Great dialogue: No Country for Old Men (2007)

Chigurh stands at the counter across from the elderly proprietor. He
holds up a bag of cashews.

Chigurh
How much?

Proprietor
Sixty-nine cent.

Chigurh
This. And the gas.

Proprietor
Y'all getting any rain up your way?

Chigurh
What way would that be?

Proprietor
I seen you was from Dallas.

Chigurh tears open the bag of cashews and pours a few into his hand.

Chigurh
What business is it of yours where I'm
from, friendo?

Proprietor
I didn't mean nothin by it.

Chigurh
Didn't mean nothin.

Proprietor
I was just passin the time.

Chigurh
I guess that passes for manners in your
cracker view of things.

A beat.

Proprietor
Well sir I apologize. If you don't wanna
accept that I don't know what else I can
do for you.

Chigurh stands chewing cashews, staring while the old man works the
register and puts change on the counter.

...Will there be somethin else?

Chigurh
I don't know. Will there?

Beat.

The proprietor turns and coughs. Chigurh stares.

Proprietor
Is somethin wrong?

Chigurh
With what?

Proprietor
With anything?

Chigurh
Is that what you're asking me? Is there
something wrong with anything?

The proprietor looks at him, uncomfortable, looks away.

Proprietor
Will there be anything else?

Chigurh
You already asked me that.

Proprietor
Well... I need to see about closin.

Chigurh
See about closing.

Proprietor
Yessir.

Chigurh
What time do you close?

Proprietor
Now. We close now.

Chigurh
Now is not a time. What time do you
close.

Proprietor
Generally around dark. At dark.

Chigurh stares, slowly chewing.

Chigurh
You don't know what you're talking
about, do you?

Proprietor
Sir?

Chigurh
I said you don't know what you're
talking about.

Chigurh chews.

...What time do you go to bed.

Proprietor
Sir?

Chigurh
You're a bit deaf, aren't you? I said
what time do you go to bed.

Proprietor
Well...

A pause.

...I'd say around nine-thirty. Somewhere
around nine-thirty.

Chigurh
I could come back then.

Proprietor
Why would you be comin back? We'll be
closed.

Chigurh
You said that.

He continues to stare, chewing.

Proprietor
Well... I need to close now -

Chigurh
You live in that house behind the store?

Proprietor
Yes I do.

Chigurh
You've lived here all your life?

A beat.

Proprietor
This was my wife's father's place. Originally.

Chigurh
You married into it.

Proprietor
We lived on Temple Texas for many years.
Raised a family there. In Temple. We
come out here about four years ago.

Chigurh
You married into it.

Proprietor
...If that's the way you wanna put it.

Chigurh
I don't have some way to put it. That's
the way it is.

He finishes the cashews and wads the packet and sets in on the counter
where it begins to slowly unkink. The proprietor's eyes have tracked
the packet. Chigurh's eyes stay on the proprietor.

...What's the lost you've ever lost on
a coin toss?

Proprietor
Sir?

Chigurh
The most. You ever lost. On a coin toss.

Proprietor
I don't know. I couldn't say.

Chigurh is digging in his pocket. A quarter: he tosses it. He slaps it
onto his forearm but keeps it covered.

Chigurh
Call it.

Proprietor
Call it?

Chigurh
Yes.

Proprietor
For what?

Chigurh
Just call it.

Proprietor
Well - we need to know what it is we're
callin for here.

Chigurh
You need to call it. I can't call it
for you. It wouldn't be fair. It wouldn't
even be right.

Proprietor
I didn't put nothin up.

Chigurh
Yes you did. You been putting it up your
whole life. You just didn't know it. You
know what date is on this coin?

Proprietor
No.

Chigurh
Nineteen fifty-eight. It's been traveling
twenty-eight years to get here. And
now it's here. And it's either heads or
tails, and you have to say. Call it.

A long beat.

Proprietor
Look... I got to know what I stand to
win.

Chigurh
Everything.

Proprietor
How's that?

Chigurh
You stand to win everything. Call it.

Proprietor
All right. Heads then.

Chigurh takes his hand away from the coin and turns his arm to look at
it.

Chigurh
Well done.

He hands it across.

...Don't put it in your pocket.

Proprietor
Sir?

Chigurh
Don't put it in your pocket. It's your
lucky quarter.

Proprietor
...Where you want me to put it?

Chigurh
Anywhere not in your pocket. Or it'll
get mixed in with the others and become
just a coin. Which it is.

He turns and goes.

The proprietor watches him.

Great dialogue: The Hospital (1971)

The Hospital (1971), written by Paddy Chayefsky and directed by Arthur Miller.

BRUBAKER
We've got a little thing over here,
Doctor. The girl over there is the
daughter of the patient in Eight-O-
Six. He is at the moment comatose
and requires intravenous feeding and
meds.
The thing is, the daughter wants to
take the father out of the hospital
and back to Mexico where they live.
The patient's name is Drummond. He's
apparently a Methodist missionary,
and he and his daughter run some
kind of religious mission among the
Apache Indians. The daughter claims
to be a licensed nurse, so she can
give the necessary I.V. treatment. I
certainly don't think he should be
let out of this hospital. The
Attending -- he's the guy in gray
over there -- concurs.

BOCK
All right, wait a minute. Let me
have all that again.

BRUBAKER
As a matter of fact, Doctor, this is
Dr. Biegelman's case.

BOCK
Never mind the professional ethics,
what happened?

BRUBAKER
I don't know why I'm covering for
that sonofabitch in Farkis Pavilion
anyway.
The patient, a man of fifty-six, was
admitted to the hospital ten days
ago for a check-up, in good health,
no visible distress. We did the
mandatory work-up on him. Blood
cultures, stool, L.E. preps, chest,
E.K.G., all negative. But there was
apparently some evidence of protein
in his urine. I don't know how that
sonofabitch in Farkis Pavilion ever
found out about it. Maybe he had
some kind of deal with one of the
girls in the lab. Anyway, he turned
up the next day, conned the patient
into signing an authorization for a
biopsy...

BOCK
What sonofabitch in Farkis Pavilion?

BRUBAKER
Some post-grad fellow named Ives.
Elroy Ives. I never met him. He's on
one of the immunology research
programs.

BOCK
Are you trying to tell me some post-
grad fellow came up here and did a
biopsy on the patient?

BRUBAKER
Yes, sir. He conned Biegelman with
that old story about...

BOCK
...protein in the urine?

BRUBAKER
Yes, sir.

BOCK
And he biopsied the man?

BRUBAKER
And he nicked a vessel, and at two
o'clock in the morning, they woke up
Biegelman because the nurse found
the patient in shock. Biegelman called
the kidney people for a consult right
away. What was there to see? The man
was sour and bleeding. We spoke to
this fellow Sutcliffe, and he referred
us to a surgeon named Welbeck...

BOCK
Welbeck?! That barber!
BRUBAKER
You ain't heard nothing yet. So we
finally got Welbeck around four in
the morning. He said, go ahead. So
they laid on the surgery for eight.
Welbeck turns up, half-stoned, orders
an I.V.P., clears him for allergies...

BOCK
...without actually testing.

BRUBAKER
Right.

BOCK
And the patient went into shock...

BRUBAKER
...and tubular necrosis. They lopped
out the bleeding kidney, ran him
back to the room, and we sat around
waiting for three days to see how
obstructed he was. Fever began spiking
like hell, euremia, vomiting, so we
arranged hemodialysis. He's putting
out good water now. But some nurse
goofed on his last treatment. A leak
in the tube, something. His blood
pressure plunged. They ran him right
up to I.C.U., checked out vital signs,
all normal except he's comatose.
That was two days ago.
BOCK
In short, a man came into this
hospital in perfectly good health,
and, in the space of one week, we
chopped out one kidney, damaged the
other, reduced him to coma and damn
near killed him.

BRUBAKER
Yes, sir.

A great sad serenity has settled over Bock.

BOCK
You know, Brubaker, last night I sat
in my hotel room, reviewing the
shambles of my life and contemplating
suicide. Then I said "No, Bock, don't
do it. You're a doctor, a healer.
You're the Chief of Medicine at one
of the great hospitals of the world.
You're a necessary person. Your life
is meaningful." Then I came in this
morning and find out one of my doctors
was killed by a couple of nurses who
mistook him for a patient because he
screwed a technician from the
nephrology lab...
BRUBAKER
Hematology, sir.

BOCK
And now you come to me with this
gothic horror story in which the
entire machinery of modern medicine
has apparently conspired to destroy
one lousy patient. How am I to sustain
my feeling of meaningfulness in the
face of this? You know, Brubaker, if
there was an oven around, I'd stick
my head in it. What was the name of
that sonofabitch from Farkis Pavilion
again?

BRUBAKER
Ives, sir. Elroy Ives. Somebody ought
to ream his ass.

BOCK
I'm going to ream his ass. And I'm
going to break that barber Welbeck's
back. I'm going to defrock those two
cannibals. They won't practice in my
hospital, I'll tell you that!

BRUBAKER What'll I tell the girl, sir? She
says we have no legal right to stop
her from taking her father out. She's
willing to sign an A.O.R. form.

BOCK
Let him go. Before we kill him.

Belos diálogos: Marty (1955)

Marty (1955), escrito por Paddy Chayefsky e realizado por Delbert Mann.

MARTY
Oh, I cry all the time, any little thing. My brothers, my brother-in- laws, they're always telling me what a goodhearted guy I am. Well, you don't get goodhearted by accident. You get kicked around long enough, you get to be a real professor of pain. I know exactly how you feel. And I also want you to know I'm having a very good time with you now and really enjoying myself. So you see, you're not such a dog as you think you are.

CLARA
I'm having a very good time, too.

MARTY
So there you are. So I guess I'm not such a dog as I think I am.

CLARA
You're a very nice guy, and I don't know why some girl hasn't grabbed you off long ago.

MARTY
I don't know either. I think I'm a very nice guy. I also think I'm a pretty smart guy in my own way.
Now I figure, two people get married, and they gonna live together forty, fifty years. So it's just gotta be more than whether they're good looking or not. You tell me you think you're not very good-looking. My father was a really ugly man, but my mother adored him. She told me that she used to get so miserable sometimes, like everybody, you know? And she says my father always tried to understand. I used to see them sometimes when I was a kid, sitting in the living room, talking and talking, and I used to adore my old man, because he was so kind. That's one of the most beautiful things I have in my life, the way my father and mother were. And my father was a real ugly man. So it doesn't matter if you look like a gorilla. So you see, dogs like us, we ain't such dogs as we think we are.

CLARA
I'm twenty-nine years old. How old are you?

MARTY
I'm thirty-four.