"[Scene of nightclubbers chanting "DJ" and Frankie Wilde appears in a toga with a thorn crown, then floats down, suspended from wires and is dropped into a pool, then is followed by a montage of Frankie Wilde's antics while performing at Ibiza clubs] Song lyrics: I used to drink, I used to smoke, and then I'd dance, I used to drink, I used to smoke, and then I'd dance, Well, coming for a living in this crowded room, I need some new religion and I need it pretty soon. Drink, I used to smoke, and then I'd dance, I used to cuss, I used to fuss, Oh then I'd dance. Culture based on comfort men around her thighs, angels drawn on velvet brings water to my eyes. I'm gonna drink, I'm gonna smoke. Then dance. All night, I don't break dance, I don't break dance, I don't break dance no more, I said, Oh no my DJ's in a Row come on, Let's go. Oh no, those DJ's have got to go come on. Lets go, you might also like. Those DJ's, They're always scratching, itching, break."

"Beatriz Batarda as Penelope Garcia"

"I thought it was amazing, you know, that somebody that's deaf can actually, can actually, you know, be a DJ."

"I just think that guy is so fantastic. He has a gift that no one else has. And somehow, he is gonna do it. The vibe that night was incredible. All the memories had come back, you know. He'd hit the depths then he was just back. Pacha, Frankie Wilde, comeback. "Take this. Check this out." I've never seen an atmosphere like it. It was amazing. He probably never thought he'd ever feel that again. And to come back and actually feel that and more it was a great experience. Everybody in the room shared the same experience. It was really, really special. It was kind of what dance music's about, really. He just had clubland sparking, big time. He just took the roof off the place. It was amazing. It was like he was an even better DJ as a deaf man than he'd been before. It was incredible."

"Kate Magowan as Sonja Slowinski"

"David Lawrence as Horst"

"Mike Wilmot as Max Haggar"

"Super, super, super, loco."

"Frankie was cruising along, doing his thing, getting all the attention that he needed. And then he met Max."

"Anyway, a bit of a tosser. Not my sort of person, but absolutely took him to the next level."

"Someone like Frankie, having a problem like that, I thought: "This geezer's gonna go. He's gonna lose it." And he did lose it. I watched him lose it, slowly but surely."

"Steve Oram as Blinky"

"Oh, man. I mean, everybody knew that she'd been about. But he seemed to like that. I mean, that was his thing. You know, I mean, even I'd had a go at her."

"There was like a flat line. It was... Still, to this day, I'm... That was it, gone. Frankie Wilde, bye-bye. Gone. And everybody was like that: Holding the baby. I've heard a story that he's running a record shop in Oxford. There's a story that he went to Fiji and then died of syphilis. But nobody knows. You know, I don't know where he is. He was another deaf guy with a deaf guy's needs. And he went off to a quiet place. Although, I suppose that wouldn't make much difference. [Ending shots shows Frankie teaching a class of children interpretive dance and then he is tapping on bongo drums out in the street, Penelope comes by with their kid and Frankie gives his change to a busker next to him, who raises a hand in gratitude]"

"Frank just locks himself up in his room, didn't come out of his villa for a long time. He had this theory he was gonna get his hearing back by having complete silence. He wanted to rest his ears completely. He hired people to bring in supplies for him to the villa. The only accounts we have of Frank during this period come from various drug dealers. He was in a very dark place."

"The first time I heard Hear No Evil, I was like, you know, "Whatever." But then Max told me Frankie's story, and the penny dropped. People love a good tragedy. People love handicaps, frankly. It gets them emotional, you know. So I'll get on that deaf train with a wheelchair ramp. No problem. First-class ticket, please."

"Well, Frank's system was ingenious, and with the weight of his sight, he proclaims that he began to see a rhythm in everything a pattern in the visual world around him. You know, could see music. Frankie had worked with this all his life and then he realized he was able to piece together those sets that he used to do. And, hey, presto, you know, four to the floor, returneth."

"I think a lot of people tolerated her because she was Frankie's wife. At the end of the day, I think she was partying with everyone else. I didn't like her. I didn't think she was good for him."

"[Frankie and Sonya are having sex with her bent over the tennis court net] I fucking hate you, I fucking hate you!"

"No. Hey, tell him it's like a wasp just stung my clit, yeah. I don't give a fuck if he's religious. Tell him anyway. Fuck him. Bye."

"Geffen Strummer Kaye as Baby Wilde"

"Borja Galban-Fear as Spanish Waiter"

"Dallas Roberts – Devon Debella"

"Noah Segan – Derol"

"Jackie Hoffman – Ma"

"Madelyn Cline – Whiskey"

"Kate Hudson – Birdie Jay"

"Dave Bautista – Duke Cody"

"Jessica Henwick – Peg"

"Leslie Odom Jr. as Lionel Toussaint"

"Everything is so woke nowadays, it's out of control."

"What is reality?!"

"Your "fuel of the future" just barbecued the world's most famous painting, you dumbass! Congratulations on the public launch of Klear, and the end of Miles Bron. You're ruined. And you did get your wish – to forever be remembered in the same breath as the Mona Lisa."

"Edward Norton – Miles Bron"

"Daniel Craig – Benoit Blanc"

"[about the Mona Lisa] You know Da Vinci invented a technique for brushstrokes that leave no lines? That's how you can look straight at her, and her expression changes every time. Her smile's there, then it disappears. Is she happy, is she sad, is it something else? This simple thing that you thought you were looking at, it suddenly takes on layers and depth so complex, gives you vertigo."

"Okay, look, I know you guys think I'm a hippie, but can we just take a second and fully in-breathe-iate [sic] this moment together?"

"Andi used to tell me the truth. Nobody does that now. It's all just fake smiles and agendas and people wanting what they think they're owed. Hating you when you don't give it to them because that's what you're there for."

"Well, I keep returning in my mind to the glass onion. Something that seems densely layered, mysterious and inscrutable. But in fact, the centre is in plain sight. And that is why this case has confounded me like no other. Why, every complex layer peeled back has revealed another layer, and another layer, and come to naught. And that was the problem right there. You see, I expected complexity. I expected intelligence. I expected a puzzle, a game. But that's not what any of this is. It hides not behind complexity, but behind mind-numbing, obvious clarity. Truth is, it doesn't hide at all. I was staring right at it."

"I like the glass onion, as a metaphor. An object that seems densely layered, but in reality, the centre is in plain sight. Your relationship with these people may seem complex, but looking at what you've done this weekend, it's crystal clear. You've taken seven people, each of whom has a real life reason to wish you harm, gathered them together on a remote island, and placed the idea of your murder in their heads. It's like putting a loaded gun on the table, and turning off the lights."

"You dimwitted, brainless... JACKASS! Your one murder with any panache at all, and you stole the whole idea from me!"