John Milner: So, your Judy's little... Shit! How old are you? Carol: I'm old enough. How old are you? John Milner: I'm too old for you. Carol: You can't be that old.
I went out to visit Dorsey Burnette, after I graduated high school.
Fiction that adds up, that suggests a "logical consistency," or an explanation of some kind, is surely second-rate fiction; for the truth of life is its mystery.
Melvin Udall: I've got Jews at my table. Carol Connelly: It's not your table, behave! This once, you can sit at someone else's station. [all the other waitresses gasp] Carol Connelly: Or you can wait your turn.
John Milner: Shit! Hey, get down! Carol: Hey, is this what they call "copping a feel"? John Milner: What? No, get up, N-O. Sheezus. Carol: What's your name? John Milner: My name? Mud, if anybody sees you.
Sometimes a miracle is a change in material conditions, such as physical healing. At other times, it is a psychological or emotional change.
Rebecca is an example of how not to manage men. The rules of the game never change, it requires subtlety.
You don't seem to understand," I whispered. "It's Christmas relationships that are worrying Carol and me so! It worries us dreadfully! Oh, of course we understand all about the Little Baby Christ! And the camels! And the wise men! And the frankincens...
Carol Connelly: [after Carol arrives at Melvin's apartment in the middle of the night] I'm not going to sleep with you! I will never sleep with you, never, ever! Not ever! Melvin Udall: Well, I'm sorry, but, um... we don't open for the "no sex oaths"...
Tim: [Klingon phrase] qIrq HoH. Carol: It means I like to mate after battle. Tim: That's not what I said. Carol: Yeah... Tim: No, no. That wasn't the one I said. This one means Kill Kirk... And also, hallelujah... Depending on the context.
Carol: Oh, rats. I thought some of my friends might be here. John Milner: Probably a couple of weeks past their bedtime. Carol: Oh, wait, there's Dee Dee. I hope she sees me. John Milner: Oh, shit. Dee Dee!
Be natural my children. For the writer that is natural has fulfilled all the rules of art." (Last words, according to Dickens's obituary in .)
Carol Connelly: Is it a secret what you're doing here? Melvin Udall: I had to see you. Carol Connelly: Because? Melvin Udall: It relaxes me. I'd feel better sitting ouside your apartment on the curb than any other place I can think of or imagine.
Carol: [after being hit with a water balloon] Very funny. What a chop! Ha-ha! Quit laughing! Let's catch 'em at the light. Jump out and flatten their tires. John Milner: Wait a minute. Carol: Just do as I say! John Milner: Alright, boss.
Every mode of travel has its signature mental aberration.
Major political parties have a role, but they are incapable of initiating fundamental change because they are fundamentally tied to the status quo. They are the status quo.
If I was in a situation where it wasn't working and I had a choice with another man, I'm gonna assess it like a business deal: who is the better person for me?
The irony here is this administration is spending more money on climate change research and development than any administration in all the rest of the industrialized world combined.
In our natural state, we are glorious beings. In the world of illusion, we are lost and imprisoned, slaves to our appetites and our will to false power.
[last lines] Carol Lipton: You were jealous of Ted. Larry Lipton: Ted, you've gotta be kidding, take away his elevator shoes and his fake suntan and his capped teeth and what do you have? Carol Lipton: You! Larry Lipton: Right, I like that!
[Prohibition is repealed] Noodles: Hey, Maxie. Max! How much money we got put away? Max: Why? Noodles: Because we're unemployed. Max: About a million bucks. Carol: Oh, yeah? Where'd you put it? Max: In my underwear. Carol: I'd have found it there...
