Emotional Scenes

Status
Not open for further replies.
Moulin Rogue. >:[ I'll just say THAT WHOLE MOVIE GIVES ME THE FEELS.
 
I have three

The last scene of The Talented Mr Ripley. Imagine feeling like you have no option but to kill the person you love - the only person in the world who sees the good in you - and not wanting to do it, but going through with it anyway.


Peter Smith-Kingsley: Sorry, I'm completely lost.
Tom Ripley: I know. I'm lost. I'm going to be stuck in the basement, aren't I? [voice cracking] That's my, that's my... terrible, and alone, and dark, and I've lied about who I am, and where I am, and now no one will ever find me.
Peter Smith-Kingsley: What do you mean... lied about who you are?
Tom Ripley: [near tears] I always thought it'd be better to be a fake somebody than a real nobody.
Peter Smith-Kingsley: What are you talking about? You're not a nobody. That's the last thing you are.
[Tom lays down next to Peter, preparing to strangle him]
Tom Ripley: No, no, don't get up. Just tell me nice things, some nice things about Tom Ripley.
Peter Smith-Kingsley: Good things about Mr Ripley?...Could take some time. Tom is talented. Tom is tender... Tom is beautiful... Tom is a mystery. Tom is not a nobody. Tom has secrets he doesn't want to tell me, and I wish he would. Tom has nightmares. That's not a good thing. Tom has someone to love him. That is a good thing. Tom is crushing me. Tom is crushing me... Tom, you're crushing me!


BBC Sherlock - Reichenback Falls, the roof scene.

Watson: Sherlock, are you okay?
Holmes: Turn around and walk back the way you came.
Watson: No, I'm coming in.
Sherlock: Just. Do as I ask. Please.
Watson: Where?
Sherlock: Stop there.
Watson: Sherlock.
Sherlock: Okay, look up. I'm on the rooftop.
Watson: Oh god.
Sherlock: I— I— I can't come down so we'll just have to do it like this.
Watson: What's going on?
Sherlock: An apology. It's all true.
Watson: What?
Sherlock: Everything they said about me. I invented Moriarty.
Watson: Why are you saying this?
Sherlock: I'm a fake.
Watson: Sherlock—
Sherlock: The newspapers were right all along. I want you to tell Lestrade, I want you to tell Mrs. Hudson and Molly. In fact, tell anyone who will listen to you. That I created Moriarty for my own purposes.
Watson: Okay, shut up, Sherlock. Shut up. The first time we met—the first time we met—you knew all about my sister, right?
Sherlock: Nobody could be that clever.
Watson: You could.
Sherlock: I researched you. Before we met I discovered everything that I could to impress you. It's a trick. Its just a magic trick.
Watson: No. Alright, stop it now.
Sherlock: No, stay exactly where you are. Don't move.
Watson: Alright.
Sherlock: Keep your eyes fixed on me. Please, will you do this for me?
Watson: Do what?
Holmes: This phone call, it's... it's my note. That's what people do, don't they? Leave a note.
Watson: Leave a note when?
Sherlock: Goodbye, John.
Watson: No. Don't—

Philip Pullman's last book of the His Dark Material's Trilogy, in which the evil author man makes Lyra and Will go back to their own worlds and be responsible, even though they are so in love, and they've only just figured it out. It's SO UNFAIR!

"I will love you forever; whatever happens. Till I die and after I die, and when I find my way out of the land of the dead, I'll drift about forever, all my atoms, till I find you again..."

"I'll be looking for you, Will, every moment, every single moment. And when we do find each other again, we'll cling together so tight that nothing and no one'll ever tear us apart. Every atom of me and every atom of you...We'll live in birds and flowers and dragonflies and pin trees and in clouds and in those little specks of light you see floating in sunbeams...And when they use our atoms to make new lives, they won't just be able to take one, they'll have to take two, one of you and one of me, we'll be joined so tight..."
 
Okay, first and foremost, I'm going to go back to my roots.
MUFASA DIES; MAKES ME CRY. THEN WHEN HE COMES BACK IN THE SKY I JUST CAN'T.



Second one: at the end of Sara Douglass' book StarMan (part of the Axis trilogy/Wayfarer Redemption series) Faraday, Axis' old lover and baby-mama, is returned to life in the form of a deer. After communing with her son for some time, she walks back over to Axis, trembling with fear, gets almost close enough to touch his hand... and bounds away again, symbolizing that the love she gave up queenship, her virginity, her heart, and her fucking life even after he betrayed her for another woman, was finally done and she was free of him. It just breaks my heart every time, for both of them.


And this is a video game, but:
In Sly 3 when he pretends to have amnesia and Carmelita is all like "you're... my partner. Constable Cooper." Happy tears right there bros.
 
Status
Not open for further replies.