Melvin Udall: How do you write women so well? I think of a man and I take away reason and accountability.
Carol Connelly: How are you?
Simon Bishop: Don't ask. I'm tired of my own complaints. I need to get some new thoughts.
Carol Connelly: Why? What are you thinking about now?
Simon Bishop: How to die, mostly.
Carol Connelly: To think that in our little mix you're the good roommate.
Simon Bishop: Lucky for you... you're here for rock-bottom. You absolute horror of a human being.
Carol Connelly: You're going to die soon with that diet. You know that, right?
Melvin Udall: Oh, we're all going to die soon. I will, you will, and it sure sounds like your son will.
Carol Connelly: If you ever mention my son again, you will not be able to eat here any more, Mr Udall. Do you understand me? Give me some sign you
understand me, you sick fuck!
Melvin Udall: I need you to chaperone, separate everything but cars. You said you liked convertibles! Now, I'm on the hook.
Carol Connelly: I'm sorry, "the stiff one eye"?
Melvin Udall: Two days!
Carol Connelly: I can't, I work.
Melvin Udall: You get off when you want to.
Carol Connelly: My son.
Melvin Udall: Bettes says he's doing fine.
Carol Connelly: ...Melvin, I'd rather not.
Melvin Udall: What has that got to do with it?
Carol Connelly: Funny, I thought it was a strong point.
Melvin Udall: Write a note, isn't she sweet? I
need a hand and where'd she go?
Carol Connelly: Are you saying accepting your help obligates me?
Melvin Udall: Is there any other way to see it?
Carol Connelly: ...No.
Simon Bishop: Is this fun for you? You lucky devil. It just keeps getting better and better, doesn't it? I'm losing my apartment, Melvin. And Frank, he wants me to beg my parents, who haven't called me, for help. And I won't. And... I... I don't want to paint any more. So the life that I was trying for, is over. the life that I had is gone, and I'm feeling so damn sorry for myself
that it's difficult to breathe.
Simon Bishop: Okay... What I do is, I watch. Ever watch somebody who doesn't know you're watching them? An old woman sitting on a bus? Or kids going to school? Somebody just waiting, and you see this flash come over them. And you know immediately that has nothing to do with anything external because that hasn't changed. They're just sort of realer and more alive. You look at
someone long enough, you discover their humanity.
Melvin Udall: You know, they let you in with a housedress, yet they make me find a jacket.
[Carol gets up to leave]
Melvin Udall: Whoa, whoa, where are you going?
Carol Connelly: Pay me a compliment, Melvin. I need one. You have no idea how much that hurt my feelings.
Melvin Udall: [tentatively] I'm gonna grab you.
[beat]
Melvin Udall: I didn't mean for that to be a question. I'm gonna grab you.
[awkwardly kisses Carol]
Melvin Udall: I know I can do better than that.
[kisses Carol again, intently and passionately]
Carol Connelly: Better. Definitely
better.
Melvin Udall: See?