Act I, Scene 7 — The Terrible Feat

Sherlock

by Mark Gatiss

Trapped in a tube carriage with a ticking bomb, Sherlock leads John to believe they are about to die, prompting a heartfelt emotional confession and forgiveness from John. After the timer stops, Sherlock reveals it was a ruse to hear John's true feelings, leading to a mix of fury and relief.

High Potential

by Drew Goddard

A confrontational, vulnerable, desperate MORGAN & AVA's duologue from "High Potential" by Drew Goddard.

Bull

by Mike Bartlett

Isobel ruthlessly deconstructs Thomas's personal life and professional delusions, revealing she stalked him to gather leverage about his ex-partner and child. She uses this information to psychologically dismantle his sense of security and meritocratic beliefs during a brutal workplace cull.

The Book of Eli

by Gary Whitta, Anthony Peckham

Hawthorne explains his obsession with finding a specific book to a wounded and skeptical Redridge. He views the text not as literature, but as a powerful psychological weapon capable of controlling the masses and expanding his rule over the post-apocalyptic landscape.

Gloria

by Branden Jacobs Jenkins

Kendra brutally deconstructs Dean's trauma and his attempts to capitalize on a workplace tragedy. She challenges his sense of victimhood and mocks his aspirations of becoming a memoirist in an increasingly desensitized world.

Burke & Hare

by Piers Ashworth, Nick Moorcroft

Angus, a working-class narrator, addresses the audience directly to introduce the gritty and hypocritical world of 1828 Edinburgh. He establishes the contrast between the city's 'Enlightenment' reputation and the reality of its impoverished citizens and debauched medical students.