Four Rooms Movie Quotes

Later,” I said to the room at large as I didn’t want to appear rude. For some reason this was met by Shirleen saying, "I’ll put money down that she’s living with him in four days.” My confused gaze swung to Shirleen but she was looking at the movie star glamour girl who was looking at me. “Three days,” Glamour girl said, smiling at me and I thought, in other circumstances, I would have liked to meet her. “A week, she’s got spirit,” The other black lady said. She was smiling at me too, not like I was the butt of some joke, but in a kind way. I opened the outer door. Before it closed behind me, I heard Luke say strangely, “Tonight.” Then everyone laughed.

(Golden Globe acceptance speech in the style of Jane Austen's letters): "Four A.M. Having just returned from an evening at the Golden Spheres, which despite the inconveniences of heat, noise and overcrowding, was not without its pleasures. Thankfully, there were no dogs and no children. The gowns were middling. There was a good deal of shouting and behavior verging on the profligate, however, people were very free with their compliments and I made several new acquaintances. Miss Lindsay Doran, of Mirage, wherever that might be, who is largely responsible for my presence here, an enchanting companion about whom too much good cannot be said. Mr. Ang Lee, of foreign extraction, who most unexpectedly apppeared to understand me better than I undersand myself. Mr. James Schamus, a copiously erudite gentleman, and Miss Kate Winslet, beautiful in both countenance and spirit. Mr. Pat Doyle, a composer and a Scot, who displayed the kind of wild behavior one has lernt to expect from that race. Mr. Mark Canton, an energetic person with a ready smile who, as I understand it, owes me a vast deal of money. Miss Lisa Henson -- a lovely girl, and Mr. Gareth Wigan -- a lovely boy. I attempted to converse with Mr. Sydney Pollack, but his charms and wisdom are so generally pleasing that it proved impossible to get within ten feet of him. The room was full of interesting activitiy until eleven P.M. when it emptied rather suddenly. The lateness of the hour is due therefore not to the dance, but to the waiting, in a long line for horseless vehicles of unconscionable size. The modern world has clearly done nothing for transport. P.S. Managed to avoid the hoyden Emily Tomkins who has purloined my creation and added things of her own. Nefarious creature." "With gratitude and apologies to Miss Austen, thank you.

Her gaze went with her, into a room with walls of frozen earth, and a floor the same, the latter split from corner to corner, and a fissure opened in it from which a flame column rose four or five times the size of a man. There was bitter cold off it rather than heat, and no reassuring flicker in its heart. Instead its innards churned upon themselves, turning over and over some freight of stuff which she failed to recognize at first, but her appalled stare rapidly interpreted. There was a body in the fire, hacked limb from limb, human enough that she recognized it as flesh, but no more than that. Baphomet's doing presumably, some torment visited on a transgressor. Boone said the Baptizer's name even now, and she readied herself for sight of its face. She had it too, but from inside the flame, as the creature there--not dead, but alive, not Midian's subject, but its creator--rolled its head over in the turmoil of flame and looked her way. This was Baphomet. This diced and divided thing. Seeing its face, she screamed. No story or movie screen, no desolation, no bliss, had prepared her for the maker of Midian. Sacred it must be, as anything so extreme must be sacred. A thing beyond things. Beyond love or hatred or their sum, beyond the beautiful or the monstrous or their sum. Beyond, finally, her mind's power to comprehend or catalog.

The classroom gradually filled up with our other roommates, but one bed remained unclaimed, heightening the air of mystery surrounding its future occupant. Then, suddenly, the door crashed open and into the room strode a human hurricane—a sturdy, confident fellow who greeted everyone with great cheer and a ferocious hug. He was almost four years older than me. He introduced himself to me as Brian Blessed. He was not yet the globally renowned actor, mountaineer, adventurer, and star of TV shows, stage musicals, and movies as disparate as Blackadder, Cats, Flash Gordon, and I, Claudius. But I could tell instantly that he was a one-off; they broke the mold when they made Brian. Like Norman and me, he, too, was of humble origin, from the South Yorkshire mining town of Mexborough. I was beginning to feel more comfortable by the minute.

There was a big “Sesame Street Live” extravaganza over at Madison Square Garden, so thousands of people decided to make a day of it and go straight from Sesame Street to Santa. We were packed today, absolutely packed, and everyone was cranky. Once the line gets long we break it up into four different lines because anyone in their right mind would leave if they knew it would take over two hours to see Santa. Two hours — you could see a movie in two hours. Standing in a two-hour line makes people worry that they’re not living in a democratic nation. People stand in line for two hours and they go over the edge. I was sent into the hallway to direct the second phase of the line. The hallway was packed with people, and all of them seemed to stop me with a question: which way to the down escalator, which way to the elevator, the Patio Restaurant, gift wrap, the women’s rest room, Trim-A-Tree. There was a line for Santa and a line for the women’s bathroom, and one woman, after asking me a dozen questions already, asked, “Which is the line for the women’s bathroom?” I shouted that I thought it was the line with all the women in it. She said, “I’m going to have you fired.” I had two people say that to me today, “I’m going to have you fired.” Go ahead, be my guest. I’m wearing a green velvet costume; it doesn’t get any worse than this. Who do these people think they are? “I’m going to have you fired!” and I wanted to lean over and say, “I’m going to have you killed.

Twenty minutes later, I was sitting in the federal building that housed the Department of Homeland Security, about fifteen stories up, locked in a standard federal issue interrogation room. Metal chair, metal table, big one-way mirror window, just like the movies. My arms were bound behind me with at least three flex-cuffs. The only addition to the room were the four tactical team members standing in each corner of the room, M4 rifles slung across their chests. Books, Splitter, Data and old Rattler himself, Agent Simmons.

A nice lady opens the door on Peachtree Street and she’s got one of those faces that feels familiar like you’ve known her all her life. She buys a bunch of colored paper for her daughter who likes to draw. You ask how old her daughter is and she is four years younger than you. You ask what school she went to and she says that she kept her at home. You see her daughter peek at you from the hall and you think that maybe she was born wrong too. You figure she has never left this house. And you want to get her out of it. The next week you ask the woman if you can visit with her daughter. She brings you down the hall and into the sun room where her daughter is drawing. She’s quiet for a while and then she looks up and tells you she likes to sit in here and watch the birds outside. The light falls in on her hair like beach sunshine in the movies. There’s plants growing all around her. It’s like a jungle and you sit in the wicker chair across from her and wait for her to talk to you, like she’s a magical animal behind all the vines and leaves. All you can figure is that she’s just very, very shy. You think maybe you would have been this way too if you didn’t grow up in such a loud family.

When they stopped to pick up Mike, Violet started to get out so she could climb in back with Chelsea, giving Mike’s longer legs the front seat, but Jay reached out and caught her wrist. “What are you doing? I want you to sit with me.” His fingers moved to lace through hers as he drew her back inside. “Mike can sit in back.” Violet felt herself blush with satisfaction. Mike came out of his house and jumped down the porch without ever touching the steps. Behind the darkened curtains, the television flickered. “Here he comes!” Chelsea squealed, sounding like a little girl as she bounced up and down in the backseat, shaking the entire car. She clapped her hands with excitement. Violet pulled her seat as far forward as she could to give Mike some extra room. He’d need it if he was going to be confined back there with Chelsea. “Heeyyy, Mike.” Chelsea managed to drawl the two words into several long syllables as Mike slid into the car. The syrupiness of it sounded so foreign oozing from Chelsea’s mouth. “Hey,” Mike said back to her. One word, one syllable. “So I guess it’s just the four of us tonight,” she purred. “Really? I thought we were meeting a buncha people.” “Nope. Just us. Everyone else bailed.” Violet smiled to herself as she listened to Chelsea’s account, amazed that her words came out sounding so…sincere. But Violet knew better. And she realized from the look Jay flashed her that he knew too. Mike, on the other hand, was too new to understand the disturbing way that Chelsea’s mind worked. There was a brief pause, and then Violet swore she could hear a smile in his voice when he answered, “That’s cool.” He might rethink that later, Violet thought, when Chelsea stops holding back and decides to assault him right in the middle of a crowded movie theater. Unless he’s into that kind of thing. She grinned wickedly to herself. And then she wondered if Jay would attack her. She hoped so.

She brought the tea into the living room on a lacquered tray. The pot and cups were Japanese with unglazed rims. She poured. "Thanks," I said. "Well?" "Huh?" "Your family," she reminded. I sipped the tea. "This is really good. Really delicious." She raised her eyebrows. "That's what I thought. You're a good listener, Davy, and you can change the subject on a dime. You've hardly talked about yourself at all." "I talk... too much." "You talk about books, you talk about plays, you talk about movies, you talk about places, you talk about food, you talk about current events. You don't talk about yourself." I opened my mouth, then shut it again. I hadn't really thought about it. Sure, I didn't talk  about the jumping, but the rest? "Well, there's not much to say. Not like those stories of growing up with four brothers." She smiled. "It's not going to work. If you don't want to talk about it, that's fine. But I'm not going to be distracted again, nor fooled into talking about those idiots again." She poured more tea into my cup. I frowned. "Do I really do that?" "What? Not talk about yourself? Yes." "No, try and distract you." She stared at me. "You are fucking amazing. I've never seen someone so good at changing the subject." "I don't do it on purpose." She laughed. 

on their target about now. Six on one, overwhelming force, or so they thought. Puller was a first-rate, superbly trained close-quarters fighter. But he was not Superman. This was not a movie where he could Matrix his way to victory. It would be fearful men fighting, making mistakes but certainly landing some blows. Puller tipped the scales at well over two hundred pounds. The men he would be facing tonight collectively weighed about a thousand pounds. They had twelve fists and a dozen legs to his two and two. Six against one, hand-to-hand, no matter how good you were or how inept the six were, would likely result in defeat. Puller could take out three or four rather quickly. But the remaining two or three men would probably get in a lucky shot and possibly knock him down. And then it would be over. Bats and bars would rain down on him and then a gunshot would end it all. If one had a choice—and sometimes one did—a truly superb close-quarters fighter only fought when the conditions favored him. He didn’t have much time, because they would quickly determine that he was not in the room. Then they would do one of two things: leave and come back, or set a trap and wait for him. And a trap would involve a perimeter. At least he was counting on that, because a perimeter meant that the six men would have

Bob Cavallo remembers early on in the process, ‘We were at odds with each other. Our contract was up; five years had gone by since Purple Rain. We met at the Four Seasons with his lawyer and his accountant, me and Steve Fargnoli to discuss some kind of rapprochement because he had fired us. Basically he said, “I’ll work with you again but you’ve got to help me make this movie.” I read the treatment and said, “This could be an interesting thing,” and I said, “I’ll try to put you together with some young hip writers and maybe we can come up with a script quickly, ’cause this is pretty detailed.” And he went, “What are you talking about? That is the script.” It was thirty pages. And he said, “I’m going to shoot it, I know exactly how to do it.” So I said, “Maybe we could get this on Broadway for you. Would you be interested in that?” And he said, “No.” Now he was pissed that I didn’t think this was a good enough script, so we shook hands and that was the end of it. Then, about a year later, we were suing each other. But even when we sued each other, it was kinda funny. I said, “How could you not pay me?” He said, “How could you sue me?” He said, “You can’t have my children, those songs. You’re gonna give your involvement in those songs to your grandchildren?” And I said, “Yeah, I put ten years of my life into you, and you sucked all the air out of the room. I couldn’t really manage anybody else except for your friends.

nine-hour flight to California aboard a TWA Super Constellation, with room for no fewer than sixty-four passengers. Next we see the simple funfair of the original Disneyland. At the hotel, the Barstows are jubilant that the chic swimming pool is open to them. Yes, the days when such luxury was reserved for the stylish elite are over. The family deals with its budgetary constraints by not eating in restaurants but picnicking outdoors. There is no hint of any doubt or cynicism. Every minute of the movie is filled with sun, innocence and boundless enthusiasm. It’s true, Barstow says at the end, Walt Disney is right: Disneyland is ‘the happiest place on earth’. The entire family is ‘forever grateful to Scotch brand cellophane tape’ for the experience. The closing chorus of this charming cantata

But then a peculiar thing happened. I became extraordinarily affected by the summer afternoons in the laboratory. The August sunlight came streaming in the great dusty fanlights and lay in yellow bars across the room. The old building ticked and creaked in the heat. Outside we could hear the cries of summer students playing touch football. In the course of an afternoon the yellow sunlight moved across old group pictures of the biology faculty. I became bewitched by the presence of the building; for minutes at a stretch I sat on the floor and watched the motes rise and fall in the sunlight. I called Harry’s attention to the presence but he shrugged and went on with his work. He was absolutely unaffected by the singularities of time and place. His abode was anywhere. It was all the same to him whether he catheterized a pig at four o’clock in the afternoon in New Orleans or at midnight in Transylvania. He was actually like one of those scientists in the movies who don’t care about anything but the problem in their heads - now here is a fellow who does have a “flair for research” and will be heard from. Yet I do not envy him. I would not change places with him if he discovered the cause and cure of cancer. For he is no more aware of the mystery which surrounds him than a fish is aware of the water it swims in. He could do research for a thousand years and never have an inkling of it.

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?

The Director’s Chair is with Francis Ford Coppola (The Godfather, Apocalypse Now, etc.), and Robert refers later to this quote from Francis: “Failure is not necessarily durable. Remember that the things that they fire you for when you are young are the same things that they give lifetime achievement awards for when you’re old.” ROBERT: “Even if I didn’t sell Mariachi, I would have learned so much by doing that project. That was the idea—I’m there to learn. I’m not there to win; I’m there to learn, because then I’ll win, eventually. . . . “You’ve got to be able to look at your failures and know that there’s a key to success in every failure. If you look through the ashes long enough, you’ll find something. I’ll give you one. Quentin [Tarantino] asked me, ‘Do you want to do one of these short films called Four Rooms [where each director can create the film of their choosing, but it has to be limited to a single hotel room, and include New Year’s Eve and a bellhop]?’ and my hand went up right away, instinctively. . . . “The movie bombed. In the ashes of that failure, I can find at least two keys of success. On the set when I was doing it, I had cast Antonio Banderas as the dad and had this cool little Mexican as his son. They looked really close together. Then I found the best actress I could find, this little half-Asian girl. She was amazing. I needed an Asian mom. I really wanted them to look like a family. It’s New Year’s Eve, because [it] was dictated by the script, so they’re all dressed in tuxedos. I was looking at Antonio and his Asian wife and thinking, ‘Wow, they look like this really cool, international spy couple. What if they were spies, and these two little kids, who can barely tie their shoes, didn’t know they were spies?’ I thought of that on the set of Four Rooms. There are four of those [Spy Kids movies] now and a TV series coming. “So that’s one. The other one was, after [Four Rooms] failed, I thought, ‘I still love short films.’ Anthologies never work. We shouldn’t have had four stories; it should have been three stories because that’s probably three acts, and it should just be the same director instead of different directors because we didn’t know what each person was doing. I’m going to try it again. Why on earth would I try it again, if I knew they didn’t work? Because you figured something out when you’re doing it the first time, and [the second attempt] was Sin City.” TIM: “Amazing.

And you shouldn’t have called me your boyfriend.” He looks down at me as he opens the door of the restaurant for me. “I’m sorry,” I start. “I shouldn’t have said that. I just wanted her to go away.” And I wanted to stake my claim, even though I had no right to one. He looks down at me beneath the street light. “You shouldn’t have said it because you gave me hope,” he says. I can’t speak. I can’t utter out a sound. “Come home with me,” he says. I shake my head. He sighs heavily. “You know how this is going to end.” “I shouldn’t.” I really, really shouldn’t. “Fine,” he says, and then he bends at the waist and tosses me over his shoulder, just like the night before. Only this time, his hand is on my ass, under my skirt, instead of holding the backs of my legs. It’s hot pressed against my panties. I can’t say a word to him because he wouldn’t hear me. So, I just hang there, all the way to his building and up the four flights of stairs. He opens the door and walks inside. His brothers are there, and they look up. Sam and Pete snicker, and Paul shoots them a look. Matthew is on the sofa, and he shakes his head. Logan puts me down. Apparently, I’m not a sideshow attraction tonight. “Hi,” I say tentatively to them all. “Hi,” they call back. They don’t get up and rush over to me, not even when he sets me on my feet. “You’re back,” Matthew says as he walks to the fridge. He looks better tonight. Not quite as green. Sam walks to the kitchen, and Paul snaps at him when he reaches for a beer. He takes a soda, instead, grumbling to himself. Logan signs something to them. Pete tells him the name of the movie they’re watching, and it’s one I haven’t heard of. Logan points to the TV and then to me asking me if I’ve seen it. I shake my head. He sets my bag and my guitar on the floor and laces his fingers with mine. He tugs me gently toward the couch. Logan bumps Sam’s and Pete’s knees until they scoot over. There’s barely enough space for him, much less for me. “I’m going to go take a shower,” I say. But he sits down and pulls me into his side, his arm around my shoulders. Matt gives me a look I don’t understand. He doesn’t seem completely pleased by my being there. Did I do something to offend him? But Logan looks down at me and smiles, and then he places his lips against my forehead. Matt gets up and goes to his room but not before shooting me a glance that I couldn’t help but take as a warning.

Chocolate is a girl's best friend.' 'Consequently, I am going to polish off this entire chocolate pie, as well as sit here and cry, yes just sitting in my white tank top, and light pink comfy old short shorts, with the black drawstring in the fronts, tied, into a big floppy bow.' 'I sit looking at the TV, hugging my teddy bear. Tonight's movie lineup is 'Shawshank,' 'Misery,' 'The Notebook,' and 'A Walk to Remember.' While my black mascara from the day runs down my cheeks.' 'Life is not a fairytale, so maybe I can go next year. I know the prom is not going to happen either, yet I want to go at least once in my life. Yet, some get to go to prom, and dance for five years running. They go all four high school years.' 'Plus, they get asked for their date, which is still in school after they're out, even though they have gone many times before.' 'Then someone like me never gets the chance; that is not fair! I am not jealous; I just want to have the same opportunities, the photos, and the involvements.' 'I could envision in my mind the couples swaying to the music.' 'I could picture the bodies pressed against one another. With their hands laced with desire, all the girls having their poofy dresses pushed down by their partner's closeness, as they look so in love.' 'I know is just dumb dances, but I want to go. Why am I such a hopeless romantic? I could visualize the passionate kissing.' 'I can see the room and how it would be decorated, but all I have is the vision of it. That is all I have! Yeah, I think I know how Carrie White feels too, well maybe not like that, but close. I might get through that one tonight too because I am not going to sleep anywise.' 'So why not be scared shitless! Ha, that reminds me of another one, he- he.' 'I am sure that this night, which they had, would never be forgotten about! I will not forget it either. It must have- been an amazing night which is shared, with that one special person.' 'That singular someone, who only wants to be with you! I think about all the photographs I will never have. All the memories that can never be completed and all the time lost that can never be regained.' 'The next morning, I have to go through the same repetition over again. Something's changed slightly but not much; I must ride on the yellow wagon of pain and misery. Yet do I want to today?' 'I do not want to go after the night that I put in. I was feeling vulnerable, moody, and a little twitchy.' 'I do not feel like listening to the ramblings of my educators. Yet knowing if I do not show up at the hellhole doors, I would be asked a million questions, like why I did not show up, the next day I arrived there.

Once upon a time, there was a little girl. She lived in a town four hours away from here, in a house on a street named Daisy Lane. She had a mother and a father and her own room and a TV and sometimes could stay up late to watch movies on the weekend if she ate all her dinner. She had a cat and three best friends and wanted to work with dolphins. She had posters of them on her walls, and her computer screen saver was one, a dolphin with warm eyes and a sweet grin gleaming out at you. All her stuffed animals, except for the stupid ones her grandparents gave her, were dolphins. One day she went to the aquarium. She wore blue jeans, a white shirt (no logos, no designs), and sneakers (white, with white socks). She went with her fifth-grade class, and since it was three days before her 10th birthday, she thought her friends would let her sit by the window on the bus. They didn't. And when they got to the aquarium, there weren't any dolphins and her friends got mad because she wouldn't loan them her lip gloss; it was new, it tasted like cream soda, and she didn't want to share. She was a selfish little girl. She paid for it.

Controlling images were never just about the object of study—popular culture memes or characters from movies and television shows—but about the process of reproducing structural inequalities in our everyday lives. Social psychologists study how we acknowledge and reproduce status groups like “man,” “woman,” “black,” “white,” “Asian,” “poor,” “rich,” “novice,” and “expert” in routine interactions. These are statuses of people that we recognize as meaningful categories. When we interact with someone, a few things happen. We size up the person we are engaging with, scanning for any risks to our own social status. You don’t want to be the person who mistakes the company president for the janitor, for example. We also scan others’ perception of us. This is how all kinds of impromptu moments of cooperation make our day go smoothly. It’s the guy who sees you struggling to get something on the bus and coordinates the four people around you to help you get on. Or it’s the three women in a fast food line who all grab for a baby’s bottle just before it hits the floor. We cooperate in micromoments and in longer settings like the waiting room of a doctor’s office. And, when we are cooperating with strangers or near strangers, we are using all kinds of ideas about status to make the interaction work to our benefit.

You don't know what to do with the jam jar, the chicken stink, the sinister mountain fog that is everywhere, but the adults pretend to ignore when you are in the room. It seems the only thing you can do is listen for it. You hear it in the four measures of Vivaldi's "Winter" that you can still remember from Sarah and the Squirrel, and once you make the connection between the music and mountain fog you play the notes over and over again inside your head. You paw up the trash-strewn ravine. The sky is low and gray, the color of the cinder blocks the men in your town manufacture from ash and dust. The dirt-filled strawberry jam jar is in your denim coat pocket. Vivaldi is in your head. The music you hear is like the blaze-orange clothing the men wear on the mountainsides while deer hunting in autumn. The music is like a bulletproof vest, a coiled copperhead, a rabies shot. The music is both a warning and a talisman. The music tells you things: You're not imagining this. Better children than you die in the snow for no reason. The music says: What's hidden beneath this picture of strawberry jam? The music says: This isn't a Disney movie. Death doesn't just take the wicked villain. Look at that dirt in the jar. It will take you. It will take everyone, and everyone, and everyone. The music says: What you feel is real. Follow me. Run.

In the Jolan district, on the edge of the Euphrates River, in the northwestern corner of the city, Marines found something far more troubling. Inside a metal-sided warehouse, past the insurgent caches of rocket-propelled grenades and artillery rounds, the Marines discovered a crawl space barricaded with a safe. Pushing it aside, the troops saw an Iraqi man chained hand and foot, lying in his own waste. The virtual skeleton proved to be a still-living taxi driver who’d been abducted four months earlier along with a pair of French journalists—thankfully, he would survive. Down the hall, Marines crashed through another door and found themselves in what appeared to be a ramshackle movie studio. On the table was a glass with ice in it; whoever had left had just done so in a hurry. Nearby, Marines found two video cameras, klieg lights, and instructions on how to get footage to the Baghdad offices of some of the regional news networks. On the back wall of the room hung the black-and-green flag of Ansar al-Islam. The floor was caked in dried blood. The moment I read that last detail in the intelligence report I received, I knew it was the room where Nick Berg had been murdered.

My parents had gone out, and Billy was babysitting. We stayed up late to watch Return to Oz. I wasn’t allowed to watch the movie, but I didn’t tell Billy, not that he’d asked whether shock treatments and a demonic Oz were appropriate for a four-year-old. From the entrance of the menacing score, I knew I was in for a sleepless night. When Billy put me to bed, I didn’t tell him to leave a light on, even though the shadows from the floodlights etched the monstrous shapes of the Nome King across my walls. I tossed and turned, and soon the floor began to vibrate. The trophies on my bookshelf rattled. The Nome King had overtaken my room, shifting the walls into stone gargoyles and goblins that wanted to eat me. I screamed. The room didn’t stop shaking. I screamed louder. By the time Billy opened the door, the bookshelves had stopped moving but the Nome King’s minions remained in the shadows across my walls.