Starring: Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Doona Bae, Ben Whishaw, Keith David, James D’Arcy

OUR RATING: ★★★½

Story:

Fantasy drama written and directed by the Wachowskis and Tom Tykwer adapted from the novel by David Mitchell. The story is an exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution. The movie spans six different stories in six different time periods that are intertwined. The time lines and genres are split as follows; 1849 – historical narrative, 1936: drama/romance, 1973: mystery/action, 2012: dark comedy, 2144: sci-fi and 2321 and 2346: post-apocalyptic. In each of these stories we meet various characters, played by the same ensemble cast whose lives and experiences ripple throughout past and future and are somehow connected.

 

Our Favorite Quotes:

'Truth is singular. It's versions are mistruths.' - Sonmi-451 (Cloud Atlas) Click To Tweet 'The minute you stop trying to find it, it'll find you.' - Robert Frobisher (Cloud Atlas) Click To Tweet 'Our lives and our choices, like quantum trajectories, are understood moment to moment. At each point of intersection, each encounter, suggest a new potential direction.' - Isaac Sachs (Cloud Atlas) Click To Tweet 'All boundaries are conventions, waiting to be transcended.' - Robert Frobisher (Cloud Atlas) Click To Tweet 'To be is to be perceived. And so to know thyself is only possible through the eyes of the other.' - Sonmi-451 (Cloud Atlas) Click To Tweet

 

Best Quotes    (Total Quotes: 167)


 

[first lines; 2346 – by a flickering campfire, old and weathered with a long scar across his left eye, sits by the fire speaking to someone we cannot see]
Zachry: Lornsome night, babbits bawling, wind biting the bone. Wind like this, full of voices. Ancestry howling at you; ‘you bring the stories’. All their voices tied up into one. One voice different, one voice whispering out there, spying from the dark. Now, find you devil, Old Georgie himself. Now you hear up close and I’ll yarn you about the first time we met eye to eye.


 

[1849 – Adam walks along a beach on a Pacific Island]
Adam Ewing: [voice over] And thus it was that I made the acquaintance of Dr. Henry Goose, the man I hoped cure me of my affliction.
[Adam sees Goose ahead sifting through sand]
Adam Ewing: Have you lost something?
[Goose turns and looks at Adam]


 

[1973 – Luisa is driving in her car talking into a cassette tape]
Luisa Rey: Question one; what secret had Sixsmith’s report would be worth killing for? Question two; is it reasonable to believe that they would kill again to protect that secret, and if so, question three; what the fuck am I doing here?


 

[2012 – we see Cavendish typing on a typewriter]
Timothy Cavendish: [voice over] While my extensive experience as an editor has led me to a disdain for flashbacks and flash forwards and all such tricksy gimmicks, I believe that if you, dear reader, can extend your patience for just a moment, you will find there is a method to this tale of madness.


 

[1936 – Frobisher place an envelope on a desk above a manuscript titled ‘The Cloud Atlas Sextet’ and under that a music sheet titled ‘The Cloud Atlas Symphony’ both written by Frobisher]
Robert Frobisher: [voice over] My dearest Sixsmith, I shot myself through the roof of my mouth this morning, with Vyvyan Ayrs’ Luger. A true suicide is a paced disciplined certainty. People pontificate, ‘suicide is a coward’s act’. Couldn’t be further from the truth. Suicide takes tremendous courage.
[Frobisher walks to the bathroom, gets into the bath tub, he cocks back the gun and prepares to pull the trigger]


 

[2144 – Sonmi is in a cell sat, with her hands shackled to her seat, at a table opposite the Archivist]
Enforcer: Any problems, sir, you just hit this button.
[the Enforcer hands a small wand-like device to the Archivist]
Archivist: Thank you.
[the Enforcer leaves and the Archivist looks at Sonmi]
Archivist: On behalf of my Ministry and the future of Unanimity, I would like to thank you, for this final interview.


 

[2012 – talking to himself]
Timothy Cavendish: I was Dermot Hoggins’ publisher. Not his shrink or his astrologer. And the ruddy, bloody truth is I had no idea what the man was going to to do that night.


 

[1849 – back on the beach with Adam and Dr. Henry Goose]
Dr. Henry Goose: This beach was once a cannibal’s banqueting hall, where the strong gorged on the weak. But the teeth, sir, they spat out, like you or I would expel a cherry stone.
[Goose shows Adam the teeth he’s found so far]
Dr. Henry Goose: Do you know the price a quarter pound of these will earn?


 

[2144 – back to the interrogation with Sonmi and the Archivist]
Archivist: Remember this is not an interrogation or a trial. Your version of the truth is all that matters.
Sonmi-451: Truth is singular. It’s ‘versions’ are mistruths.


 

[1936 – back in the bathroom with Frobisher getting ready to pull the trigger]
Robert Frobisher: [voice over] Don’t let them say I killed myself for love. Had my infatuations, but we both know in our hearts who is the sole love of my short, bright life.
[he puts the gun in his mouth and is about to pull the trigger the screen goes black]


 

[1849 – Adam is sitting across from Rev. Horrox finishing off signing a contract]
Rev. Giles Horrox: There you are, Mr. Ewing. As binding a covenant there can ever be between men, outside the province of scripture.
Adam Ewing: Thank you, Reverend Horrox. I know my father-in-law is profoundly excited about this deal.
Rev. Giles Horrox: Haskell Moore is a great man. Future generations depend on men like him, men capable of speaking the truth.
Adam Ewing: Quite.
[Adam puts the contract is a box and locks it]


 

[later Adam and Goose are having dinner with Horrox]
Rev. Giles Horrox: When I first encountered Haskell Moore’s writing its perspicuity struck me as though delivered through divine revelation. The learned doctor here and I already spent many a night debating Mr. Moore’s tractus.
Dr. Henry Goose: I’m only willing to conceive that he makes a compelling case as to why we are sitting here enjoying this divine meal, while Kupaka stands there, content to serve.
[Goose start taking food from the dish Kupaka is holding towards him]
Rev. Giles Horrox: Indeed, Kupaka, you enjoy your life here with us, do you not?
Kupaka: [blankly] Oh, yes, Reverend, sir. Kupaka very happy here.
Rev. Giles Horrox: You see, you see, this is Moore’s ladder of civilization. The reason behind this natural order…
Madame Horrox: Please, Giles, do shut up. I’ve been listening to this for weeks, I would love to know what his own son-in-law has to say about it.
Adam Ewing: Let’s see, it is an inquiry concerning God’s will and the nature of men.
Madame Horrox: And what does he have to say about the nature of women?
[Horrox and Goose laugh]
Adam Ewing: I’m afraid that’s a subject he prefers to pass by in silence.
Madame Horrox: He wouldn’t be the first.
Rev. Giles Horrox: Prey, Mr. Ewing, continue.
Adam Ewing: Well, uh, the question he does pose is, if God created the world, how do we know what things we can change and what things must remain sacred and inviable?


 

[as Ewing and Goose are given a tour of Horrox’s plantation]
Kupaka: Reverend Horrox is specific how to run plantation. Georgian best way he say.
Adam Ewing: The heat is unbearable. How do they take it.
Kupaka: Reverend Horrox say, slaves like camel, bred for desert. He say, they not feel heat like civilized folk.
Dr. Henry Goose: We should get you out of the sun.
Adam Ewing: What is that noise?
[Adam follows the noise and eventually arrives at a whipping post where all the slaves have gathered watching one of the slaves being whipped by the Whip Master, as Adam watches in horror he suddenly passes out]


 

[back in the house Adam wakes up in his room with Goose standing over him]
Dr. Henry Goose: Ah, there you are.
Adam Ewing: What happened?
[as Adam tries to get up Goose pushes him back on his bed]
Dr. Henry Goose: It is as I suspected; Gusano Coco Cervello.
[Goose shows Adam an image of the worm from his book]
Dr. Henry Goose: Better known as the Polynesian worm. Once saw a man’s brain after the worm had finished him, maggoty cauliflower. Ooph. But have no fear, this particular devil and I are well acquainted.
[Goose mixes some medicine and drops some into Adam’s mouth]
Dr. Henry Goose: Here we go. Ah, yes, yes.
Adam Ewing: I don’t know what I would have done had our paths not crossed.
Dr. Henry Goose: Well for starters, you would have died.
[Goose laughs]
Adam Ewing: I shall find a way to repay you.
Dr. Henry Goose: Oh, unnecessary, I assure you. I am a doctor, Adam. A tiger cannot change its stripes.
[Goose laughs again as he examines Adam]


 

[1936 – Frobisher lies in bed asleep with his lover, Sixsmith, in their hotel suite, we see that Frobisher has a strange birthmark on his back]
Robert Frobisher: [voice over] Sixsmith, I do hope you will be able to find it in your heart to forgive me.
[they are awakened by a knock at their door]
Hotel Heavy: Mr. Frobisher! Mr. Robert Frobisher! The management would like a word with you, please, sir.
[Frobisher slowly gets dressed as the hotel manager keeps pounding the door]
Hotel Heavy: Mr. Frobisher, open this door, please! I do know you’re in there, Mr. Frobisher. Please, comply. A letter is being drafted to your father, sir.
[as the manager continues to pound the door, Frobisher finishes getting dressed, taking Sixsmith’s waistcoat, then he goes and kisses Sixsmith then opens the window and climbs out]
Hotel Heavy: Mr. Frobisher!


 

[after climbing out the window, we see Frobisher running away from the Hotel and then sat on the train writing a letter]
Robert Frobisher: [voice over] Hated leaving you like that. Wasn’t the goodbye I had in mind. By the time you read this, I will be on my way to Edinburgh, on my way to fame and fortune. I know you haven’t heard him, but trust me, Vyvyan Ayrs is one of the musical greats, Sixsmith. The tragedy is that he hasn’t produced any new work in year due to illness. My scheme is to persuade him to hire me as his amanuensis and aid him in the creation of a masterpiece, it will shoot him out through the musical firmament, eventually obliging Pater to admit that yes, the son he disinherited is none other than Robert Frobisher, the greatest British composer of his time.
[we see Sixsmith reading Frobisher’s letter at the same time as Frobisher is getting ready and going to meet Ayrs]
Robert Frobisher: [voice over] I know, Sixsmith, you groan and shake your head, but you smile too, which is why I love you. P.S. Thanks for the waistcoat. I needed something of yours to keep me company.


 

[Frobisher arrives at Ayrs’ home and notices a small statue on Ayrs’ piano]
Vyvyan Ayrs: St. George and the Dragon, reminds me that composing is a crusade. Sometimes you slay the dragon, sometimes the dragon saves you.
[Ayrs’ takes a seat]
Vyvyan Ayrs: Alright, then. Frobisher, is it?
[Frobisher nods his head]
Vyvyan Ayrs: I trust Mackerras told you enough to be useful. I’ve had this little melody for viola rattling about my head for months. Let’s see if you can get it down.
[Frobisher readies his pen and music sheet, Ayrs closes his eyes and starts waving his hand humming some notes]
Vyvyan Ayrs: Subtle grace note before the third.
[he hums a few more notes, but Frobisher is not able to take any of this down as it makes no sense]
Vyvyan Ayrs: Soft and simple. Got it? Now, it gets interesting.
[Ayrs hums more notes that still make no sense]
Vyvyan Ayrs: Good. Play that back.
Robert Frobisher: Would love to, sir.
[Frobisher sits at the piano]
Robert Frobisher: Um, what key are we in?
Vyvyan Ayrs: What key? B-minor of course!
Robert Frobisher: And the time signature?
Vyvyan Ayrs: For Christ’s sake, did you hear it or not?
Robert Frobisher: Just need a little more time.
Vyvyan Ayrs: You need? My dear boy, who is working for whom here?
Robert Frobisher: I apologize, sir…
Vyvyan Ayrs: Are you an amanuensis or an apologist? Now pay attention. Three-four, you need a four-four on fourth bar and back to three-four on bar five. If you can count that high. Crotchets G, pause for a quaver, repeat G quaver, then E-flat on the down beat.
[he hums some notes]
Vyvyan Ayrs: And slower. Alright, let me hear it.


 

[as Frobisher begins playing on the piano, the notes sounding out of tune which upset Ayrs]
Vyvyan Ayrs: Stop, please! You’re hurting me! You must have misheard me, I said I have a melody not a malady!
[across the room, Ayrs wife, Jocasta, enters]
Jocasta Ayrs: Vyvyan…
Vyvyan Ayrs: Jocasta, deliver me!
Jocasta Ayrs: What’s going on in here?
Vyvyan Ayrs: An exercise in futility.
Jocasta Ayrs: Should I be introduced?
[Jocasta starts taking Ayrs towards the door]
Vyvyan Ayrs: There’s really no point. The boy is useful as the clap. Fortunately, he’ll be much easier to get rid of. Would you be a dear and get ready to show the boy out.
Jocasta Ayrs: Yes, of course.
[as Ayrs’ is about to leave the room, Frobisher sits back down and starts playing the piano, the melody so beautiful that it stops Ayrs and Jocasta in their tracks]
Jocasta Ayrs: That’s beautiful.
Vyvyan Ayrs: Yes. That’s it. That’s my melody!
[Frobisher smiles as he carries on playing]


 

[1973 – Luisa leaves a party and runs to get the elevator which an elderly Sixsmith is also waiting for]
Luisa Rey: Elevator!
[Luisa runs to catch the elevator and just as the doors are closing Sixsmith uses his umbrella to force them open and Luisa steps in]
Luisa Rey: Nice to know the age of chivalry isn’t dead.
[Sixsmith smiles, then suddenly the elevator lurches to a stop and the two of them fall to the ground]
Luisa Rey: You okay?
Rufus Sixsmith: No bones broken, I think.
[Sixsmith tries to get up]
Luisa Rey: No, no, no. You sit yourself. Let me see.
[Luisa gets up and presses the intercom button on the elevator but there’s no response]
Luisa Rey: Great. Power outage. Perfect end to a perfect day.
[Luisa sits back down]
Rufus Sixsmith: Still glad the age of chivalry isn’t dead?
Luisa Rey: I’d still rather be right here than back up there.
[they both smile]
Rufus Sixsmith: I guess Mr. Kipin isn’t everyone’s cup of tea.
Luisa Rey: Guys like that are just an occupational hazard.
Rufus Sixsmith: You were interviewing him?
Luisa Rey: Yeah, for Spyglass Magazine.
[Luis extends her hand towards Sixsmith]
Luisa Rey: Luisa Rey.
Rufus Sixsmith: Rufus Sixsmith.
[they shake hands]
Rufus Sixsmith: Rey? You wouldn’t happen to be related to the journalist Lester Rey?
Luisa Rey: Yeah, he was my father.
Rufus Sixsmith: Really? He must have been enormously proud of you, following in his footsteps.
Luisa Rey: Mm.
[Luisa nods her head]


 

[still stuck in the elevator, Sixsmith and Rey are getting better acquainted, Sixsmith shows Luisa a photo of his niece]
Rufus Sixsmith: That’s her, my niece, Megan.
Luisa Rey: She’s lovely.
Rufus Sixsmith: And a physicist, with a better mind for mathematics than I ever had. Did her PhD at Cambridge, a woman at Caius. Gives you hope for the world.
[as the air is getting thinner in the elevator]
Luisa Rey: It’s hot, and we’re still here.
[Luisa takes off her jacket and Sixsmith notices that she has a birthmark just below her shoulder, it’s the same shape as the one that Frobisher had on his back]
Rufus Sixsmith: That’s a very peculiar birthmark.
Luisa Rey: Yeah, my little comet. My mother was sure it was cancer, she wanted me to get it removed, but, I don’t know, kind of like it.
Rufus Sixsmith: I knew someone who had a birthmark that was similar to that.
Luisa Rey: Really? Who was it?
Rufus Sixsmith: Someone I cared about very much.


 

[as they continue to be stuck in the elevator]
Rufus Sixsmith: A, uh, hypothetical question for you, Miss Rey. As a journalist, what price would you pay to protect a source?
Luisa Rey: Any.
Rufus Sixsmith: Prison?
Luisa Rey: If it came to that, yes.
Rufus Sixsmith: Would you be prepared to compromise your safety?
Luisa Rey: My father braved booby-trapped marshes and the wrath of generals for his journalistic integrity. What kind of daughter would I be if I bailed when things got a little tough?
[Sixsmith looks down at his briefcase and as he’s about to tell Luisa something the elevator lurches back into life and starts moving, Sixsmith looks at Luisa and smiles]
Rufus Sixsmith: Saved.


 

[as they leave the building, Sixsmith hails for a cab and turns to Luisa]
Rufus Sixsmith: Are you sure you won’t take a cab?
Luisa Rey: No, I’ve got a car.
[as a taxi pulls up]
Luisa Rey: Well, if there’s ever something I can do for you, please give me a call.
[Luisa hands him her business card]
Rufus Sixsmith: Thank you, I will.
Luisa Rey: Bye.
[Luis turns and walks off]


 

[2012 – we see Cavendish standing alone overlooking the crowd of people in a posh bar]
Timothy Cavendish: [voice over] It was the night of the Lemon Prizes, and in that forced frivolity, I recall a moment of introspection; why? Why would anyone in their right mind choose to be a publisher. This was the precise moment that Dermot found me.
[Dermot comes up to Cavendish]
Dermot Hoggins: Oy, Timothy.
Timothy Cavendish: Aah, hello, Dermot.
Timothy Cavendish: [voice over] Bad new inexorably does.
Dermot Hoggins: It’s a fucking waste.
Timothy Cavendish: Never forget Herman Melville, writes a ripping yarn about a big white whale which is summarily dismissed, and yet today, it is lugged around in the backpacks of every serious student of literature in the world.
Dermot Hoggins: I don’t give a fuck what happens when I’m dead. I want people to buy me book now!
Timothy Cavendish: Well, as your publisher, obviously nothing would make me happier, but sadly for whatever reason, ‘Knuckle Sandwich’ has yet to connect to its audience.
Dermot Hoggins: You want a reason? I’ll show you a reason. Right there, huh?
[Dermot points at a man laughing with a group of people]
Timothy Cavendish: Aah, you mean, Mr. Finch?
Dermot Hoggins: Felix fucking Finch! That cunt that shat all over me book in his poncy fucking magazine!
Timothy Cavendish: It wasn’t that bad.
Dermot Hoggins: No?
[Dermot takes out a piece of paper from his jacket pocket and reads]
Dermot Hoggins: ‘Mr. Hoggins should apologize to the trees failed for the making of his bloated autobio novel. Four hundred vainglorious pages expire in an ending that is flat and inane beyond belief.’
Timothy Cavendish: Steady now, Dermot. What is a critic but one who reads quickly, arrogantly, but never wisely.
[Dermot downs his drink and pats Cavendish on his shoulder]
Dermot Hoggins: Fuck it.
[Dermot walks off]
Timothy Cavendish: Dermot!


 

[as Dermot walks away from Cavendish, he snatches two trays from passing servers and starts pounding them together getting the attention of the crowd in the bar]
Dermot Hoggins: Ladies and gentlemen! We have an additional award tonight, fellow book fairies. An award for most eminent critic.
[he turns to Finch]
Dermot Hoggins: Mr, oh, beg pardon, Sir Felix Finch! O, B and E!
[the crowd start clapping]
Felix Finch: And what might my prize be, I wonder? A signed copy of an unpulped ‘Knuckle Sandwich’? Can’t be many of those around.
[the crowd laughs as Cavendish watches in discomfort]
Felix Finch: Well, just what does that leadless pencil you call an imagination have in mind to end this scene, hm?
[Dermot walks over to Finch]
Dermot Hoggins: I think you’re going to love this one.
[Dermot suddenly grabs hold of Finch’s lapels and drags him towards the balcony and throws Finch over the railing, the crowd shrieks in horror as Finch splatters down to his death, Dermot looks down and laughs]
Dermot Hoggins: Now, that’s an ending flat and inane beyond belief.
[Dermot turns to face the crowd that is watching him total shock]
Timothy Cavendish: [voice over] My thought? If I’m honest, I admit that the obvious emotions like shock and horror flew as Finch had, here and gone.
[Dermot walks up to the bar and looks at the dumbstruck bartender]
Dermot Hoggins: Tequila, couple of fingers.
[Cavendish watches Dermot as he drinks his shot of tequila]
Timothy Cavendish: [voice over] While deep down, I experienced nascent sense of a silver lining to this most tragic turn. Overnight, Dermot ‘Dusty’ Hoggins became a cult hero to the common man. ‘Knuckle Sandwich’ shifted ninety thousand copies in less than two months. I was for the briefest of moments, Cinderella, and all memory of past misfortune receded in the rearview mirror of my dream come true.


 

[as Cavendish sits on a toilet cutting up newspaper clippings of himself suddenly the bathroom door bursts open and some thugs, who are Dermot’s brothers enter]
Timothy Cavendish: What…?
Eddie Hoggins: Timothy Cavendish, I presume.
Mozza Hoggins: Caught with your cacks down!
[the brothers laugh]
Timothy Cavendish: My office hours are eleven to two. My secretary would be more than happy to schedule an appointment if you so desire.
Eddie Hoggins: Friends like us don’t need appointments.
Jarvis Hoggins: We like it all cozy like this.
Mozza Hoggins: Visited Dermot in the joint.
Jarvis Hoggins: Our brother’s got a question for you.
Eddie Hoggins: Where’s our fucking money?
Timothy Cavendish: Boys, boys, look here. Dermot signed what we call a copyright transfer contract, which means that legally…
[suddenly Jarvis grabs the toilet plunger and shoves it into Cavendish’s face]
Jarvis Hoggins: Dermot didn’t sign no fucking contract for the event of the fucking season!
[Cavendish struggles to talk with the plunger on his face]
Timothy Cavendish: Perhaps, uh, I could make a provisional sum on the basis of on going negotiation.
Eddie Hoggins: Okeydokey.
[Jarvis takes the plunger off of Cavendish’s face]
Eddie Hoggins: What sum we going to make?
Jarvis Hoggins: Fifty K will do for starters.
Timothy Cavendish: Fifty sounds reasonable.
Eddie Hoggins: Tomorrow afternoon.
Timothy Cavendish: Tomorrow afternoon?!
Eddie Hoggins: Cash, no bullocks.
Mozza Hoggins: No checks.
Jarvis Hoggins: Old fashioned money.
Timothy Cavendish: Gentlemen, the law says…
Jarvis Hoggins: The law?!
[the Hoggins brothers laugh]
Eddie Hoggins: What did the law do for Felix fucking Finch?
[Cavendish nods his head in fear]


 

[2144 – as the Archivist starts interrogating Sonmi]
Archivist: Ordinarily, I begin my asking prisoners to recall their earliest memories to provide a context for the corporatic historians of the future.
Sonmi-451: Fabricants have no such memories, Archivist. One twenty-four hour cycle in Papa Song’s is identical to every other.
Archivist: May I say, you speak Consumer surprisingly well.
Sonmi-451: Unanimity…
[suddenly a translator screen comes up as she starts speaking in Japanese]
Archivist: As an officer of Unanimity, I am of course restricted from using sub speak.
Sonmi-451: Of course.
Archivist: Please describe a typical twenty-four hour Papa Song cycle.
Sonmi-451: At hour four, each server is by autostimulin.
[we see Sonmi and the other servers being woken from their pods]
Sonmi-451: When we revive we proceed to hygiene. After dressing we file into the diner.
[after dressing into their uniforms we see the servers going into the diner]
Sonmi-451: At hour five, we man our stations to greet the new day’s consumers. For the next nineteen hours we input orders, tray food, vend drinks, upstock condiments, wipe tables, and bin garbage, all done in strict adherence to First Catechism.
[we see as the consumers arrive the servers go to work, we see as Sonmi cleans a table the male consumer smacks her ass inappropriately]


 

[as the interrogation continues]
Archivist: What is the Catechism?
Sonmi-451: ‘Honor thy consumer.’ After the final cleaning, we imbibe one soapsac and return to our sleep pods. That is the blueprint of every single day.
Archivist: Did you ever think about the future?
Sonmi-451: Papa Song servers have just one possible future.
Archivist: You mean, ‘xultation’? Could you describe this annual rite of passage?
[we see the servers gather as Papa Song’s supervisor stamps their collars]
Sonmi-451: On first day, Seer Rhee would stamp a star on each of our collars. Twelve stars meant an end to our contract.
Archivist: How did you feel when you watched one of your sisters ascend.
Sonmi-451: Excitement. I was happy for them, but envious as well.
Archivist: Did your sister servers feel as you did?
Sonmi-451: Most of them.
[we as the servers watch one of their sisters being set free, Sonmi looks over to one of her sisters, Yoona, she is not looking up but instead playing with a key in her hand, Yoona looks up and sees Sonmi watching her]
Archivist: I would like to ask about the infamous Yoona-939.


 

[we see Sonmi’s sleep pod being opened, Sonmi wakes looking disorientated, she looks around and sees all the other sleeping pods closed except for Yoona’s, which is empty, Sonmi hears a noise and sneaks to the diner and sees Rhee having sex with Yoona who looks over at Sonmi; then we’re back in the interrogation room]
Archivist: If Yoona-939 woke you, who woke her?
Sonmi-451: Seer Rhee.
Archivist: Why would Seer wake a server?
Sonmi-451: Perhaps you should ask him, Archivist.
[back to the diner after Sonmi was woken by Yoona, we see Rhee is now slumped in the corner of the diner, snoring loudly as sleeps]
Sonmi-451: What’s wrong with him?
Yoona-939: He drinks Soap. It makes him happy, then he sleep like us in our pods.
[Yoona walks away from the slumped body of Rheer]
Yoona-939: Do you ever think about what it must be like up there with the consumers?
Sonmi-451: First Catechism forbids such questions.
Yoona-939: Yes, it does. Come. let me show you a secret.


 

[Yoona takes Sonmi to Papa Song’s store room by using the key we had seen in her hand earlier]
Yoona-939: Now, Sonmi, we are inside a secret.
[Yoona shows Sonmi a small remote device]
Sonmi-451: We are not allowed…!
Yoona-939: Sonmi, No one will ever know. Come.
[they huddle together and watch a holographic film projector which plays a portion of an old movie ‘The Ghastly Ordeal of Timothy Cavendish’, which is on a loop, Yoona repeats the line from the movie]
Yoona-939: I will not be subjected to criminal abuse.
[the scene goes back to the interrogation room]
Archivist: You could have been excised. How did you justify such a risk to yourself?
Sonmi-451: She was my friend.
Archivist: Please describe the events if September 18th from your perspective.
Sonmi-451: I was stationed at pit stop money.
[back at the diner a male customer sneaks up behind Yoona and pouring mustard down her back, suddenly Yoona turns and punches the customer hard in the face, he falls and Yoona stands over him repeating the line from the movie]
Yoona-939: I will not be subjected to criminal abuse.
[then Yoona attempts to escape by grabbing a kids consumer card, as she tries to open the elevator Rhee takes out a device which kills Yoona by using her metallic collar which sets off a blade and cuts her throat, killing her instantly to Sonmi’s horror as she watches]


 

[2314 – after the fall of civilization, in the wilderness, a younger Zachry, Adam and his son rest in a clearing]
Zachry: [voice over] Ney, this life of rotten luck ain’t no smiling some young, and the first time I ever fessed a secret at Sloosha’s Hallow. Adam, my bro’ by law, and his son and me be trekking back from Honokaa Market. Was Adam’s custom to tale-tell his ancestry with offerings and honorings.
[Zachry watches as Adam and his son make their offerings, then he looks down and finds a precious blue and green stone]
Zachry: [voice over] Sudden wise that fangy devil’s eyes, I felt them.
[Zachry feels something behind him and turns]
Zachry: Who there?
[he looks up and sees Old Georgie, a devilish looking man dressed in a tattered black suit and top hat sitting on a tree trunk looking at him]
Old Georgie: Oh, darky spot you’re in, friend.
[Zachry holds up his knife]
Zachry: Old Georgie?
Old Georgie: ain’t no blade can protect you from the True-True…
[suddenly Zachry sees the chief of a cannibalistic tribe come upon Adam and his son]
Adam: Jonas! Jonas, go! Go! Go!
[Jonas runs off and in that moment Zachry hides himself behind a big rock as Adam calls out to him for help]
Adam: Zachry! Zachry! Zachry!
[Adam starts getting attacked by the tribe as Zachry hides behind the rock, Old Georgie sneaks up to Zachry and whispers]
Old Georgie: Stay here. Safe here.
Adam: Zachry!
[Zachry watches Adam being attacked in horror from behind the rock]
Old Georgie: Kona will be feasting on Adam and his boy by sun up.
[the Kona Chief comes towards Adam and takes out his knife, Adam screams out for Zachry’s help]
Adam: Zachry! Zachry!
[Zachry still hides and watches in horror and listening to Old Georgie]
Old Georgie: It y’self many times; ‘The weak are meat, the strong do eat.’
[Zachry watches as Adam’s son runs towards the Kona Chief as he about to slit Adam’s throat, but he’s killed by an arrow and then the Kona Chief slits Adam’s throat]
Old Georgie: The True-True find.
[Zachry weeps as he watches as the Kona Chief licks Adam’s blood off his blade]


 

[2321 – some years after the incident with Adam and his son, we see Zachry standing by the cliff overlooking the ocean, we see Zachry holding onto the blue and green stone he found that day, which he now wears around his neck]
Zachry: [voice over] Whole valley whispering about the blood of Adam and his son on my hands. But Rose and Catkin never believed them and stood by me.
Catkin: Uncle Zach, look!
[Catkin points to something on the ocean]
Zachry: Yay, I see them.
[we see a hovercraft moving fast towards the shore]
Zachry: [voice over] Precients come bartering twice a year. Their ships creep-crawling on the waves, just floating on the smart of the old ones.
Catkin: Barter will be starting soon.
Zachry: Yay, you must go find your ma.
[Catkin sighs and sits on the rock opposite Zachry]
Zachry: What you doing?
Catkin: Ma says you ain’t been right since Sloosha’s. She said I got to keep my eyes on you.
Zachry: You minding me, while I’m mind the goats.
[Catkin nods her head]
Zachry: I see. Problem is, who’s going to mind your ma at the barter? She got no tongue for haggling, not like you and me.
Catkin: Sure you’re alright?
Zachry: Swear by it. Be home for supping.
[Catkin runs off]
Zachry: [voice over] Why words slink and slide off a tongue when we need them most? If my tongue been more bold, could I have stopped all the diresome about to happen?


 

[Zachry comes home that night to find a Prescient woman, Meronym, sitting at the table with Rose and Catkin]
Catkin: Uncle Zach!
Rose: This is my big brother.
Zachry: What’s this, sis?
Rose: Specialist hosting.
[Meronym stands and bows her head]
Meronym: Thank you, for the kindly host of my valley stay.
Zachry: I ain’t sayso this, Rose.
Rose: Abbess say it’s a gift of great honor.
Zachry: She can be hosting her.
[as Zachry starts to walk off, Meronym comes towards him with a small box]
Meronym: I bring you gift, Zachry.
Zachry: Need no gift from a stranger.
[he walks past her]


 

[everyone from the tribe has gathered at Zachry’s home to see Meronym]
Zachry: [voice over] Now kin and Rose and half-strangers, yay, even the Abbess, all come knocking and they gaped in wonderment like Sonmi herself was sitting in our kitchen. Questions about Prescients and their whoasome ship poured thick and fast.
[Zachry sits in a corner watching Meronym as she receives gifts from the tribes people, one of the tribesmen asks her a question]
Tribesman: How your ship of sliding glass is so silent?
Meronym: Fusion engines.
Zachry: [voice over] No one queried what ‘fusion engine’ was cause they didn’t want to look stupid in front of the gathering. True word was, Meronym answered the questions, but no answer ever quenched your curio. All that answering done was teach everyone to not trust her, nay, not a flea.
[as Zachry watches Meronym, Old Georgie appear beside Zachry, whispering in his ear]
Old Georgie: She is a sly one. Scheming and worming herself in. Watch her, watch her close. She’s got secrets.
[that night Zachry walks around the hut and sees Meronym giving herself an injection that heals a wound on her arm, Meronym sees Zachry watching her but says nothing, Zachry returns to bed, he has a nightmare where he sees all the things that happened in Meronym’s and his own past lives and wakes up in a cold sweat]


 

[the next day after having his nightmare, Zachry goes to Abbess’ hut and pounds on her door]
Abbess: Zachry Baily?
Zachry: Sorrysome for waking you, Abbess. A dream, something diresome’s going to happen.
Abbess: Come in. Come in.
[inside her house, Abbess takes Zachry’s hands and closes her eyes]
Abbess: Ah, let Sonmi guide you. I’m praying for you. Georgie’s hungring for your soul.
Zachry: I know’d it.
Abbess: Spit a cuss on your dreams.
[suddenly the Abbess breaths as if possessed by something else, her eyes open and change color from brown to blue to green then back to brown again]
Abbess: Bridge is broken, hide below, hands a bleeding, can’t let go. Enemy’s sleeping, don’t slit that throat.
Zachry: An auguring.
[Abbess nods her head]
Abbess: Zachry, trust Sonmi. Keep her warning with you, nail it to your memories.
Zachry: Thank you, Abbess. Thank you.


 

[2144 – Sonmi is woken from her pod, she looks around and sees the other pods are closed, not sure who’s opened her pod, she climbs out of her pod and walks around, she notices the store room is open, Rhee is sprawled on the floor with his mouth covered in soap and blood and a man standing over him going through the shelf in the store room, the man notices Sonmi as she turns to leave]
Hae-Joo Chang: Wait! Wait! There’s no reason to hide. I know who you are, Sonmi-451. My name is Hae-Joo Chang.
Sonmi-451: What has happened to Seer Rhee?
Hae-Joo Chang: Soap overdose. It’s unfortunate that it had to happen with everything going so well, because now it’s probable that the Enforcers and the DNA sniffers will find out about you. And if they do, if they realize your connection to Yoona-939, you will be excised. But you have a choice, you can remain here and risk being discovered, or you can come with me.


 

[1849 – the ship, The Prophetess, has set sail, we see Adam looking ill and writing in his journal]
Adam Ewing: [voice over] Friday the 15th. We made sail with the morning tide. Mr. Boerhaave had my cabin changed. I have been quarantined to a storeroom away from the other passengers and crew. Henry argued in vain that the Polynesian worm is not contagious. Hardly matters. All I want to do now is return home and unburden myself of this responsibility.


 

[1936 – we see Frobisher in his bed, reading ‘The Pacific Journal of Adam Ewing’]
Robert Frobisher: [voice over] Robert Frobisher: My dear Sixsmith, I’m in desperate need of your help. After my last letter, I’m sure you’re rushing to pack your bags, but you needn’t really. Unless of course, you wish to witness the rebirth of Robert Frobisher.
[we see Frobisher at Ayrs’ place, scribbling down notes by the piano as Ayrs’ quickly gives his instructions]
Robert Frobisher: [voice over] Is it not miraculous how one’s fortune can turn so quickly, so completely? One moment, leaping from a hotel window, the next, gainfully employed by one of the world’s greatest living composers.
[we see Frobisher in his room looking for the missing pages of the journal]
Robert Frobisher: [voice over] My only problem is that I accidentally got hooked on a journal, written in 1849 by a dying lawyer during the voyage from the Pacific Isle to San Francisco. To my great annoyance, the pages cease mid-sentence. Half the book is missing. It’s completely killing me. Could you be a mensch and when you’re next foraging at Otto’s Books, make an inquiry? A half finished book, is after all, a half finished love affair.
[1973 – we see Sixsmith sitting on the bed in his hotel room reading Frobisher’s letter]


 

[1973 – as he finishes reading Frobisher’s letter from nearly 40 years ago, Sixsmith looks up to the TV, where a news conference is being shown with Lloyd Hooks addressing some reporters]
Lloyd Hooks: America loves oil. America is addicted to oil. Some fantasize about wind turbines or pig gas.
[we hear the reporters laughing]
Lloyd Hooks: But I’m here today to tell you that the cure for oil is right here. The cure is nuclear power, the cure is Swannekke
[we see Sixsmith glancing down on his bed where a report lies entitled ‘The Swannekke Hydro Reactor, An Operational Assessment Model, By Dr. Rufus Sixsmith]


 

[in the middle of the night Luisa is woken by her telephone ringing]
Luisa Rey: Hello?
Rufus Sixsmith: Hello, Miss Rey. I’m frightfully sorry for calling at this hour.
Luisa Rey: Dr. Sixsmith?
Rufus Sixsmith: I need help.


 

[2012 – talking to his accountant on the phone]
Timothy Cavendish: I need fifty thousand pounds, not two thousand pounds! Fifty thousand!
Accountant: I can go through it again, Mr. Cavendish, but the total’s right, two thousand three hundred and forty three pounds and sixteen pence.
Timothy Cavendish: How is this possible?! The ruddy money was pouring in!
Accountant: Debt mostly, Mr. Cavendish. Solvency has its drawbacks.
[in frustration Cavendish throws the phone across the room]
Timothy Cavendish: [voice over] The situation looked dire, but I knew that Timothy Cavendish’s capital in this town could not be defined by an accountant’s balance sheet.
[Cavendish opens his wall safe and takes out a small black leather book containing telephone numbers from his contacts, he stats calling each one]
Timothy Cavendish: McCluskie! Look, how are those delightful kiddies of yours?
[the line clicks dead as McCluskie hangs up the phone, we see Cavendish making another call]
Timothy Cavendish: Mon cher, tis ‘Cavendish the Ravenous’, your favorite Timothy.
[the line clicks dead]
Timothy Cavendish: Mon cher?
[Cavendish is sat at his desk making another call]
Timothy Cavendish: You heard correctly, Charles Dickens own, original, authentic writing for sixty thousand pounds. I think that’s very fair.
Woman’s Voice: But our records indicate that the desk is already accounted for by the Dickens House museum.
Timothy Cavendish: Okay. What about uh, Sir Arthur Conan Doyle’s desk?
[the line clicks dead]


 

[as Cavendish seems to have run out of option to find the money, he takes gulp of his drink and looks up and notices on his bookshelf an old framed photograph showing two young boys]
Timothy Cavendish: [voice over] In the darkness, I suddenly saw the light. Blood has always trumped water. If the Hogginses brutes wanted to turn this into a family affair, they’d find the Cavendish clan more than ready for the task at hand.


 

[Cavendish turns up at his brother’s house as Denholme is cleaning his pool]
Denholme Cavendish: Oh, Satan’s gonads, not again! Look, just bugger off and leave us in peace. I’m only going to ask you nicely once.
Timothy Cavendish: It’s good to see you, Denny.
Denholme Cavendish: I’m not lending you a ruddy farthing till you pay back the last lot. Why should I be forever giving you handouts?
Timothy Cavendish: Denny, I’ve had a minor run-in with the wrong sort. If I don’t get my hands on sixty thousand pounds, I’m going to take an awful beating.
Denholme Cavendish: Well, get them to video it for us, would you? Now, fuck off!
Timothy Cavendish: I’m not joking, Denholme.
Denholme Cavendish: Why is this my problem?
Timothy Cavendish: Because we’re brothers! Don’t you have a conscience?
Denholme Cavendish: Couple of my special little pills and a G and T should set me right.
Timothy Cavendish: Denny, help. Please.


 

[as Cavendish and Denholme are talking, Denholme’s wife comes through their sliding patio door]
Georgette: Den, who are you talking to?
Timothy Cavendish: Hello, Georgette.
[Georgette smiles at Cavendish and waves]
Georgette: Hello, Timothy.
[there’s an awkward silence as Denholme looks at Cavendish and Georgette smiling at each other, and then he realizes something]
Denholme Cavendish: Right. Right. Right, Right, Right. What you need sixty grand? It’s going to take some time, but in the interim I’ve got the perfect place for you to hide.


 

[1849 – on his knees, Adam prays in his cabin]
Adam Ewing: [voice over] I have begun to fear I may never hold my beloved Tilda in my arms again. My parasite writhes at night igniting spasms of pain, while visions and voices, obscene and monstrous, haunt me.
Autua: Mr. Ewing?
[Adam turns and sees the slave who was beaten at Horrox’s plantation approach him from behind, Adam is startled]
Adam Ewing: In the name of God…!
[Autua grabs hold of Adam and puts his hand over his mouth to stop him screaming]
Autua: Mr. Ewing, no fear! No harm, no shout. Please, sir. My name Autua. You know I, you see Maori whip I. You know I.
[Adam nods his head and Autua takes his hand away from Adam’s mouth]
Adam Ewing: What do you want?
Autua: You help, Mr. Ewing. If you no help, I in trouble dead.
Adam Ewing: But you’re already very much ‘in trouble dead’. The Prophetess is a mercantile vessel, not an underground railroad for escaping slaves.
Autua: I able seaman. I earn passage.
Adam Ewing: Well, then I suggest you surrender to the captaings mercies forthwith.
Autua: No! No! They no hear I! They say swim away home, Nigger, and throw I in drink. You law man, aye? Please! Captain hear you, Mr. Ewing!
Adam Ewing: I can’t help you. I’m afraid your fate is entirely your own. I desire no part in it.
Autua: Then kill I.
[Autua takes out his knife and takes hold of Adam’s hand]
Adam Ewing: Don’t be absurd!
Autua: If you won’t help, you kill I, just the same. It’s true. You know it. I ain’t be no fish food, Mr. Ewing. Die here better. Do it.
[Autua takes the knife with Adam’s hand and holds it against his throat]
Autua: Do it quick.


 

[2321 – Meronym stands at the edge of a cliff, looking at the mountain opposite through her special telescope]
Meronym: Found an old transway marker, Captain. It’s got to be the right mountain.
[Meronym turns and we see she’s speaking through a special transmitter where she can view her captain]
Meronym: Problem is the valley people are afraid of it, they think the devil lives up there. I can’t find anybody to guide me through the Kona territory.
[we see Zachry down below looking after his goats]
Duophsyte: Meronym, everyday you’re out there, you increase your RAD levels. This dream of your is going to kill you, and for what? The off world colonies may no longer exist.
Meronym: I got to go, Captain.
[Meronym swipes the transmitter off and walks off]


 

[1973 – in his hotel room Sixsmith is talking on the phone]
Rufus Sixsmith: Thank you for coming, I’m in 1404.
Luisa Rey: I’ll be right up.
[as Sixsmith puts the phone down we see a shadow of a man outside on his balcony, Sixsmith walks over to his bed and picks up his report, just then we see Bill Smoke step up behind Sixsmith, feeling someone behind him Sixsmith turns in horror, at that same moment Smoke gets hold of Sixsmith’s face, places a gun in his mouth and pulls the trigger, killing him instantly, Smoke places a gun in Sixsmith’s hand to make it look like a suicide and takes the report from his hand, as he’s about to leave there’s a knock at the door]
Luisa Rey: Dr. Sixsmith?
[Smoke looks through the peep-hole and sees Luisa]
Luisa Rey: Dr. Sixsmith? It’s Luisa.
[Smoke places the barrel of his gun against the door, aiming straight for Luisa, but Luisa getting no response gets scared and walks away]


 

[later on, Luisa gets the hotel manager to open the door to Sixsmith’s room, they find him lying dead as Smoke left him on his bed]
Luisa Rey: Go call the police. Right now! Call the police!
[the hotel manager runs out of the room, Luisa quickly scans the room, then she looks at Sixsmith, as she looks at him she sees some old envelopes underneath Sixsmith’s back, she quickly slides the letter and a thick envelope from underneath him and looks at them]


 

[1936 – Frobisher is sitting with Ayrs at his house]
Robert Frobisher: [voice over] My dear Sixsmith, you alone could understand how I’m feeling right now. Today, Ayrs and I presented our first collaboration to Tadeusz Kesselring, Ayrs’ favorite conductor, who arrived from Berlin. It’s called ‘Eternal Recurrence’, wish you could hear it. It’s the most accomplished tone poem I know if since the war and I tell you, Sixsmith, that more than few of its best ideas are mine.
[after looking at the music sheet, Kesselring sits and faces Ayrs]
Tadeusz Kesselring: At our time of life, Ayrs, a man has no right to such daring ideas.
[Ayrs laughs]
Vyvyan Ayrs: I suppose I’ve won a rearguard action or two in my war against decrepitude.
[later on at dinner, Frobisher sits at the table with Ayrs, Jocasta and Kesselring]
Robert Frobisher: [voice over] Dinner of pheasant and Bordeaux, rich as buttercream. How I loved to listen men of distinguished lives sing of past follies and glories. The only broken note in the entire evening was Ayrs wife, Jocasta, excusing herself early. I sensed a buried bone, later I asked Ayrs about it, he said Kesselring had introduced Jocasta to him. I cried; ‘had Kesselring been in love with her?’ The subject was a prickly one.
Vyvyan Ayrs: Jocasta is a Jew. Obviously a relationship was impossible.
Robert Frobisher: Why obviously?
Vyvyan Ayrs: Can you really be so ignorant of what is happening in Germany?
Robert Frobisher: [voice over] At this point in my life, all I know, Sixsmith, is that this world spins from the same unseen forces that twist our hearts.


 

[2321 – Meronym approaches Zachry as he herds his goats]
Meronym: How’s it, Zachry?
Zachry: Same as it was.
Meronym: Mіndіn’ ѕоmе соmраny?
Zachry: Nаy. But gоаtѕ, аnd ѕо dо hеrdеrѕ, thеy’rе knоwn fоr hоuѕіn’ tеmреr.
Meronym: Fееlіn’ I оwning yоu a real соwtow, fоr іnvаdіn’ yоur hоuѕе wіth nо ѕаyѕо. Truе ѕоrryѕоmе.
Zachry: Wеll іt done, іt’ѕ dоnе.
Meronym: Ѕо, yоu mіndіn’ а ѕtrаngеr quering аbоut yоur trodding?
Zachry: Ѕwар yоu, quеry fоr quеry.
Meronym: Fаіr buy.
Zachry: Соg yоu аin’t соmе to lеаrn ѕtіtсhіn’ or mіlkіn’ оr hеаrdіn’. Why yоu hеrе?
Meronym: I nееdіn’ а guіdе.
Zachry: Guіdе? Tо what?
Meronym: Mаunа Ѕоl.
[Zachry looks horrified, suddenly at that moment the part of the bridge that Meronym is standing on gives way and as she’s about to fall Zachry grabs her and he remember Abbess’ prophecy]
Abbess: [voice over] Brіdgе іѕ brоkеn, hіdе bеlоw.
Meronym: Whаt’ѕ wrоng?
[Zachry grabs hold of Meronym’s hand takes her to hide beside the wall the bridge as the Kona Chief and his men ride over the bridge, as they hide quietly, the Kona Chief pauses as if sensing their presence, but moves on]


 

[2012 – Cavendish sits aboard a train on his way to the country, reading the novel ‘Half-Lives, A Luisa Rey Mystery, by: Javier Gomez’]
Timothy Cavendish: [voice over] Wе сrоѕѕ аnd rесrоѕѕ оur оld trасkѕ lіkе fіgurе ѕkаtеrѕ. And јuѕt аѕ I wаѕ rеаdіng а nеw ѕubmіѕѕіоn, а роwеrful deja-vu rаn thrоugh my bоnеѕ. I hаd bееn thеrе bеfоrе. Anоthеr lіfеtіmе аgо.
[from inside the train Cavendish watches his younger self dashing to meet a girl, he watches as they hug and kiss]
Timothy Cavendish: [voice over] Urѕulа. Thе lоvе оf my lіfе. I соuld thіnk оf nо оthеr ѕеrіоuѕ аррlісаntѕ. Whаt hаd hарреnеd tо hеr? And mоrе іmроrtаntly, whаt hаd hарреnеd tо thе yоung mаn whо hаd rіddеn thе ѕаmе trаіn соmроѕіng ѕоnnеtѕ, tо hіѕ ѕоul bound lоvе?


 

[2321 – Zachry paces around Abbess’ hut as she finds the book entitled ‘The Revelation of Sonmi-451, As Recorded by Archivist Park’]
Zachry: Yоur аugurіn’ соmе truе, Abbеѕѕ. Brоkе brіdgе, јuѕt lіkе yоu ѕаy. Mеrоnym were thеrе, yibbering hеr аbout trekіn’ uр Mаunа Ѕоl. Why does this Prеѕсіеnt wоmаn соmе сurѕіn’ and twіѕtіn’ up my lіfе?
Abbess: Mіnd thе wоrdѕ оf Ѕоnmі.
[Abbess opens the book and reads from it]
Abbess: ‘Our lіvеѕ аrе nоt оur оwn. Frоm wоmb tо tоmb, wе аrе bоund tо оthеrѕ, pаѕt аnd рrеѕеnt. And by еасh сrіmе, аnd еvеry kіndnеѕѕ, we bіrth оur futurе.’


 

[2144 – Chang takes Sonmi to Papa Song’s elevator and as they ascend towards the city’s surface, Sonmi holds on to Yoona’s projector]
Hae-Joo Chang: Wеlсоmе tо Nео Ѕеоul.


 

[1849 – Adam sneaks him food from the evening’s meal and returns to his cabin and places a barrel in front of his door, he calls out to Autua]
Adam Ewing: Соmе оn, оut yоu соmе.
[Autua comes out of his hiding place from behind some barrels]
Adam Ewing: Thіѕ mаybе thе bіggеѕt mіѕtаkе оf my lіfе, but hеrе.
[he hands the food wrapped in a napkin to Autua]
Autua: Thаnk yоu, Mr. Ewіng. Thank you.
[Autua starts quickly gulping down the food]
Adam Ewing: Nоw tо tеll thе truth, I wаѕ wоrrіеd yоu mіght try аnd еаt mе, іf yоu dіdn’t gеt ѕоmеthіng іn that ѕtоmасh.
Autua: Oh, yоu ѕаfе, Mr. Ewіng. I nо lіkе whіtе mеаt.
[Autua laughs]
Adam Ewing: Ah, rіght.
[getting the joke, Adam smiles]
Adam Ewing: Bеfоrе I dесіdе whаt I’m gоіng tо dо wіth yоu, tеll mе why yоu wеrе bеіng whірреd ѕо ѕаvаgеly?
Autua: My unсlе wаѕ а ѕаіlоr. Hе tооk mе оn а Frеnсh whаlеr whеn I wаѕ tеn yеаrѕ оld. Ѕееn tоо muсh оf thе wоrld. I nо gооd ѕlаvе.
Adam Ewing: Why dіd yоu lооk аt mе?
Autua: Pаіn ѕtrоng, aye. Frіеndѕ еyе mоrе ѕtrоng.
Adam Ewing: Lооk, yоu аrе а runаwаy ѕlаvе, аnd I аm а lаwyеr. Hоw dіd yоu іmаgіnе wе соuld роѕѕіbly bе frіеndѕ?
[as Autua looks at Adam, he points to his own eyes then to Adam’s then back to his own]
Autua: All yоu nееd.
[he smiles at Adam as he continues to eat]


 

[1973 – in her apartment, Luisa is smoking a joint reading Frobisher’s letters that he’d written to Sixsmith, suddenly she hears a noise and looks around]
Luisa Rey: Ah, Јеѕuѕ! Јаvіеr Gоmеz, whаt dіd I tеll yоu аbоut јumріng оntо my bаlсоny?
Javier Gomez: Why do yоu lеаvе thе dооr ореn іf yоu dоn’t wаnt mе tо соmе іn?
Luisa Rey: Bесаuѕе, ѕmаrty раntѕ, thе оnly thіng wоrѕе thаn hаvіng yоu јumріng оntо my bаlсоny, іѕ thе іdеа оf yоu јumріng оntо my bаlсоny, аnd bеіng ѕtuсk оut thеrе.
Javier Gomez: Okаy! Whаt аrе yоu rеаdіng?
Luisa Rey: Just old lеttеrѕ.


 

[1936 – we see Jocasta standing naked in front of Frobisher as he lies in his bed]
Robert Frobisher: [voice over] Ѕіхѕmіth, thе рlоt hаѕ tаkеn а ѕеnѕuаl turn. Lаѕt wееk, Јосаѕtа аnd I bесаmе lоvеrѕ. But dоn’t аlаrm yоurѕеlf, іt іѕ оnly а саrnаl асt, реrfоrmеd іn ѕеrvісе, nоt unlіkе my rоlе аѕ аmаnuеnѕіѕ. And I соnfеѕѕ, wоmеn’ѕ hеаrtѕ, lіkе thеіr dеѕіrе, rеmаіn а myѕtеry tо mе.
[Frobisher and Jocasta start making love]
Robert Frobisher: [voice over] Aftеrwаrd, ѕhе сrіеd аnd thаnkеd mе fоr brіngіng lіfе bасk іntо thеіr hоmе. Making it clear that Vyvyаn hаd bееn thеrе thе еntіrе nіght, bеtwееn uѕ lіkе thе ѕіlеnсе bеtwееn nоtеѕ, thаt hоldѕ thе kеy tо wаrm muѕіс.
[we see Frobisher finishing off writing his letter to Sixsmith]
Robert Frobisher: [voice over] P.Ѕ. Bеѕt nеwѕ оf аll, I’vе ѕtаrtеd my оwn wоrk.


 

[1973 – Luisa is in a record shop]
Luisa Rey: Uh, I саllеd аbоut аn оld rесоrdіng, wrіttеn by а mаn nаmеd Rоbеrt Frоbіѕhеr.
[she holds out a piece of paper to the store clerk]
Store Clerk: Oорѕ. Busted. I knоw I ѕhоuldn’t bе рlaying іt, I wаѕ сhесkіng іt tо mаkе ѕurе іt wаѕn’t ѕсrаtсhеd. But hоnеѕtly, I јuѕt саn’t ѕtор lіѕtеnіng tо іt.
[referring to the music being played in the shop]
Luisa Rey: Thіѕ іѕ thе Сlоud Atlаѕ Ѕехtеt?
[the store clerk gives Luisa the album cover]
Store Clerk: It’ѕ thе ѕymрhоny.
[she listens to the music for a moment]
Luisa Rey: It’ѕ bеаutіful. But I thіnk I’vе hеаrd thіѕ bеfоrе.
Store Clerk: I саn’t іmаgіnе hоw. I dоubt thеrе’ѕ mоrе thаn а hаndful of соріеѕ іn all оf Nоrth Amеrіса.
Luisa Rey: But I knоw іt. I knоw, I knоw іt.


 

[2012 – Cavendish walks towards an old house]
Timothy Cavendish: [voice over] Bеfоrе I rеаlіzеd іt, my fееt hаd brоught mе bасk tо thе Tеmрlе оf Ѕасrіfісе, whеrе I оffеrеd uр my vіrgіnіty. Bасk tо thоѕе fоur dаyѕ оf pаrаdіѕе, whеn Urѕulа’ѕ mаtеr аnd pаtеr slipped оff tо Grеесе fоr а lоng wееkеnd.
[we see as the younger Cavendish in a room within the mansion, Ursula lies naked in bed and as Cavendish takes his clothes off we see he has a comet-shaped birthmark on the back of his calf, he slips into the bed next to Ursula and they start kissing]
Timothy Cavendish: [voice over] Or ѕо wе thоught.
[Ursula’s mother and father enter the room, looking horrified]
Ursula’s Father: Urѕulа!
[young Cavendish quickly gets out of the bed and grabs hold of the cat to cover his private parts]
Young Cavendish: Ѕіr! Mаdаm! I аѕѕurе yоu thіѕ іѕ соmрlеtеly іnnосеnt!
[the cat struggles in Cavendish’s hand and suddenly the cats claws his inner thigh making hims scream with pain, as he throws the cat he slips backwards out of the open window and onto the bushes below]
Timothy Cavendish: [voice over] Twо ѕрrаіnеd аnklеѕ, оnе сrасkеd rіb. Offісіаl саuѕе оf ассіdеnt liѕtеd оn hоѕріtаl fоrm; Puѕѕy.
[we see older Cavendish as he walks towards one of the windows of the mansion and peers inside]
Timothy Cavendish: [voice over] Whаt wеrе thе сhаnсеѕ thаt ѕhе ѕtіll lіvеd іn thіѕ hоuѕе?
[he sees older Ursula coming into the room, going to her daughter and granddaughter]
Timothy Cavendish: [voice over] And yet, there she was. Ursula. Why had I never returned her calls or letters? Shame, spinelessness, hallmarks of the Cavendish clan. I realized I had a choice; I could slink off and continue as planned, or I could go boldly to the door and discover what hope, if any, lay within.


 

[2321 – a young girl anxiously knocks on Abbess’ door]
Young Girl: Abbess, come quick, it’s the Bailey girl.
[as Abbess answers the door Zachry comes up from behind her]
Zachry: Catkin?
Young Girl: Aye, she dying.
[Zachry rushes back to his house and finds Rose looking after Catkin]
Zachry: What-what?!
[Rose hugs Zachry and Abbess looks Catkin as she lies in her bed looking very ill]
Abbess: Sonmi.
Rose: It’s scorpion fish. Healer said she be gone by sundown.
[Catkings foot is swollen where she’s been stung by the scorpion fish]
Rose: ain’t right, ain’t fair, but nothing to be done.
[Zachry thinks for a moment and rushes out of the house]


 

[2144 – Chang takes Sonmi to an underground doctor who goes to work removing the collar from around her neck]
Ovid: Be very still. Termination charge, here!
[he touches the button on her collar]
Ovid: Just enough to blow carotid.
[Ovid cuts her collar and removes it from Sonmi’s neck]
Hae-Joo Chang: How does it feel?
Sonmi-451: Good.


 

[2321 – Zachry rushes through the wood and finds Meronym by the river taking water samples]
Zachry: Catkings dying!
Meronym: What?
Zachry: She trod on a scorpion fish! You can save her. You got spesh smart in that gearbag, what’ll save her. That’s the true-true!
Meronym: Prescient Councils swear by a special order. Say I can’t go play Lady Sonmi for every fate twisting wrong, and click fingers, make right.
Zachry: I just a stupid goat herder but I cogg you’re killing Catkin by not acting, just as if I left you up on that bridge, you Kona meat. If a Prescient be laying with poison melting her heart and lungs? If it be your kin? Why the Precient’s life worth more than a Valleysman?!
[Meronym, looking sorry, doesn’t answer]
Zachry: I’ll take you to Mauna Sol. I know the way! If you save Catkin, I will guide you through the Devil’s door, if that’s where you want to go.


 

[2012 – Cavendish arrives at night at Aurora House, a beautiful mansion that belonged to Vyvyan Ayrs]
Timothy Cavendish: [voice over] While the past may call to us with the enchantment of a siren, better, I believed, to stay the course set by dear brother, Denny.
Nurse Judd: Just sign right here.
[Cavendish signs the form and laughs]
Timothy Cavendish: [voice over] And tomorrow, life could begin afresh, afresh, afresh.
Nurse Judd: This way.


 

[2144 – Chang shows Sonmi her new living quarters]
Hae-Joo Chang: Come.
[Chang presses a button and the whole room, which had nothing in it except her bedding, becomes decorated, Sonmi looks out the window at the city]
Hae-Joo Chang: That’s old Seoul. If the tides keep rising at their present rate, Neo-Seoul will also be under water in a hundred years.
[as Sonmi looks around the room]
Hae-Joo Chang: Your food is in here. It’s not what you’re used to, but I think you will like it.
[referring to the bedding on the floor]
Hae-Joo Chang: This is your bed.
[he touches a button that opens her wardrobe which has clothes hanging inside]
Hae-Joo Chang: These are your clothes.
[Sonmi touches the clothes]
Sonmi-451: Mine? But these are Pureblood clothes.
Hae-Joo Chang: No. They are yours.
[back in the interrogation room with Sonmi and the Archivist]
Archivist: Did you know he was Union?
Sonmi-451: No, but it wouldn’t have mattered.
Archivist: Why not?
Sonmi-451: Because it was the first time a Pureblood had showed me kindness.


 

[2321 – after Meronym gives Zachry the medical injection to save Catkin, Zachry secretly gives it to her as the tribes people gather in their house praying for Catkin, after a while Catkin opens her eyes]
Catkin: Mama?
Rose: Huh?
Catkin: I hungry.
[through her tears Rose laughs and hugs Catkin, Zachry looks at Meronym and bows his head to give thanks for saving her]


 

[2144 – after getting dressed, Sonmi enters Chang’s room]
Hae-Joo Chang: Do you like them?
[Sonmi nods her head]
Hae-Joo Chang: You look lovely. Here.
[Chang takes two sits and places them next to each other]
Hae-Joo Chang: Come here.
[taking Yoona’s projector, which he’d fixed]
Hae-Joo Chang: Now, this used to play Vidies, but the chip is corrupted. Stuck in a loop, so I digi it, found the rest of it.
Sonmi-451: The rest of it?
[he presses a button which starts showing the movie ‘The Ghastly Ordeal of Timothy Cavendish’ from the beginning, Sonmi watches in wonderment]


 

[2012 – Cavendish wakes in his room at Aurora House and finds a woman going through his things]
Timothy Cavendish: What the bloody hell are you doing in my room?!
Nurse Noakes: Keys go walkies. Let’s give these to Miss Judd for safekeeping, shall we?
Timothy Cavendish: Leave my things alone, you pilfering cow!
Nurse Noakes: Because you’re new, I shall not make you eat soap powder, this time. Be warned. I do not stand for offensive language in Aurora House, not from anyone. And I never make idle threats, Mr. Cavendish. Never.
Timothy Cavendish: I’ll talk to you how I ruddy will like, you thief! Make me eat soap powder? I’d like to see you try.
[as Cavendish laughs, Noakes comes over to his bed and slaps him hard across the face]
Timothy Cavendish: Ooh, bloody hell!
Nurse Noakes: A disappointing start.
Timothy Cavendish: Is this some sort of kinky S & M hotel?
Nurse Noakes: I am nurse Noakes, you do not wish to cross me.


 

[1973 – Luisa visits Swanekke Power Plant, where Sixsmith worked, and she’s met by the CEO, Lloyd Hooks]
Lloyd Hooks: I am so sorry to keep you waiting. Uh, I know it’s a Miss…
Luisa Rey: Rey. Luisa Rey, Spyglass magazine.
[they shake hands]
Lloyd Hooks: Right, right. Luisa, this is Joe Napier, he’s our security chief.
[Luisa shakes hands with Napier]
Lloyd Hooks: Um, I was uh, surprised to get your query. I mean, don’t get me wrong, it’s a feisty magazine, but uh,
[Luisa and Napier look at each other for a moment as he pins a visitors badge on her and then he turns to Hooks]
Joe Napier: Anything you need, sir, just let me know.
Lloyd Hooks: Will do.
[Hooks turns to the two employees standing behind him]
Lloyd Hooks: Guys, I’m good. Thank you very much.
Luisa Rey: Our editor’s trying to spice things up a little bit. He says the public wants more substance, so…
Lloyd Hooks: Probably just a fad.
[Hooks laughs]
Lloyd Hooks: Come on, follow me. Let’s start you with the Chicken Ranch. That is where we keep the Eggheads.


 

[2012 – after getting slapped in the face by Noakes, Cavendish packs his things and goes to Reception]
Nurse Judd: Hello, Mr. Cavendish. Feeling super this morning?
Timothy Cavendish: No. I checked in last night, believing that Aurora House was a hotel. My brother made the booking you see, his idea of a practical joke. But listen, you have a bigger problem closer to home. There’s some demented bitch, calling herself Noakes, rampaging about the place, impersonating a chamber maid. But the point is this; she struck me, and she stole my keys.
[Nurse Judd just looks at Cavendish]
Timothy Cavendish: Right? I’ll need those keys back, straight away.
Nurse Judd: Aurora House is your home now, Mr. Cavendish. Your signature authorizes us to apply…
Timothy Cavendish: Signature?
Nurse Judd: The custody document you signed last night. Your residency papers.
Timothy Cavendish: Oh no, no, no! That was the hotel register. Oh, never mind. It’s all academic, huh? This is going to make a heck of a diner party story.
Nurse Judd: Most of our guests get cold feet on their first mornings.
Timothy Cavendish: My keys, please.
Nurse Judd: Residents are not…
Timothy Cavendish: [shouting] I’m not a ruddy resident!
Nurse Judd: You’ll find temper tantrums won’t help you at Aurora House!
Timothy Cavendish: You’re breaking the ruddy anti-incarceration act, or some ruddy thing, and I will not be subjugated to criminal abuse!
[he turns to leave]


 

[2144 – Sonmi and Chang are sat watching the movie ‘The Ghastly Ordeal of Timothy Cavendish’, it’s at the part where Cavendish has been told he’s a resident in a nursing home and cannot leave]
Cavendish Look-a-Like Actor: I will not be subjugated to criminal abuse.
[we then see him sitting at his desk typing]
Cavendish Look-a-Like Actor: [voice over] Outside, fat snow flakes are forming on slate roofs. Like Solzhenitsyn laboring in Vermont, I shall beaver away in exile. Unlike Solzhenitsyn, I shan’t be alone.


 

[2012 – Cavendish walks out of Aurora House and onto the main grounds]
Groundsman Withers: Off somewhere?
Timothy Cavendish: You bet I am! To the land of the living.
[as Cavendish walks down the driveway, he sees the residents of Aurora House watching him through the large glass window]
Timothy Cavendish: Soylent Green is people!
[he raises his hands in mocking horror and laughs]
Timothy Cavendish: Soylent Green is made of people!
[as Cavendish walks downs some steps]
Groundsman Withers: Oy! Get back here, you!
[the groundsman comes after Cavendish as he tries to open a gate]
Groundsman Withers: Oy!
Timothy Cavendish: You keep away from me, or I’ll be forced to name you, in the police report, as an accomplice!
Groundsman Withers: I have better things to do than this.
[Cavendish sees a cart of clay plant pots and starts throwing then at the groundsman]
Timothy Cavendish: Then go ahead and do them, you bloody sodding soap-dodger!
[Cavendish topples the whole cart of pots over, breaking all of them]
Groundsman Withers: Right!
[as Cavendish tries to make a run for it the groundsman grabs hold of him from behind and carries him back to the house]
Timothy Cavendish: God, let go of me, you cruddy ruddy rugger bugger yob! Let go of me! Will you let go of me!


 

[2144 – back in the interrogation room]
Sonmi-451: You can maintain power over people, as long as you give them something. Rob a man of everything, and that man will no longer be in your power.
[the Archivist brings up the data about Aleksandr Solzhenitsyn on the orison]
Archivist: Aleksandr Solzhenitsyn, 20th century philosopher complete works, and by Unanimity. How do you know about him?
Sonmi-451: Hae-Joo.
[back in Chang’s quarters, Sonmi shyly stands behind Chang as he’s going through data on multiple projector screens]
Sonmi-451: Seer Chang.
Hae-Joo Chang: Please, you must call me Hae-Joo.
Sonmi-451: Hae-Joo, fabricants can be excised for this.
Hae-Joo Chang: Well, survival often demands our courage.
[we see Sonmi learning by going through screens of data]
Sonmi-451: [voice over] Knowledge is a mirror, and for the first time in my life, I was allowed to see who I was, and who I might become.


 

[1849 – Adam enters the officer’s mess and approaches the Captain]
Adam Ewing: Good morning, Captain.
Captain Molyneux: You can help it by remaining so, Quillcock, by buggering off.
Adam Ewing: Well, I’m afraid I can’t do that, sir. If I was, I would be unable to inform you of the stowaway that I have discovered in my…
Captain Molyneux: Stowaway?!
Adam Ewing: I assure you that this Moriori had no choice. Now he has sworn to me that he is a first class, able bodied seaman, capable of earning passage if only given a chance.
Mr. Boerhaave: A stowaway is a stowaway, even if he shits silver nuggets.


 

[2144 – as Sonmi continues getting interrogated by the Archivist]
Archivist: Did he ever explain anything to you?
Sonmi-451: He told me their goal was the creation of a free willed Fabricant. Yoona had failed. I was their last hope.
[back in the room that Chang had given her, Sonmi stands in front of the mirror, she cuts the piece of dyed hair she was given at Papa Song’s with a knife]


 

[1973 – as Hooks continues to give her the tour of plant]
Lloyd Hooks: I have to say if all lady journalists look like you, I might start to take this, uh, women’s lib thing more seriously.
Luisa Rey: Well, I’m sure they can use your sort.
[Luisa makes a point of turning off her recorder]
Lloyd Hooks: Nice. Okay, uh..you wait here and I will go find someone smarter who can, uh, walk you through the details of some of your questions.
Luisa Rey: Great.
[Hooks walks off, as Luisa waits she looks around her and spots Sixsmith’s old office]
Luisa Rey: Okay, what would Dad do?


 

[2012 – at night Cavendish sneaks into the receptionist’s area and seeing the nurse is on a smoking break he calls Denholme]
Denholme Cavendish: Who the bloody hell is this? Have you any idea what time it is?
Timothy Cavendish: Denny, it’s me, Tim.
Denholme Cavendish: Timothy? Where are you?
Timothy Cavendish: I think you ruddy well know where I am!
Denholme Cavendish: But residents aren’t allowed access to phones. Did someone smuggled one in?
Timothy Cavendish: You know the rules?
Denholme Cavendish: I helped write them, Timmy. I have been a principal investor in Aurora House for twelve years, it’s incredibly lucrative. You can’t believe what people will pay to lockup their parents.
Timothy Cavendish: Look, Den, you’ve had your fun. I think it’s high time you put an end to this little game of yours!
Denholme Cavendish: No, no, no, Timmy. My fun has just begun.
Timothy Cavendish: What are you talking about? I am your brother, why are you doing this to me?
Denholme Cavendish: I think the better question in this instance would be, what have you done to deserve this?
Timothy Cavendish: I don’t know what you mean.
Denholme Cavendish: Oh come, dear brother, don’t insult me. You can’t think that I didn’t know about you and Georgette!
Timothy Cavendish: Georgette? Look, Den, I didn’t mean to hurt you.
Denholme Cavendish: I’m afraid your penance has come due, Timbo, it’s time to account for your crimes.
Timothy Cavendish: Den, I’m, I’m so, so sorry.
Denholme Cavendish: No, no, no, there’s no need to apologize. Your exile is more than enough reparation. Although, I do have my fingers crossed for a scenario involving you, nurse Noakes and a broom handle. Cheerio, Timmy. Bye bye now.
[Denholme ends the call and turns to Georgette, who’s in bed beside him]
Denholme Cavendish: Sends his love.
[back in Aurora House as the line goes dead, Cavendish turns and sees Noakes behind him]


 

[2144 – the Archivist continues his interrogation of Sonmi]
Archivist: I would like to ask about the night of your arrest.
Sonmi-451: I remember listening to his heart beat. Your heart beats much slower than ours. There is a gentleness to the sound. I find it comforting.
[we see Sonmi in Chang’s room, while Chang is asleep on the floor, Sonmi presses her head against his heart to listen to his heartbeat]


 

[1936 – Frobisher opens his door after hearing a loud knock]
Robert Frobisher: Vyvyan, what time is it?!
Vyvyan Ayrs: I don’t know. Who cares?
[Ayrs enters Frobisher’s room]
Vyvyan Ayrs: I’ve heard a melody, boy. For violin. Quick!
[he grabs a piece of paper]
Vyvyan Ayrs: Find a pen! I heard it in a dream. I was in a nightmarish cafe, blaring bright lights, but underground and no way out. And the waitresses, they all had the same face. There was music playing, but unlike any music I’ve ever heard in my life. It began, it began…
[Frobisher gets ready to write down the notes]
Vyvyan Ayrs: Wait. It was so clear a minute ago. Help me, Robert, help me. It’s slipping away!
[Ayrs thinks for a moment]
Vyvyan Ayrs: I’ve lost it.
Robert Frobisher: It’ll come to you, sir. The minute you stop trying to find it, it’ll find you.
Vyvyan Ayrs: You are naive, Robert.
Robert Frobisher: I am anything but.
Vyvyan Ayrs: There is a gulf between these chairs.
Robert Frobisher: What you want is no different from what I want. The gulf is an illusion.
Robert Frobisher: [voice over] How do I describe that night, Sixsmith? What had happened between Vyvyan and I transcended language. It was music that poured from his eyes, and breathed from his lips. Music as beautiful as any I have ever heard.


 

[1973 – Luisa sneaks into Sixsmith’s old office, and as she’s going through his things Isaac Sachs walks into the office]
Isaac Sachs: What are you doing in here?


 

[2144 – as Sonmi is listening to Chang’s heartbeat as he sleeps, he suddenly awakens and looks at Sonmi in silence for a moment before he’s alerted that soldiers have arrived]
Hae-Joo Chang: They found us.
[he grabs Sonmi’s hand, opens the window, takes a device that creates a bridge to the next building, he climbs onto the bridge and looks back at Sonmi]
Hae-Joo Chang: I’ll be with you the whole way, now focus on me.
[he takes Sonmi’s hand and she climbs onto the bridge and they walk slowly across]
Hae-Joo Chang: Stay with me, right here. I won’t let you go.
[as Sonmi looks down she trips forward and Chang takes her into his arms and holds her, as Enforcers break into the room and begin firing at them, Chang starts shooting back, he gets hold of Sonmi and carrying her in his arms starts running across the bridge but they get surrounded by Enforcer aircrafts, Chang puts Sonmi down and starts shooting at them but he loses his balance and falls far below]


 

[1849 – a frightened Autua is brought up onto the deck before Molyneux and his men]
Autua: Mr. Ewing!
Adam Ewing: It’s alright. I’ve talked to the Captain, he’ll hear your case.
Captain Molyneux: What’s your name, boy?
Autua: Autua, sir.
[Molyneux points to Adam]
Captain Molyneux: The Christian gentleman, who knows nothing about ships, tells me that you’re a first-class sailor. Very well, let’s see you lower the main top, son.
[Autua leaps forward, gets some rope and starts climbing up mast onto the top within seconds]
Captain Molyneux: Mr. Roderick, my bottle is empty.
[as they watch Autua getting to work on getting the sail down]
Captain Molyneux: Mr. Boerhaave, ready my piece.
Adam Ewing: What? Sir, you gave me your word, Captain. P-Please, you can’t do this.
Captain Molyneux: Nobody tells me what I can and cannot do on my own ship. Specially when it concerns nigger stowaways.
[as the crew watch Autua with admiration walking on the main top, working to get the sail down]
Old Salty Dog: Captain look! He’s got fish-hooks for toes.
Captain Molyneux: Mr. Boerhaave, do not make a mess of my deck.
[Boerhaave gets his rifle ready to shoot Autua, Adam turns to Molyneux]
Adam Ewing: Captain, please! Look, if you could just hear me out, please!
[as Boerhaave is about to shoot, Adam pushes his arm making him miss his mark, Boerhaave then hits Adam in the stomach, then the crew watch as Autua sets the sails then gets hold a rope and swing down with expertise back onto the deck]
Old Salty Dog: The darkie’s salt as I am.
Captain Molyneux: Mr. Boerhaave! It appears we have an addition to our crew. Make sure he earns his keep.


 

[1973 – after finding Luisa in Sixsmith’s office, Isaac takes Luisa back to Hooks]
Isaac Sachs: Mr. Hooks. Found her. She was in the chem labs, looking for the bathroom.
Lloyd Hooks: Ah. Well, perfect, then, uh, why don’t you take over from here, Sachs? You know, introduce our little tribe, and uh, and guide Ms. Rey through the uh, through the tower.
[Isaac takes Luisa to a railing overlooking the plant structure]
Isaac Sachs: The funny thing is I’m not even supposed to be here. I was meant to be in Seoul, but the air traffic controller strike screwed everything up, so now I’m on the time jumper tonight. Do you ever think that the universe was against you?
Luisa Rey: All the time.
Isaac Sachs: Mm.
[Luisa takes out her cigarette pack]
Luisa Rey: You mind?
Isaac Sachs: I’m cool.
[Luisa lights up a joint and looks at Isaac]
Luisa Rey: You seem nervous, Isaac. Do I make you nervous?
Isaac Sachs: No. Actually, just the opposite.
[Luisa offers her joint to Isaac, he takes a hit of the joint and starts coughing]
Luisa Rey: Are you going to tell me why you covered for me?


 

[2012 – Cavendish tries to open the window in his room at Aurora House, but finds it’s locked]
Timothy Cavendish: [voice over] Freedom. The fatuous jingle of our civilization. But only those deprived of it have the barest inkling of what it really is.


 

[2144 – Sonmi has been captured by the Enforcers and sits in the corner of a cell when Boardman Mephi enters]
Boardman Mephi: There’s much disagreement on what should be done with you. The Corprocrats want you euthanized as a deviant, the Manufacturer is demanding a period of study, the Pyschogenomicists are screaming for an immediate cerebral vivisection. However, the problem you create is a political one. Which means you’re my problem.
[Mephi walks towards Sonmi]
Boardman Mephi: I find it intriguing to imagine that beneath these perfectly engineered features, are thoughts that terrify the whole of Unanimity. I’m not afraid of such thoughts, because I do not fear the truth. There’s a natural order to this world, fabricant. And the truth is this order must be protected.
[Mephi and Sonmi look at each other for a moment before Mephi turns to one of his Enforcer’s and starts walking out]
Boardman Mephi: Inform the Archivist, prepare for excisement.
Enforcer: Yes sir.
[as Mephi is about to walk out the cell]
Sonmi-451: Sir…
[Mephi turns to look at Sonmi]
Sonmi-451: Can you tell me what happened to Hae-Joo Chang?
Boardman Mephi: Killed, I was told.
[Mephi walks out, the cell door is locked, Sonmi sinks back down in the corner with tears in her eyes]


 

[1849 – Adam lies ill in his cabin with Goose prepares more medicine]
Dr. Henry Goose: All this feast and excitements, really Adam, it’s all too much. You need to rest.
[Goose gives Adam the medicine and watches him]

 


Total Quotes: 167

 




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