Browse Scenes

Lucy MacLean presents a formal application to her community's High Council, detailing her various skills, physical fitness, and contributions to the Vault. She expresses her desire to participate in a 'Triennial Trade' to find a marriage partner outside of her immediate gene pool, highlighting the high stakes of survival and procreation in her underground society.

Sugar hides in the restaurant bathroom while attempting to coordinate plumbing repairs over the phone. She reflects on the grief of losing her brother Mikey and her complicated, newfound desire to help her other brother run the family business despite the chaos.

Grainier attempts to tend to the broken leg of a feral child he believes to be his lost daughter, Kate. After a brief, tender moment of care and recognition, he wakes to find her fleeing back into the wilderness, leading to a heartbreaking final goodbye.

A dedicated marine scientist grapples with the pressure of saving his research facility from corporate development. He struggles to reconcile his cold, scientific data with the emotional and spiritual arguments needed to stop the destruction of the local ecosystem.

Caleb explains the 'Mary's Room' thought experiment to Ava to illustrate the difference between programmed knowledge and human experience. He uses the analogy to explore the nature of consciousness and the limitations of artificial intelligence before revealing his true purpose for being at the facility.

Scene extracted from The Last Quarter.pdf

Billy Hayes delivers a searing, desperate final statement to a Turkish court after learning his release date has been revoked. He transitions from a plea for mercy to a vitriolic attack on the legal system and the nation before being sentenced to thirty years in prison.

James Halliday, the eccentric creator of a massive virtual reality universe, delivers a pre-recorded video message after his death. He announces a global contest to find a hidden Easter egg within the OASIS, promising his entire fortune and control of the simulation to the winner.

A weary soldier sits amidst the horrific remains of a village massacre, tending to a dying, badly burned child. He offers the boy water and a desperate, whispered plea to keep fighting for life despite the overwhelming agony and destruction surrounding them.

Joel sits alone in the dark, grappling with the agonizing decision to end a stable but joyless relationship. He oscillates between the desire for excitement and the fear that 'fun' is a marketing myth, ultimately driven by the existential dread of living a life defined by regret.

Alyssa confronts her father, Hawk, about the impending commercial development of their research center. She passionately argues for the emotional intelligence of the dolphins and begs him to fight against the destruction of their natural habitat.

Joel reflects on the painful decision to end his stable relationship with Naomi in favor of a more exciting but volatile connection with Clementine. He grapples with the fear of wasting his life on a 'safe' love versus the existential dread of being manipulated by the societal idea of happiness.

In a narrated sequence, Cage recounts the terrifying arrival and evolution of the Mimics, an alien race that adapts to human warfare with lethal precision. He contrasts his own cowardly beginnings as a lazy teenager with the rise of the war hero Rita Vrataski, ultimately expressing his dread as he prepares for a battle he is certain humanity will lose.

Olive Penderghast visits a Catholic confessional despite not being religious to seek guidance on her spiraling reputation. She grapples with the guilt of her 'harlot' persona and the unintended consequences her lies have had on the adults and peers in her life.

Olive Penderghast addresses her peers through a webcam to address the escalating rumors regarding her promiscuity. She adopts a witty, self-deprecating tone to reclaim her narrative and set the record straight about her reputation.

Olive addresses her webcam, lamenting the lack of grand romantic gestures in real life compared to 1980s teen movies. She expresses a desire for her life to mirror a John Hughes film while acknowledging the mundane reality of her current situation.

Larry Hart reflects on the commercial pressures of songwriting while sharing a drink with friends. He recounts a cynical but humorous anecdote about how his artistic lyrics were rejected by a studio executive in favor of the more marketable title Blue Moon.

Chief Inspector Campbell delivers a blistering, fire-and-brimstone speech to a room of corrupt police officers. He condemns their complicity with local gangs and introduces a new, ruthless reinforcement squad to purge the city of crime and political subversion.

Michael, an architect of the afterlife, explains the complex points-based system that determined why the gathered crowd has been admitted to 'The Good Place'. He reveals the existence of soulmates and the grim fate of those who didn't make the cut, all while maintaining a cheerful, slightly eccentric demeanor.

Roone Arledge, the head of ABC Sports, asserts his authority during the 1972 Munich Olympics hostage crisis. He passionately argues that his sports crew is better equipped to cover the unfolding tragedy in real-time than the traditional news division.

Howard Cosell provides a live, breathless play-by-play of the Munich massacre's escalation as Israeli hostages are moved by terrorists to helicopters. He captures the harrowing contrast between the athletes' status as competitors and their current reality as victims, punctuated by a haunting cry for peace from the onlookers.

Armond, a high-strung hotel manager, justifies a booking error to his trainee by explaining the fragile psychology of wealthy guests. He describes the clientele as needy children who require constant validation and 'maternal' attention to mask their deep-seated insecurities.