50 Best Dylan Bennett Quotes

Sgt. Cam Henry: Well, the truck was found abandoned, not too far from where your grandmother was forced off the road.
Dylan: Who did it belong to?
Sgt. Cam Henry: Trent McBride. Verna McBride's nephew.
Sarah: Her nephew?
Dylan: There's no way that's a coincidence.
Sarah: So you're saying he's the Executioner?
Sgt. Cam Henry: Well, Trent inherited Verna McBride's entire estate, and he did have a falling out with Justin Faysal over his property.
Sarah: But my grandmother...
Sgt. Cam Henry: We're working on that. We will bring Trent in, and we will question him. This nightmare might finally come to an end.

Dylan: Is it Alison?
Chief: No comment.
Dylan: The limo company said she never got in their car, she never got on her plane, she never checked into her hotel room in New York.
Chief: I said no comment.
Dylan: Biblical punishment for greed is burning in a vat of hot oil. This has the Executioner written all over it.
Chief: Are you happy about this? Is that what this is, huh? She was your boss, you knew her!
Dylan: So you are confirming that it was Alison Sutherland.
Chief: You're a real piece of shit, Dylan.
Dylan: Maybe, but this is my story, Vaughn. Now, you can work with me and we can inform the public together, or I can do this on my own, my own way. You choose.
[Vaughn gets into his car without another word and drives off]
Dylan: I have the ear and the trust of this town, of this country. I don't I can say the same for you, Vaughn!

Lisa: Cheers.
Dylan: To what?
Lisa: The biggest story since Casey Anthony.
Dylan: Yeah, well, I'm not sure everyone shares your enthusiasm.
Lisa: Okay... I think there's been a bit of a misunderstanding.
Dylan: No. No misunderstanding. You chose Alison over me, and then she got her head deep-fried.
Lisa: Okay, so then how do I make it better?
Dylan: What are you offering?
Lisa: What do you want? More money? Done. Airtime? You'll be my go-to guy on this case. We can talk about bringing you in on a permanent basis. Why don't you come by my hotel? We'll order a bottle, do a little career planning...
Dylan: A book deal.
Lisa: I'm sorry, what?
Dylan: A book deal. True crime. All of the killings, starting 30 years ago.
Lisa: I'm not a publisher, Dylan.
Dylan: You've published four books and you didn't write any of 'em.
[a waiter approaches]
Dylan: You ready to order? 'Cause I know what I want.

Dylan: The Executioner is not concerned with being economical with his killings.
Lisa: Well, that brings up the key question I have. What does this killer want? Why is he doing this? Thoughts?
Dylan: Well, I feel like the religious nature of these crimes can't be ignored. "My god is a vengeful god."
Lisa: Jesus also says "turn the other cheek."
Dylan: In the New Testament, but I feel like this killer is more motivated by the Old.
Lisa: Very good point, Dylan. People forget there are two sides to Christianity. So what do you think his motivations...
Alison: Why don't we ask the Executioner himself? Serial killers write to newspapers all the time. Uh, the Son of Sam, BTK, the Zodiac. If the Executioner has a message, then please talk to me. Let me interview you one-on-one.
Lisa: [taken aback] We'll be right back to talk more about the religious aspects of these terrible crimes.

Dylan: I know you haven't been sleeping, babe. Maybe, uh, we should go to the doctor and get some pills.
Sarah: I can't take pills, Dylan.
Dylan: Well, you gotta do something.
Sarah: I just keep thinking... you know, what if I'm next?
Dylan: Sarah.
Sarah: This all happened when we came back to town. You don't think I might be a target?
Dylan: Listen. This guy's crazy. I don't know what to think. Nobody does, okay?

Sgt. Cam Henry: Have you heard from Sarah?
Dylan: No. I thought she was with you. What's going on?
Sgt. Cam Henry: Just meet me at the station.

Dylan: Is my wife typically front-page news? The murders were big around here, I get it, but it happened almost 30 years ago.
Alison: Hm. A husband and wife were slaughtered in their house. The wife is nine months pregnant and the baby is cut from the womb. Now that same baby, all grown up, moves back into her old house. I don't know what they taught you in J school, but, um, that is a story. Murders happen every day, but not here, and never like those.
Dylan: So, what else happens around here?
Alison: [snickering] Town fairs. Ice fishing in the winter. Fender bender, if we're lucky. A day or two from now, things will go back to normal. They always do.
Dylan: Right. Normal.

Alison: Over here is our ad sales department, and when I say "department," what I really mean is a woman who works part-time named Eileen.
Dylan: Copy that.
Alison: Oh, he's thinking "Jesus, she wasn't joking. This paper really is that small."
Dylan: Listen, I was a freelancer, now I'm editor-in-chief. Not complaining.

Lisa: Now, this original Executioner, the one rotting in jail, have you met him?
Dylan: Uh, no, I have not.
Lisa: I think you should try to book him.
Dylan: Yeah.
Lisa: It's ratings dynamite.

Lisa: Well, you wasted no time moving in.
Dylan: Someone's gotta hold down the fort.
Lisa: Dylan... this story is breaking, big. And I wanna talk next steps.
Dylan: So does Megyn Kelly. And "Dateline". And "48 Hours Mystery".
Lisa: Well, lucky for me, I got in on the ground floor. What are you doing tonight?
Dylan: Eatin' a sandwich, right here.
Lisa: You can take an hour out and have dinner with me. Like a civilized person. Tell me the time and the place.
Dylan: Well, there is only one place. How's, um... how's 7:00?
Lisa: Perfect. Looking forward to it.

Tom: How much does Sarah know?
Dylan: I'm sorry?
Tom: How much does Sarah know?
Dylan: About me being here? Well, she gave me your conditions, that's...
Tom: How much does Sarah know about you?
Dylan: I'm not sure I follow. I'm the one here to interview you, not the other way around.
Tom: Sarah might have told you. I don't always read the letters that are sent to me...
[taking some out and sliding them over to him]
Tom: ...but I do keep them, and I got a great memory... for names.
[on the top envelope, Dylan sees his own name in the corner designated for return addresses]
Tom: So again, Dylan, how much does Sarah know?

Dylan: I don't get it. Why snakes?
Chief: [simultaneously with Sarah] It was sloth. You're thrown into a...
Sarah: Because of biblical interest.
Chief: Goes back to the seven deadly sins. Punishment for sloth is being thrown into a pit of vipers. Did I get that right, Sarah?
Sarah: So, Trent's not the Executioner. He's a victim.
Chief: Looks that way.
Sgt. Cam Henry: Sloth? It does make sense. Trent McBride is the last person I'd call lazy. I mean, he was June's partner for years. He was a paramedic. He... he competed in a bunch of Ironmans.
Chief: That's why we've got to look into this guy's past, see if he's got any skeletons hanging in his closet.
Sarah: So you're back to square one. How many times is that now?
Chief: Look, I get it, Sarah. You don't like me. You think I suck at my job. Well, lucky for me... I don't give a shit. You have yourself a nice day now.

Alison: Where the hell have you been? You leave work. You don't tell me where you're going. You don't answer your phone.
Dylan: I was out hunting a story. But if you prefer me sitting at my desk from 9 to 5, we can have that kind of thing...
Alison: No, I'm asking for some common courtesy.
Dylan: Yeah, and I'm asking for the same, 'cause I don't really appreciate being made to feel like a teenager cutting class.

Lisa: A picture-postcard small town, a series of bloody murders, one more gruesome than the next. Is this the latest Hollywood blockbuster? No, this is reality for the citizens of Waterbury. I'm coming to you live on location with two journalists who are living this nightmare. Dylan Bennett, the fearless editor in chief of the Waterbury Bulletin, and its publisher, Alison Sutherland. Thank you for welcoming me to your town.
Dylan: Thank you for having us.
Lisa: Now, this latest victim, June Henry, she was the wife of a police deputy.
Dylan: Yes, and she was having an affair with our fourth victim, Trent McBride.
Lisa: Is the husband a suspect?
Dylan: No.
Lisa: Why not?
Dylan: You see, these were not crimes of passion. All the victims have a... a deep, dark secret in their past.
Lisa: And these secrets are based on one of the deadly sins, am I right?
Dylan: Yeah, that is the working theory.
Lisa: Well, then, would you say that this killer is a vigilante, cleaning up your town?
Alison: [not sure how to respond] Uh...
Dylan: Is he... well, I'm a big believer in justice. I'm a journalist. Our job is to expose the truth.

Dylan: Okay, listen, I just did my job last night, okay? And I'm trying to do my job right now. You're the one who crashed and burned, not me, so as the editor in chief, if you found something, I need to know.
Alison: Go ahead.
Dylan: [looking at her laptop] Tell me you were not trying to hack into June's text messages.
Alison: Uh, I am trying to, and I am failing.
Dylan: Good. Good, I'm glad you're failing, because it's unethical and it's very illegal.
Alison: If you have a problem with it, then you go cover the Jazz Cruise. I hear that the boat departs from the Main Street Marina at noon.
Dylan: They could shut us down. They could throw us in jail.
Alison: Yeah, and we could also find all those sweet nothings that June and Trent blasted to each other across the ether.
Dylan: No, nope, nope.
Alison: Imagine what Lisa Ann would give for a little sex to go with all those blood and guts.
Dylan: Walman would crucify us.
Alison: I have never named a source, I'm not about to start now.
Dylan: [reluctantly conceding] Have you tried all the obvious passwords?

Alison: We need to get our hands on that movie.
Dylan: Yeah, well, I asked Vaughn for the map to Verna's murder. They're all in evidence.
Sarah: Well, I'd ask for them back, but I'm pretty sure he hates my guts.

Dylan: Hey, Brenda, it's just the one bag?
Brenda: Well, I'm not moving in.
Dylan: You know what? A hundred bucks says they'd find this freak before the week's out.
Brenda: Ah, well, from your lips to God's ears. But still, I wanna stay here with you until they do.
Sarah: Of course!
Dylan: Of course.
Sarah: Yeah, um... I just wish the house wasn't such a mess, and...
Brenda: Don't worry about any of that, or me. I've spent half my life here in this... lovely town. I can certainly take care of myself.

Dylan: You remember my old apartment? That dump? There was three murders within a one-mile radius, all within the space of a year. These things happen.
Sarah: Yeah, but I bet they weren't chopped up into little pieces.
Dylan: So, are you saying, uh... you want to go back?
Sarah: No, I'm saying... yeah, I don't know what I'm saying.
Dylan: I worry about you.
Sarah: Well, don't. I'm actually tougher than I look.
Sarah: Mm-hmm?
Sarah: Hmm.
Dylan: [they start kissing when the doorbell rings] Oh... if that's another gift basket, or somebody asking for a cup of sugar, I'm gonna hurt somebody.

Dylan: Hey, so I was thinking. Tom Winston has a huge ego, right? If he's hiding something, if he's holding something back, maybe you should play him. Make him think that it was his idea to come out and give the whole story. You know what I mean? It might... it might work. Give it a shot, at least.
Sarah: I don't know. Why don't we ask you? You're the expert. I found your website.
Dylan: Okay, Sarah, listen. Um...
Sarah: What? What are you gonna say?
Dylan: Okay, look. I've-I've... I've been following the Executioner's story for a while.
Sarah: You certainly did.
Dylan: But when I fell in love with you, it was not because of your story. I swear to God, I fell in love with you because I fell in love with *you*. Sarah, look...
Sarah: When we met... you were looking for me. You were looking for a lead!
Dylan: Yeah, but that all went away once I got to know you. You have to understand that.
Sarah: No, no. Oh, my God. If you said this, everything you said was a lie!

Sarah: I used to lie awake at night imagining my parents were still alive.
Dylan: Hm.
Sarah: I'd come up with all these crazy scenarios. They... they were spies, dropped behind the Iron Curtain. They were missionaries, out saving the world. They left with me with my grandmother to keep me safe. What I never imagined was that my dad was Larry Flint and my mom was Linda Lovelace.
Dylan: I mean, listen, it's-it's not a good thing, what you found out. It's shocking and terrible, but...
Sarah: What?
Dylan: You wanted to know the truth. Now you do. Your parents weren't fallen angels, but they weren't these innocent martyrs, either, you know? They were... weird, screwed-up, imperfect people like the rest of us.

Sarah: "For sale" sign went up next door.
Dylan: Jeez. That was fast.
Sarah: I'm gonna ask Robin how much they want for it.
Dylan: Why?
Sarah: I'm just curious, I guess.
Dylan: How about we take it easy today, huh?
Sarah: Yeah, I got too much to do and not enough time to do it in.

Sarah: You know, Tom Winston has made more breaks in this case than Chief Vaughn.
Dylan: Well, maybe it's time for Tom... to speak to the residents of Waterbury directly.
Sarah: Okay, right, Dylan, um, I need you to be my husband right now, not a journalist.
Dylan: I'm speaking to you as your husband.
Sarah: Are you kidding? That would be like giving Charles Manson his own talk show.
Dylan: Then you take it. Seriously, let me interview you. I mean, somebody's gonna do the story on you eventually, right?
Sarah: So why not you?
Dylan: Your husband. Someone you trust.
Sarah: And I could talk about anything?
Dylan: Anything. No holds barred.

Dylan: So let's, uh, bury the water symposium stories as far back in the paper as possible.
Alison: It's an important issue up here.
Dylan: [pantomiming weighing the two stories] Psycho killer is stalking our town's citizens... shoreline water erosion. Yeah, little bit of a toss-up, right?

Dylan: Hey, there. A little jolt of caffeine to start your morning. Voila.
Alison: My morning started three hours ago.
Dylan: Okay, I may have take a couple acting classes in university. I'm pretty comfortable in front of the camera.
Alison: Are you saying I'm not?
Dylan: [sarcastic] Yeah, that's what I'm saying.
Alison: Finally, some truth out of you. I wasn't, um, uncomfortable, I... I-I bombed.
Dylan: Yeah, yeah, big, huge bomb. Listen, I can help you out, okay? I can give you some pointers if you want, we can...
Alison: Why... why would you do that?
Dylan: Because we're partners. We work together.
Alison: Oh, right. Okay, so you get to be charming and telegenic and famous, while I do all the grunt work and dig up the actual news. That's... that's-that's fair.
Dylan: Why? Did you find something?
Alison: Thanks for the latte.

Dylan: So, Alison wanted me to go down to Collinwood to cover Verna's funeral. So I used the power of delegation and sent one of the junior reporters. Three people showed up. Three. Apparently, Verna McBride was as popular in death as she was in life.
Sarah: Dylan!
Dylan: Just stating the facts, babe. Half of the town wanted Verna McBride dead. It's a long list of suspects.

Sarah: What are you doing here?
Dylan: What am I... I've been calling for days. You're not answering your phone.
Sarah: 'Cause I don't wanna talk to you.
Dylan: It's your birthday, babe.
Sarah: Yeah. Best present you can give me is just to leave me alone.

Dylan: And you're positive it's Marjorie Travers? One hundred... yeah, okay. Thank you.
[hanging up]
Dylan: They're saying it's an overdose.
Sarah: How convenient.
Dylan: And you think it's a...
Sarah: Of course!
Dylan: Would you go on the record?
Sarah: On the record?
Dylan: You're the last person to see Marjorie alive. The police are saying one thing, you're saying another.
Sarah: I'm sorry, are you asking if you can interview me?
Dylan: Sarah, listen, there is something going on here, and it's all tied back to Ariel. Now, if one person reads this and-and remembers something the night that Ariel went missing, we could crack this case.
Sarah: Dylan, a woman I saw this afternoon is lying dead in a motel room because Cam and I got too close to something.
Dylan: That's my point.
Dylan: And instead of asking if I'm okay, you ask if you can interview me.
Dylan: Fine, fine. No interview. How insensitive of me to try to help you find a missing girl. Right?
Sarah: Oh, great. Now I'm the bad guy, yeah. Classic.

Lisa: Holy... shit.
Dylan: Okay, let's... let's pump the brakes here. Can we confirm that that's him? That could be anybody in the mask.
Alison: You heard what he told me. Stuff only the Executioner would know.
Lisa: Alison, you must have been terrified.
Alison: [laughing] Well, when he stood up at the end, I'll admit my bladder and brain had a momentary disconnect.
Lisa: Well, our techies should be able to clear up picture and sound, but I kind of like the vérité quality. And I want to build an entire special around it.
Alison: Really? Oh, okay. Wow.
Lisa: I am putting you on a plane to New York tomorrow. We'll do it in our studio. We'll bring in some big names. Are there any journalists or crime writers that you are particularly fond of?
Alison: Uh... oh, God. Okay. Uh, let me think. Um... or, Dylan, anybody you can...?
Lisa: Oh, we'll pipe Dylan in from here if we need him. Someone's gotta hold down the fort, right?
Dylan: Hey, guys, what about going to the police, you know? I mean, this is a pretty major break in the case.
Lisa: It is, and they can watch it on TV tomorrow night like the rest of the world.

Dylan: [Sarah reads a newspaper article he wrote] Tennyson wrote, "'Tis better to have loved and lost than to never have loved at all." But guess what? Lord Tennyson had no idea what he was talking about. Waterbury has faced many losses this year, but for me, my own personal loss has been my wife. I didn't lose her to the Executioner, however. I lost her to myself. The greatest sin, the cardinal sin...
P.C. Sharma: [cut to the police station] "... is pride. It's been the downfall of many a man and woman, and now it's my own personal undoing." Wow. God. If Sarah doesn't take him back, I will.
Sgt. Cam Henry: [taking the paper away] Don't you have any actual work to do?

Sarah: So, I spoke to Tom Winston.
Dylan: And what'd he have to say?
Sarah: He said he'd do it.
Dylan: Huh.
Sarah: For a lock of my hair.
Dylan: That's creepy.
Sarah: Yeah.
Dylan: Wow. For what?
Sarah: I don't... I don't know, and I don't wanna know.

Dylan: I met with Tom Winston.
Alison: Sarah didn't tell me.
Dylan: You called Sarah? Are you kidding me?
Alison: No, she came in, with an actual lead on an actual story. One that I wanted you to write, but instead I did my own shit job of it because you wouldn't answer your phone.
Dylan: Okay, I'm here. What is it?
Alison: When I hired you, I took a chance. Yeah, you'd written for some major publications, but you have never run a paper, okay? I hope you don't forget that.
Dylan: Send me over what you got; I'll get right on it.

Dylan: Poor Alison, huh? From the frying pan into the fire.
Sarah: Are you enjoying this, Dylan?
Dylan: Half the town is getting sliced and diced. No, I'm not enjoying this.
Sarah: Still. You know, it's worked out kind of well for you. Alison's dead; you're in charge.
Dylan: I'm not in charge, Sarah. I'm just trying to keep this thing afloat here... that kind of sound like an accusation.
Sarah: No. No, an accusation would be me asking you where you were when Alison was murdered, 'cause... 'cause you weren't here.
Dylan: Right. A-A journalist killing an entire town to put himself on the map. It's a juicy story, isn't it? You're unbelievable.

Sarah: Those texts were personal, not news.
Dylan: Sarah...
Sarah: Did you think about Cam? About what it'd be like for him when the whole town reads this crap?
Dylan: Listen, I report the news, good or bad. You know that.
Sarah: [disgusted] I do now.

Dylan: Alison, this guy is not done killing. He has three more to go; pride, lust, greed. And call me crazy, but throwing yourself to the lions, that seems a little prideful.
Alison: Are you concerned or are you just jealous that you didn't think of it first?
Dylan: Jealous?
Lisa: He's a cold-blooded killer.
Alison: He is, and, uh... that'll make for an incredible interview, won't it?

Chief: Ladies and gentlemen, an autopsy was performed on Mr. Faysal yesterday. The cause of death...
Jana: Jana Singer, from the Collinwood Expositor. Why would Heather Peterson kill him? Do you have a motive?
Chief: We have evidence from an eyewitness of a personal vendetta towards Mr. Faysal over a business transaction. We also recovered a large quantity of rat poison at the Peterson residence.
Dylan: What other evidence do you have connecting Heather to Verna's murder?
Chief: That investigation is still ongoing.
Jana: Yeah, 'cause I'm having a hard time figuring out why she would chop up an old woman into a bunch of little pieces.
Chief: I want to assure the citizens of Waterbury and its many visitors that this was not random, and we do not expect any more violence. Thank you very much.
Jana: [to herself] Unbelievable.
Sarah: You know, she's right. What if Heather's...
Dylan: Stop, babe. Babe, you gotta stop. Okay? You're gonna drive yourself crazy.
Sarah: If they're wrong, then the Executioner is still out there.

Alison: How's Sarah?
Dylan: "How's Sarah?". Are you asking out of concern or for today's headline? You want me to investigate the murder, fine. Sarah is not the story. Period.
Alison: This isn't just a murder. We have a copycat, and whether you like it or not, Sarah is at the center of the story.
Dylan: And at the same time, you get to sell a shit-ton of papers. Are you scared?
Alison: I am scared. You should be, too.

Dylan: Hello, this is the cell phone of Dylan Bennett. Please leave a message.
Sarah: Dylan, it's Sarah. I swear, your wife is losing it. I nearly broke a customer's nose today and turned him into a eunuch and he wound up buying six paintings off me, so... yeah. Um... listen, I-I know Cam has got a guy outside, but I would feel so much better if you were here, too. So, you know, come home soon. I miss you.

Brenda: I want to talk to you about Sarah.
Dylan: Well, I don't know what there would be to talk about.
Brenda: Listen, I... I-I don't think she's safe here in Waterbury. I... I think she's in danger.
Dylan: Yeah, well, there's a psycho killer on the loose. Everyone's in danger.

Lisa: "Making love to Cam is like going for a bad massage. A lot of touching, a lot of squeezing, and you end up feeling sore and kind of embarrassed." Ouch. And you're telling me Cam Henry is not a suspect?
Dylan: Cam Henry is a respected member of the Waterbury police department.
Lisa: John Wayne Gacy dressed up as a clown and performed at children's birthday parties. Means nada.
Dylan: Does this look bad for Sgt. Henry? Absolutely. But we have to remember, Lisa-Ann, these murders are motivated by the seven deadly sins, and last time I checked, screwing around on your husband is not one of them.
Lisa: Lust is.

Sarah: [trying to get their TV working] Okay, is this right?
Dylan: No.
Sarah: Well... well, you do it, then. I mean...
Dylan: If that's not going to help... see, and I didn't want to be a mansplaining, chauvinist pig...
Sarah: No, go crazy. Mansplain away.
Dylan: You leave me no choice.
[switching places]
Dylan: Okay, see? Here's your problem, young lady. You put the HDMI cord in the wrong place. It goes here. And when we get a gaming system, we're gonna need to get a second HDMI cord, and you're gonna have to change the input from HDMI1 to HDMI2 every time...
[seeing her looking out the window]
Dylan: ...babe. Who cares about her? She's a crazy old bitch.
Sarah: No, no, she hates me, okay? I can feel it.
Dylan: Mrs. McBride is a big bully and a big perv. She probably hasn't been laid since VCRs were invented. If she doesn't like us, who gives a shit?
Sarah: Well, I do, obviously. It's just, she's yet another person who knew my parents who, you know, thought that she was the spawn of Satan, you know? Which makes the spawn of the spawn of Satan.

Lisa: What are you gonna have?
Dylan: Well, it's a toss-up between the ossobuco potato stack and the Chinese chicken salad with mandarin segments. Welcome to 1996.

Sarah: Dylan?
Dylan: In here.
Sarah: [seeing the romantic set-up] Dylan. What's all this?
Dylan: Well, this is a, uh, fiddlehead salad with a little pickled onion and roasted pecans, followed by a pan-seared lamp chop, pomegranate relish, and potato gratin on the side. And to wrap it all up, we have a roasted pear with mascarpone espresso cream. I took the day off. Well, almost, kinda. I'm live for Lisa-Ann later on, but that was scheduled way before. Please don't be upset.
Sarah: Upset? I mean, why would I be upset? This is... I can't believe you did all this.
Dylan: I've been a bad husband.
Sarah: No.
Dylan: No, I have. And, uh... this is my way o-of trying to get things back on track.
Sarah: Thank you.
Dylan: [raising his wine glass] To a new start.
Sarah: [clinking] To fresh starts.

Chief: This could have been a trap. He could have been luring you here to kill you, Mrs. Bennett. Then we'd be carting two bodies out of here.
Sarah: I'm sorry.
Dylan: Chief, no one is more upset about this than I am, but the killer led Sarah directly to a body. Do we know who it is and-and why now?

Sarah: You know, I hate him. He is ineffectual, incompetent, rude...
Dylan: Yeah, well, he's a cop, love. That's how they are.
Sarah: Cam's not.
Dylan: Well, Cam's not in charge. Vaughn is. So what's the use of butting heads with him, you know?

Lisa: I'm attracted to the story for a bunch of reasons. One, it's great drama. Who doesn't love a series of murders in a small town? Two, it's got an incredible backstory.
Dylan: Mm-hmm.
Lisa: And it's happening in real time. Three, it's not on the radar. Not yet. That's why I wanted to be here first. Trust me, I'm not in Waterbury for the fine dining.

Dylan: Your parents were murdered in the house we're about to move into.
Sarah: My parents are photographs, and they're stories told by strangers. It's just a house. Bricks and mortar.

Brenda: I think she'd be better with me at home.
Dylan: Well, she doesn't agree, and it's her decision.
Brenda: Because she won't leave you. But if you let her...
Dylan: If I let her? Wow, you really don't understand how this works, do you? Sarah's not mine. I can't tell her what she can or cannot do. She's my partner. My equal in everything. And I know you think I stole her from you, but the fact is, she was never yours to steal. So get over it. It's her decision. End of discussion. Good talk, though.
Brenda: Nice bike, princess.

Sgt. Cam Henry: Now, why don't you tell me why we found a box full of evidence in your house?
Dylan: What the hell are you talking about?
Sgt. Cam Henry: [showing him a picture] Do you deny that this is your box? Hmm? Or is it Sarah's?
Dylan: Okay, I need to talk to my lawyer.
Sgt. Cam Henry: No. You need to tell me why you kept a box full of god damn souvenirs from the murder scenes.
[showing him another picture]
Sgt. Cam Henry: Brenda Merritt's fingernails. Tell me, Dylan, did you... did you pull those out with pliers?
Dylan: No, Cam, listen to me. I didn't do anything to anybody, Cam. You have the wrong guy.
Sgt. Cam Henry: What about my wife's hair, huh?
Dylan: Okay, I need to see my lawyer. Now!
Sgt. Cam Henry: Yeah. Maybe I'll do that. Tomorrow. You better get used to that chair, 'cause you're gonna be there all night.

Dylan: Sarah, you are the single most important thing to me in the world.
Sarah: You only came to that conclusion after everything had gone to hell.
Dylan: That's not true.
Sarah: It's too little too late.
[opening the gallery door]
Sarah: Now, please. I'd like you to leave.

Alison: Okay, so, Peter McBride joins the circus. He starts screwing with... or, sorry. Acting with your mother.
Sarah: No, no, there's no need to sugarcoat it.
Alison: Starts small, part in a film. Before he knows it, Peter McBride is with Rachel and Bryan almost every night. What he wasn't getting at home, he was getting from them. But... this is a small town. Secrets have a way of getting out. And Verna discovers what her husband was actually doing all those nights he said he was working late or cooling. It was too much for her. She snapped.
Sarah: It's a pretty interesting theory. Got any proof?
Alison: The McBrides have always been a rather dysfunctional family. Rumor has it Peter married Verna to straighten himself out.
Dylan: Yeah, and wind up with a big, fat hole in his head.