Television

Maj. Gale ‘Buck’ Cleven: I’ll see you in a few weeks.
Maj. John ‘Bucky’ Egan: If I don’t die first.

Pilot: That was a hell of an observation mission, Major.
Maj. John ‘Bucky’ Egan: Are they all like that?
Pilot: You wondering what to tell your guys? Don’t say anything. They’ll figure it out. We all do.

Lt. Harry Crosby: Most of us had never traveled far from home, let alone flown in an airplane. We came from every corner of the country, with a common purpose, to bring the war to Hitler’s doorstep.

Lt. Harry Crosby: I got to be the worst navigator in the entire Army Air Force.
Lt. Joseph ‘Bubbles’ Payne: Oh, Crosby, there’s got to be somebody worse. At least one.

Maj. John ‘Bucky’ Egan: I just don’t think I was made to sit behind a desk. I need to be up there helping my guys.

Lt. Harry Crosby: There was always a special breakfast on mission days, eggs, French toast, flapjacks, double rations of bacon, fresh grapefruit juice, and a couple of cups of GI coffee. The men would come to call it the last supper.

Lt. Curtis Biddick: I’m going to fly like an angel today, and not die like one.

Maj. Gale ‘Buck’ Cleven: Let’s rack them up and knock them down.

Maj. Gale ‘Buck’ Cleven: You’ve been up. Two missions. You didn’t tell me it was like that.
Maj. John ‘Bucky’ Egan: I didn’t know what to say. You’ve seen it now.

Maj. Gale ‘Buck’ Cleven: I don’t know what I saw. Thirty guys just…
Maj. John ‘Bucky’ Egan: I should have been up there with you.
Maj. Gale ‘Buck’ Cleven: We got a long road ahead of us.
Maj. John ‘Bucky’ Egan: Yeah.

RAF Officer: It’s a question of philosophies. We bomb at night because it doesn’t matter what we hit, so long as it’s German. But bombing during the day is suicide.

Lt. Curtis Biddick: I mean, maybe if you bombed during the day, you’d hit your targets.

Maj. John ‘Bucky’ Egan: And why the hell do you Brits add an S on the end of math?
Bryan: Because there’s more than one of them.
Maj. John ‘Bucky’ Egan: I can see more than one of you too. I’m pretty sure I could knock all of you out.

Maj. John ‘Bucky’ Egan: Oh, we’re getting through this.
Maj. Gale ‘Buck’ Cleven: Says the gambler.
Maj. John ‘Bucky’ Egan: Well, if I’m going to bet on anything, I’m going to bet on us, Buck.

Maj. Gale ‘Buck’ Cleven: That RAF p**ck was right. These daylight missions, they’re suicide.
Maj. John ‘Bucky’ Egan: Then why didn’t you agree with him?
Maj. Gale ‘Buck’ Cleven: Didn’t like his delivery.

Maj. John ‘Bucky’ Egan: Well, if you aren’t a betting man, what’s the move?
Maj. Gale ‘Buck’ Cleven: We lead our boys through it.
Maj. John ‘Bucky’ Egan: We do.

Col. ‘Chick’ Harding: We’re sending them straight into hell. Alone.

Cpt. Everett Blakely: Pilot to crew, prepare for landing.
Lt. Charles Cruikshank: To Valhalla, boys.
Cpt. Everett Blakely: Valhalla here we come, fellas.

Lt. James Douglass: Well, pretty sure this ain’t Valhalla.

Maj. Gale ‘Buck’ Cleven: How many of us made it?
Maj. John ‘Bucky’ Egan: Eleven out of twenty-one.

Maj. John ‘Bucky’ Egan: We’re going to get through this. Come on. Don’t you stop believing that.
Maj. Gale ‘Buck’ Cleven: Sure, Bucky.

British Officer: This chap turned to me and he said, “You know, sir, there are three problems with these bloody Americans.” Excuse my language. He said, “They’re oversexed, overpaid, and over here.”
Sandra Westgate: Ah, Captain Crosby. What is it the Yanks say the trouble with we Britons is? That’s okay. I remember now. We are undersexed, underpaid, and under Eisenhower.

Cpt. Harry Crosby: You’re a terrible liar.
Sandra Westgate: Well, give me time. I’ll get better. Promise.
Cpt. Harry Crosby: That’s not a good thing.

Dr. Huston: This war, human beings weren’t meant to behave this way. You disagree?
Lt. Robert ‘Rosie’ Rosenthal: No. But you see people being persecuted, subjugated, you have to do something, right? They can’t fight for themselves, can they? So, what do we do?
Dr. Huston: No. You’re right. We had to do something, and here we are.

Lt. Robert ‘Rosie’ Rosenthal: You don’t go foxhunting. And you don’t go talking about it. You don’t go crying about it. You get back in the seat, and you finish the damn job.

Sandra Westgate: [to Crosby] Your friend was on that plane for one reason and one reason only. Because Adolf Hitler and his gang of thugs decided they should rule the world. That’s it. That’s the only reason anybody dies in this war.

Lt. Ulrich Haussmann: [to Bucky] It seems we’re shooting down all the good pilots.

Lt. Ulrich Haussmann: [to Bucky] I regret to inform you that you are, as you say, in a bit of a pickle.

Lt. Ulrich Haussmann: The Gestapo would say that makes you a spy.
Maj. John ‘Bucky’ Egan: They would be mistaken.
Lt. Ulrich Haussmann: One thing I can tell you, Major, the Gestapo is never mistaken.

Lt. Ronald C. Bailey: [referring to Rosenthal] I got to say, hearing his voice over the radio, that was the first time that I didn’t feel scared s**tless. Even though he’d clearly lost his f***ing marbles. I knew that I wasn’t alone.
Lt. Clifford Milburn: None of us were.

Cpt. Harry Crosby: We told each other all kinds of stories. Some of them were true. Most were not. It didn’t matter. Tall tales, music, laughter, good Irish whiskey. We all needed something to help us climb back into that plane and do it all again.

Maj. Gale ‘Buck’ Cleven: [as Bucky is entering the POW camp] What took you so long?

Maj. Gale ‘Buck’ Cleven: My plan is to get home to Marge in one piece.
Maj. John ‘Bucky’ Egan: Well, you’d die here in one piece, from sickness, walking too close to that goddamn fence.

Maj. John ‘Bucky’ Egan: I mean, we can wait here, doing nothing. Is that what you want to do?
Maj. Gale ‘Buck’ Cleven: No. I can’t stand this place any more than you.

Cpt. Harry Crosby: It had become clear that it was no longer enough just to drop bombs on our target. We had to completely destroy the German Luftwaffe. My friend Rosie understood this very well. But he had completed his twentyfifth mission. He had done his duty. And now he could go home.

Maj. John ‘Bucky’ Egan: Maybe, but I can’t help thinking you were right. Better to play it safe. What the hell am I rushing back home for? Other guys get letters. You get letters. To get a letter, you need someone to get it from. Guess I never set that part up right.

Maj. Gale ‘Buck’ Cleven: You’ll have plenty of time for that when you get out. You’ll set it up right next time.
Maj. John ‘Bucky’ Egan: They’re only going to know this me. Not the old me. Me before I got here. That’s if we even get out.
Maj. Gale ‘Buck’ Cleven: We’ll get out. And this you will be the one worth knowing.

Maj. Gale ‘Buck’ Cleven: [after they’ve been told prisoners trying to escape were killed] So, what do you think the odds are now?
Maj. John ‘Bucky’ Egan: Of us making it home alive? Long. Very, very long.

Cpt. Robert ‘Rosie’ Rosenthal: I can’t go home. Not yet. Not until the job is done. One way or another.

Roderick Usher: This is indeed Roderick Usher. We’re in my childhood home. Yeah, this is where I grew up. Kept it all these years. The whole neighborhood actually. So I can watch the paint peel. The weeds grow. And smell the rot if I needed a pick-me-up.

Roderick Usher: [referring to his confessing] The whole thing. You brought what, seventy-three charges? All of them, everything, all yours. Right now. And I’ll throw in a a bonus. I’ll tell you how my children died.
Auguste Dupin: I know how they died, Roderick. Everybody knows.
Roderick Usher: Believe me, Mr. Dupin, when I tell you, you don’t know a thing.

Eliza: [flashback, 1953] Remember what Mother Teresa said, “Pain and suffering are like the kiss of Jesus.” It just means you’ve come so close to him that he can kiss you.
Roderick Usher: If pain and suffering were the kisses of Jesus, then he kissed the living f*** out of my mother in the years that followed.

Younger Madeline: Don’t say what you want, say what makes him say what you want. That way it’s his idea.

Roderick Usher: Thank Heaven! The crisis, the danger, was past, and the lingering illness was over at last. And the fever called “living” was conquered at last. Come, let the burial rite be read, the funeral song be sung, an anthem for the queenliest dead that ever died so young.

Roderick Usher: The last thing my mother did in this life was kill a powerful man. And we carried that secret with us, and loved her all the more. She was remarkable.

Auguste Dupin: You know, I read somewhere about high-powered negotiation tactics. How some truly brilliant business people will plant these moments into high-stakes conversations. Force a reaction, no matter how trivial. Talk softly to make an adversary lean in. Make them repeat themselves. Throw your eyeline behind them. Make them turn around. Just something to assert a little control. I’m not going to turn around, Roderick.

Roderick Usher: I would never close the gates. If you’re my blood, you’re my blood. It doesn’t matter how you got here, who your mother was. I have six kids. Six kids by five mothers. But they’re all mine. And I treated them so. If you’re an Usher, the gates are open. Period. Matter of principle.

Auguste Dupin: The gates are always open, but that doesn’t mean you answer the phone.
Roderick Usher: No, it does not.

Roderick Usher: You always were an effective orator, Auggie. Even your opening arguments, I was impressed. I watched that tape back a few times. That may have been the last time. You know.
Auguste Dupin: No. The last time you were impressed?
Roderick Usher: The last time we were all together. That day was the last day we were all in the same place. Alive.

Auguste Dupin: [flashback to two weeks prior] The Usher family under CEO Roderick Usher and COO Madeline Usher spent four decades growing Fortunato into one of the most profitable, powerful companies on the planet Earth. They’ve achieved this by doing awful, awful things. Flagrantly violating regulations, statutes, and the most fundamental ethics. And at the cost of people’s lives.

Auguste Dupin: The House of Usher has weathered every storm, sling, and arrow, and stands higher, stronger, and darker today than ever before.

Frederick Usher: Dad doesn’t do family dinners. This is about one thing. The mole.
Lenore: Informant. A mole is one of them who infiltrated us. An informant is one of us giving something to them.
Frederick Usher: Okay, so a mole is like Leonardo DiCaprio in The Departed. An informant is Jack Nicholson in The Departed. He was! Nicholson was talking to the Feds the whole time.
Lenore: No. No. I get it. It’s just, there are other movies, Dad.
Frederick Usher: Not as good as The Departed.

Lenore: Are the charges true? Because if not, we’ve got nothing to worry about. But if someone really broke the law, shouldn’t they be punished?
Morella Usher: Lenore, that is a brave and thoughtful thing to say. Especially if you want to get written out of the will.

Tamerlane Usher: Dad needs to see his kids don’t need half a billion dollars and an endless supply of test monkeys to be successful.

Julius: I’d like to meet your family.
Leo Usher: There’s a whole process for that. Significant others are a thing. You don’t want that yet. The prenup’s like a f***ing phone book.

Camille L’Espanaye: We’re going to find out who’s talking to the Feds. Then I’ll freeze their f***ing head, and I’m going to give it to my father on a platinum plate. See if Cartier will make a platinum plate.

Roderick Usher: [to Juno, referring to his children] They will love you because I love you, and the only thing stronger than love is how scared they are of getting cut out of the will.

Madeline Usher: Mr. Pym has some important paperwork for each of you.
Camille L’Espanaye: Paperwork from the Pym Reaper, always a blast.

Madeline Usher: This is a robust, new non-disclosure agreement, and it is consequential.
Camille L’Espanaye: Forfeiture of inheritance? Waiving of civil suits. You guys, we really should get together more often, it’s just a balm for the soul.

Tamerlane Usher: Consequence only applies if it’s proven you violated the agreements. So it seems to me no one has anything to worry about. Unless they have something to worry about.

Tamerlane Usher: How do you spell “Froderick”?
Madeline Usher: Alright. Get the jokes out now because this isn’t funny. Fortunato is the reason you exist. It’s the reason you can have your little knock-offs, your heart implants, your debutante balls.

Madeline Usher: The company is the family, and we expect you to defend it with your life. And if anyone, anyone comes after us, we will exhaust our arsenal until the threat’s neutralized.
Frederick Usher: By neutralized, do you mean sued into oblivion, taken out of the Board, out of the will, on the streets.
Madeline Usher: Neutralized. Like dead.

Madeline Usher: When I find out who’s been talking to the government, to the goddamn government, against your own blood, there won’t be enough of you left to sue. I’ll have to sue the bloody puddle of gore in the designer shoes. And make no mistake, we’ll find out.

Roderick Usher: [flashback] Yes, I’m putting a bounty on you. You, the s**t bag, you the informant, you know who you are. It’s fifty million. Sleep tight. And to the rest of you, happy hunting.
Roderick Usher: And that was the last time I saw them all together. For some of them, the last time I saw them alive.

Roderick Usher: I know who’s responsible.
Auguste Dupin: You know who’s responsible for which death?
Roderick Usher: All of them.

Roderick Usher: I am responsible. And more to the point, perhaps there is a woman.

Roderick Usher: You know my favorite holiday? New Year’s Eve. You know why? Resolutions. People take that word for granted, they don’t realize just how heavy a word it is. Resolution. Resolve. Means being unwavering, determined, a firm commitment to do something, or not to do something. And most people go their whole, wasted, stupid lives without one minute of true resolution. Not me though. Not me. And not Madeline.

Verna: [flashback, 1979] You know what a resolution is really? It’s a deal you make with the future. The future’s coming fast. It’s nearly here. You already know your resolutions, don’t you?
Young Roderick: Yeah. We’ve got the same one. We’re going to change the world.

Verna: [to Roderick and Madeline] Your life will take a complete change of course. Tonight. You feel it. Both of you. In the air. We’re sitting outside of time and space.

Roderick Usher: [to Auguste] There’s a reason I’m telling you this. My mother, my children, New Year’s Eve. You’ll be reluctant to accept it, or believe it, but I promise you, every single piece is important.

Preacher: “By slow degrees, our sickness and dizziness and horror become merged in a cloud of unnamable feeling. It is merely the idea of what would be our sensations during the sweeping precipitancy of a fall from such a height. And this fall, this rushing annihilation for the very reason that it involves that one most ghastly and loathsome of all the most ghastly and loathsome images of death and suffering, which have ever presented themselves to our imagination, for this very cause do we now, most vividly, desire it.”

Roderick Usher: It’s time. It’s time. It’s time.

Leo Usher: You want a little Molly, a little coke, a little pick me up, or a check me out, yeah, I’m your guy. But I’m not a f***ing cartel, I can’t supply your whole f***ing rave.
Perry Usher: But you know people who move that kind of weight, don’t you?
Leo Usher: “Move that kind of weight”? What? Have you been watching f***ing Narcos or something? Because you should if you haven’t. It’s brilliant.

Camille L’Espanaye: The Ushers aren’t idiots. Except Perry.

Roderick Usher: It’s an old joke. Old joke I told them once. “Remember the golden rule.” It was in a comic book. The Wizard of Id. Number four, I think. Late ’60s, kitschy as hell. And the cover was a stout little king standing on a green tower looking down over his subjects, one finger up, making a proclamation, “Remember the golden rule.” “And what’s that?” His short little peasant subjects shout back from below. And then, this little peasant in the back, he pipes up. And in the last little word bubble it says, “Whoever has the gold makes the…”
[sees Perry’s burnt corpse in front of him]

Roderick Usher: The Wizard of Id. A play on The Wizard of Oz. A comic. About a sprawling cast of characters in a medieval kingdom called Id.
Auguste Dupin: More of a Calvin and Hobbes guy.
Roderick Usher: And I first saw it hanging outside Rufus Griswold’s office.

Roderick Usher: Gris, the original gangsta, you might say. All of this really starts there. In that office with Rufus Griswold. The original c**ks**ker.
[we then see in flasback to the comic with the writing “Remember the golden rule.” “And what’s that?” “Whoever has the gold makes the rules.”]

Rufus Griswold: A world without pain. That’s pretty good.
Young Roderick: It’s not just good. It’s imminent.

Annabel Lee: The kids are healthy, and happy, we’re together. Money isn’t everything. We’re okay. You’re both so f***ing high-tech, impressive. Roderick with your medicine. Madeline with your algorithms.

Young Madeline: Algorithms aren’t high tech. They’ve been around since antiquity. An algorithm is just a finite sequence of all defined instructions to solve a problem, or perform a computation. But, down the line, with computers, we could use them for anything. Financial markets. Investments. Predictive medical care. Hell, an algorithm could write movies and TV shows.
Young Roderick: Not well.
Young Madeline: You’ll see. Down the line, we could mimic human consciousness. That is immortality talk right there.
Annabel Lee: Yeah. But aren’t there just some things only we sad, little, flawed people can do? I mean, can an algorithm write a poem the way Roderick does?

Madeline Usher: You see, what your granddad doesn’t get is that this isn’t about building a chatbot. It’s about legacy.

Roderick Usher: How was your day?
Lenore: Good. Just visiting Nanna Madeline.
Roderick Usher: Oh, that’s right, she’s turning you into a video game, or something.

Camille L’Espanaye: You know what we used to call that place, right? Roderick Usher Experimental. His name used to be right there on the sign, before he got smart and took it down for something generic. When we were kids, he called it RUE Zoo. When we got older, we’d know better. Called it RUE Morgue.

Verna: I know everyone here. It’s my kind of party. It’s yours too, isn’t it?
Perry Usher: Do you like it?
Verna: I do. The music. The lights. The beautiful flesh. So pretty and soft. But the smells of it. All that sweat, the perfumes, the lotions, the musk. Sex, yes. But with a dash of Rome.

Verna: Tell me, and don’t lie. Is it everything you wanted it to be?
Perry Usher: Not yet. Almost.
Verna: Nearly realized is the sweetest. It’s better, I promise, in the moment just before than in the moment after. That is the truth of this world. But you did it. And it’s everything you imagined. And there’s still time.
Perry Usher: To what?
Verna: To stop it. Things like this, all things, in fact, have consequences.

Verna: There are always consequences. Take you, for instance. Someone, a long time ago, made a little decision, and then another, and then a big one, and then one of absolutely no importance. And then by and by, you were born. On that day, you were the consequence of a harmless choice made by someone in a moment where you didn’t even exist. And that choice defined your whole life. You are consequence, Perry. And tonight, you are consequential.

Verna: We could have had fun, you and me.
Perry Usher: Well, the night’s young. We can have all the fun you want.
Verna: I’ve always liked the bad boys. Got a weakness, I suppose. And you bad boys, you always just loved me.

Verna: [to the burnt by acid Perry] You beautiful boy.

Camille L’Espanaye: [referring to Perry] That’s why we have a charity wing, dummy. So you can paste someone’s face on it. We remember that he did it, so he did it. He was very Paul Newman about his charity work when he was alive, but now that he’s gone, we can sing about it. But any attack on us while we’re grieving is an attack on him.

Victorine LaFourcade: And you wonder why people hate us. This is why.
Camille L’Espanaye: Actually, no. If you’re wondering how this family built its multi-billion dollar empire, this is why. Because opportunity doesn’t give a f*** what you’re going through. That’s why they hate us. Not because we grabbed the opportunity, but because they didn’t.

Toby: Do you actually want to send an arrangement? I can’t tell.
Camille L’Espanaye: Toby, dammit, everybody knows that edible arrangements are what you send to people you hate. So, yes.

Camille L’Espanaye: Perry’s dead, the family’s f***ed, you’re the frontline of my PR campaign, and you just took an edible?
Leo Usher: You want some?
Camille L’Espanaye: I mean, yeah. I want some.

Camille L’Espanaye: I love you. Leo loves you too. He says you’re getting engaged.
Julius: Did he mean it, or is it just the edibles, and the pot, and the speed, and the wine, and the coke, and the pills talking?

Camille L’Espanaye: You don’t make video games. You give money to people who make video games. But you don’t make s**t. Like Froderick is this Roderick Usher cover band, and he’s playing the hits, but it’s sort of off-key. And Tammy is basically just Goop with like a big golden bug sticker on it. And it’s not even her face on the product, it’s BILLT, the f***ing fitness clown. And then Vic’s heart mesh isn’t even her heart mesh, it’s the surgeon’s heart mesh, that’s why she’s f***ing the surgeon. And you’re like this amazing, I don’t know, like, Xbox Gatsby. And I just spin. Dad decided that I belong in a room of smoke and mirrors, and I’m like a ceiling fan, and I spin, and I spin, and I spin, and I don’t go anywhere. Ushers don’t make stuff. None of us.

Roderick Usher: Death was something new for my children. They really hadn’t faced it. But like with all other things, Ushers adapt quickly. One thing I tried to teach them, the art of the pivot. When life hands you lemons…
Auguste Dupin: Make lemonade?
Roderick Usher: No. First you roll out a multi-media campaign to convince people lemons are incredibly scarce, which only works if you stockpile lemons, control the supply. Then a media blitz.

Roderick Usher: Sit back, rake in the millions, and then, when you’re done, and you’ve sold your lem-pire for a few billion dollars, then, and only then, you make some f***ing lemonade.

Young Roderick: [flashback] The whole thing was all my idea.
Young Madeline: No. No. An idea is nothing. An idea is a fart that your brain makes. But if you patent an idea, well, then it’s an asset. Do you get it now?

Young Madeline: [flashback, to Roderick] You have, for the moment, my gratitude. And that can be an asset. Hell, that can even have a value. You see, because I’m writing you a check right now. In the amount of five hundred dollars. I don’t have to do this, okay. I don’t pay finder’s fees for ideas. I don’t pay for other people’s farts. But you’re a smart guy. And you’re going to take this money, and you’re going to buy your wife something nice. Money for nothing. Money for words. Money for hot air. You walked in here, brain farted, and turned it into five hundred dollars.

Young Madeline: [flashback] And now, if you’re smart, you’re realizing what else my gratitude is worth. You’re realizing, “Oh, this guy likes my ideas.” A good manager wants to keep people with good ideas around. And gratitude’s worth more than you thought, isn’t it, Rod? And now you’re thinking, “Is he grateful enough to want to promote me?” And the answer is, “Yes.”

Annabel Lee: [to Roderick, referring to Madeline] You both had it hard. You had to be so hard. Both of you. So young. And I will never understand that. I won’t. I can’t. But I don’t like her, honey. I’m sorry, I don’t.

Young Roderick: “I was a child and she was a child in this kingdom by the sea. And we loved with a love that was more than a love. I and my Annabel Lee.”
Annabel Lee: More.
Young Roderick: “With a love that the winged Seraphs of Heaven, coveted her and me.”

Camille L’Espanaye: I have specific needs. I have specific requirements for a very specific and unique f***ing lifestyle. I think it’s really f***ing convenient that you two were excited when you signed your NDAs, and your consent forms, and that you two fell in love, Tina. One month after I finish paying off your student debt, Tina?
Tina: My name isn’t Tina. You know that. It’s Beth.
Camille L’Espanaye: I don’t give a s**t, Beth!

Camille L’Espanaye: Fine, okay. Okay. You’re in love. You’re in love. Adorable little morons. You would think that spending this much time around Fortunato Industries would teach the two of you a little bit about brain chemistry, you dopamine-riddled little f*** puppets. I’m just going to Venmo you your severance.
Toby: We’re not quitting. We just needed you to know.
Camille L’Espanaye: No, you’re not quitting. You’re fired, because you’re all but useless to me now, if you can’t perform your designated tasks. And I will not be able to f*** either of you from here on out without laughing. So, boom, we’re done.

Camille L’Espanaye: When the norepinephrine wears off, and the two of you are lying in bed next to each other, and one of you lets out a long fart in your sleep, you’re going to look back at this moment and realize what a stupid, f***ing decision you both just made.

Camille L’Espanaye: What’s a six-letter word for “f***ed”?
Verna: F***ed.

Verna: Your dad is a force of nature, isn’t he?
Camille L’Espanaye: I’m going to need you to tell me who the f*** you think you are.
Verna: Why do you hate her? I mean, on paper, you should be allies. The b****rd daughters of Roderick Usher. What an alliance you could have made.
Camille L’Espanaye: Okay, whoever you are, you are so f***ing fired.

Verna: I love how deliciously, pointlessly mean you lot can be.
Camille L’Espanaye: Okay, fired is the wrong word. Because I’m going to have you f***ing killed.
Verna: And you could too. You picked the worst job to hide your true nature. You clean up dirt for a living. Victorine, on the other hand, she picked better. She’s Mother Teresa, far as they know. Saving humanity one precious heart at a time. Inside though, you two are the most alike. You hate her because she hid it better.

Verna: You still didn’t need to come here though. It could have happened quiet. Peaceful. In bed. But I guess it’s got to happen like this. I’m sorry. It’s not personal. It wasn’t with your brother either. It’s just, well, here we are.
Camille L’Espanaye: F*** it. I got mine.
[she takes a photo of Verna, which shows her as a chimpanzee, who then kills her]

Roderick Usher: [to his children] Everyone toes the line. This is not about sticking together, it’s about forming a f***ing wall. And in case you haven’t noticed, Morella’s in the hospital, Prospero is dead, and Camille is dead. So save the static until I figure out what the f*** is going on. And until then, I don’t care if Madeline tells you to fart into a microphone on national television, you f***ing do it. We’re at battle stations. I’m the commanding officer. I don’t want to hear anything but, “Sir, yes, sir.” You get me?

Victorine LaFourcade: Is Juno in the will?
Tamerlane Usher: Oh, no. Juno’s not really in the will. Is she, Dad?
Juno: I am still in the room, so.

Madeline Usher: [referring to security footage showing Camille] Stop right there.
Roderick Usher: Enhance.
Arthur Pym: That also isn’t really a thing.
Roderick Usher: What, you can’t enhance this image? You see it all the time on TV. They hit a button, it enhances it.
Arthur Pym: You can zoom in, but that doesn’t actually enhance it.
Madeline Usher: Well then, please zoom in, Arthur.
Arthur Pym: Alright, fine.
Arthur Pym: [as they see Verna in the footage] You recognize her?
Roderick Usher: Well, it’s a little tough to tell. Maybe if you could, I don’t know, enhance it.

Madeline Usher: Tell everyone to take up arms. We are at war. I don’t know who, I don’t know how, but I know what it feels like when a bullet flies by, even if I can’t hear the shot.

Leo Usher: What’s worse? A double funeral, or having attending two separate ones? I don’t even own anything funeral black.
Julius: We can get you something.
Leo Usher: I don’t even own a black suit! Oh, no. Wait. That’s not true. I do have one. False alarm. It’s just f***ing satin!
Julius: I’ll take care of it.
Leo Usher: I can hear Camille’s voice in my head right now. “Satin is silk for poor people, and no one should wear it to a funeral, unless they died in it.” F***’s sake.

Auguste Dupin: It feels at times like there are different rules for people like the Ushers.

Victorine LaFourcade: The device absolutely does not increase aggression.
Roderick Usher: Where is it now?
Victorine LaFourcade: It’s dead.
Roderick Usher: No, not the monkey, for f***’s sake. The two hundred million of intellectual property wrapped around its s**tty, dead heart.

Frederick Usher: Teenagers are all about hacking into stuff.
Lenore: Not really. You’re thinking of hackers, Dad.

Roderick Usher: Displacement. The other go-to coping mechanism in my family. It’s when you direct your more intense reactions towards something, or someone that doesn’t feel threatening. So you get to react, and be angry, be abusive, be violent, even, but you don’t risk significant consequences.
Auguste Dupin: I’m familiar.
Roderick Usher: I bet you are.

Roderick Usher: Napoleon was most like me in this way. Of all of them. Denial, displacement, projection. But see, I wanted something better. Something better for him. For all of them. A trait of mine that seemed to skip them somehow. Sublimation. And that is something that is one of the few coping mechanisms that’s considered positive. Sublimation is when a person chooses to redirect strong emotions into an object or an activity that’s appropriate and safe.

Roderick Usher: Do you remember the day we met?
Auguste Dupin: Of course I do.
Roderick Usher: I thought a lot of things that day. A lot of things I’d never thought before. I saw the world different after we met. Never imagined we’d end up here though.

Young Madeline: [flashback] Do you know what the real world is, Rod? Variables. Because in the real world there are side effects, and surprises, and anomalies, and acts of God, and all of that, and we weather that. For all the whiney little sheep out there, we weather all of it. The complaints, and the lawsuits, and the investigator, and the whole mess. Why? So their d**k can stay hard a little bit longer? Or they can kick that headache a little sooner? And then they attack us for it. F***ing people.

Young Madeline: [flashback, referring to his Ferrari] It’s not an ordinary car, Rod. This is an extraordinary car, okay? This is not a car for just anybody. This is a car for a somebody. You drive a car like that, you make a statement. About who you are, where you’re going, and how you get there. You follow my lead, you keep your nose clean, your mouth shut, and your eyes open, pretty soon you’ll be driving any car you want. Parking it in the driveway of any house that you could ever dream of buying. Because I’m a Candy Man, Rod. I’m Willy f***ing Wonka, and this is my chocolate factory. And you just got the Golden Ticket. You play your cards right, one day all this could be yours, Charlie Bucket.

Young Madeline: They forged your signature, Roderick. Your name, our name, is on evidence of a crime. Christ. Nobody knows they’re the fall guy until they’re falling. You work for a competitor, they’ll never trust you. You stay at Fortunato, they’ll never respect you. You just ate a spoonful of their own s**t in front of them and smiled. You can’t be part of the club now. You can’t be an equal. Not when they’ve watched you eat their s**t. That’s just nature. Which is doubly f***ed because your father built this company. It’s your birthright, Roderick. Our birthright. You’re going to go to work, and you are going to keep eating that s**t. And you’re going to make Rufus Griswold think it’s your favorite food. And then you’re going to call this number. Your wife is right. It’s the right thing to do. We’re going to call him tomorrow. And you are going to become best friends with Auguste Dupin.

Frederick Usher: [referring to Morelle] I can’t help but wonder why she was even at this…
Leo Usher: Perry’s orgy?
Frederick Usher: Please, don’t f***ing say that word.
Leo Usher: Sorry. Perry’s cuddle puddle. That can’t be much better.

William ‘Bill-T’ Wilson: Everyone knows that life is short and the universe is chaotic, and so much is out of our control, so the doomsayers will tell you. I say, “Fine. But what about what is in your control?” How in tune are your mind, your body, and the sacred Gaia energy? I’m BILLT and you can too. Your best days are a lifestyle away.

Leo Usher: The cat’s a f***ing psychopath.
Verna: She’s in the walls.
Leo Usher: What?

Verna: Cats are actually apex predators, you know? It’s all about hunting. They can lengthen their spines for short bursts of speed. Thirty miles an hour. They can narrow their shoulders and chests to squeeze into tiny spaces. Jump nine times their height from a standing position, and land on their feet almost every time they fall. They eat their prey to get taurine. An essential amino acid. Cats don’t make enough of it, so they have to eat it. They’re predators because they’re deficient. A lot like your father. Aren’t they, Leo?

Leo Usher: Alright, that’s done it. I’ll tell you what. I’ll tell you what. Don’t f***ing move! I can buy a new wall. I can buy a new loft! I can even get Hemsworth to send me a new hammer. But you, you little s**t!
[he starts to smash the apartment’s walls to find Pluto]

William ‘Bill-T’ Wilson: [referring to Verna] Are you sure that it was her?
Tamerlane Usher: She was standing right behind you wearing the same wig. You had to have seen her, Bill.
William ‘Bill-T’ Wilson: Well, I didn’t. Did you get a freeze-frame or anything?
Tamerlane Usher: It’s a live stream. You know I can’t get a freeze-frame.

Roderick Usher: CADASIL. Same as Mom.
Madeline Usher: Okay. And that’s five years on the outside.
Roderick Usher: It’s pretty advanced, so. It’s less. Much less. And I knew vascular dementia can cause hallucinations, but I just didn’t think… Nothing like this.

Auguste Dupin: What did you do, Roderick? You and Madeline. You said this is your confession. Confess.

Victorine LaFourcade: The only people out for Usher blood are Ushers.

Tamerlane Usher: You have the same hole, Vic. I don’t know if you see it, but you have it too. Camille tried to fill hers with information. Perry tried to fill it with anything really. And Leo tried to fill his Dad hole with the love of his fans.
Frederick Usher: Dad hole.
Tamerlane Usher: He went out to check the f***ing mail, he’d end up balls-deep in an Insta follower.

Tamerlane Usher: Look, we are sorry Dad’s Dad. And he dove off of our mother into a sea of strange pu**y, and we have been meeting the fruits of that ever since. And this is tragic, but for all we know there are three more coming to take their place. There, I said it. Dad’s whole thing is just keeping the door open for every b****rd he has in the free world.
Victorine LaFourcade: Okay, just because the door’s open doesn’t necessarily guarantee you a seat at the table. Come on, he throws us the food, and watches us fight for it. You know that. Especially us.

Tamerlane Usher: I want to know what sunbaked, half-rotten carcass Camille dug up on you before she died.
Victorine LaFourcade: Yeah, you got me. I’m killing the Ushers one by one. Guess who’s next?

Frederick Usher: Okey-dokey. I thought we were going to be toasting our dead siblings or something.
Victorine LaFourcade: Oh, f*** off, Froderick. Froderick and Maderlane. You two, you’re just like Dad and Mads. Linking arms, side by side, playing Red f***ing Rover, trying to get me to break through, so what? You can knock me down? Well, guess what? I don’t need to break through. Because I’m going over the top.

Tamerlane Usher: Do you think that the fifty mill is still on the table?
Frederick Usher: Probably not. Not with all the dead people and stuff.

Dr. Alessandra Ruiz: You’re not who I thought you were.
Victorine LaFourcade: What are you going to do, Al?
Dr. Alessandra Ruiz: Goodbye, Vic.
Victorine LaFourcade: Wait. You’re not going to tell anyone!
Dr. Alessandra Ruiz: Of course I’m going to tell. And I don’t f***ing care if you sue me, or you rip me apart! You Ushers, I really didn’t want to think it, but you’re all f***ing monsters.

Auguste Dupin: You know, I think I see where they get it. The Pym Reaper. If only we had a chessboard and a beach.
Arthur Pym: Love Bergman.

Auguste Dupin: You’re a smart man. You could be anywhere, doing anything. You know what they are, why do you do this?
Arthur Pym: I wouldn’t be where I am today without Roderick Usher. Neither would you, by the way.

Judge John Neal: Continuance isn’t the end of the world, Mr. Dupin.
Auguste Dupin: But, Your Honor, this is bulls**t! This family has repeatedly managed to evade prosecution, no matter how much evidence stacked against them, no matter how many testified, no matter how many bodies they pile up, they always slip through the cracks. It’s almost supernatural, Your Honor. And you’re going to let them do it again.

Auguste Dupin: There was never an informant.
Roderick Usher: Oh, I’m impressed, Auggie. I didn’t think that you had it in you.
Auguste Dupin: Come on. There’s no ethics whatsoever to your defense, and I’m supposed to run my case by the book. There’s even more scrutiny on me because you’re so damn unscrupulous. So, yeah. One time. One time, I play your way.

Roderick Usher: This would have been a fun one. I’m just as sorry as you we couldn’t play it through. Watching you s**t on your principles would have been worth every f***ing penny.
Auguste Dupin: F*** you.
Roderick Usher: Drag me, you f***ing honey badger. We finally got you off your white horse and down here in the mud.

Auguste Dupin: Let’s play in the mud. You’re right. I pointed at the kids, figured it would stir you all up. Pressure the fault lines. Maybe even pitch you against each other. Hell, you might eat each other alive. But, hey, it could finally crack the fortress. Let you all knock it down from inside. But, Roderick, I didn’t imagine for a moment the kids would start dying. Figured you might torture them a bit. But I never imagined in a million years any of them would end up dead.
Roderick Usher: You really stepped in it this time. Why, if it weren’t for you, they would all still be alive today.

Roderick Usher: Auggie, let me relieve you of that burden. No one died for your lie. So don’t carry that. You see, one had nothing to do with the other. So, just, you can let that go. And the mind of guilt is full of scorpions. And I wouldn’t wish their sting on anyone. Never waste your time on guilt or shame. Is their alchemy a savage cross to bear?

Rufus Griswold: And why would a woman want to run her own company?
Young Madeline: Same reason a man would.

Young Madeline: Smart girls are only sexy until you realize they don’t want to f*** you, and then they’re competition, and what do you do with competition? You take them down a peg.

Rufus Griswold: Don’t f*** with me, Madeline. Either of you. Do not f*** with me. F*** me, now that’s fine. Hell, you’ll climb that ladder fast. Men have to climb on their bellies in the dirt. But women, they can climb it on their backs. On their knees. World’s unfair that way, but it works. So you can f*** me any time you want. But don’t you ever f*** with me, Madeline Usher. Do you get me?
Young Madeline: I get you.

Annabel Lee: [referring to Griswold] I don’t understand why you went in there in the first place.
Young Madeline: To look him in the eye. Now I know what we’re up against, and it’s not much. Testosterone, hubris, aftershave. I’m relieved. I mean, s**t. What if he was smart?
Annabel Lee: Don’t have to be smart to be dangerous. I’m not scared of rattlesnakes because they’re so smart.

Young Dupin: [referring to Griswold] He’s smart, alright. Don’t misjudge him, he’s misjudged you. Don’t make the same mistake. People misjudge me all the time. Everywhere I go. Used to make my blood boil. But now I get it. It’s an opportunity. He’s underestimated you. That’s a gift. A failure of imagination. He sees you as formidable, he locks down, closes ranks, shuts the doors, battens the hatches. But he doesn’t think much of you, either of you. And that’s great for us.

Madeline Usher: [referring to Verna] This woman looks remarkably like a certain bartender we met back in 1980 just up the street from here, in fact. The bar’s long gone now. I already checked, but I know I’m right. And since my brother likes to stick his d**k into anything that moves, you’ve got new b****rds popping up like new smart phones, and maybe this one is crazy and wants to be first in line.

Verna: [to Victorine] Do you know the term “operant conditioning”? It’s what a horse has that lets them know a rider might be nervous or hesitant. They read erratic behavior. Not fear, not exactly. But animals learn real quick to avoid that person. That’s you. In a nutshell. You’re so out of touch with your human side, you can’t even listen to anything outside your own head.

Frederick Usher: [to Lenore] You understand who we are in the world, don’t you? We’re part of a kingdom. We’re like royalty. People fear that. They envy that. They want to tear it down. They want to tear us down.

Frederick Usher: [to Lenore] Now, if you could see the paper trail of s**t that Pym has protected this family from over the years, it’s thicker than a phonebook. That’s what that man does for us. So, if he tells you to say something, you say it. And if he says to keep quiet about something, you keep quiet. Because he’s also protecting you.

William ‘Bill-T’ Wilson: With everything that’s happened, you need a break.
Tamerlane Usher: Listen to me, Bill, because I really don’t want to go through this again. The optics will be fine. A few “my heart will go on” tweets will pad it out.

Tamerlane Usher: I’m sorry, Bill, just who do you think you are in this? You have one job, you smile, you jazzercise, and you bring that army of fitness f***ers with you. You are a face, you’re not a mouthpiece. So just smile and shut the f*** up.

Roderick Usher: [to Victorine] You, and your brothers, and your sisters, I always thought of you as a pride of lions. And a young lioness has to grapple with her, she has to grapple with her siblings before she goes off to hunt, right? Just learn how to use her claws, and her teeth, and her strength, before she can go off and slaughter the water buffalo. I want to apologize. For turning you kids against one another. I wanted to make you stronger. And I was wrong. And your work, well, I may need your work more than you know. I am not strong. I am not brave. And your work, well, it can make a big difference for me. So I am here to support you with everything I’ve got.

Victorine LaFourcade: [after we see in flashback that she killed Al] I’m sorry, Dad, she’s not being a team player. But you see, it works.
Roderick Usher: You’re fully funded. Let’s just get out of here and we’ll get the paperwork started.
Victorine LaFourcade: No. No, not until she apologizes. Not until she promises to be a team player.
Roderick Usher: Well, she’s quite dead. Isn’t she?
Victorine LaFourcade: Yes, that would explain it, wouldn’t it? Like, why it’s making that sound. It’s just pumping a dead useless heart.

Victorine LaFourcade: You know, I wish you’d just jumped. Maybe then I wouldn’t have to do this. Who am I kidding? Of course I would. Because the work is everything. Success is everything. And if we’re going to succeed, we just need a better heart.
Roderick Usher: No!
Victorine LaFourcade: [as she stabs herself in the heart] Oh. Daddy?

Arthur Pym: You were absolutely correct. This is intentional. You have been targeted. And this woman knows we are trying to find her.

Roderick Usher: Used to be a fun game when the kids grew up, trying to finish Arthur’s story. I like to think he killed someone. I like to think he’s eaten human flesh. I like to think he took a pi** on the tip-top of the world.
Auguste Dupin: A guy can dream.

Roderick Usher: We didn’t send a private investigator to find that woman. We didn’t send the police. We didn’t send a hitman. We didn’t send a mercenary. We sent Arthur Gordon Pym. Of course he found her. But not that day.

Madeline Usher: This is the same woman, Roderick. Remember what happened that night. Remember what she said.
Roderick Usher: You’re the COO of a Fortune 100 corporation, and you’re talking like a crazy person.
Madeline Usher: You remember that conversation, I know you do.
Roderick Usher: We were out of our minds, Madeline.
Madeline Usher: Maybe. Men have called me mad. But the question is not yet settled as to whether madness is or is not, the loftiest intelligence.

Roderick Usher: Do you hear that?
Madeline Usher: Hear what?
Roderick Usher: Bells.
Madeline Usher: [as she slaps him] Shut your mouth. Get your s**t together. The f*** is wrong with you? You know as well as I do what’s happening here. Stop playing stupid.
Roderick Usher: I don’t know anything about anything. My heart is dying. My brain is dying. I don’t know for a fact if you’re even here right now.

Madeline Usher: My first husband. I thought I missed him, but that was just this temporary insanity. This burp your heart goes through. He was fun to ride. Boy.

Madeline Usher: Men, when they think they’re immortal, all they want to do is f***. When they figure out they’re going to die, all they want to do is f***.

Tamerlane Usher: You f***ing psycho stalker!
Verna: That would be so much easier, wouldn’t it? You really f***ed this one up, didn’t you, Tammy?

Tamerlane Usher: What the f*** do you want from me?
Verna: Honey. No one can take being shot down, scorned, and attacked twenty-four-seven like you do to yourself. And if you could hear that, you’d know. It’s your last chance to be perfectly still, and breathe before the inevitable. Sweetie, you might not believe me, but this part has nothing to do with you.
Tamerlane Usher: I f***ed it all up. I f***ed it all up. I f***ed it all up. I f***ed it all up. I just want…
Verna: Some sleep?
[she sees Verna in the mirror above her bed, smashes it, and the shards of glass impale and kill her]

Roderick Usher: [to Auguste] I’m glad you liked Annabel, but she’s gone, she’s been gone a long, long time, and I would be lying if I said I never wondered how the f*** did this happen.

Roderick Usher: This is it, Freddie. They’re all gone, and it’s all about to fall apart. So, I need to count on you. And when they call, and they will call, you just don’t pick up, that’s the best message. And if they corner you in the street, you tell them, “I’m Frederick Usher. I’m the repository of the hopes and dreams of a f***ing empire. So take your treacherous bulls**t elsewhere.”

Frederick Usher: It’s amazing. My whole life, you know, they won’t take me seriously, and then, suddenly, you’re the new CEO, and everybody is f***ing so accommodating.

Frederick Usher: You know one thing Dad was really big about? It was a lesson that he taught us all. One of the first things he taught us. If you want to test a bond, you don’t really need to break it. You just crack it a little.

Frederick Usher: Second lesson Dad was big on was getting your house in order. You don’t have to be a tyrant, but if you don’t want to be consistently cruel, then you have to be sufficiently brutal at least once to establish authority.

Roderick Usher: You’ll have me on murder. That’s where we’re going. You’ll have me dead to rights on murder. More than one actually.
Auguste Dupin: And here’s where I stop in my tracks, slowly return to the chair, sit down, and start the recorder again. That’s what I do now, right Roderick? In your little script.
Roderick Usher: I mean, it’d be nice.

Roderick Usher: They’ve been at me all night. Make sure I get their stories right. Which it’s fantastic. As my personal hell is being micro-managed.

Roderick Usher: [to Auguste] I’m not insane. And while CADASIL is no picnic, it certainly isn’t this. No, I’m afraid you’re ringside for my reckoning, old friend.

Annabel Lee: [after Roderick betrays Auguste] What the f*** is wrong with you? Roderick was going to do the right thing. He was going to be a hero. That’s what I told my children.
Young Madeline: He did the right thing, you f***ing simpleton.

Young Madeline: I thought it was an act. I figured you just played the housewife so you could keep a roof over your head. Spread your legs, or suck his d**k twice a week and you’re set. You never have to work a day in your life. And I thought, “Good for her. She found her angle.” But this is really you. Isn’t it? I thought you only existed in the movies.
Annabel Lee: You are so small, Madeline.

Madeline Usher: It really is you. It’s amazing how much I’ve denied. But it is you. And somehow I knew you’d be here.
Verna: Well, I left you the address, don’t pat yourself too hard on the back.

Madeline Usher: I want to ask you to stop.
Verna: Come on. Ask me? That isn’t you. And frankly, I think you’ve forgotten what I am.
Madeline Usher: Fine then. I want to renegotiate.
Verna: You can’t.
Madeline Usher: Why not?
Verna: The ink is dry.
Madeline Usher: For him or for me?

Madeline Usher: Words got us into this, words can get us out.
Verna: You blaming Roderick or rhetoric?
Madeline Usher: I want new terms, and I shall have new terms. Or have you forgotten what I am?
Verna: There she is. Ah, there’s my Cleopatra.

Madeline Usher: Everything has a price. Every negotiation’s a point of entry. Every deal is simply an expression of will. Mutual will. We can sort this. Woman to woman.
Verna: I’m not a woman.
Madeline Usher: You know what I am capable of. You know what I have done. You know who I am.
Verna: You’re a collection of impeccable, elaborate masks in orbit of a stunted heart.

Verna: [to Madeline] There are certain things one shouldn’t have to face in life. Time enough for self-reflection after. Yes. I know who you are. And were. And who you could have been. I see all three. Standing shoulder to shoulder. And together, they break my heart.

Verna: I know who you are, Madeline. You’re one of my favorites. And I understand. You find an adversary, you kill them. You find a hurdle, you jump it, or dismantle it. You find a locked door, you pry it open.

Juno: You’re a monster, you know that? I married a monster.
Roderick Usher: No, dear. I’m Victor Frankenstein. You’re the monster. You are my perfect creation.

Juno: [to Roderick] Three years? Okay. I can do three years. Because, yeah, I’ve had a hard life at times. And I’ve made mistakes, but that’s what I thought you saw in me. Because that s**t made me f***ing strong. So, I will take three years of hell over a lifetime with you. Easy.

Verna: You should know there’s common ground between us. You, your brother and I, we share something. I recognized it the moment I laid eyes on you. Pain. You might accuse me of being the broker of suffering. I could say the same of you. But I consider myself more its witness. You’re in pain. You’re exhausted. Uncertain. Frightened. For the first time in years. I can’t take that pain from you. But I can give you something for it. And it’s not a drug. Years ago, I offered you certainty. Tonight, clarity. No strings.
Madeline Usher: I doubt that.

Verna: Your brother, you know what he would have been? A poet. That’s where his talent was. A broke poet, sure. But frankly, is there another kind? He and I share that as well. We both understand that language in its highest expression is musical.

Verna: Some clarity for you. What’s a poem, after all, if not a safe space for a difficult truth. Here’s one. Came to me when you adorable little things started building cities. I call it “The City in the Sea”. Lo! Death Has reared himself a throne, in a strange city lying alone. In a strange city lying alone, far down within the dim West, where the good, and the bad, and the worst, and the best have gone to their eternal rest. No rays from the holy Heaven come down on the long nighttime of that town. But light from out the lurid sea streams up the turrets silently. Up domes, up spires, up kingly halls, up fanes, up Babylon-like walls, up shadowy long-forgotten bowers of sculptured ivory and stone flowers. Resignedly beneath the sky the melancholy waters lie. But lo, a stir is in the air! The wave, there is a movement there! The waves have now a redder glow. The hours are breathing, faint and low. And when, amid no earthly moans, down, down that town shall settle hence. Hell rising from a thousand thrones shall do it reverence.
Madeline Usher: I thought you were offering clarity.
Verna: Let it steep a moment. It’ll come to you.

Verna: [as the building is being demolished] No need to panic. No need to worry what’s lurking around the corner. You’ve been scared your whole life. And now you get to put that down. It’s here, Frederick. I’m finally, finally here. The cool thing is, like nobody gets to see this. From this vantage point anyway. So, at least try to appreciate that.

Madeline Usher: [to Roderick] Freddie’s dead. That means there’s just us left. You remember the deal. You remember the terms. I know you do. “Into the world together, out of the world together, or there’s no deal,” that’s what she said. There is only one way out. And I think you know that too. I love you. More than anyone in the world. And now I need you to be a hero again. I need you to be my brother. We need you to be our hero.

Roderick Usher: [referring to overdose on their drug, Ligodone] No other way?
Madeline Usher: There’s not. I have run it all down. Every possible scenario. You trust me, you have always trusted me. This is the only one. This is it. Go ahead. You can do it. Now, that’s a legend. That’s a king. You’re saving us all. You’re a legend. You’re a king. You are saving us all.

Verna: [to Roderick as she saves him from overdosing] Can’t let you out that easy. Hello again, handsome.

Rufus Griswold: [as Roderick and Madeline are walling him in] What the f*** is this?
Young Madeline: It’s a hostile takeover.
Rufus Griswold: Seriously, what is this?
Young Madeline: I thought we were going to to see all the stages, but we may never get out of denial. We’re going to be finishing this wall and still be hearing, “Seriously, what is this?”

Verna: I find most people have a threshold qualifier. Something, or someone they’d be unwilling to sacrifice, no matter how sweet the deal.
Young Roderick: Don’t think I’m like most people.
Verna: So what would you do to make your dreams come true? People talk a good game, but money where your mouth is. What would you be willing to do?

Young Madeline: The real world is Darwinian. Survival. Chaos. Power. Leverage.
Verna: You’re a killer, aren’t you? Both of you. Couple of real killers.
Young Madeline: I wouldn’t say that.
Verna: Really? What else would you call it? I mean, you killed Rufus Griswold tonight, didn’t you? And you’re here, building an alibi. This bartender would say you were here all night. Closed the place and then some. What if I said I could guarantee that you’ll get away with it? And not just that. All of it.

Verna: You feel it. Both of you. In the air. We’re sitting outside of time and space. This is the moment luck meets opportunity.
Young Roderick: That’s a hell of an offer. And you’re going to say it costs what? Our souls or whatever?
Verna: No such thing, for one, and even if there was, you already sold them tonight, one brick at a time. No. No. Nothing so silly as that. It won’t even go on your tab.

Verna: What if I said you get all that, the whole thing, and the price is deferred? Let the next generation foot the bill. So that’s the deal. You get the whole world, and when you’re done, at the end of it all, just before you would have died, Roderick, just before you would have died anyway, your bloodline dies with you.
Young Madeline: Well, just hypothetically, how long would he live?
Verna: He? Not we? No, dear, you two die together. You came into this world together, and you go out of it together. Or no deal. I’m a creature of symmetry. You’d live a long time. Longer than any man in the Usher family ever has. But when that curtain falls, everyone takes a bow together.

Verna: What’s more loving? Forty years, fifty years of a gilded life? Or seventy, eighty years of anxiety, tribulation, and heartache? Every Usher that exists today, and every Usher yet to be born, they will live a blessed, privileged life, and depart the stage together.
Young Madeline: Hypothetically?
Verna: No. Real deal. It’s an offer. On the table. What do you say?
Young Madeline: I’d say that’s a good deal.
Young Roderick: I’d say that’s a done deal.

Verna: [referring to the cognac] You drink this on the best day of your life. Or your last night on Earth. This moment calls for it. To the House of Usher. Whose time has come.

Roderick Usher: [referring to their deal with Verna] It faded like a dream. And by the time we got home, it didn’t feel real. At all. And a day or two later, we were so worried about someone finding Gris, we both kind of blew it off. We were drunk. Maybe we were stoned. We remembered it differently. It was a folie à deux. A delusion shared by two. And then we never talked about it again. They never found Gris. The cops never came. The board voted me in. And the work began. Ligodone began. And over the years, it was just a weird dream. Nothing more.

Arthur Pym: We’re a virus, I think. People, I mean.
Verna: But you’re so damn interesting. That’s why I had to go topside. I had to see the ship go by with my own eyes.

Verna: What happens to you when the Ushers are gone? Which is imminent, by the way. You’ve enjoyed a sense of immunity throughout your life, but it isn’t yours. It’s theirs. Just reflected.
Arthur Pym: Let me guess. You can do something about that.
Verna: I can.

Verna: Humanity will s**t that bed themselves. Corporate justice in this world is a punchline.

Verna: Everyone loves something. And in that love there’s collateral.
Arthur Pym: No. I have no collateral. Collateral is leverage. And I won’t be leveraged. No man or woman has leveraged me in seventy years of life. And I’m not going to cede that ground, not this close to the end. So, thank you for your consideration. And for your generous offer. But I think I’ll play out my hand. If it’s all the same to you.
Verna: Fair enough. Thank you. This has been a pleasure.

Lenore: I think maybe, maybe not having Fortunato anymore, maybe it’s a good thing. For you. That place wasn’t good, Grandpa.
Roderick Usher: No, it wasn’t. But it was mine. And maybe you’ll make it good. Some day. Can you do that, do you think?
Lenore: I say this with love. Let it go. Let it all go. I mean, you’ve got more money than you’ll ever be able to spend. Than I’ll ever be able to spend. Let’s put it to work. Try to fix things. Let go of Fortunato, and Ligodone, and all the bad stuff. We did bad stuff, Grandpa. Our family did bad stuff. It’s not too late to fix it.

Verna: [to Lenore] There is a lot about my job I love. But there are moments like these that bring me no joy. I hope you know that.

Verna: [after she’s tells Lenore about her mother recovering and forming a foundation in her name] This is the part I really want you to hear. You did that. When you got her out of the house, when you defied your father, you did that. You saved those people. That choice you made echoes through millions of lives. I thought you should know that.

Auguste Dupin: Wait. What are you talking about? Lenore Usher isn’t dead.
Roderick Usher: She is. She died earlier tonight.

Roderick Usher: Once upon a midnight dreary while I pondered weak and weary. Deep into that darkness peering long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before. And the silence was unbroken, and the stillness gave no token, and the only word there spoken was the whispered word, “Lenore”. And the raven never flitting still is sitting, still is sitting on the pallid bust of Pallas just above my chamber door. And his eyes have all the seeming of a demon’s that is dreaming. And the lamplight over him streaming throws his shadow on the floor. And my soul, from out that shadow that lies floating on the floor shall be lifted nevermore.

Roderick Usher: Well, I guess we’ve finally come to it. Haven’t we? World without pain. That was the whole point. Nobody can stomach a little discomfort. It hurts. It hurts, and they cry, and cry, and I took it away! I reached in and I snuffed out those flames in their backs, in their joints, their heads, and their hands. I waved my wand, wasn’t enough. It was never enough. They just kept wanting more. More and more.
Verna: Oh, honey. Don’t kid a kidder.

Verna: [to Roderick] You know, I’ve worked with a lot of truly influential people over the years, but when it comes to sheer body count, you’re in my top five.

Verna: Why did you come here tonight? On your way home. Your real home. Was it to say goodbye? One last look at your great tower. Your pyramid. That’s your true monument, Roderick. Out there. It’s a wonder of the world. And it’s eternal. That’s your legacy.

Madeline Usher: You always said it was you and me against the world. Said we’d change the world. We did, didn’t we?
Roderick Usher: We did.

Roderick Usher: I mean this house, this carcass of a house, this is our tomb. So, we need all the dressing, all this treasure, for the afterlife.
Madeline Usher: Please, treasure. What the f*** does that even mean? Gold’s just a transition metal element, nothing special. Money’s not even gold anymore. It’s just ones and zeros. It’s a lie agreed upon. We built a life. A privileged f***ing life, out of nothing but dirt, and trauma, and empty pockets, and broken hearts. We did that. And say what you will, it was f***ing substantial.
Roderick Usher: It was.

Madeline Usher: Would we have done anything different if we’d believed that woman in the bar was real? I suppose that’s the only question left.
Roderick Usher: Did you believe it? Honestly, I can’t remember what I believed.
Madeline Usher: I believed it enough to get an IUD. And you still wouldn’t glove up with the f***ing stewardesses.
Roderick Usher: I was who I was.
Madeline Usher: And I loved you for that.

Madeline Usher: These f***ing monsters, these f***ing consumers, these f***ing mouths. They point at you and me like we’re the problem. They f***ing invented us. They begged for us. They’re begging for us still. So I say, we stand tall and proud, brother. Bill’s come due. Let’s not hide here in the basement like we’ve got something to be ashamed of. No. Not us. You and me against the world. Don’t care if it’s Death herself. If she wants Madeline f***ing Usher, she’s going to have to look me straight in the eyes.

Roderick Usher: You’re right. You’re Madeline f***ing Usher. You are a queen. You’re a goddess. And you’re going to live forever.

Auguste Dupin: [referring to Madeline] What did you do?
Roderick Usher: I sent her off like a queen. Queen Twosret, as a matter of fact.

Roderick Usher: Thank you for coming tonight, Auggie. I’m sorry for all the times I inconvenienced you. It may not have been perfect, but you can’t say we didn’t change the world. How many people can say that at the end?

Roderick Usher: I promised my confession. And here it is. I knew. Deep down. In the witching hour. I knew. I knew I would climb to the top of the tower on a pile of corpses. And we told them, it was about soothing the world’s pain. That’s the biggest lie we told. You can’t eliminate pain. There’s no such thing as a painkiller. And imagine if we’d put that on the bottle. I bet I still could have sold it.

Auguste Dupin: [at the Ushers graves] Opioid epidemic’s with us now. You tattooed it on the world, but they’re trying to take it down. Take it apart. Heal it. Didn’t know what to do with this. Because it don’t matter in the end why you did any of it. I don’t f***ing care why you did it. We don’t want your confession, or your rationale, or your explanation. So take all that with you, why don’t you. Goodbye, Roderick. I’m going home, to my husband. My kids. Their kids. I’m the richest man in the world. You know that?

Verna: Thy soul shall find itself alone ‘mid dark thoughts of the gray tombstone. Not one, but all the crowd, to pry into thine hour of secrecy. Be silent in that solitude, which is not loneliness, for then the spirits of the dead who stood in life before thee, are again in death around thee, and their will shall overshadow thee. Be still. The night, though clear, shall frown, and the stars shall look not down from their high thrones in Heaven. With light like hope to mortals given, but their red orbs, without beam to thy weariness shall seem, as a burning and a fever which would cling to thee forever. Now are thoughts thou shalt not banish. Now are visions ne’er to vanish. From thy spirit shall they pass no more, like dewdrop from the grass, the breeze, the breath of God, is still, and the mist upon the hill. Shadowy, shadowy, yet unbroken is a symbol and a token. How it hangs upon the trees, a mystery of mysteries.

Young Lee Shaw: [referring to the radiation levels] What the hell with it. Never planned on having kids anyway.
Dr. Keiko Miura: Really? Never? There was a time when you were at least entertaining the idea.
Young Lee Shaw: Well, there was a time where that idea was very entertaining.
Bill Randa: Please, don’t make things awkward and tell us it’s because you never met the right woman.
Young Lee Shaw: I got to give it to you guys, you make it look easy. Raising a great kid, being able to keep Monarch together. That’s no small feat.
Dr. Keiko Miura: What we’ve done, we’ve done together.

Dr. Keiko Miura: [referring to the radiation masks] These should give us some level of protection.
Young Lee Shaw: Well, I guess that depends on what we need protection from.
Bill Randa: You afraid you’re going to run into a titan? Where’s your sense of adventure?
Young Lee Shaw: The army gave me one job, swab. It’s keeping you eggheads alive.

Young Hunter: [in Russian] The old folks say, the government burned a hole through the earth, all the way to Hell.
Dr. Keiko Miura: Do you believe that?
Young Hunter: See for yourselves.

Young Lee Shaw: These things think the “A” in A-bomb stand for “appetizer”. Come on, time for some science s**t.

Kentaro Randa: Get up.
Cate Randa: What’s happening?
Kentaro Randa: It’s the early warning system.
Cate Randa: Warning for what?
Emiko Randa: Godzilla.

Bill Randa: We’re talking about a new goddamn species, Lee. And we can’t afford to pass up an opportunity to learn whatever we can.
Young Lee Shaw: We can. We can if it’s going to get our a**es killed.

Kentaro Randa: She’s asking if you’ll come have tea and talk about your life.
Cate Randa: That’s very kind, and you can tell her I’m saying whatever you want right now. But I can’t imagine anything I’d like to do less than have tea with the woman Dad was cheating on my mom with.
Kentaro Randa: Yeah. Well, from our perspective, your mother was the other woman.
Cate Randa: That’s fair. I’m going to go now. The other woman’s going to have a lot of questions.

Kentaro Randa: You flew halfway around the world looking for something. Or what these unlock. And all you found was Dad was apparently a lying a**hole. Is that enough for you?
Cate Randa: I guess that’ll have to do.

Cate Randa: You got to give it to the guy. He had two families and still had time to be obsessed with work.

May: [to Kentaro] You don’t get to ghost me for months and then show up out of nowhere, treating me like tech support.

Kentaro Randa: May is not what you call sentimental.
May: Right. Because you know me so well.

Cate Randa: [referring to the drawing] Is this from one of your games?
May: No. Actually, your brother did that.
Kentaro Randa: Half-brother. And that’s still up for debate.
Cate Randa: You said you were an engineer.
Kentaro Randa: No, you said that.

Kentaro Randa: What’s “Monarch”?

Kentaro Randa: [in Japanese] If my father had been here with me instead of San Francisco, he’d still be alive.
Cate Randa: But he wasn’t in San Francisco on G-Day.
May: I thought you couldn’t speak Japanese?
Cate Randa: I never said that. It was my dad’s and my secret language. I don’t speak it anymore.

Kentaro Randa: [in Japanese] You expect us to trust you now? After you tricked us?
Cate Randa: I wasn’t trying to trick anyone.
Kentaro Randa: [in Japanese] What do you mean? He wasn’t there?

Kentaro Randa: [referring to their father] He wasn’t perfect, but he wasn’t a monster. He had some reason for doing what he did.

Tim: Sometimes this place can make you feel like you’re stranded on another planet.

Tim: [to Cate] I totally get it. This young woman abroad runs into a strange man at the train station. And next thing you know, you’re buried alive in a coffin somewhere. I can’t imagine that that helped. Hey. Wait, wait, wait. Look, look, look. Hey, I’m harmless. My name’s Tim. They don’t come much more harmless than the “Tim” variety.

Bill Randa: I think you should be following the stories. Folklore. Legends. You know, the people of these mountains, they have an oral tradition about a dragon that carves a path of fire across the sky. Or maybe a path of ionizing radiation.
Young Lee Shaw: So, you’re hunting dragons.
Bill Randa: I told you, I’m looking for the truth.

Dr. Keiko Miura: Fine. Just go then.
Young Lee Shaw: Don’t tempt me, Doc.
Dr. Keiko Miura: I didn’t ask for you. I don’t need you and I don’t want you. So, you are relieved of any responsibility for me. Dismissed.

Bill Randa: Do you often follow strange men into the jungle?
Dr. Keiko Miura: This is my second time today.

Bill Randa: We call them MUTO’s. For Massive Unidentified Terrestrial Organisms. I came up with that.
Dr. Keiko Miura: Terrestrial. So, you don’t think they’re space aliens?
Bill Randa: You do think I’m crazy.
Dr. Keiko Miura: I’m a scientist. I believe what the evidence tells me to be true.

Dr. Keiko Miura: [referring to the ship] Is this what you were looking for? Did you know it was here?
Bill Randa: Did I know? Let’s say hoped.
Dr. Keiko Miura: Not very scientific.

Cate Randa: [to May] Who are you? Jason Bourne?

Lee Shaw: I didn’t know Hiroshi even had a daughter.
Cate Randa: Well, I didn’t know he had a son. Turns out he was good at keeping secrets.
May: Not my drama. No relation.

Lee Shaw: What did you find in the safe?
Cate Randa: Old computer files.
May: Bunch of crazy s**t. Monster s**t.

Lee Shaw: Now, you can choke down that mountain of Monarch bulls**t about your father disappearing without a trace. Or we can get the hell out of here right now and find out what really happened with your dad. Now you got just about sixty seconds to make up your minds. What’s it going to be?

Young Lee Shaw: Oh, my God. It is a dragon.
Dr. Keiko Miura: It’s incredible.

Lee Shaw: Okay, where’s the key go?
Cate Randa: Oh, my God.
Kentaro Randa: When was the last time you drove?
Lee Shaw: Hey, if it floats, flies, or runs on four wheels, I can handle it.
May: Okay! Foot on the pedal. Press the button.
Lee Shaw: Button?

Dr. Keiko Miura: We’ve always maintained our independence.
Young Lee Shaw: Because no one takes us seriously. Look, if you two want to keep this our private little monster-hunting club, then fine. We pull the request. But if you want to make a difference, you want to do some serious science, then we need backing.

General Puckett: Who’d have thought you’d parlay escort duty into your first command? And these eggheads are already starting to grow on you, Shaw.
Young Lee Shaw: It’s a bit like herding cats, sir, if cats had Geiger counters and thought they were smarter than you.

General Puckett: How does something this big walk around without being seen?
Bill Randa: Well, I’m leaning towards teleporta…
Young Lee Shaw: We have a number of working theories, sir.

General Puckett: This is going to give me nightmares. But until you show us what made this, a footprint’s just a hole in the sand.

Young Lee Shaw: With all due respect, sir, a creature like this, as big as this, is an existential threat to global security.

Young Lee Shaw: Maybe next time, don’t lead with teleportation.
Bill Randa: It’s a theory.
Young Lee Shaw: Yeah, and so is the flat Earth, but it’s not going to get you funding from the Pentagon.

Bill Randa: We’re talking about upending centuries of accepted science in evolution, zoology, physics. You know, it requires open minds.
Young Lee Shaw: Yeah, and open eyes, Billy. You got to read the room.
Bill Randa: This is a voyage of discovery. So I’m not going to bite my tongue just to get support from a bunch of gun-toting Neanderthals.

Dr. Keiko Miura: If it wasn’t for you, neither of us would be here. And that is not a theory, that’s a fact.
Young Lee Shaw: So, you are saying that there is a place for gun-toting Neanderthals?

Dr. Keiko Miura: If we hide who we are and what we’re trying to do, then what’s the point of doing it at all?

May: Okay. Well, mining rudimentary visual data for key words isn’t exactly a walk in the park. Can’t just google it. Do you know what Google is?
Lee Shaw: Well, I wasn’t in solitary confinement, May.

Kentaro Randa: When was Monarch founded?
Lee Shaw: Late ’40s, thereabouts.
May: Wouldn’t that make you like ninety years-old?
Lee Shaw: What can I say? Good genes, huh?

Lee Shaw: Hopes. Dreams. Ambitions. It’s what we wanted Monarch to be before they lost their way. And look at them now. They’re chasing you guys instead of monsters.

Kentaro Randa: Did our dad really work for them? For Monarch?
Lee Shaw: It is your family business.

Cate Randa: He knew these things existed. You all knew. You could’ve warned people, tried to stop it.
Lee Shaw: Hey, that’s exactly what we were trying to do. But you were there. You saw it. You really think anything on earth could’ve stopped it? Stopped that?
Cate Randa: Then he threw his life away for nothing. It’s not our family business, it’s the family curse.

Young Lee Shaw: Sir, this appears to be going in a direction we didn’t discuss.
General Puckett: We discussed you needing a large quantity of uranium.
Young Lee Shaw: Not in bomb form, sir.
General Puckett: Should’ve been more specific.
Young Lee Shaw: You could’ve told us.
General Puckett: Well, that’s not how top-secret nuclear tests work, son.

Kentaro Randa: Do you have any idea what you’re doing?
Lee Shaw: Well, I got us out of Japan, didn’t I? Onto this ship, no passport, no Monarch in sight.

Duvall: Shaw’s been on ice for years. Why make his move now? If I move quickly, I might be able to get the jump on Shaw, but not without him. No one understands better what Shaw might be up to, why these files are so important to him. Crazy knows crazy.

Bill Randa: [referring to Godzilla] Is that armor?
Young Lee Shaw: What the hell does that thing need protection from?
Dr. Keiko Miura: Us.

Young Lee Shaw: General, I think we should consider standing down, sir. If we can’t learn everything we can about the enemy…
General Puckett: You wait to see what the enemy is going to do, you’ve already lost, son.

Kentaro Randa: [referring to their dad, Hiroshi] When was the last time you saw him?
Lee Shaw: I don’t know. Almost twenty years ago. When I was already a dinosaur.

Lee Shaw: If you two are looking for some insight into your situation, I got nothing. I mean, Hiro was just a normal kid. He didn’t torture small animals. No issues potty training.
Cate Randa: Classic profile of a sociopath. “Seemed like a nice guy. Who would have suspected?”

Lee Shaw: This is a secret, Cate, not a lie.
Cate Randa: It seems like a distinction without a difference.
Lee Shaw: Not to me.

Dr. Keiko Miura: [after Puckett gives them a blank check for Monarch] Does the general need to know everything?
Young Lee Shaw: I’m sorry, are you suggesting that I lie to my superior officer?
Dr. Keiko Miura: No. But a lie and a secret are two different things.
Young Lee Shaw: I’m not sure the court-martial tribunal would see that distinction, Kei.

Young Lee Shaw: [referring to Puckett] All that I can tell him is what you tell me. And I trust that you will tell me everything that I need to know. Are you okay with that?
Dr. Keiko Miura: Are you?
Bill Randa: I’m fine with it.

Du Ho: Let me tell you a secret. You don’t appreciate life so much until you’re afraid to lose it.
Cate Randa: Not so much when you see other people lose theirs.

Du Ho: [to Cate] You get out of the bed each morning, you roll the dice. Terrible things may happen. But you shouldn’t hide from pain. Look at you. Hide under your covers, and never sneak into Korea, never meet Du-Ho, and never have a chance to tell your papa to go screw himself.

May: I mean, why is he flying?
Du Ho: Lee Shaw is the best pilot I know when flying by seat of the pants.
May: Great. Now I’m going to pi** mine.

Lee Shaw: Everybody in one piece back there?
Du Ho: Brother, your landings can use a little work.

Du Ho: I’ll be a monkey’s naked uncle!

May: [to the others] Unless you want to add a set of toes to what you already owe me, you need to speed your a** up.

Kentaro Randa: You still think it’s out there?
Lee Shaw: Hell if I know.
May: What happened to your centuries of experience now, huh?
Lee Shaw: It’s a Titan, May. They’re like snowflakes. Never came across two that were same.
May: Okay. Well, maybe there’s some info on these precious files of yours. Go to hell, and take your life’s work with you.

Kentaro Randa: [flashback, in Japanese] May, this is Sota. Owner. Manager. A**hole.
Sota: [in Japanese] Guilty of all charges.

May: I judge an artist based on their art, not on a suit and a haircut.

May: You’re definitely more than just a haircut.
Kentaro Randa: Kimi sent me to her stylist. People buy the artist.
May: I mean, sure. Rich p**cks who have more money than good taste.

May: People don’t give other people a shot unless there’s something in it for them.
Kentaro Randa: That’s pretty cynical.
May: That’s life.

May: Okay. Kentaro. Look, you have a brilliant imagination, but now is not the time to use it.
Kentaro Randa: I’m going. Alone if I have to.
May: Oh, my God. You obstinate a**hole. So, what? You want to die to prove a point?
Kentaro Randa: Do you?
May: No.

Lee Shaw: You think you saw something?
Kentaro Randa: Yeah. I know what I saw.
Lee Shaw: Then go, and don’t stop until you find it, and then get help. We’ll do the same. Good luck. We’re all going to need it.

Lee Shaw: Titans have odd effects on their surroundings and how we experience them. The cloud we flew through, this place, it’s stranger than you think. It’s stranger than anybody knows.

May: My legs are burning.
Cate Randa: Like pins and needles?
May: More like swords and daggers.
Cate Randa: That’s really good. Your nerves are waking up. You don’t have frostbite yet.
May: Yet. Good bedside manner.

May: I can’t run from that thing anymore.
Lee Shaw: We may not have to.

Tim: Most of you all don’t know me, and if you do, I’m the troll from the basement that you try to avoid in the break room. It’s totally fine. It’s not like I work here for the after-work karaoke anyway.

Tim: I thought that we were here to learn everything we can, in any way that we can, so no one else has to lose another loved one in a Titan event. And I would’ve thought that a bunch of people who signed up to study giant, atomic-powered monsters, would be a little bit more open-minded about it.

Lee Shaw: We may be knocked on our a**es but we’re not done yet, because now we know how our enemy works.
Cate Randa: We do?
Lee Shaw: Yeah. That Titan didn’t go after us, it went after the fire. Didn’t go after Kentaro, it went after that burning airplane engine.

Cate Randa: That’s how it’s tracking us. It’s drawn to the heat. Oh, my God.
May: Then why did it toss that airplane like a chew toy and come chasing after us?
Cate Randa: Because my brother tried saving our a**es by shooting a flare at it. And after the flare, we were the warmest things.

Lee Shaw: And this is how we beat this damn thing. We dangle the biggest, brightest, hottest object we can in front of it. I’ve never been so thankful for a full bladder.

May: [referring to Lee] Sooner or later you’re going to have to ditch me, okay? Yes. And if the time comes, you ditch him too. Save yourself, Cate. One of us has to make it out of here alive.

Cate Randa: Are we really doing this?
Lee Shaw: It’s a funeral pyre, Cate. Du-Ho always wanted to go out in a blaze of glory. I’m just pouring one out for the guy who loved getting one over on me.

Lee Shaw: Dinner time, you son of a b**ch.

Cate Randa: [to Kentaro] I never thought I’d thank someone for abandoning their family, but here we are.

Kentaro Randa: [referring to Hiroshi] He made it out. He’s alive.

Tim: Colonel Shaw! It’s an honor to finally meet you!

Cate Randa: Monarch may know how to find the Titans, but they don’t know how to find Dad.

Lee Shaw: How is the view from the almost top?
Natalia Verdugo: Almost high enough.
Lee Shaw: Well, you’re young. Life’s long.

Natalia Verdugo: We stand on the shoulders of giants.
Lee Shaw: It’s kind of funny. I mean, feels a little more like you’re sitting on them, you know? Weighing them down, doing what Monarch does best.
Natalia Verdugo: And what’s that, Colonel?
Lee Shaw: Nothing. Absolutely nothing.

Natalia Verdugo: And traipsing around the globe with Hiroshi Randa’s kids, that’s doing something?
Lee Shaw: Those kids have already survived more situations than half the people you got working in your field out there.
Natalia Verdugo: And you nearly got them killed.
Lee Shaw: Oh, they’re a lot tougher than you think.
Natalia Verdugo: Not so much. They’re scared. They’re gullible. Chatty.

Natalia Verdugo: You ever think Hiroshi had a reason for not telling his kids what he did here? Maybe he didn’t want this life for them.
Lee Shaw: I have thought about that, actually. Quite a lot. I’ll ask him when I see him.
Natalia Verdugo: I’m assuming you don’t mean in the afterlife.
Lee Shaw: No.

Duvall: [referring to Shaw] You say he helped found Monarch. But that was in the ’50s.
Tim: ’40s actually, though he came a few years later.
Duvall: So he should be, what? Ninety, at least? How does he look like that?

Duvall: [referring to Shaw] Who is he now? How did he go straight from an old folks home to finding a Titan no one in the entire organization knew existed?

Kentaro Randa: Is it true they’re selling tours of the destroyed city?
James: They did. Before the military walled it off.
Cate Randa: “Trauma tourists”, getting off on the disaster p**n, or trying to prove it was all a government conspiracy.
May: Sick freaks.

Caroline: You know, people are so funny. They never ask for money or valuables. They always seem to be asking for these things. Their personal memories.

Cate Randa: What the hell is going on?
Caroline: Quite a lot, actually.
Cate Randa: You know what I mean. Inviting him in to get settled like your husband’s secret son walks in every day.
Caroline: What do you expect me to do? Throw him out? Have a hysterical breakdown?
Cate Randa: Go for it. I wouldn’t blame you.

Caroline: I pushed you. What was I supposed to do? You spent all day, every day, wasting away in that room of yours. You wouldn’t even try any support groups.
Cate Randa: Because pottery classes are going to bring my kids back from the dead.
Caroline: You couldn’t even lift a finger to help yourself.
Cate Randa: It was my choice.
Caroline: And I wasn’t going to sit around and watch my daughter kill herself.
Cate Randa: Fine. You wanted to get me out of my room. Give me something to live for. Mission accomplished.

Kentaro Randa: How can anyone believe this is fake?
Cate Randa: It’s easier than waking up every day and thinking, at any moment, the same could happen to you.

Natalia Verdugo: You went decades between escape attempts. Why start raising hell again now?
Lee Shaw: The world is on fire. I decided to do something about it.

Natalia Verdugo: We have the smartest people on the planet working on it. Colonel, you can stand down.
Lee Shaw: “The smartest people on the planet” have had sixty years to prepare for G-Day. “Let them fight.” That’s the best they could come up with? What if Godzilla had lost?

Natalia Verdugo: What’s hiding in Bill Randa’s files?
Lee Shaw: Nothing you don’t already know. And everything you don’t want to believe.
Natalia Verdugo: Word games. Is that what it’s going to be, Colonel?

Natalia Verdugo: I can bury you deep, or I can bury you shallow. Your call.
Lee Shaw: Bury me? Who’s playing word games now? And wasting time none of us have.
Monarch is wrong. And has been, for a long, long time.

Cate Randa: Today’s lesson, don’t believe everything you see on the Internet.

May: It’s like a cat lady’s fantasy island.
Kentaro Randa: Or a cat man’s. Oh, my uncle is a cat man.

Kentaro Randa: Cate, we need you. We’re going together or not at all.
May: Yeah. Come on, you can do this. You’ve come this far.

Cate Randa: [thinking she’s talking to Hiroshi] What do you have to do that’s more important than us?

Cate Randa: I don’t deserve this.
May: I don’t think anyone deserves this.
Cate Randa: No, I mean that anyone would do s**t for me when all I ever do is let them down.

Cate Randa: I hate him for leaving. But how am I any better?
May: You didn’t let me down when I was freezing to death in Alaska. The only way out is through.

Cate Randa: I’m sorry for what Dad did to you. Thirty years. You wasted your life on him.
Caroline: No. No. I could have found out that he was cheating on me. I could’ve asked. I could have gone to Tokyo. But I didn’t want to know the truth. I liked having a part-time husband. But that meant that you had a part-time father, and you deserved more than that.

May: So, how are you feeling?
Kentaro Randa: Good. Like for the first time since my father disappeared, maybe everything isn’t s**t, you know? Is that weird?
May: I’ve recently updated my definition for weird. So, I don’t know.

May: I want to go home. Tell me what I need to do.
Duvall: Smart girl. I’ll be in touch.

Duvall: Why not share what you know with Monarch? Surely they could help.
Lee Shaw: They’ve known everything for years. I’ve been telling them for years. They just don’t believe it.
Duvall: Why not?
Lee Shaw: Because I’m crazy. Just like wild Bill Randa and his crazy kid Hiro. I mean, it’s amazing, isn’t it? How anyone who disagrees with them has got to be just crazy.

Duvall: Some of us came to Monarch saying “Never again”. I meant it. And there are more who feel like me, waiting for someone to show us how. I think it’s you. Does that make me crazy?
Lee Shaw: I think you and I have a lot to talk about.

Young Lee Shaw: So, this is a Titan?
Dr. Keiko Miura: It’s not definitively not a Titan.
Young Lee Shaw: Okay, that’s definitively not an answer. If it’s not one of our bogies, then what is it?
Bill Randa: The three most beautiful words in the English language. I don’t know.

Dr. Keiko Miura: Titans don’t care about budget meetings, Lee.
Young Lee Shaw: That’s because Titans don’t have to sing for their supper, Kei.
Bill Randa: But you know who’s got a beautiful singing voice?

May: It’s in the middle of the Sahara.
Cate Randa: Not the middle-middle. More like the…
Kentaro Randa: North-middle.
May: Yeah, of a giant desert.
Cate Randa: So? We got Dad’s map. Nut up and pack a sun hat.

Kentaro Randa: How did you escape?
Lee Shaw: Ah, you know me. A little help from the outside, sometimes from the inside.
Cate Randa: What’s she doing here?
Lee Shaw: Well, Michelle’s dancing on the side of the angels now. Pretty respectable dancer too.

Natalia Verdugo: Alright, Columbo. Dazzle me.
Tim: I know you meant that as a burn, but I actually love Columbo, and it’s maybe the nicest thing anyone’s ever said to me.
Natalia Verdugo: You need friends.
Tim: I have friends.
Natalia Verdugo: Not Internet friends.

Natalia Verdugo: Good work.
Tim: Yeah. Well, you know, that was the thing about Columbo. He was always right too.

Dr. Keiko Miura: He said, “Welcome to Monster Island.”
Bill Randa: Yeah. I got that part. Someone should have a talk with the board of tourism.

Suzuki: Theoretical physics are riddled with contradictions and impossibilities.
Bill Randa: Hence the “theoretical” part.

Dr. Keiko Miura: This clever man has made a Titan phone.
Bill Randa: Or this lunatic made Titan bait.
Suzuki: I prefer her version.

Lee Shaw: Alright. If this is where you want off, just understand that the consequences will be on your heads now too.
Cate Randa: Consequences. What consequences?
Lee Shaw: Thousands, maybe millions of lives lost that your grandparents and father were trying to save.

General Puckett: In every military organization, there are generals and there are soldiers.
Young Lee Shaw: I understand that, sir.
General Puckett: You could’ve fooled me. Now, you have a choice to make, and I trust you to make it. But understand that what you choose will affect choices I have to make. You make the wrong choice, and I will act accordingly. But you make the right one, and you get to run Monarch your way.

Suzuki: My father used to say, “There is a reason they call it fishing, not catching.”

Suzuki: Have you ever seen one? For certain? A Titan.
Dr. Keiko Miura: Yes, we have. They are terrifying.
Suzuki: [in Japanese] Good! Miracles should be terrifying. Don’t you think?

Bill Randa: You know the only thing worse than being a third wheel? Being a fourth. Let’s walk.
Suzuki: But four wheels are intrinsically stable. That’s why a car has four wheels.

Dr. Keiko Miura: You weren’t supposed to come.
Young Lee Shaw: My place is here with you, Kei. You need…
Dr. Keiko Miura: What? Your protection?
Young Lee Shaw: That’s my job.
Dr. Keiko Miura: No, your job is to protect Monarch.
Young Lee Shaw: Without you, there is no Monarch.

Dr. Keiko Miura: You know we can’t do this.
Young Lee Shaw: We can try.
Dr. Keiko Miura: How long before either of us makes a decision based on what we want to do instead of what Monarch needs?
Young Lee Shaw: You don’t trust me.
Dr. Keiko Miura: I don’t trust either of us. If we can’t put the greater good before our own desires, we risk losing everything.
Young Lee Shaw: [as they kiss] I don’t care.
Dr. Keiko Miura: Yes, you do.

Young Lee Shaw: The most powerful weapon this country’s ever created could not bring that thing down, so we can’t keep that to ourselves.
Dr. Keiko Miura: So we tell them and then what? They build an even bigger weapon and try again. And if that doesn’t work, an even bigger one. And if they can’t find Godzilla, maybe then they’ll find somebody else to use it on.

Cate Randa: So we chase Godzilla, then what? More people die? We can’t stop him.
Lee Shaw: Stop him? Jesus, Cate. I’m trying to help him.
May: Oh, my God. You’re insane.
Lee Shaw: What I am is done debating. But if you come with me, you’ll know everything. I promise you.
Cate Randa: No. The only place we’re going is after our father.

May: [to Cate and Kentaro, referring to Monarch] And so, yes, I sold us out, and I’m the reason that they found us.

Natalia Verdugo: What happened?
Tim: Godzilla happened, actually. He was here.
Natalia Verdugo: You’re sure?
Tim: Kind of hard to miss. Majestic, terrifying.

Natalia Verdugo: If Godzilla’s on the move, we need a full debrief.
Tim: He was huge. He appeared out of nowhere. And then he disappeared, guess what, into nowhere. So, consider yourself briefed.
Natalia Verdugo: Consider yourself suspended.

Kentaro Randa: [referring to May] What if she doesn’t want to be found?
Cate Randa: Well, then she can tell us to eat s**t and die. But after all we’ve been through, she owes us an eat-s**t-and-die to our faces.

Lee Shaw: My name is Colonel Leland Lafayette Shaw III, and your base is now under my control. You all may leave whenever you want. You all know where the doors are, which we will be locking down for operational security. But before that happens, you each have a decision to make. A choice. Now, you can go on as if the world hasn’t changed, pretending that humanity didn’t just wake up and suddenly find itself on the endangered species list, or you can stand with us on the right side of history.

Brenda Holland: Your work was brilliant.
May: That’s what you tell all of us. I mean, it’s like you snapped up anyone who’s ever spilled a Red Bull on a keyboard.

Brenda Holland: Can I get you anything? Water, coffee, a good lawyer?
May: If I needed one of those, I don’t think we’d be having this conversation.

May: I saw what you were doing.
Brenda Holland: And you thought that you, the boss of your parents entire basement, had the power, the ability, the moral authority to put a stop to it.

Brenda Holland: What do you know about monsters, Corah?
May: I know what everybody else knows.
Brenda Holland: Yet somehow you found yourself in the Sahara desert in the middle of what Monarch refers to as an emergence event.
May: Okay. Well, why does that matter to you? You’re a tech company.
Brenda Holland: We’re innovators. That’s why I recruited you. Not to build on someone else’s tired ideas, but to see the future.
May: What, and the future is monsters?

May: You want me to be your spy?
Brenda Holland: Just keep doing what you’ve been doing. Living a lie.

May: [to Cate and Kentaro] I didn’t care about helping you. I didn’t care about your dad. I was using you. I was using you to save my own a**. And I don’t want to be that person anymore. And that’s why I can’t go with you, and I can’t go home.

Tim: You said you didn’t have any resources.
Natalia Verdugo: You said you were going to help Randa’s kids find their playmate. Did you? Are we done playing Goonies now?

Cate Randa: [to Verdugo] We found our dad’s map. We found our dad. And we found Godzilla. All on our own, without you or Monarch. You help us get May back, and we’ll help you find Shaw.

May: Man, I used to love telling people I didn’t care about money or the recognition. And the moment you dangled it in front of me, I bit. I was pi**ed at you, but I was pi**ed at myself. The night that I broke into the lab, I couldn’t handle that. So I screwed us both over.
Brenda Holland: So this is the moral of your story then?
May: From now on, I’m the only one who’ll pay for my mistakes.
Brenda Holland: Yes. You are.

Natalia Verdugo: But this is now the world we live in. Monsters are an inescapable reality, a constant threat that we must learn to survive. And I believe we can. Together, I believe we will. That is my commitment to you. And that is Monarch’s commitment to you.

Lee Shaw: Alright. Let’s bring the roof down on these things once and for all.

Kentaro Randa: Is that why we’re here, to get fitted for our tinfoil hats?
Tim: Let your freak flag fly, bro.

Natalia Verdugo: We do questions really well around here. But what we need right now are some answers.

Tim: But Shaw, he’s old school.
May: The oldest of schools.
Tim: Exactly. He would not let this go. This was his mission. It was his life.

Cate Randa: [reading from the file] “Operative lost during field assignment in performance of duties. Missing presumed killed. Randa, Keiko.”
Kentaro Randa: So Monarch cost us our father and both our grandparents.

Natalia Verdugo: Does Shaw seem like the sentimental type to you?
Cate Randa: Yes, he does. I mean, when we were in the desert, the way he talked about our grandmother, I thought he was going to tell me he was our grandfather.
Tim: Shaw is trying to rewrite the past. To do that, he needs to go back to the place where everything went to hell for him.

Natalia Verdugo: I am not sending a bunch of untrained amateurs after Lee Shaw.
May: You sent a bunch of trained professionals last time. How did that work out for you?
Cate Randa: Shaw practically begged us to go with him. He wanted us to finish this together.

Natalia Verdugo: I always thought Goonies deserved a sequel.

Cate Randa: We have to do something.
Kentaro Randa: Why do we have to do something? Our father worked for these people. He made that map.
Cate Randa: And we took it to Shaw. If it hadn’t been for us, Uncle Lee would still be in his old folks home playing boccie with Stan.

Dr. Keiko Miura: So, Lee said that we need to draw a map that clearly charts our mission for Hatch and Puckett, right?
Bill Randa: Yeah, so? That’s what I did.
Dr. Keiko Miura: No. This is more like a blueprint of a house that’s designed by a hundred different architects. Ninety-nine of whom might be insane. You got stairways going nowhere. Rooms with no doors. And you end up with a house that’s bigger on the inside, but on the outside…

Bill Randa: We can’t just exclude anything that seems crazy when the whole damn thing is crazy.

Bill Randa: Remember, beyond logic lies the truth.
Dr. Keiko Miura: Yes. It’s catchy.

Dr. Keiko Miura: But Hatch and Puckett can’t see the possibilities in the impossible the way you do.
Bill Randa: The way we do.

Cate Randa: You said you weren’t the bad guys. That you’re just a bunch of monster nerds trying to save the world.
Tim: I don’t think I ever used the words “monster nerds”.
May: I definitely did.

Konate: Shaw escalated this.
Cate Randa: Yeah, and he’s going to do it again if he sees you. He’ll at least talk to us.
Konate: What makes you think he’ll listen?
Kentaro Randa: Because he wants us here. He wants someone to take over the family business, and he thinks we’re the only family he has left. He’s not going to shoot us.

Tim: [referring to the radiation] What kind of exposure are we looking at?
Konate: About two-tenths of a millisievert.
May: Is that bad?
Tim: Bad adjacent.

Kentaro Randa: It’s a portal.
Tim: It’s an entry point.
May: To where?
Tim: Tinfoil hat land.
Kentaro Randa: Is Shaw’s plan really that crazy? To try and close it?

Bill Randa: Stairs to nowhere. Rooms without doors. What the hell are we missing? Bigger on the inside.

Bill Randa: The ants showed me it’s bigger on the inside.
Dr. Keiko Miura: What are you talking about?
Bill Randa: What if they live underground? The Titans. If that’s how they move around the world without being seen.
Dr. Keiko Miura: Like ants.
Bill Randa: Yes. Sort of.

Bill Randa: What if their underground isn’t just underground? What if it’s another realm, not just beneath the earth, but…
Dr. Keiko Miura: Inside of it.
Bill Randa: Yes. Inside, but also alongside, existing together.
Dr. Keiko Miura: Bigger on the inside. That sounds…
Bill Randa: Crazy.
Dr. Keiko Miura: Yes. But brilliant.

Bill Randa: [referring to Hiroshi] So, he’s what Hatch was talking about? Your juicy tidbit?
Dr. Keiko Miura: What did you think it was?
Bill Randa: Nothing.
Dr. Keiko Miura: I wanted to tell you and Lee. I really did. And I almost did so many times. But you see how I’m treated. A woman. A Japanese. It’s hard enough to get an ounce of respect. What do you think they’d do if they found out I was a widow trying to raise a child alone?
Bill Randa: Then don’t do it alone. You know, I got your back. We, Monarch, we got your back.

Lee Shaw: There’s a world down there, Cate. And it’s not ours.
Cate Randa: There’s a world down there?
Lee Shaw: Oh, yeah. I know because I’ve been to it. It exists, Cate.

Lee Shaw: They were wrong to try to destroy Godzilla. He’s not here to hurt us. He’s just keeping his kind in their world and us in ours.
Cate Randa: So that’s why you want to seal off their world.
Lee Shaw: I am sealing off their world. Every portal.
Cate Randa: But what if you’re making things worse?

Lee Shaw: It’s not about the data, Cate. It’s all about belief. And to some small degree atonement.

Tim: He’s lost it, Michelle. Shaw. He doesn’t know what he’s doing.
Duvall: He knows exactly what he’s doing. And at least he’s not sitting around, Tim, waiting to see what happens next. Whose city will be destroyed? Whose family will die?
Tim: This could destroy everything. This could destroy the whole world.
Duvall: Or it could save us.

Cate Randa: [referring to Keiko] Sounds like she was a force of nature.
Lee Shaw: And then some.
Cate Randa: Talk all you want about stopping monsters and saving the world. This is to make up for losing her, isn’t it?
Lee Shaw: Well, of course it is. But that’s not really possible now, is it? But I can still honor the work that Billy and Keiko were trying to do.

Lee Shaw: No time for indecision, Cate. Especially when you’ve already seen what indecision can cost you.

May: Where are we?
Lee Shaw: We’re in it, May. We’re in their world. The Titans. This is just another part of their realm.

Bill Randa: [after they believe Shaw died and DOD shuts down Monarch] They really think NASA’s getting to space without losing some people?
General Puckett: Space they understand. A network of portals connecting to a hidden realm of monsters? It sounds…
Bill Randa: Insane.
General Puckett: In a word.

Bill Randa: Well, we could just bring one up, right? Show them what a real catastrophe looks like.
General Puckett: And what then? Hope it’s smaller than Godzilla and listens to reason?

Bill Randa: I could’ve stopped it.
General Puckett: I could’ve stopped it. “Older men declare war, but it is youth that must fight and die.” I assure you, it’s harder when you know the youth in question. He was my friend too.
Bill Randa: I can’t let it go, Puck. I won’t.
General Puckett: Now, your boy’s already lost a mother. Now an uncle. Do not take his father away too.

Lee Shaw: Time isn’t on our side. The longer we’re down here, the longer we’re down here.
May: What do you mean?
Lee Shaw: Well, I’m not a science guy, so it’s a little difficult to explain.
May: Well, I got time.
Lee Shaw: Actually, you don’t.

Young Lee Shaw: Go get me Bill Randa.
Hiroshi Randa: I can’t. He’s dead. We are in a Monarch medical facility. You disappeared during Operation Hourglass in 1962, twenty years ago. Uncle Lee. Welcome home.

Hiroshi Randa: [in Japanese] When I was a boy, he and my father and my mother promised me that they’d come back. I waited and waited, but they didn’t return. I mourned them and moved on.
Nurse: [in Japanese] Dr. Randa, it would seem like Shaw has kept his promise.

Kentaro Randa: [in Japanese] I wanted to stop them. I should have saved them. I should have been with them. I should have done whatever I could. How can they expect me to go back to the way things were?
Emiko Randa: [in Japanese] No one expects that, Kentaro. After that much loss, such grief, and pain, and despair, going back is not possible.

Young Lee Shaw: Why is Monarch treating me like I’m a prisoner?
Hiroshi Randa: No one’s entirely sure if you are safe.
Young Lee Shaw: Safe?
Hiroshi Randa: Not contagious, or radioactive.
Young Lee Shaw: Or a Russian plant. But you don’t believe that.
Hiroshi Randa: Of course not. You’re my Uncle Lee.

Hiroshi Randa: Your survival, your age, defies logic.
Young Lee Shaw: And beyond logic…
Hiroshi Randa: Lies truth.
Young Lee Shaw: Some things never change, huh?
Hiroshi Randa: Not even at Monarch.

Young Lee Shaw: If I tell you the truth, you’re just going to think I’m crazy.
Hiroshi Randa: If you keep it to yourself, it was all for nothing.

Young Lee Shaw: Bill Randa was right.
Hiroshi Randa: What exactly was my father right about?
Young Lee Shaw: About everything. Their world and ours. Their balance.
Hiroshi Randa: I think you are confused. My father was crazy. After he lost my mother, and then you, he lost himself.

Young Lee Shaw: We can do this together. We can figure it out. You and me. We can do it.
Hiroshi Randa: “We” are not doing anything. Three hundred thousand years, from the cradle of a civilization to the moon, we lived with the Titans until you three. Some beasts are best left undisturbed.

Young Lee Shaw: This is your legacy. This is your family business.
Hiroshi Randa: I buried that family in three empty boxes a long time ago. The madness that devoured my childhood…
Young Lee Shaw: Wasn’t madness.
Hiroshi Randa: Then it was a choice. Maybe that makes it worse.

May: You lost a lot of years of your life.
Lee Shaw: Oh, I don’t know. I don’t think I lost years, May. I mean, if we find some way to get you home, and what happened to me doesn’t happen to you, well, then I’d say it was worth it.
May: Don’t let this get to your head, but you look good for ninety-whatever.
Lee Shaw: That’s what everybody tells me.

Kentaro Randa: [in Japanese, after he’s told Hiroshi Cate was killed] If you weren’t  a sad, lying, secret little man who kept running away from her, Cate never would’ve come barging into my life! This is your fault!
[we then find out Cate is alive in the portal and is saved by Keiko, who has been there since 1959]

Dr. Keiko Miura: Who are you?
Cate Randa: I’m your granddaughter.

Natalia Verdugo: How’s the leg?
Tim: It’s good. Only hurts when I walk on it.
Natalia Verdugo: Get your a** in a seat then.

Tim: Someone could be alive, and that is not a priority?
Natalia Verdugo: With the whole planet still humming like a pressure cooker? With every station on alert for a possible emergence? No, it’s not.

Tim: What if the three could save the seven billion? Someone is alive down there. And they might have the answers we need, and they are calling us for help. We cannot pretend that we don’t hear them!
Natalia Verdugo: Look at the map, Tim. Look at the scale of what we are trying to stop. My hands are tied.
Tim: Then untie them! Otherwise Shaw was right about us. He was definitely right about you.

Lee Shaw: Let’s take five. We’ve got all the time in the world. I don’t know about you guys, but I’d like to get back to a world with flying cars and robot butlers.
May: Yeah. And maybe nursing homes on the moon.

Kentaro Randa: How’s your leg?
Tim: It hurts when it rains. Yours?
Kentaro Randa: Makes a funny clicking sound.

Dr. Keiko Miura: [to Shaw] I’ve been talking to you and Billy in my head the whole time I was here. Who you were anyway.

Dr. Keiko Miura: What’s it like now? 2015. Even the words sound fantastic.
Lee Shaw: Yeah, cars are smaller and more efficient, nowhere near as cool. But the, you know, TV sets are bigger, flat. Everybody’s got one. I mean, they’re everywhere. And, you know, gadgets. You know, they got a phone that does everything, and it’s… Oh, hey, we went to the moon. Yeah. Of course, I missed that one too because I was down here. But, you know, it’s same old world. Same people. Conflicts. Triumphs. You know, moms, dads, kids.

Cate Randa: So if we’re in the realm of the Titans or whatever, why does it look so much like Earth?
Dr. Keiko Miura: Because it is. Parts of it, anyway. Different pieces of home. Different pieces of their world. All put together like a patchwork quilt. I don’t think this is the realm of the Titans at all. It’s a place between places. I call it “Axis Mundi”.
Cate Randa: The pole between heaven and earth.

May: How is light getting in when we’re underground?
Lee Shaw: How do you know we are underground?
May: Because we fell down a hole.
Lee Shaw: Did we fall? Or did we enter?
Cate Randa: The rabbit hole.
Lee Shaw: Welcome to it, Alice.

Dr. Keiko Miura: I’m staying behind.
Lee Shaw: What?
Dr. Keiko Miura: Billy’s gone. And my boy grew up without me. I am not going to ruin his life again by reappearing suddenly. Whatever’s out there, it’s not my world. Not anymore.
Cate Randa: No. These monsters have taken everything from me. No more. This curse is broken. You still have work to do up there. And we need you. Now let’s move our a**es and get out of here.
Lee Shaw: She’s your granddaughter.

Lee Shaw: Kind of seems like old times, huh?
Dr. Keiko Miura: Speak for yourself.

Lee Shaw: It’s alright, Kei.
Dr. Keiko Miura: No, I’m not letting go!
Lee Shaw: Thank you. For everything.
[as he let’s go of Keiko’s hand, we see him seemingly fall to his death]

Kentaro Randa: [after Cate, May, and Keiko return to Earth] A lot’s changed in the past two years.
Cate Randa: Two years?

May: What the hell is going on?
Brenda Holland: Only everything I ever promised you.

Winston Scott: You were amazing.
Mrs. Davenport: Me? You’re the one who had me convinced.
Winston Scott: Well, not one acting lesson. Can you believe it?
Mrs. Davenport: Yeah, you should move to Hollywood. You’re a natural talent. Good looks. The ability to cheat people out of their hard earned cash. Oh, yes. You’d fit right in.
Winston Scott: Yes, well, lucky for me, all of those same things apply right here in London finance.

Mrs. Davenport: What did you see, when you were watching me? Your little mark? Be honest.
Winston Scott: Honest? I saw a woman that was a bit sad, and a bit lonely. And a woman that deserved better. Who may have just needed to hear that from someone.
Mrs. Davenport: Now you’re just trying to get a girl into bed.
Winston Scott: Oh, absolutely.
Mrs. Davenport: Well done.
Winston Scott: Thank you.

Cormac: This grand institution is part of a very old and sacred fabric. What a mess I would have made if I was to tear that fabric. How disappointed my superiors would be, because no matter how angry I am that you four have not retrieved that coin press like I asked you to. I can’t kill you. Not here.

Cormac: Charon, what becomes of someone who breaks that particular rule?
Charon: Excomunicado, sir.
Cormac: That’s Latin for you’re f***ed.

Cormac: I’d be persona non grata, deprived of all the privileges and protections that this hotel has to offer. Imagine me walking out these doors, you know, alive, but suddenly unprotected from all the people that I’ve hurt over the last forty years. My enemies would hunt me down. Or worse. What if they found my family? A wife, son, a daughter. Or two. Luckily, I have no one, just Charon here, who is only a teenager, and I would miss him. But you? Well, you got a family. You got a whole tribe in Tribeca. So you got a choice to make. You could walk out of here right now, leaving your family at grave risk. Or you can spare their lives. Simply find the nearest balcony, and jump.

Winston Scott: You got old.
Cormac: Yeah, I’m wearing a diaper. You know, they ought to call this place the In-continental.

Winston Scott: You know, usually when a bunch of guys in masks drug me and throw me in the back of a truck, and fly me over the Atlantic, they at least offer me a cup of coffee.
Cormac: Yeah, of course. Charon, bean the man.

Cormac: [referring to Frankie] You know I got a soft spot for the boy. Then he stole something from me, something that holds this entire establishment together, an establishment that wields power beyond your imagination.
Winston Scott: This is not my problem.
Cormac: It is now.

Cormac: What Frankie took is very important to a lot of very dangerous people.
Winston Scott: Ah, I see what this is about. You’re in trouble, and I’m the bait. Frankie doesn’t give a s**t about me, and I don’t give a s**t about him.
Cormac: I don’t believe you. Find him. Because if you don’t, I’ll bring the weight
of this whole institution down on you both.

Winston Scott: I’m guessing you don’t usually see many people speak to your boss that way.
Charon: Not the ones I see again, no.

Mayhew: Thought you were a big fancy detective now, that you can come and go as you please.
KD: Yeah, well, I’m still a woman. My male superior is an a**hole.

Uzan: I’m going to teach you stupid Americans a lesson in business. It’s called, removing the middleman.

Miles: [to Uzan] Normally, I would have kept these as a souvenir, but I don’t want you to leave empty-handed. Pick up your finger!

Winston Scott: I feel like I’m getting dragged back into another one of Frankie’s hornet’s nest.
Uncle Charlie: The point is, he’s your family.
Winston Scott: He’s family?
Uncle Charlie: That’s the point.
Winston Scott: I don’t even know who he is anymore. And I’m supposed to throw away everything that I’ve built because my brother returns from Vietnam and goes back to work for the monster that ruined our lives?

Uncle Charlie: I mean, Jesus Christ, what’s it been? Twenty some-odd f***ing years, and neither one of you picked up a f***ing phone? Winston, life has got a real f***ed up way of picking that phone up for you.

Uncle Charlie: [as he hands Winston a gun] It’s a rough neighborhood.
Winston Scott: Charlie, I can handle myself.
Uncle Charlie: [referring to his car] It ain’t for you. It’s for her. You protect her with your life, or don’t come back.

Miles: The war is over, and my connections, they’re drying up fast. That’s real. So if we want to keep these Dojo doors open…
Lou: You don’t give a s**t about keeping these doors open.
Miles: You got another option? Huh? I’m here waiting. Because the only thing anybody’s kicking up around here is dust.

Winston Scott: Are you the owner?
Lou: That’s my name on the sign. Also the custodian, bookkeeper, and maybe your new instructor.

Lou: City’s getting rougher every day.
Winston Scott: Oh, I’ve noticed.
Lou: So if you’re interested in taking some classes, I might have a good looking white boy discount.
Winston Scott: I could probably use your instruction. My last fight didn’t go so well.

Lou: [to Winston, referring to Frankie] I haven’t seen that piece of s**t in months. And he stopped picking up his mail. And if you’ve got his blood in you, you probably trouble too.

Miles: So you come in here pointing a gun at my sister?
Winston Scott: In hindsight, that was a mistake.
Lemmy: No. That ascot was a mistake.
Winston Scott: It’s a cravat.
Lemmy: F*** you.

Winston Scott: My brother cut me out of his life a long time ago, so I shouldn’t even be here. But I need to find him, and I need all the help I can get.
Lemmy: In there. Cravat.

Winston Scott: [as they enter the ammo room] You know, if you’re trying to scare me, the very large machine gun you’re holding already did the trick. Now this just feels like overkill.

Miles: Most of the guys over there had to get used to all the killing. But Frankie just took to it. There’s people that just pick things up and can do it. If he picked up a gun, a knife, s**t, anything you see here, the gun’s going to be trying to keep up with him.
Winston Scott: Well, that’s a hell of a thing to be good at.

Miles: If you need someone in charge of saving your life, I’ll take Frankie every time.
Lemmy: Every time.

Lemmy: Guy like Frankie, a skill set like he’s got, you’re not going to find him unless he wants you to find him. He’s like Casper, the unfriendly ghost.

The Adjudicator: You thought you could outsmart the High Table? How foolish of you.

The Adjudicator: What I’m sharing with you is very privileged information, information I only share with one kind of person. The kind who are about to die.

Frankie Scott: I know it’s been a while, Winston. But I need to know why you’re here.
Winston Scott: I’m here because apparently you f***ed up, Frankie.

Frankie Scott: I got us into this mess, and it’s better to die on your own terms than get shot down like f***ing rats.
Winston Scott: You want to hole up in this place until they come and kill you? That’s not a plan, Frankie. That is an unscheduled funeral.

Winston Scott: I can help you. Both of you. Trust me.
Frankie Scott: Yeah. Well, we’re not big on trust.
Winston Scott: Tough s**t.

Frankie Scott: Cormac isn’t the same guy you knew when we were kids. He’s bigger than goons, or bookies, or broken fingers. And he’s part of this criminal world that expands beyond that hotel, beyond your city, and beyond your imagination.
Winston Scott: Frankie, you sound f***ing paranoid.
Frankie Scott: Oh, do I?
Winston Scott: A little bit.

Frankie Scott: Now Cormac’s one thing, but the people he works for, the people that he fears, after what I did to him, Winston, they control everything. They have eyes and ears everywhere. They make people disappear. They make whole buildings disappear.

Winston Scott: We’re going to see Charlie.
Frankie Scott: Captain Reliable? The guy that was supposed to look after us when we were kids, that’s your plan?
Winston Scott: Part of it, alright? I’m working on it.

Frankie Scott: And you know, if Cormac dragged your a** back here, why didn’t you just leave when you had the chance?
Winston Scott: You’re my brother, Frankie. You’re all I have left.

Cormac: It’s time to outsource. Perhaps some of our guests are available. Get me the Weirdos.
Charon: Sir?
Cormac: Oh, yeah. You’re right. They’re all weird. The Twins. Get me those twins. Hansel, Gretel, whatever the f*** they’re called.

Winston Scott: So I come to New York to help my brother, and he didn’t even tell his wife that I exist.
Frankie Scott: You didn’t come to New York on your own will, Winston.
Winston Scott: But I stayed. And I found you.

Winston Scott: We had no parents. No one. Why would you just cut me out like that?
Frankie Scott: For you. So that you could escape this life. So that you could lead a better one, which is exactly what you did, Winston. I mean, look at you with your f***ing suit and your shiny watch.
Winston Scott: This is all appearances, Frankie. I needed a big brother.
Frankie Scott: That was me being a big brother. I mean, don’t you f***ing get that? I kept you alive by keeping you out of all this s**t. And here you are just seeking it out anyway.

Frankie Scott: You know, sometimes, Winston, you got to make choices you don’t want to protect the people you care about. Maybe you’ll get to understand that one day.

Frankie Scott: You know, pretty soon it’ll be like riding a bike.
Winston Scott: We never had bikes.

Frankie Scott: You both need to look after each other. You hear me?
Winston Scott: What? What are you saying?
Frankie Scott: That they want me. And this.
[he then jumps out of the chopper with the coin press and is shot in the head by Gretal]

Winston Scott: [to Miles] I need guns. Lots of guns.

KD: Coroner’s assistant, huh? That’s like one step above gassing puppies at the pound, no? I just can’t even imagine all the creepy stuff that happens in here.

Cormac O’Connor: [to Charon] Well, in crisis, we’re all gluttons in our own way. You gorge yourself on cellists, while I, well, I prefer more traditional victuals.

The Adjudicator: You eat rather celebratory, considering your slew of recent failures.
Cormac O’Connor: Comfort food, nothing more.
The Adjudicator: Comfort? You think in history’s great tales of survival, legendary men who battled their way back from defeat, they did so by comforting themselves?

The Adjudicator: [to Cormac] People who are born into wealth, as you were, they often seek comfort in the face of adversity. Perhaps it’s time for you to feel uncomfortable. Yeah. I mean, discomfort is the great equalizer.

The Adjudicator: [to Cormac] You have three days to locate the coin press and bring those responsible to our feet. If you fail, the High Table will declare interregnum, suspend your position until we can name a successor. Your gilded cage will come crashing in on you. Enjoy your meal.

Winston Scott: Let’s think about this. What do we have going for us? Okay, for starters, the killers in that hotel, they’re men and women, right? They bleed just like we do. They also won’t be expecting us, right? Because no one’s ever made a run at The Continental.
Lemmy: Yeah, because it’s f***ing insane.

Winston Scott: [referring to Mazie and Cormac] I don’t understand. Why hasn’t he snuffed her out?
Lemmy: Well, it’s not easy to snuff something out when you don’t know what you’re snuffing.

Jenkins: So you just dropped in to convince a retiree to retire.
Miles: You’re not retired.
Jenkins: Oh, please.
Miles: Why not find yourself a lady? Enjoy your golden years.
Jenkins: And do what? Regale her with tales of my youth, when I could liquefy a man’s brains at three hundred and fifty yards? What kind of lady would that attract? No. No. I think I’ll stick to the solitary life.

Miles: We’re trying to put together a crew. It might just be a suicide mission. It’s definitely crazy.
Jenkins: Is it really? Crazy? Suicidal or not, yours is a righteous cause. If anyone ever deserved to be eliminated, it’s Cormac O’Connor.
Miles: That’s the goal.

Fake Mazie: We don’t serve your kind here.
Winston Scott: That’s good, because I don’t eat my kind.

Winston Scott: You must be the woman I’m looking for.
Mazie: And you must be the son of a b**ch everyone’s looking for.

Mazie: I thought you’d be smart enough to know that I don’t deal in dollars. It’s how I maintain independence from men like Cormac.
Winston Scott: Alright, well, I’m very resourceful. Tell me what you need.
Mazie: Love.
Winston Scott: Love?

Mazie: The men I call my flock, you walk by them on the street every day, never noticing, invisible, no self-worth. But you take those same men, and give them back their humanity, do you know what they give you in return?
Winston Scott: What’s that?
Mazie: Everything. And now that same invisibility, they embrace it, because they no longer need you to see them, because…
Winston Scott: They see themselves.
Mazie: Love. Can you dig it?

Mazie: When a man comes to needing help, I only have one requirement. They have to tell me their story.

Winston Scott: I’m the man who’s going to kill Cormac O’Connor.
Mazie: No. No. It’s too easy. Why are you the man who’s going to kill Cormac O’Connor?

Winston Scott: Well, you still haven’t told me your price, yet. There’s got to be something.
Mazie: Tough to buy for, aren’t I?

Cormac O’Connor: [to the assassins in the church] Know that if I go down, I’m taking all of you down with me. You understand? Your failure humiliates me, and it’s no secret what I do to those who humiliate me. Now get out of here so I can pray. It’s a sacrilege, you people even being here in the first place. It’s a wonder you don’t all burst into flames.

Cormac O’Connor: [as he’s looking at the cross in the church] Help me.
Charon: I wish I had the answers, sir.
Cormac O’Connor: I wasn’t talking to you.

Lemmy: So let me get this right. You won’t even touch a gun, but all this other crazy lethal s**t, that’s fine?
Lou: It was my father’s code, Lemmy. No guns.

Winston Scott: [referring to Mazie] Well, she’s not interested in money apparently, just love.
Jenkins: A deadly hippie. Now, there’s an oxymoron.

Thomas Caine: You ever think of leaving?
Charon: The hotel?
Thomas Caine: Yeah. There’s so much to experience out there.
Charon: True. But I don’t think Mr. O’Connor can survive without me.
Thomas Caine: Or you without him.

Charon: You must understand, where I’m from, violence is rampant. Here at least the chaos is controlled. I feel safer here than I ever did back home.

Winston Scott: You said there were two types of people in The Continental, right?
Jenkins: Evil and brainwashed. Why?
Winston Scott: [referring to Charon and Thomas] Which one’s which?

Winston Scott: Charon. Lovely to see you again.
Charon: So you’re here for revenge?
Winston Scott: No. No, no, no, no, no. No, this is about justice. And this is merely a conversation.

Winston Scott: [referring to Cormac] I remember thinking, “This is the scariest man I have ever seen.” The first thing he did was point out that my shoes were falling apart, as if I didn’t have any self-respect. And then he asked whose idea was it, skimming from him. And Frankie tried bulls**tting him, so I chimed in with the actual truth. It was my idea. That was the moment he saw something in us. That was the beginning and the end.

Winston Scott: It may look like we have nothing in common. Trust me. We are more alike than we are different, Charon. Unfortunately, I have a pretty good idea of what’s in store. What I’m asking you to do is not easy. It may go against everything you stand for, your loyalty, and your honesty, and it will mean keeping secrets, and telling lies, and breaking promises, and sacrificing anything he has promised you, like bringing your father to The Continental, for example.

Winston Scott: [to Charon] A father figure is responsible for teaching you about loyalty and family, relationships and business. And Cormac may preach this, but he only cares about one thing, himself. And sooner or later, you’re going to realize, it’s either you or him. I’m offering you a chance to decide who you want to be before it’s too late.

Cormac O’Connor: [to Charon] Our cellist friend. Our, oh, so virtuous virtuoso, turned out he was very disloyal. He tried to steal from me, and I am sick and tired of people stealing from me. Oh, he confessed. As you can see, I got pretty teed off. Breach of trust like this, well, it just makes me more grateful to those who remain loyal. And with this in mind, I want our next musician of residence to be someone that we know. An accomplished international artist, and yet, someone who will fit in more like a family member. That’s right, your father.

Charon: Winston Scott has assembled a team. They mean to kill you.
Cormac O’Connor: And how do you come to know this?
Charon: He asked me to join him.
Cormac O’Connor: How did that make you feel?
Charon: It felt like an opportunity.
Cormac O’Connor: Opportunity for what?
Charon: An opportunity for advancement.
Cormac O’Connor: Here with me?
Charon: Indeed, sir.
Cormac O’Connor: Good man.

Charon: May I ask you a question, sir?
Cormac O’Connor: Sure.
Charon: What was it that Thomas was trying to steal?
Cormac O’Connor: You. Loyalty.

Cormac O’Connor: The High Table wants to send me to the glue factory. This is my house. It was ordained.
Charon: Absolutely. No one will ever take it from you, sir.
Cormac O’Connor: From us, Charon. From us. And the audacity of that Adjudicator to mark me with an expiration date. That f***ing rat-chewed mutant. She comes from the rib, and I from the marrow of the Almighty! She’s an afterthought. She can take her apple and f*** off.

Cormac O’Connor: It took David five smooth stones to topple the giant. Me, I got a big-a** boulder up my sleeve. I hold one sweet secret that can bring down this entire empire and swallow it whole. I can make all their secrets and all their souls vanish. Defensionem!

Cormac O’Connor: I’ll take them all with me if I have to. It’ll be one Pyrrhic punch in the face. This’ll always be my kingdom, press or no press!

Lemmy: Woh. Woh. New glasses. Didn’t realize we were having a handsome contest.
Jenkins: I sure hope you’re a better crook than comedian.
Lemmy: No, I’m being serious. You look ten years younger.

KD: I’d like a room. One night.
Continental Concierge: Have you been with us before?
Continental Concierge: [KD slides a gold coins across the counter] Room 818. Any baggage?
KD: Yeah. Whole lot of it.

Cormac O’Connor: Where’s my press?
Winston Scott: You know, until you find it, I’d say it’s Frankie who’s haunting you.

Winston Scott: Now’s your chance, Charon. Shoot him.
Cormac O’Connor: You better shoot me, because if you don’t, I’m going to send you back to Zimbabwe a piece at a time.
Charon: It’s Nigeria.

Winston Scott: Cormac is in the wind. He’s headed to the armory with the key. Thank you, Charon. Go to phase two, rendezvous at the armory.
Jenkins: What about that shoulder, Winston?
Winston Scott: I’ve done worse shaving.

Charon: I’m sorry I didn’t shoot Cormac.
Winston Scott: Yeah, so am I. Let’s hope we get a second chance.

Lemmy: Christ, why does everybody keep hitting me in the f***ing neck?

Cormac O’Connor: Ah, Charon, this was just too easy. All of this because of that bug-eyed cellist?
Charon: All he did was play music.
Cormac O’Connor: Well, he sure was a virtuoso. Too bad you weren’t there for his last impactful performance. You know, I told him to choose the song. You know what he picked? “Loyalty to the Master” from Don Giovanni.
Charon: The cellist did know his audience. But “Loyalty to the Master”, that’s what he told you it was about? That’s funny. Really funny.
Cormac O’Connor: He chose it just for me.
Charon: He did. But what it is about is damnation. The central idea is that fate will catch up to you and the actions you commit. You thought he was playing for you. But really, he was just playing you.

Cormac O’Connor: I knew something smelled rotten here. Mazie’s homeless men and one woman. I’m hobo-phobic. But rounding up a bunch of homeless derelicts off the street
isn’t going to help you. You can dress up a pig, but you can’t make him jig.

Winston Scott: Armory entry unsuccessful. Next phase, kill them. Kill them all.

Cormac O’Connor: Back off, bellboy.
Bellboy: But, sir, if you want to go to that floor, you must be announced.
Cormac O’Connor: Of course. What was I thinking? Be my guest.
[grabs the bellboys head and smacks it on the elevator button]

Winston Scott: Who are you?
KD: I’m the one who survived.

Cormac O’Connor: Let’s all lament a life ill-spent as if our hearts might burst. I’ll pour good whiskey on your grave, passed through my kidneys first. Hello, Continental shoppers. I’d like to call your attention to today’s red-light specials, Winston Scott and his orchestra. If you haven’t met him yet, I encourage you to go seek him out. Anyone who brings me the head of this honored guest will receive a two million dollar bounty, and a million for each member of his band.

Winston Scott: How well did you know Frankie?
Charon: Very well.
Winston Scott: Wait, but when I asked you to help…
Charon: You assumed, and I let you. Truth is, I agreed to help because of your brother.

Winston Scott: [to Charon] Let’s find that operations room and make him sing at his own funeral, huh? You’re going to see your father again. You have my word.

Winston Scott: Let’s take this house. And while we’re all going after Cormac’s head, remember, this is more than vengeance. This is justice.

Yen: [to the Twins] You take from me, I take from you.

Yen: [in Vietnamese, referring to the Twins] I want to kill them both.
Miles: This whole operation is about finding a future, not ending it.
Yen: It’s time for me to be with Frankie.
Miles: Frankie is dead. You’re alive. You have something to live for.

Miles: Lem, if you can hear this, I got you into this mess. Not the first, but looks like the last. I ain’t proud of everything we done, but I want you to know, I got no regrets. Hope you don’t either. And if you’ve already gone, hope you saved a f***ing seat for me in hell.

Lemmy: “Seat for me in hell”? That was embarrassing.
Miles: There you go!
Lemmy: But in all seriousness, I want to thank you for this new personal low.

Winston Scott: What is it?
Lemmy: [as he takes his last breath] I actually love an ascot.

Cormac O’Connor: I asked for assistance. I asked them for resources. But they, oh, those m**herf***ers, they put it back on me.
Orson: The High Table?
Cormac O’Connor: I warned them.

Cormac O’Connor: [to Winston] You took everything from me. Now I’m going to get a kick out of watching you and yours go down in the rubble.

Cormac O’Connor: When you see your brother, tell him I sent you boys to torch that building because I wanted you to do something you could never come back from, put the taste of death in your mouth. That’s how I make a soldier.
Winston Scott: You knew there was a family in there?
Cormac O’Connor: I ordered it.

Cormac O’Connor: Stand down. The bounty’s off.
KD: No. This is my kill.
Cormac O’Connor: Chill out, chica. Run along home now.
Cormac O’Connor: [as KD shoots, referring to Winston] What, you missed him from there?
Cormac O’Connor: [realizes KD shot him] I did something to you, didn’t I?
KD: Yeah.
[KD shoots Cormac in the head]

Winston Scott: My deepest gratitude, Charon. You can now leave this place behind, reunite with your father. Go lead a normal life, hmm?
Charon: But this is my home now. Besides, how could you survive here without me?

The Adjudicator: I’m an Adjudicator. Allow me to congratulate you on behalf of the High Table. Perhaps you can let me in on how you were able to do it.
Winston Scott: You believe in fate? If you do, you know sometimes the things we seek in life are right in front of us the whole time.

Winston Scott: You see, I learned a suit doesn’t make a man. No, it’s what’s inside the suit that counts. But a wolf in sheep’s clothing can’t rely on killer instinct alone. It’s his resourcefulness and perhaps an open heart that can turn garbage into gold, and enemies into allies.
The Adjudicator: Well, that’s lovely. But regrettably, the hotel wasn’t yours to take.

The Adjudicator: Let me be transparent. Despite what you may think, you did not stop Defensionem. I did. If your brother would have just done what he was instructed to do with the coin press, you would not be in this very unfortunate situation.
Winston Scott: You know, where from I’m standing, seems to me you’re the one in the unfortunate situation. Because if Cormac taught me one thing, it’s leverage. I not only beat him at his own game, but I took his house. And now I’m in control of the one thing that you people seem to need. Oh, but don’t worry. I can assure you, the coin press is in a very safe place.

Winston Scott: You know, in business, I’ve never been one for dealing with middlemen. And I’ve never killed a messenger before.
The Adjudicator: There are rules at play here, silly boy. You have no idea who you’re dealing with, but you soon will.
Winston Scott: No, I know the rules.
The Adjudicator: And what do you imagine I’m going to tell the High Table? You don’t even register to them. They won’t speak to you.
Winston Scott: They will now.
[he shoots and kills her]

Frank Volkheimer: Listening to foreign broadcasts is punishable by death.
Werner: Yeah, so what? Ten seconds, a hundred, we’re both dead anyway.

Werner: Now, when it’s too late, the frequency comes alive and I hear a girl reading a book. And I will never know who she is.

Marie-Laure: I know that broadcasting could get me killed, but I will not be silenced. Papa, Uncle Etienne, I pray that you are safe and that tomorrow morning we can break bread together as we once did. And to everyone else, I hope you will tune in again tomorrow. If there is a tomorrow.

Reinhold von Rumpel: Then this is it. The beginning of the end.

Reinhold von Rumpel: I am here in this ill-fated city, to find someone who I believe has something that I want. A girl. A blind girl, who I know is in Saint-Malo. Who I know is in Saint-Malo. When I arrived here, I told you I would give you the time it takes for me to eat a dozen oysters and drink a bottle of wine. Now, the wine is gone, the oysters eaten. You have ten more seconds to give me the address of Marie-Laure LeBlanc. The blind girl that the whole town must know, but who no one can recall!

French Restaurant Owner: Go to hell.
Reinhold von Rumpel: My friend, don’t be ridiculous. It is quite plain we are in hell already.

Young Marie-Laure: I thought this wasn’t school.
Daniel LeBlanc: Everything’s school.
Young Marie-Laure: Not for you.
Daniel LeBlanc: Especially for me.

Daniel LeBlanc: You see, Marie, the world’s still the world whether you can see or not. Your fingers are your eyes. You have ten fingers, and most people only have two eyes, so you’re five times better off because five times two is…
Young Marie-Laure: Ten.

Daniel LeBlanc: [referring to the Sea of Flames] The legend’s from a time when people believed many things that weren’t true. It says that whoever touches the stone is also cursed.
Young Marie-Laure: What is the curse?
Daniel LeBlanc: The curse is that if you touch the stone whoever you love will suffer a terrible misfortune. But if you possess the stone, you yourself will never die. So, as you can see, immediately, from those two physically impossible things, the legend is simply nonsense.

Marie-Laure: He said the light you get from a piece of coal is actually sunlight. The point is, light lasts forever. For a billion years inside a piece of coal. But darkness, the professor said…
Werner, Marie-Laure: Darkness lasts not even for one second when you turn on the light.

Sandrina: I wake, I work, I sleep.

Marie-Laure: Papa, I imagine you somewhere with only my voice for company. I cannot leave you alone. I promised I would speak to you always. And I will. I’ll talk to you, give you a reason to hope.

Werner: You either die like a lion or you go over like a glass of spilt milk. Isn’t that what they taught us at the Institute?

Schmidt: [to Werner, as he points his gun at him] I’m a glass of spilt milk. But I’m not an idiot. I have a secret. You have a secret.

Werner: There was a professor. He told us facts. Facts when everyone else was giving us opinions. He used to say, “Open your eyes and see what you can with them before they close forever.” And I have tried to do that. But most of what I’ve seen I would sooner forget.

Werner: Maybe someone else who used to listen to him, just like me. Someone from our generation who thought if you open up the frequency, and talk reason, and sense, and literature to people the way the professor used to do, then maybe the insanity of this old man’s war might come to an end.

Reinhold von Rumpel: [to Marie] This war, this madness, all these lives, they mean nothing to me. I just want to live. And I believe you can help me.

Marie-Laure: There are no trains. No one’s going to give us a ride because kindness is dead, and all the people of the world have become evil at the same time.
Daniel LeBlanc: Not all the people.

Etienne LeBlanc: I’d like to start tonight’s broadcast with some words which, wherever you are, you might find timely. They were written a long, long time ago by a Greek playwright named Sophocles. But I think the words prove that things don’t really change, no matter how much time passes. Here is what he wrote, “The tyrant is a child of pride who drinks from his sickening cup of recklessness and vanity until from his high crest, he plummets headlong to the dust of hope.” I know that times are dark right now, children, but trust always that light does prevail.

Werner: For one hour of the day, I want to listen to kindness and reason.

Frau Elena: Werner, you’re not being taken away. You have been chosen because you’re so clever. They’ll say that you’re too little. That you came from nowhere. That you shouldn’t dream big. But I believe in you. And I know you’ll do something great.

Jutta: You will stay the same, Werner Pfennig. Even though you’re often annoying. You must not change.
Werner: You’re hurting me again.
Jutta: Do not let them impress you. Do not let them convince you. Keep the inside of your soul the same, okay? Like one of your silly radio stations. Keep the frequency the same.
Werner: I promise.

Werner: Where are you taking me?
Herr Seidler: To a place where they will turn the boy into a man, and the man into a soldier.

Herr Seidler: “That which does not kill us makes us stronger.”

Dr. Heinrich: [to Werner] But know this. The boy you are now will soon be dead, replaced by something more than human.

Marie-Laure: Papa, I pray that the signal from this radio is reaching you wherever you are, because I will never, never give up hope. Not ever. All my love.

Captain Mueller: It’s time to meet your friend.
Werner: Whoever you are, please forgive me.

Daniel LeBlanc: What do you listen to all day?
Etienne LeBlanc: Oh, you know, the world talking to itself like an angry lunatic.

Madame Manec: [referring to Etienne] The things he saw in the war, he is now unable to not see. He sees them when he closes his eyes, especially when there is loud noise or unexpected things. Cars and seagulls screaming. So, for twenty years, almost since the day he came back from the war, he has stayed here, inside this house.

Madame Manec: [referring to Etienne] I talk to him about fresh air and light. But do you know what the silly man says?
Marie-Laure: What?
Madame Manec: He says the most important light in the world is all the light you cannot see.

German Officer: Do not think! Do not stop to think! You have been given an order, and you will do it joyfully! Thought destroys action! Friedrich Nietzsche states we are not required to consider our actions! We must simply do, and do, and do!

German Officer: The lion is not free to become a lamb! The strong are not free to be weak! The strong devour the weak!

Werner: The things that I’ve seen, they haunt me.

Werner: I have done bad things. Many bad things.
Etienne LeBlanc: I have done bad things too.

Sandrina: You never explained, what interest do you have in this little blind girl who beat you up so badly?
Reinhold von Rumpel: She’s not so little. B**ch almost broke my skull.

Reinhold von Rumpel: He has a daughter who’s blind? Then perhaps Daniel LeBlanc, man of science, should review his dismissal of the superstition.

Marie-Laure: Papa, if you’re listening, I was almost killed last night over a piece of rock. I don’t know how long I have until that German finds me again. But until he does, I will remain here, where it all began. After all the bombs, all the smoke, I still smell lilacs.

Etienne LeBlanc: The smell of lilacs brings back happier times when I was a young man and something of a dandy. You know what a dandy is?
Marie-Laure: No.
Etienne LeBlanc: Good.

Marie-Laure: What’s the microphone for?
Etienne LeBlanc: The microphone is connected to this, the transmitter, and I sometimes use it to add my voice to the babble of voices.
Marie-Laure: What do you say when you speak?
Etienne LeBlanc: I say, “Isn’t the world a beautiful place?”
Marie-Laure: And then you ask, “So why are we destroying it?” Isn’t that what you say?
Etienne LeBlanc: Sometimes when I speak, the words choose themselves.

Marie-Laure: Can I call you just Etienne? Because Great Uncle Etienne makes you sound like you’re some sort of emperor.
Etienne LeBlanc: An emperor I am, but just in this attic room.

Etienne LeBlanc: Your father said he wanted to take you to the ocean.
Marie-Laure: Won’t you come with us?
Etienne LeBlanc: No.
Marie-Laure: Why not? It’s because you see things that aren’t there, don’t you? Things you can’t forget.

Marie-Laure: You are the professor.
Etienne LeBlanc: Well, that’s absurd. Do I look like a professor?
Marie-Laure: I don’t know what you look like, but I do know voices as if they were faces. You are the professor.

Etienne LeBlanc: I was never really sure that there was anyone even listening.
Marie-Laure: I was always listening. I think many of us were.
Etienne LeBlanc: Well, the professor’s gone. I packed him away. And now I use my radio for more important things.
Marie-Laure: What could be more important than everything you said to us?

Daniel LeBlanc: So what do you think of the ocean?
Marie-Laure: Sounds like someone breathing in their sleep.
Daniel LeBlanc: I always felt it was like the world catching its breath over and over again.
Marie-Laure: Catching its breath. I like that.

Marie-Laure: Madame Manec said that Uncle Etienne was a war hero, but he doesn’t seem like a war hero to me.
Daniel LeBlanc: Well, if you lock a tiger in a metal box, it will look like a metal box.

Daniel LeBlanc: Etienne, there’s some things I haven’t told you.
Etienne LeBlanc: What things?
Daniel LeBlanc: Some secrets are better kept secret. I don’t expect you to understand.
Etienne LeBlanc: You are not the only one with secrets.

Marie-Laure: I know, Papa. We must not seem afraid.
Daniel LeBlanc: No, we must not.
Marie-Laure: Because we’re not afraid.
Daniel LeBlanc: No, we’re not.

Gestapo German Officer: [as he looks at Marie] You have great skill. And terrible misfortune.
Daniel LeBlanc: It’s not a misfortune. It’s a blessing.

Etienne LeBlanc: I think you know the reason I don’t go out.
Marie-Laure: But there is no reason in it. The past is done and gone. I thought you believed in science.

Etienne LeBlanc: Marie, why don’t you just imagine that I am like one of these oysters? I’m stuck inside my shell.
Marie-Laure: But you’re not an oyster, Etienne. Whoever heard of an oyster wearing lilac cologne, riding on a motorbike with girls screaming?
Daniel LeBlanc: There. You’ve done it. You’ve made him very upset.
Marie-Laure: Perhaps someone must.

Etienne LeBlanc: [to Marie] Keep asking me to come with you. And one day, if it’s you that’s asking, I just might.

Madame Manec: Women keep secrets far better than men, my dear.

Daniel LeBlanc: If I’d known what you were doing here, I would never have brought this trouble here to you. If you want us to leave, we’ll leave.
Madame Manec: During time of war, Daniel, priorities are altered. You are family, you are blood, and blood is forever.

Daniel LeBlanc: I must leave to throw them off the trail, to keep you safe. Now, Marie, I have a train to catch. Etienne will let you use the radio. Speak to me and wherever I am, I will listen and I will be with you.
Marie-Laure: I will. I’ll continue to speak to you no matter how long you’re gone. And I will be with you.

Etienne LeBlanc: [to Werner] I have wasted half my life hiding from my fears. Now, you must be fearless!

Marie-Laure: Papa said that you were once a tiger.
Etienne LeBlanc: A tiger. Yes, a tiger I once was.
Marie-Laure: And will be again. You will be again.

Etienne LeBlanc: [referring to Manec] It was her heart. She waited until she knew I could take her place. She never gave up on me, even after I gave up on myself. We will finish what you started. We will finish your work. I promise. We will finish it.

Reinhold von Rumpel: Enough is enough, Marie! At last, I have found you. Today. This moment. This is where it ends.

Etienne LeBlanc: Marie won’t be safe. You go to her, and you protect her until the Americans come.
Werner: I will.
Etienne LeBlanc: When you see Marie, tell her that a tiger is happier dead than in a cage. She set me free. Tell her thank you.

Etienne LeBlanc: You’re a good boy, Werner Pfennig. You’re a good boy. Don’t let this war break you. You’ll protect her.
Werner: I promise.

Reinhold von Rumpel: [to Daniel] Never stop walking. Never hesitate.

Reinhold von Rumpel: [to Danie] Your bravery is of no concern to me. In war, bravery is like leaves on a tree, abundant, useless. Blown away.

Reinhold von Rumpel: If you don’t tell me where it is, I will shoot you. Through the head, here in this room, before nightfall.
Daniel LeBlanc: But then I’m already dead. And you cannot threaten a dead man.

Reinhold von Rumpel: [to Daniel] You don’t believe in idiotic things, like cursed diamonds. Even though your possession of the particular stone led to your daughter living her life in darkness. So, as a rational man, I don’t believe you would give up your life for a simple piece of rock. But you would give up your life for her. That means the diamond is with your daughter. If I find your daughter, I will find the stone.

Daniel LeBlanc: [to Von Rumpel] You believe the Sea of Flames will give you eternal life? I’m sorry. Death will come for you. But if you love someone, love is what outlasts it. Which is why my daughter lives in light, not darkness.

Reinhold von Rumpel: [to Daniel] I’ve learned, in many such situations, that pain is stronger than loyalty and patriotism. But the question of this afternoon is, is pain stronger than love?

Reinhold von Rumpel: [to Marie] That was the question. Is pain stronger than love? You want to know the answer to that question? The answer’s no.

Marie-Laure: Papa, you are not gone, until I am gone.

Marie-Laure: I will not go, until he is gone. I am not alone.

Reinhold von Rumpel: You may have a gun, Marie. But what you don’t have is eyes. And soon, you won’t have ears either.

Marie-Laure: We are not going to die today.

Marie-Laure: Even if I’m deafened, I’ll still hear your voice.

Marie-Laure: Who are you?
Werner: My name is Werner. I’m a German soldier, but I’m your friend. Your Uncle Etienne was my professor too!
Reinhold von Rumpel: Your story is irrelevant, you traitor! And rest assured, it will die with you very soon.

Marie-Laure: [after she shoots and kills Von Rumpel] You’re a German soldier.
Werner: I’m not anything anymore. Except alive. Thanks to you.

Werner: My dear sister, Jutta, I don’t know if you’re listening, but if you are, then know that I am alive, and that I’m still on the same frequency in my head. I’m in France. I will try to come home. And when I get back, I will tell you everything. There are so many things. But the most important thing, I met the professor. I really did. He saved my life. And I’m sitting in his chair. With a girl who has the most beautiful eyes. I have to go. All my love.

Werner: If you’re caught with me, you will be shot as a collaborator. But we will meet again.
Marie-Laure: Where?
Werner: At shortwave 13.10. If you broadcast, I will be listening. And when the war is over, if you want me to come, I will come.
Marie-Laure: You might change your mind.
Werner: I won’t. I won’t.
Marie-Laure: Then be sure to listen.
Werner: I will. I will as I always have.