Cloud Atlas Movie Quotes: Cinematic Odyssey

Cloud Atlas Quotes Page  1   2   THE NOVEL

---

 

[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 bawlin’, wind bitin’ the bone. Wind like this, full of voices. Ancestry howlin’ 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 gonna 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….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…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…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…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 fuckin’ 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 fuckin’ Finch! That cunt that shat all over me book in his poncy fuckin’ 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 gonna 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 fuckin’ 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 fuckin’ contract for the event of the fuckin’ 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 gonna 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 fuckin’ 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 smilin’ 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 trekkin’ 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 ’em.
[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 feastin’ 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 whisperin’ about the blood of Adam and his son on my hands. But Rose and Catkin never believed ’em and stood by me.
Catkin: Uncle Zach, look!
[Catkin points to something on the ocean]
Zachry: Yay, I see ’em.
[we see a hovercraft moving fast towards the shore]
Zachry: [voice over] Precients come barterin’ twice a year. Their ships creep-crawlin’ on the waves, just floatin’ on the smart of the old ones.
Catkin: Barter will be startin’ soon.
Zachry: Yay, you must go find your ma.
[Catkin sighs and sits on the rock opposite Zachry]
Zachry: What you doin’?
Catkin: Ma says you ain’t been right since Sloosha’s. She said I gotta keep my eyes on you.
Zachry: You mindin’ me, while I’m mind the goats.
[Catkin nods her head]
Zachry: I see. Problem is, who’s gonna mind your ma at the barter? She got no tongue for hagglin’, not like you and me.
Catkin: Sure you’re alright?
Zachry: Swear by it. Be home for suppin’.
[Catkin runs off]
Zachry: [voice over] Why words slink and slide off a tongue when we need ’em 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 hostin’.
[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 hostin’ 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 knockin’ and they gaped in wonderment like Sonmi herself was sittin’ 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 gatherin’. True word was, Meronym answered the questions, but no answer ever quenched your curio. All that answerin’ 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. Schemin’ and wormin’ 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 wakin’ you, Abbess. A dream, somethin’ diresome’s gonna 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 prayin’ for you. Georgie’s hungrin’ 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 bleedin’, can’t let go. Enemy’s sleepin’, don’t slit that throat.
Zachry: An augurin’.
[Abbess nods her head]
Abbess: Zachry, trust Sonmi. Keep her warnin’ 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.

 

---

 

 

You May Also Like: