every marriage should have that grand aspiration. A marriage reaching for happiness is like any average Joe wanting to make a cake as tall as Mount Everest and as colorful as a tropical island. And on top of that, to make it edible. I’m not saying it’s impossible. But tell me how many people can afford that kind of happiness? We can make do with a sloppy cake as long as it doesn’t topple over. Cracked, fine. A bit dense, no problem. Oversweetened, we can live with that. Underbaked, it won’t kill you. Once I watched a movie in which a woman baked a birthday cake for her husband. And then she thought it was not perfect, and she dumped it into the trash can. Oh, I laughed so hard someone had to shush me in the theater. But people can be stubborn. I shouldn’t have laughed at the woman in the movie. Lucy wanted her life to turn out like that perfect cake. It did not, so she dumped it, along with everything else. Katherine, perhaps your marriage to Andy will still have some hope: if you both can learn to love a lopsided cake.

Sometimes the wake-and-bake feels like snuggling a lover while the sun creeps further across the floor with each passing hour. Sometimes those midday bong rips are like sharing mimosas and appetizers with a friend at a cute restaurant in a big city like in the movies. And sometimes at night when she sits on the porch with a joint between her fingers and one behind her ear — as Erica so often did — it feels like being cradled in a rocking chair and then carried to bed by a mother that loves her.

attention to what comforts your teenager. When feeling lousy, some teens take a long bath or shower, others doodle, meditate, bake or cook, play videogames, watch a favorite movie or TV show for the umpteenth time, or read. Listening to music is an especially popular choice for teens when they are in a bad mood.

But before he could go, Jeremy pointed to the third door, the one that the baker had not opened, and said, “What’s in there?” “Oh,” the baker said, his eyes falling on the door. “Nothing, nothing. Please do not open it.” Again the baker made to leave, and again Jeremy stopped his progress. “Mr. Blix?” “Yes?” “You can’t do that.” The baker seemed confused. “Can’t do what?” “You can’t leave and tell us not to open the door, because that happens all the time in fairy tales and movies, and everyone knows that sooner or later whoever isn’t supposed to open the door is going to open the door, and …” “Yes?” the baker said. “And that’s when things start happening.” A laugh rumbled up from the baker’s belly. Then he walked over to the third door and lifted the latch. He pushed the door gently open and stepped aside so that Jeremy and Ginger could peer in. Well! This room was just like the other two, except that the gleaming shelves were already stacked with sacks of flour and sugar, baking soda and salt. “Frank Bailey and I cleaned this one last week and loaded the shelves, which”—he winked—“you will know something about before your workday is over.” He smiled at Jeremy. “I didn’t mean to be mysterious. I just didn’t want anything disturbed or any dust to get in. You understand?” “Sure,” Jeremy said. “Sorry.” The baker seemed unperturbed. “Not at all,” he said, pulling the door closed again. “Perhaps it’s been too long since I read a story or went to a movie.

ABOUT THE AUTHOR Born in Ciechanów, Poland, Ania Ahlborn is also the author of the supernatural thrillers Seed and The Neighbors. She earned a bachelor’s degree in English from the University of New Mexico, enjoys gourmet cooking, baking, drawing, traveling, movies, and exploring the darkest depths of the human (and sometimes inhuman) condition. She lives in Albuquerque, New Mexico,

I don’t know much about movies. Haven’t seen too many. And I don’t know anything about movie stars.” “Retired,” she said. “I’m sanding, varnishing, hauling trash and training my bird dog. I’m going to pick up another one pretty soon now—I picked the bitch and sire a while ago and she whelped, so as soon as they’ll let him go… And I don’t cook much, don’t bake at all, but as it happens I have sugar for my coffee. In case you want to borrow a cup for that cake you’re baking me.” “My thirty-year-old daughter has a man in her life—a good man—and they’re at the house every weekend,” he found himself explaining. “I have reasons to stay out of the house a lot. How much sugar do you keep on hand?” She grinned at him. “Plenty.” “I might need some as early as tomorrow evening,” he said. “That good man my daughter has is here for the weekend.” “Is that so?” Then Muriel turned her mount, facing the other way and said, “Luce!” She gave two short whistles. The Lab bolted back where she’d come from. Muriel looked over her shoulder and said, “Bring a decent bottle of red wine then,” she said. She put her horse into an easy canter and followed her dog. Walt sat there for a long time, till she was out of sight. “Damn,” he said aloud. *

I adore macaroni and cheese. Whenever I see it on a menu at a restaurant, I have to order it. I’ve had (and consequently made) fried mac and cheese balls, lobster mac and cheese, truffle mac and cheese, quattro formaggi mac and cheese, and Kraft mac and cheese. Now, don’t get me wrong—all of the fancy macaroni and cheese dishes have been delectable and enjoyable, but at home, I like a simple, delicious mac and cheese. So here’s my recipe. This dish is best when served during a game or movie night with family and friends. Serves 8 to 10 8 ounces (225 g) elbow macaroni 1½ cups Velveeta cheese (about 7 ounces/190g), cut into ½-inch cubes 2 tablespoons plus 1 teaspoon all-purpose flour 1½ teaspoons kosher salt 1½ teaspoons dry mustard ¼ teaspoon freshly ground black pepper ¼ teaspoon ground nutmeg ⅛ teaspoon cayenne pepper ⅔ cup (165 ml) sour cream 2 large eggs, lightly beaten 1½ cups (360 ml) half-and-half 1½ cups (360 ml) heavy cream ⅓ cup (55 g) grated onion 1 teaspoon Worcestershire sauce 2 cups grated sharp Cheddar cheese (about 8 ounces/230g) • Preheat the oven to 350°F (175°C). Grease a 9-by-13-inch (23-by-33-cm) baking dish. Bring a 4-quart (3.8-L) saucepan of salted water to a boil. Add the pasta and cook it halfway through, about 3 minutes. Drain the pasta and transfer it to the baking dish. Stir in the cubed Velveeta. • Combine the flour, salt, mustard, black pepper, nutmeg, and cayenne in a large mixing bowl. Add the sour cream and eggs and whisk until smooth. Whisk in the half-and-half, cream, onion, Worcestershire sauce, and a sprinkle of black pepper. Pour the egg mixture over the pasta mixture in the prepared baking dish and stir to combine. Sprinkle the Cheddar cheese evenly over the surface. Bake until the pasta mixture is set around the edges but still a bit loose in the center, about 30 minutes. Let it cool for 10 minutes before serving.

Before they had even gotten down the entirety of the driveway Hank knew her superstitious side was getting the best of her. The house certainly did look the part of a demon house from some half baked, nineteen eighties, low budget horror movie. He chuckled a little to himself as they got to the end of the driveway. She smacked his arm with her purse and shot him a dirty

Do try to make your best ever movie, still not everyone will be pleased to see. Do try to bake your best ever pancake, still not all will be so pleased to partake. Who can dare say they could please everyone? Not even can He—the Almighty One! Follow your heart towards your dreams and goals; to each his own the pleasing of their souls!

wasn’t saying he smelled like homemade cookies or baking bread. I hadn’t had that kind of home—probably no one outside a Disney movie had.

First, keep activities with teens one-on-one (dad and child, or stepmom and stepchild), since whole-group activities are bound to activate a teen’s urge to opt out or act out and to underscore insider/outsider dynamics as well. Minimize “all of us together” activities in spite of your urge to be the Waltons. Second, keep activities “shoulder to shoulder” rather than “eyeball to eyeball.” Puzzles, movies, and baking projects allow you to be with your teenage stepchild yet have a focus other than relating directly to each other. Finally, remember that time apart as a couple is all the more imperative for the woman with teenage stepchildren and her partner—and just retreating to your bedroom at night doesn’t count. A weekly date night can give the couple much-needed rejuvenation and relief.

QUICK MENTAL RECAP: KIDNAPPED BY Mafia gang ruled by insane, chain-smoking reject from the sixties—female; discover husband has alias name and FBI badge that he’s been able to keep hidden from me for seventeen years (reminder to self: get a clue!); follow half-baked scheme provided by Brad Pitt look-alike to make a quick getaway through guest bathroom; wind up playing bad game of Twister in bathtub with Elvis Presley wannabe; witness the whacking of FBI husband; hear Elvis Presley wannabe proclaim, regarding husband’s whacker: “That’s No Toes” and follow up with obvious comment, “Dis ain’t good.” Would Al Pacino be caught dead in this movie? Definitely not.

Dr. Emily and her vet tech Kate show up to my house at seven p.m. and we decide to do the euthanasia outside on my back patio. I don’t want Petunia’s soul getting stuck in the house. I want it to float up and out into the sky. Dr. Emily walks me through exactly how it will go. First Petunia will get a medication that will make her sleep. Once she’s asleep she won’t feel anything. Then she will receive medication to slowly and peacefully stop her heart. The whole thing should take around twenty minutes. “Do you want a few minutes alone with her before we start?” Dr. Emily’s voice is soft. She places her hand on my back. Both she and Kate have known Petunia for years, and like everyone who knows Petunia, they love her. Petunia will die surrounded by love. I pick my beloved dog up into my arms and walk with her from room to room of our house, recounting all the things we did together in those sacred spaces. In the kitchen, I say “This is where you watched me bake banana bread and licked spilled flour dustings from the floor.” In the dining room: “This is where we ate dinner. Remember how beautiful it looked the first night I lit all the candles?” In the living room: “This is where we watched movies.” And in my office, my favorite room, the room where my new career and life have flourished, I say “This is where we pulled tarot cards every morning. This is where you helped me sew lampshades. This is where you kept me company while I edited all the photographs.

Some families sing Christmas carols and bicker over the last piece of pie. We make enough pie for everyone to have their own, fight over it anyway, and risk our lives for each other on a random Monday. She’s not growing up in a Hallmark movie. I want her to know that I love her enough to do more than just bake the damn pie. That my love isn’t afraid of scary places.

You’ve written a surprising large number of screenplays – – Have I? … but they’ve all been adaptations. Yes. Why are there no original Stoppard screenplays? I’ve never felt like that about film. I wanted to start… I wanted to be a writer, I wanted to start writing for the stage at a time when the stage was particularly interesting in the British theatre… I’ve had as many ideas for a play as I’ve written, you know, I don’t have a bottom drawer of half-baked ideas and half-finished plays. I’ve just used everything. I just wanted to work in the theatre and that’s what I did. I’m trying to sort of… understand something in myself, it’s as though I don’t want to waste my idea on a movie. I think there’s an element of that. Because there’s no question about it, unless you are… I can’t, I can’t imagine a circumstance in which a writer is properly in control of his script in the world of movies. Well, I can imagine one way - you pay for the film and that’s that. But as long as there’s a paymaster… You never… You never, you never quite… You don’t quite have the final vote, the decisive vote on things. There are situations, there have been situations where… I mean Shakespeare In Love, for example was, you know… yeah, pretty much, I mean I wrote it on the back of an earlier script called Shakespeare In Love and in the final stages of that movie I was arguing, you know, with the producer about… well, just a phrase or two. And this happened with television too with BBC/ HBO, I did a thing called Parade’s End. I end up arguing trying to persuade them to keep something which, which is generally felt by other people to be difficult to understand. And I’m saying ‘No, it’s not difficult to understand, honestly.’ And they’re saying: ‘Well, it is for our audience –’ or whatever. That kind of thing wont happen, I don’t think that kind of thing would ever happen, at least in the theatre that I work in, the London theatre, the British theatre.