Hop Movie Quotes

The job of feets is walking, but their hobby is dancing.

It was Joss Whedon's Buffy the Vampire Slayer (the television series, 1997-2003, not the lackluster movie that preceded it) that blazed the trail for Twilight and the slew of other paranormal romance novels that followed, while also shaping the broader urban fantasy field from the late 1990s onward. Many of you reading this book will be too young to remember when Buffy debuted, so you'll have to trust us when we say that nothing quite like it had existed before. It was thrillingly new to see a young, gutsy, kick-ass female hero, for starters, and one who was no Amazonian Wonder Woman but recognizably ordinary, fussing about her nails, her shoes, and whether she'd make it to her high school prom. Buffy's story contained a heady mix of many genres (fantasy, horror, science-fiction, romance, detective fiction, high school drama), all of it leavened with tongue-in-cheek humor yet underpinned by the serious care with which the Buffy universe had been crafted. Back then, Whedon's dizzying genre hopping was a radical departure from the norm-whereas today, post-Buffy, no one blinks an eye as writers of urban fantasy leap across genre boundaries with abandon, penning tender romances featuring werewolves and demons, hard-boiled detective novels with fairies, and vampires-in-modern-life sagas that can crop up darn near anywhere: on the horror shelves, the SF shelves, the mystery shelves, the romance shelves.

MOST DAYS MY LIFE CAN BE SUMMED UP IN MOVIE QUOTES AND HIP HOP AND R&B LYRICS

Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second and you can hop from one place to another. It’s a language made of image. And in the real cinema, every object and every light means something, as in a dream.

Gangsta comes in many forms. You can watch a movie like Die Hard, which is full of violence that’s in your face. But if you watch a movie like The Godfather, the violence is subtle—it’s in a word, a nod, a gesture. I think you walk out of Die Hard and leave something in the theater. With Godfather, you walk out with something put in you. Hip-hop is the same way.

Free-thinking is the new counterculture, which makes it cutting-edge and subversive, like punk rock or hip-hop in the early 1980s. It’s on the periphery where all the sexy, rebellious, and exciting stuff happens, not the mainstream center left, which has become like an R-rated movie stripped down to PG for minimum offense.

He’s brought a sleeping bag, one of those big green bulky L.L. Bean ones. I look at it questioningly. Following my gaze, he turns red. “I told my parents I was going to help you study, then we might watch a movie, and if it got late enough, I’d crash on your living room floor.” “And they said?” “Mom said, ‘Have a nice time, dear.’ Dad just looked at me.” “Embarrassing much?” “Worth it.” He walks slowly over, his eyes locked on mine, then puts his hands around my waist. “Um. So . . . are we going to study?” My tone’s deliberately casual. Jase slides his thumbs behind my ears, rubbing the hollow at their base. He’s only inches from my face, still looking into my eyes. “You bet. I’m studying you.” He scans over me, slowly, then returns to my eyes. “You have little flecks of gold in the middle of the blue.” He bends forward and touches his lips to one eyelid, then the other, then moves back. “And your eyelashes aren’t blond at all, they’re brown. And . . .” He steps back a little, smiling slowly at me. “You’re already blushing—here”—his lips touch the pulse at the hollow of my throat—“and probably here . . .” The thumb that brushes against my breast feels warm even through my T-shirt. In the movies, clothes just melt away when the couple is ready to make love. They’re all golden and backlit with the soundtrack soaring. In real life, it just isn’t like that. Jase has to take off his shirt and fumbles with his belt buckle and I hop around the room pulling off my socks, wondering just how unsexy that is. People in movies don’t even have socks. When Jase pulls off his jeans, change he has in his pocket slips out and clatters and rolls across the floor. “Sorry!” he says, and we both freeze, even though no one’s home to hear the sound. In movies, no one ever gets self-conscious at this point, thinking they should have brushed their teeth. In movies, it’s all beautifully choreographed, set to an increasingly dramatic soundtrack. In movies, when the boy pulls the girl to him when they are both finally undressed, they never bump their teeth together and get embarrassed and have to laugh and try again. But here’s the truth: In movies, it’s never half so lovely as it is here and now with Jase.

The N-word is certainly not a word that has, as many suggest, been kept alive solely by hip-hop and rap artists. White people have been keeping the word alive and well too. Any movie about slavery or black history could reasonably include the word a few times just to remind us of how terrible we all used to be, to remind us of the work we have yet to do. And still, the televised version of Roots manages to depict the realities of slavery without the N-word and the miniseries is nearly ten hours long.

She's probably just tired of seeing you miserable.Like we all are," I add. "I'm sure...I'm sure she's as crazy about you as ever." "Hmm." He watches me put away my own shoes and empty the contents of my pockets. "What about you?" he asks, after a minute. "What about me?" St. Clair examines his watch. "Sideburns. You'll be seeing him next month." He's reestablishing...what? The boundary line? That he's taken, and I'm spoken for? Except I'm not. Not really. But I can't bear to say this now that he's mentioned Ellie. "Yeah,I can't wait to see him again. He's a funny guy, you'd like him.I'm gonna see his band play at Christmas. Toph's a great guy, you'd really like him. Oh. I already said that,didn't I? But you would. He's really...funny." Shut up,Anna. Shut.Up. St. Clair unbuckles and rebuckles and unbuckles his watchband. "I'm beat," I say. And it's the truth. As always, our conversation has exhausted me. I crawl into bed and wonder what he'll do.Lie on my floor? Go back to his room? But he places his watch on my desk and climbs onto my bed. He slides up next to me. He's on top of the covers, and I'm underneath. We're still fully dressed,minus our shoes, and the whole situation is beyond awkward. He hops up.I'm sure he's about to leave,and I don't know whether to be relieved or disappointed,but...he flips off my light.My room is pitch-black. He shuffles back toward my bed and smacks into it. "Oof," he says. "Hey,there's a bed there." "Thanks for the warning." "No problem." "It's freezing in here.Do you have a fan on or something?" "It's the wind.My window won't shut all the way.I have a towel stuffed under it, but it doesn't really help." He pats his way around the bed and slides back in. "Ow," he says. "Yes?" "My belt.Would it be weird..." I'm thankful he can't see my blush. "Of course not." And I listen to the slap of leather as he pulls it out of his belt loops.He lays it gently on my hardwood floor. "Um," he says. "Would it be weird-" "Yes." "Oh,piss off.I'm not talking trousers. I only want under the blankets. That breeze is horrible." He slides underneath,and now we're lying side by side. In my narrow bed. Funny,but I never imagined my first sleepover with a guy being,well,a sleepover. "All we need now are Sixteen Candles and a game of Truth or Dare." He coughs. "Wh-what?" "The movie,pervert.I was just thinking it's been a while since I've had a sleepover." A pause. "Oh." "..." "..." "St. Clair?" "Yeah?" "Your elbow is murdering my back." "Bollocks.Sorry." He shifts,and then shifts again,and then again,until we're comfortable.One of his legs rests against mine.Despite the two layers of pants between us,I feel naked and vulnerable. He shifts again and now my entire leg, from calf to thigh, rests against his. I smell his hair. Mmm. NO! I swallow,and it's so loud.He coughs again. I'm trying not to squirm. After what feels like hours but is surely only minutes,his breath slows and his body relaxes.I finally begin to relax, too. I want to memorize his scent and the touch of his skin-one of his arms, now against mine-and the solidness os his body.No matter what happens,I'll remember this for the rest of my life. I study his profile.His lips,his nose, his eyelashes.He's so beautiful.

So what happened?" "I don't know." Another glance to ensure his continued state of Not Looking, and then I rip off my clothes in one fast swoop. I am now officially stark naked in the room with the most beautiful boy I know. Funny,but this isn't how I imagined this moment. No.Not funny.One hundred percent the exact opposite of funny. "I think I maybe,possibly, vaguely remember hitting the snooze button." I jabber to cover my mortification. "Only I guess it was the off button.But I had the alarm on my phone set,too, so I don't know what happened." Underwear,on. "Did you turn the ringer back on last night?" "What?" I hop into my jeans, a noise he seems to determinedly ignore.His ears are apple red. "You went to see a film,right? Don't you set your mobile to silent at the theater?" He's right.I'm so stupid. If I hadn't taken Meredith to A Hard Day's Night, a Beatles movie I know she loves, I would have never turned it off. We'd already be in a taxi to the airport. "The taxi!" I tug my sweater over my head and look up to find myself standing across from a mirror. A mirror St. Clair is facing. "It's all right," he says. "I told the driver to wait when I came up here. We'll just have to tip him a little extra." His head is still down. I don't think he saw anything.I clear my throat, and he glances up. Our eyes meet in the mirror,and he jumps. "God! I didn't...I mean,not until just now..." "Cool.Yeah,fine." I try to shake it off by looking away,and he does the same. His cheeks are blazing.I edge past him and rinse the white crust off my face while he throws my toothbrush and deodorant and makeup into my luggage, and then we tear downstairs and into the lobby.

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.

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.

Our relationship quickly grew. I was living in Long Beach at the time; Chris was in San Diego. Conservatively speaking, that’s a two-hour drive. But Chris drove it often. He’d get off work, hop in his pickup, and be at my condo before dark. And not just on the weekends: he often rose before the sun to get to work in Coronado Beach. We’d go out to eat, maybe take in a movie, play miniature golf, bowl, see friends--the usual date stuff. But our most fun was just hanging out together. I pinned a picture of Chris up near my desk. (It’s the profile picture on his Facebook page, if you’re interested.) Under it, I taped a quote that went along the lines of: Life is not about the number of breaths you take; it’s the moments that take your breath away. Chris was all about those breathtaking moments--riding broncs in the rodeo, jumping out of planes. He worked hard and played hard--but was just as likely to relax completely, sitting comfortably on the couch with a beer or whatever as he took it easy. It was a paradox; I loved both sides.

Who’s the guy?” “What guy?” “The guy you’re dating.” That’s when I see him. Peter Kavinsky, walking down the hallway. Like magic. Beautiful, dark-haired Peter. He deserves background music, he looks so good. “Peter. Kavinsky. Peter Kavinsky!” The bell rings, and I sail past Josh. “I’ve gotta go! Talk later, Josh!” “Wait!” he calls out. I run up to Peter and launch myself into his arms like a shot out of a cannon. I’ve got my arms around his neck and my legs hooked around his waist, and I don’t even know how my body knows how, because I’ve for sure never touched a boy like this in my life. It’s like we’re in a movie and the music is swelling and waves are crashing around us. Except for the fact that Peter’s expression is registering pure shock and disbelief and maybe a drop of amusement, because Peter likes to be amused. Raising his eyebrows, he says, “Lara Jean? What the--?” I don’t answer. I just kiss him. My first thought is: I have muscle memory of his lips. My second thought is: I hope Josh is watching. He has to be watching or it’s all for nothing. My heart is beating so fast I forget to be afraid of doing it wrong. Because for about three seconds, he’s kissing me back. Peter Kavinsky, the boy of every girl’s dreams, is kissing me back. I haven’t kissed that many boys before. Peter Kavinsky, John Ambrose McClaren, Allie Feldman’s cousin with the weird eye, and now Peter again. I open my eyes and Peter’s staring at me with that same expression on his face. Very sincerely I say, “Thank you.” He replies, “You’re welcome,” and I hop out of his arms and sprint off in the opposite direction.

Trash first. Then supplies. Stepping forward, I kicked a pile of takeout containers to one side, wanting to clear a path to the cabinets so I could look for latex gloves. But then I stopped, stiffening, an odd scratching sound coming from the pile I’d just nudged with my foot. Turning back to it, I crouched on the ground and lifted a greasy paper at the top of the mess. And that’s when I saw it. A cockroach. In Ireland. A giant behemoth of a bug, the likes I’d only ever seen on nature programs about prehistoric insects. Okay, perhaps I was overexaggerating its size. Perhaps not. Honestly, I didn’t get a chance to dwell on the matter, because the roach-shaped locust of Satan hopped onto my hand. I screamed. Obviously. Jumping back and swatting at my hand, I screamed again. But evil incarnate had somehow crawled up and into the sleeve of my shirt. The sensation of its tiny, hairy legs skittering along my arm had me screaming a third time and I whipped off my shirt, tossing it to the other side of the room as though it was on fire. “What the hell is going on?” I spun toward the door, finding Ronan Fitzpatrick and Bryan Leech hovering at the entrance, their eyes darting around the room as though they were searching for a perpetrator. Meanwhile, I was frantically brushing my hands over my arms and torso. I felt the echo of that spawn of the devil’s touch all over my body. “Cockroach!” I screeched. “Do you see it? Is it still on me?” I twisted back and forth, searching. Bryan and Ronan were joined in the doorway by more team members, but I barely saw them in my panic. God, I could still feel it. I. Could. Still. Feel. It. Now I knew what those hapless women felt like in horror movies when they realized the serial killer was still inside the house.

A splash of light snuck beneath the a dressing room door. He heard a groan. A shuffle. A bump. A heavy sigh. "Uh, too tight." He walked toward the back, stopping outside the dressing room. The door was cracked a fraction. He rested a shoulder against the wall, and glanced inside. Grace as Catwoman blew his mind. A feline fantasy. The three-way mirror tripled his pleasure. He viewed her from every angle. Hot, sleek, fierce. The lady could fight Batman in her skintight black leather catsuit and come out the winner. After a moment she scrunched her nose, slapped her palms against her thighs. Stuck out her tongue at her reflection in the mirrors. He saw what had her so frustrated. Sympathized with her disappointment. Her costume didn't fit. The front zipper hadn't fully cleared her cleavage, which was deep and visible. She wore no bra. She gave a little hop, and her breasts bounced. Full and plump. He felt a tug at his groin. Superhero lust. He cleared his throat and made his presence known. She caught his image in the corner of the glass, and reached for the fitting room chair, positioning it between them. Like that would keep him from her. He should've looked away, but couldn't. He sensed her embarrassment. Her panic. Flight? She had nowhere to go. He blocked the door. He wasn't leaving until they'd talked. "Archibald's going to love your costume," he initiated. She didn't find him funny. Her gaze narrowed behind the molded cat-eye mask with attached ears. Her fingers clenched in her elbow-length gloves. Inspired by the movie The Dark Knight, she'd added a whip and a gun holster. Her thigh-high stiletto boots were killer, adding five inches to her height. Her image would stick with him forever. She backed against the center mirror, and nervously fingered the open flaps over her breasts. A yank on the zipper broke the tab. The metal teeth parted, and the gap widened, revealing the round inner curves of her breasts. A hint of her nipples. Dusky pink. All the way down to the dent of her navel.

It was awful. It was three in the morning. And I finally said, “Chip, I’m not sleeping in this house.” We were broke. We couldn’t go to a hotel. There was no way we were gonna go knock on one of our parents’ doors at that time of night. That’s when I got an idea. We happened to have Chip’s parents’ old RV parked in a vacant lot a few blocks down. We had some of our things in there and had been using it basically as a storage unit until we moved in. “Let’s get in the RV. We’ll go find somewhere to plug it in, and we’ll have AC,” I said. As we stepped outside, the skies opened up. It started pouring rain. When we finally got into the RV, soaking wet, we pulled down the road a ways and Chip said, “I know where we can go.” It was raining so hard we could barely see through the windshield, and all of a sudden Chip turned the RV into a cemetery. “Why are you pulling in to a cemetery?” I asked him. “We’re not going to the cemetery,” Chip said. “It’s just next to a cemetery. There’s an RV park back here.” “Are you kidding me? Could this get any worse?” “Oh, quit it. You’re going to love it once I get this AC fired up.” Chip decided to go flying through the median between the two rows of RV parking, not realizing it was set up like a culvert for drainage and rain runoff. That RV bounced so hard that, had it not been for our seat belts, we would’ve both been catapulted through the roof of that vehicle. “What was that?!” “I don’t know,” Chip said. I tried to put it in reverse, and then forward, and then reverse again, and the thing just wouldn’t move. I hopped out to take a look and couldn’t believe it. There was a movie a few years ago where the main character gets his RV caught on this fulcrum and it’s sitting there teetering with both sets of wheels up in the air. Well, we sort of did the opposite. We went across this valley, and because the RV was so long, the butt end of it got stuck on the little hill behind us, and the front end got stuck on the little hill in front of us, and the wheels were just sort of hanging there in between. I crawled back into the RV soaking wet and gave Jo the bad news. We had no place to go, no place to plug in so we could run the AC; it was pouring rain so we couldn’t really walk anywhere to get help. And at that point I was just done. We wound up toughing it out and spending the first night after our honeymoon in a hot, old RV packed full of our belongings, suspended between two bumps in the road.

Is Twee the right word for it, for the strangely persistent modern sensibility that fructifies in the props departments of Wes Anderson movies, tapers into the waxed mustache-ends of young Brooklynites on bicycles, and detonates in a yeasty whiff every time someone pops open a microbrewed beer? Well, it is now. An across-the-board examination of this thing is long overdue, and the former Spin writer Marc Spitz is to be congratulated on having risen to the challenge. With Twee: The Gentle Revolution in Music, Books, Television, Fashion, and Film , he’s given it a name, and he’s given it a canon. (The canon is crucial, as we shall see.) And if his book is a little all over the place—well, so is Twee. Spitz hails it as “the most powerful youth movement since Punk and Hip-Hop.” He doesn’t even put an arguably in there, bless him. You’re Twee if you like artisanal hot sauce. You’re Twee if you hate bullies. Indeed, it’s Spitz’s contention that we’re all a bit Twee: the culture has turned. Twee’s core values include “a healthy suspicion of adulthood”; “a steadfast focus on our essential goodness”; “the cultivation of a passion project” (T-shirt company, organic food truck); and “the utter dispensing with of ‘cool’ as it’s conventionally known, often in favor of a kind of fetishization of the nerd, the geek, the dork, the virgin.

The episode felt like a dramatic scene out of a spy movie, complete with me hopping out of my black sedan, 9mm pistol tucked in my waistband.

Style would make you friends, inspire loyalty and devotion, spawn a hundred imitators. It would make you enemies, unleash jealousy and fear, bring down the brute force of authority. The one thing style would never leave you was neutral. As King KASE 2 would say in the movie Style Wars, “When they see you got a vicious style, they wanna get loose about it. And that’s what keeps it going.

Daniel and the Pelican As I drove home from work one afternoon, the cars ahead of me were swerving to miss something not often seen in the middle of a six-lane highway: a great big pelican. After an eighteen-wheeler nearly ran him over, it was clear the pelican wasn’t planning to move any time soon. And if he didn’t, the remainder of his life could be clocked with an egg timer. I parked my car and slowly approached him. The bird wasn’t the least bit afraid of me, and the drivers who honked their horns and yelled at us as they sped by didn’t impress him either. Stomping my feet, I waved my arms and shouted to get him into the lake next to the road, all the while trying to direct traffic. “C’mon beat it, Big Guy, before you get hurt!” After a brief pause, he cooperatively waddled to the curb and slid down to the water’s edge. Problem solved. Or so I thought. The minute I walked away he was back on the road, resulting in another round of honking, squealing tires and smoking brakes. So I tried again. “Shoo, for crying out loud!” The bird blinked, first one eye then the other, and with a little sigh placated me by returning to the lake. Of course when I started for my car it was instant replay. After two more unsuccessful attempts, I was at my wits’ end. Cell phones were practically non-existent back then, and the nearest pay phone was about a mile away. I wasn’t about to abandon the hapless creature and run for help. He probably wouldn’t be alive when I returned. So there we stood, on the curb, like a couple of folks waiting at a bus stop. While he nonchalantly preened his feathers, I prayed for a miracle. Suddenly a shiny red pickup truck pulled up, and a man hopped out. “Would you like a hand?” I’m seldom at a loss for words, but one look at the very tall newcomer rendered me tongue-tied and unable to do anything but nod. He was the most striking man I’d ever seen--smoky black hair, muscular with tanned skin, and a tender smile flanked by dimples deep enough to drill for oil. His eyes were hypnotic, crystal clear and Caribbean blue. He was almost too beautiful to be real. The embroidered name on his denim work shirt said “Daniel.” “I’m on my way out to the Seabird Sanctuary, and I’d be glad to take him with me. I have a big cage in the back of my truck,” the man offered. Oh my goodness. “Do you volunteer at the Sanctuary?” I croaked, struggling to regain my powers of speech. “Yes, every now and then.” In my wildest dreams, I couldn’t have imagined a more perfect solution to my dilemma. The bird was going to be saved by a knowledgeable expert with movie star looks, who happened to have a pelican-sized cage with him and was on his way to the Seabird Sanctuary.

Daniel and the Pelican So there we stood, on the curb, like a couple of folks waiting at a bus stop. While he nonchalantly preened his feathers, I prayed for a miracle. Suddenly a shiny red pickup truck pulled up, and a man hopped out. “Would you like a hand?” I’m seldom at a loss for words, but one look at the very tall newcomer rendered me tongue-tied and unable to do anything but nod. He was the most striking man I’d ever seen--smoky black hair, muscular with tanned skin, and a tender smile flanked by dimples deep enough to drill for oil. His eyes were hypnotic, crystal clear and Caribbean blue. He was almost too beautiful to be real. The embroidered name on his denim work shirt said “Daniel.” “I’m on my way out to the Seabird Sanctuary, and I’d be glad to take him with me. I have a big cage in the back of my truck,” the man offered. Oh my goodness. “Do you volunteer at the Sanctuary?” I croaked, struggling to regain my powers of speech. “Yes, every now and then.” In my wildest dreams, I couldn’t have imagined a more perfect solution to my dilemma. The bird was going to be saved by a knowledgeable expert with movie star looks, who happened to have a pelican-sized cage with him and was on his way to the Seabird Sanctuary. As I watched Daniel prepare for his passenger, I couldn’t shake the feeling that I knew him from somewhere. “Have we ever met before?” I asked. “No I don’t think so,” was his reply, smiling again with warmth that would melt glaciers. I held my breath as the man crept toward the pelican. Their eyes met, and the bird meekly allowed Daniel to drape a towel over his face and place him in the cage. There was no struggle, no flapping wings and not one peep of protest--just calm. “Yes!” I shrieked with excitement when the door was latched. What had seemed a no-win situation was no longer hopeless. The pelican was finally safe. Before they drove away, I thanked my fellow rescuer for his help. “It was my pleasure, Michelle.” And he was gone. Wait a minute. How did he know my name? We didn’t introduce ourselves. I only knew his name because of his shirt. Later when I called the Sanctuary to check on the pelican, I asked if I might speak with Daniel. No one had ever heard of him.

Get in, loser. We’re fixin’ to celebrate.” “Why are you calling me a loser?” Pearl threw open the car door and hopped out. “I swear, don’t you watch any movies?

Then he broke into his laugh. “I was rewatching Life of Brian,” he said, referring to the Monty Python movie. He recounted the scene where a beggar complains that Jesus cured him of leprosy, making it harder for him to make a living begging: “I was hopping along, minding my own business, all of a sudden, up he comes, cures me! One minute I’m a leper with a trade, next minute my livelihood’s gone. Not so much as a by-your-leave! ‘You’re cured, mate.’ Bloody do-gooder.

One of the greatest decorum scenes in movie history graces the climax of 8 Mile, Eminem’s semiautobiography. He gets talked into a competition at a dance club in downtown Detroit where hip-hop artists (orators, if you will) take turns insulting each other. The audience chooses the winner by applause. Eventually, the contest comes down to two people: Eminem and a sullen-looking black guy. (Well, not as sullen as Eminem. Nobody can be that sullen.) Eminem wears proper attire: stupid skullcap, clothes a few sizes too big, and as much bling as he can afford. If he showed up dressed like Cary Grant, he would look terrific—to you and me. But the dance club crowd would find him wildly indecorous. Clothing is the least of his decorum problems, though. He happens to be white, and everyone else in the room is black. Eminem nonetheless manages to devastate his adversary by revealing a nasty little secret: this putative gangbanger attended a prep school! All the poor guy’s hip-hop manners are pointless, because the audience finds them phony.

I didn't worry about the car. It was in my way, so I hopped up and slid over the hood. Just like a guy in those old car movies they play on free movie channels, except that I slid right over and onto my butt. I would have been embarrassed if I weren’t so panicked.

Remember now your Creator in the days of your youth, before the difficult days come, and the years draw near when you say, “I have no pleasure in them.” —Ecclesiastes 12:1 (NKJV) I was making rounds at the veterans hospital where I work, when an elderly gentleman in a wheelchair pointed his cane to a sign on a bulletin board. “Look, hon,” he said to his wife, “they’re having an old-fashioned Easter egg hunt on Saturday. It says here that the kids can compete in a bunny-hop sack race for prizes.” He barely came up for air. “Remember when we used to have those Easter egg hunts on our farm? The kids would color eggs at our kitchen table and get dye all over everything.” Just then, his wife noticed the smell of popcorn in the air. Volunteers sell it for a bargain price—fifty cents a sack. The veteran didn’t miss a beat. “Remember when we used to have movie night and you would pop corn? We’ve got to start doing that again, hon. I love popcorn. Movies too.” As I took in this amazingly joyful man, I thought of things I used to be able to do before neurofibromatosis took over my body. It was nothing to run a couple of miles; I walked everywhere. Instead of rejoicing in the past, I too often complain about my restrictions. Rather than marvel how I always used to walk downtown, shopping, I complain about having to use a handicap placard on my car so I can park close to the mall, which I complain about as well. But today, with all my heart, I want to be like that veteran and remember my yesterdays with joy. Help me, dear Lord, to recall the past with pleasure. —Roberta Messner Digging Deeper: Eph 4:29; Phil 2:14

I climbed aboard a Greyhound bus and rode it to New York without telling anyone, without so much as a goodbye. What was I thinking? I wasn’t. I was young and stupid and broken. I knew from watching movies that broken people hopped on buses and disappeared. New York seemed far away, geographically, mentally.

They’re not nuts, friends, they’re simply seeing it all through different eyes. They have imagination, and they know something about being alone and in pain. They’re altering the real world to fit their fantasies. That’s okay. We all do it. Don’t say you don’t. How many of you have come out of the movie, having seen Bullitt or The French Connection or Vanishing Point or The Last American Hero or Freebie and the Bean, gotten in your car, and just about done a wheelie, sixty-five mph out of the parking lot? Don’t lie to me, gentle reader, we all have weird-looking mannerisms that seem perfectly rational to us, but make onlookers cock an eyebrow and cross to the other side of the street. I’ve grown very fond of people who can let it out, who can have the strength of compulsion to indulge their special affectations. They seem to me more real than the faceless gray hordes of sidewalk sliders who go from there to here without so much as a hop, skip, or a jump.

Writing a clean, lean, simple story is one of the hardest things in the world to do. When stories are first born, they’re always big and complicated, but simple stories are more powerful and meaningful. Think of Blaise Pascal’s famous postscript: “I’m sorry for writing such a long letter, but I didn’t have the time to write a shorter one.” Writers are always inclined to make their stories bigger and more complicated than anyone else wants them to be. Luckily, there are gatekeepers to cut us off at the pass. Editors chop novels down to size. Theater directors chop out scenes that don’t work. Producers slice the fat out of screenplays. They take sprawling, complicated messes and find the lean, simple story hiding inside. Ghostbusters was sold to the studio in the form of a forty-page treatment. It was set in the future. New York had been under siege by ghosts for years. There were dozens of teams of competing ghostbusters. Our heroes were tired and bored with their job when the story began. The Marshmallow Man showed up on page 20. The budget would have been bigger than any movie ever made, and far more than anybody was willing to spend. So why did the studio buy it? Because it liked one image: a bunch of guys who live in a firehouse slide down a pole and hop in an old-fashioned ambulance, then go out to catch ghosts. So the studio stripped away all the other stuff, put that image in the middle of the story, spent the first half gradually moving us from a normal world gradually that moment, and spent the second half creating a heroic payoff to that situation. That’s it. That’s all they had time to do. A few years after the success of Ghostbusters, one of the writers/stars of that movie, Harold Ramis, found himself on the other side of the fence. He wanted to direct a script called Groundhog Day, written by first-time screenwriter Danny Rubin. This was a very similar situation: In the first draft of that movie, the weatherman had already repeated the same day 3,650,000 times before the movie began! Everybody loved the script, so Rubin had his pick of directors, but most of them told him up front they wanted him to rewrite the story to begin with the origin of the situation. Ramis won the bidding war by promising Rubin he would stick to the in medias res version. Guess what happened? By the time the movie made it to the screen, Ramis had broken his promise. The final movie spends the first half getting the weatherman into the situation and the second half creating the most heroic payoff.

The street was vacant. Like a big old movie set. Nothing. Nobody to do a thing with. What could she do alone? Better yet, what could she do alone that could exclude the white folks, who were nowhere to be seen except in her wounds and aches of memories. Betsey decided to play hop-scotch, but she laid the hop-scotch pattern out with enough room to write “For Colored Only,” “Crackers and Dogs Not Allowed,” “Peckerwoods Got No Welcome Here,” “Guineas Go Home.” Betsey’s hop-scotch was something to behold. Chalk never seemed so powerful as when it messed with white folks.

She took me to the pasture and let me milk a mammoth brown cow. She taught me how to drive a tractor. We rode horses through the woods. We smoked weed on the roof and pointed out clouds that looked like penises. We fed tiny chunks of raw chicken to her brother’s Venus flytrap. We fucked each other with fresh-picked ears of corn. We built a fire under a billion stars and told ghost stories. We took bets to see how many cigarette butts the rooster would eat. We let the goats hop on top of our backs and nibble our hair. We built an altar of stones, sticks and berries at the top of a hill, and when we hummed a family of deer came to us, licking our palms and nuzzling our cheeks. We bathed in streams and made bread from scratch. We pulled ticks and leeches off each other’s backs. We wrote rap songs about farm life and smoking meth. We stayed up a whole night watching movies about vampires and warlocks. We left clumps of hair, string and silver buttons for a family of crows. When it stormed for three days and we lost power, I rocked her gently in the dark and told her I loved her.

She grinned, and then felt the grin getting bigger and bigger. She hadn’t wanted to run, it was so like a bad movie, but she was running anyway and so was Gaby, taking absurdly long hops in the low gravity.

What was the inspiration for all this? Snow White's forest?" "Close, kind of," I replied. "This one's actually FernGully." "You're kidding," he said. "Nope. She wanted her very own enchanted rain forest, and it looks like that's exactly what she got," I said. "She sure did," he replied. "I can't believe we're in Tennessee." The clear-top tent was anchored by fourteen-foot faux weeping willow trees. Candles in glass orbs hung from every branch. The elevated dance floor floated in the center of the space and could be described only as an enormous Lucite shadow box filled with thousands of faux flowers in a rainbow of colors. The bars were covered in green moss and adorned with hundreds of colorful butterflies. The clear ceiling was almost entirely covered in twinkling fairy lights that would look just like a sky full of stars once the sun set. But the real showstopper was the centerpiece on every dining table. Atop every amethyst silk tablecloth was an antique birdcage that housed two real-life lovebirds. The rosy-faced little birds were hopping around and singing, and the space looked, sounded, and felt exactly like an enchanted forest from the movie. I wasn't precisely sure how authentic they were to the rain forest setting, but their chirping certainly added to the wild vibe.

Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It’s a language made of image. And in the real cinema, every object and every light means something, as in a dream.” ~ Federico Fellini

A tall good-looking man in an army uniform hopped out first. He had salt and pepper hair and looked like he could star as a General in a Hollywood movie. “The Angel of Death,” Tempest whispered under her breath. “Is hot.” Ryder turned to her with a frown. She bit her lip nervously. “Did I say that last part out loud?

Our Christian subculture is marked by church hopping. We stay put as long as it suits us, until we are offended or decide we’re not being “fed.” So, wanting to quietly validate our own identities, we tend to silo ourselves into churches where everyone looks like us, talks like us, likes the same movies, and won’t embarrass us in public. But what if we took a cue from popular culture’s push for diversity and realized that surrounding ourselves with our duplicates only makes us more self-centered?

the military classified Patent 2,292,387 as top secret and, in the 1950s, gave it to a contractor for the construction of a sonobuoy that could detect submarines in the water and then transmit that information to an airplane above using Hedy’s unjammable frequency-hopping idea. Later, the military and other private entities began to make their own inventions using this interpretation of spread-spectrum technology—without any recompense to Hedy, as the patent had expired—and today, aspects of her frequency-hopping idea can be found in the wireless devices we use every day. Hedy’s role in these advancements was unknown until the 1990s, when she received a few awards for her invention, recognition she considered more important than the success of her movies.

Ted, my husband, asked me to introduce his story because I am the one who heard it first. We had been married for two years when his “gift” was given to us. It was about 4:00 a.m. on a Sunday morning. We were both asleep in our home in Tonkawa, Oklahoma, when he sat up in bed and said, “I know how I died!” I awoke to those words, astonished as he began to tell the end of his life in a different-sounding voice and using words and a dialect I had not heard before. After a few moments of an intense outpouring of emotional facts, places, names, and events, I knew I had to write “his story” down on paper. I climbed out of bed in the dark, found a legal-size yellow pad and pencil and began writing as fast as I could. He did not slow down to help me catch up; the tale just kept flowing from his mouth. The hairs on my arms stood on end and chills continued as he told in detail events that happened over one hundred years ago. My fingers began to cramp as I kept trying to keep up with him. The descriptions were so vivid that I could visualize what he was saying like a movie playing before my eyes. Eventually we hurried to the living room after I found a small tape recorder in our dresser drawer. Ted continued to talk in this unusual voice, causing me to laugh and cry as this true-to-life saga of the 1870s began to unravel. He told me how he died at about the age of sixty. Then he went to the beginning, when Tom Summers, who was sixteen years old, left home to join the Union Army. He lied about his age and was able to join the army and fight in the Civil War. The journey takes you into the war, on into Indian Territory and westward. Every day for Tom was an adventure, and Ted will share it with you. Anyone who meets Ted is drawn to him instantly. His manner is one of confidence: of a very genuine, honest, loveable guy. He will win you over with his “Just one more story” or a big bear hug if you are not careful. We met at a teen hop in the 1950s, when I was fifteen and he was seventeen. We dated in rural America for about a year. He was then leaving the farm to go to Oklahoma State University, and he asked me to marry him. We both married other people and raised our children. Forty-one years later, we discovered each other again. This time, I said, “Yes.” Join us on our fascinating journey into the Old West as seen through Tom Summers’s “beautiful blue eyes.

This is like something out of a movie. Time hopping, sharp shooters, intrigue.

41. Among the Rewards of My Sloth . . . . . . is that the tree in our backyard that we had cut down because it was mostly dead and waiting to pierce the asphalt-shingled roof and, more urgently maybe, the neighbor’s (and always, yes, mourn a tree by my hand felled, for it is a home, dead or not) is still, about three and a half months later, sprawled in many parts of the backyard. Probably about one hundred little and not so little logs chucked in a pile out near the black walnut tree, very much alive. And a brush pile about the size of a Cadillac Escalade leaning up against the building you’d be very generous to call a garage, twisting slowly apart on its cracked foundation. Sometimes the brush pile and logs would make me feel like a piece of shit, perhaps especially when Stephanie looked wistfully out into that yard, remembering, I imagine, when she could visualize a garden there. Not to mention my mother, who, when I first got this house in Bloomington, Indiana, in a kind of terror I have to think is informed by some unspoken knowledge (black husband, brown kids in the early seventies kind of knowledge), pleaded with my brother and uncle to convince me to mow my grass lest the neighbors burn my house down. (Of which, let it be known, there was no danger in my case. Despite the Confederate flags in the windows three doors down. You should see his yard. By the way, if you haven’t seen the movie A Man Named Pearl, you should.) Anyway, I’d think, very much pervious to all of the above despite my affect to the contrary, we’ll get a splitting maul and wood chipper and turn a lot of that wood into good mulch, which turns into good soil, trying to make myself feel better about myself. But today, going out back to grab some wood for the stove, past my mess, there was a racket blasting from that thicket like the most rambunctious playground you’ve ever heard, and getting closer, looking inside, I saw maybe one hundred birds hopping around in this enormous temporary nest, sharing a song I never would’ve heard and been struck dumb with glee by had I had my shit more together.

Bowerbird" Recently I rescued a supermarket bag from the crotch of a tree, found fewer shields than souvenirs, figured out how to game the pain scale and opted not to. Water the color of watery tea comes through the light fixture on a holiday when nobody will come plug it up and make us regret complaining. Nothing like a movie to remind you that you never travel and a lot of almost fornicating happens a mere floor or two above the one you’re on. Shoulder, TV flicker, flash of back. I’ll make up a name and try to affix it to whoever left these four white doors on the sidewalk, which I dragged home two and one at a time. In daylight they reveal smudges left after tenants groped one spot, then the next—hallway, stairwell, street, the mess just beyond, forest on the dented side of a globe. There’s always the absurd woven into every nest I build and hop around, waiting for the right one to wander in. The right one is the one who wanders in.

Is that enough info for you?" His old lady? I thought that was just talk you saw in the movies. Maverick brings his lips down on mine, persuading me to hop on

There are two Santa Monicas. One is a fairy tale of spangled gowns and improbable breasts and faces from the tabloids, of big money and fixed noses and strung-out voice teachers and heiresses on skateboards and even bigger big money; of movie stars you thought were dead and look dead; of terraced apartment buildings cascading down perilous yellow bluffs toward the sea; of Olympic swimmers and hip-hop hit men and impresarios of salvation and twenty-six-year-old agents backing out of deals in the lounge bar at Shutters; of yoga masters and street magicians; of porn kings and fast cars and microdosing prophets and shuck-and-jive evangelists and tattooed tycoons and considerably bigger big money; of Sudanese busboys with capped teeth and eight-by-ten glossies in their back pockets; of Ivy League panhandlers, teenage has-beens, home-run kinds in diamonds and fur coats, daughters of sultans, sons of felons, widows of the silver screen, and the kind of meaningless big money that has forgotten what money is. There is that. But start at the pier and head southeast until you reach a neighborhood of tidy, more or less identical stucco houses separated by fourteen feet of scorched grass. In a number of these homes, you will find families, or the descendants of families, who have lived here since the mid-to-late forties. For them, upscale was a Chevy in the driveway. Mom mixed up Kool-Aid at ten cents a gallon, Pop pushed used cars at a dealership off Wilshire Boulevard, Junior had a paper route, Sis did some weekend babysitting. Nowadays, the house Pop bought for $37,000 will fetch just under two million in a sluggish market, but as Pop loved to say, secretly proud "What kind of house do you buy with the profit? A pup tent? A toolshed in Laguna?