plinytheelder_t at 2013-09-22 13:58:28:

Ok, I guess it's up to me to get you guys kicksterted... Einstein and Eddington (2008) http://www.youtube.com/watch?v=8xwGE1oUoSU Arthur Eddington: Pick up the tablecloth. [Winnie and Frank hold up the tablecloth] Arthur Eddington: Space. The tablecloth is space... [Holds up a round loaf of bread] Arthur Eddington: The sun. [Drops it in the middle of the stretched tablecloth] Arthur Eddington: What's happening? Winnie Eddington: What? Arthur Eddington: What's happening with the sun in space? Winnie Eddington: Well, the bread is sinking into the tablecloth. Frank Dyson: The sun makes a shape around it in space. Arthur Eddington: Yes. Now, what happens if I do this? [Tosses an apple into the tablecloth; apple makes an oval around the bread] Arthur Eddington: It *wants* to travel in a straight line, but it can't. Why not? Winnie Eddington: Because the bread is making a shape. Frank Dyson: The apple follows the curves made in space. Arthur Eddington: Yes. Yes, space is shaped. And *that* is how gravity works. Space tells objects how to move. Objects tell space what shape to be. And there's a way to prove it.

plinytheelder_t at 2013-09-22 14:05:42:

Good Will Hunting (1997) http://www.youtube.com/watch?v=N7b0cLn-wHU EXT. COURTHOUSE -- NEXT MORNING Will emerges from the courthouse. Chuckie is waiting for him in the Cadillac with two cups of DUNKIN' DOUGHNUTS coffee. He hands one of them to Will. This feels routine. CHUCKIE When's the arraignment? WILL Next week. Chuckie pulls away. EXT. M.I.T. CAMPUS, ESTABLISHING SHOT -- MORNING Students walk to class, carrying bags. More than any other, students seem to be heading into one PARTICULAR CLASSROOM. INT. M.I.T. CLASSROOM -- MORNING The classroom is even more crowded than last we saw it. Tom takes notes as Lambeau plays along with the excited environment with mock pomposity and good humor. LAMBEAU Is it my imagination, or has my class grown considerably? Laughter. LAMBEAU I look around and see young people who are my students, young people who are not my students as well as some of my colleagues. And by no stretch of my imagination do I think you've all come to hear me lecture. More laughter. LAMBEAU But rather to ascertain the identity of who our esteemed "The Tech" has come to call "The Mystery Math Magician." He holds up the M.I.T. Tech featuring a silhouetted figure, emblazoned with a large, white question mark. The headline reads "Mystery Math Magician strikes again." LAMBEAU Whoever you are, you've solved four of the most difficult theorems I've ever given a class. So without further ado, come forward silent rogue, and receive thy prize. The class waits in breathless anticipation. A STUDENT shifts his weight in his chair, making a noise. LAMBEAU Well, I'm sorry to disappoint my spectators, but it appears there will be no unmasking here today. I'm going to have to ask those of you not enrolled in the class to make your escape now or, for the next three hours be subjected to the mundities of eigenvectors. People start to gather their things and go. Lambeau picks up a piece of chalk and starts writing on the board. LAMBEAU However, my colleagues and I have conferred. There is a problem on the board, right now, that took us two years to prove. So let this be said; the gauntlet has been thrown down. But the faculty have answered the challenge and answered with vigor. INT. M.I.T. HALLWAY -- NIGHT Lambeau comes out of his office with Tom and locks the door. As he turns to walk down the hallway, he stops. A faint TICKING SOUND can be heard. He turns and walks down the hall. Lambeau and Tom come around a corner. His P.O.V. reveals a figure in silhouette blazing through the proof on the chalkboard. There is a mop and a bucket beside him. As Lambeau draws closer, reveal that the figure is Will, in his janitor's uniform. There is a look of intense concentration in his eyes. LAMBEAU Excuse me! Will looks up, immediately starts to shuffle off. WILL Oh, I'm sorry. LAMBEAU What're you doing? WILL (walking away) I'm sorry. Lambeau follows Will down the hall. LAMBEAU What's your name? (beat) Don't you walk away from me. This is people's work, you can't graffiti here. WILL Hey fuck you. LAMBEAU (flustered) Well... I'll be speaking to your supervisor. Will walks out. Lambeau goes to "fix" the proof, scanning the blackboard for whatever damage Will caused. He stops, scans the board again. Amazement registers on his face. LAMBEAU My God. Down the hall, we hear the DOOR CLOSE. He turns to look for Will, who is gone.

plinytheelder_t at 2013-09-22 14:42:43:

A Beautiful Mind (2001) http://www.youtube.com/watch?v=2d_dtTZQyUM INT. -OLD HOME BAR-LATER The group sits talking, trusting furtive glances at the blonde and her girlfriends a couple of tables away. MILNOR I'm going to buy her a drink. NASH That's creative. ZWEIFEL Will she want a large wedding? SHAPELY One beauty, too many suitors. FOX Swords, gentlemen? Pistols at dawn? MILNOR we apply Adam Smith's benevolent hand. FOX In competition, individual ambition serves the common good. SHAPELY Every man for himself. ZWEIFEL Those are strike out end up with her friends. John nods. Then his gaze fixes on the girls. ZWEIFEL She is looking over. I think she's looking at Nash. MILNOR He may have the advantage now. But wait until he opens his mouth. But John doesn't respond to the taunt. Instead he continues to stare intently at the girls. MILNOR Nash? Hey, Earth to Nash. But Nash doesn't take his eyes off the girls' table. NASH Adam Smith was wrong. MILNOR What are you talking about? NASH-POV The girls' table grows dark, only the blonde girl highlighted, moving into the foreground. NASH (OVER) If everyone competes for the blonde… NASH-POV Images of all the boys surround the blonde, them blow apart like fragments of glass, leaving the blonde Standing alone. NASH (OVER) … We block each other and no one gets her. NASH-POV The other girls rise in the foreground, images of our boys Pairing off with them. NASH (OVER) … So then we go for her friends… NASH-POVall the other girls suddenly go dark, leaving our group standing alone. NASH (OVER) … But they give the cold shoulder, because no one likes to be second choice. Again, no winners. NASH-POV The blonde girl goes dark. NASH (OVER) … But what if none of us go for the blonde… NASH-POVNow images of the boys pair up with the remaining girls. NASH (OVER) … We don't get in each other's way, we don't insult the other girls. NASH-POV The world goes dark except for the couples which twirl like a mobile of arabesques in a victorious swirl. NASH (OVER) That's the only way we win. That's the only way we all get laid.. All are staring at him. NASH Adam Smith said the best outcome for the group comes from everyone trying to do what's best for himself. MILNOR yes, Nash,it's the basis for all of modern economic theory. NASH He was wrong. The best outcome comes from everyone trying to do what's best for himself and the group. MILNOR Nash, if this is some plan for you to get the blonde alone… But Nash isn't listening. He's already pulling on his coat. NASH Don't you see? Adam Smith was wrong. The father of economics was wrong. And with that he's grabbed his coat,heading out the door, his puzzled friends watching on. FOX Could he be weirder?.

Aarthi Ramanathan at 2013-09-22 16:17:05:

Jurassic Park (1992) Written by David Koepp Two possible scenarios: #1 http://www.youtube.com/watch?v=iMsJe3TymqY Grant, Ellie and Malcolm take their seats in the front row of the fifty-seat auditorium. Gennaro sits behind them. Hammond walks over the giant screen in front of them. Behind him, a huge image of himself beams down at him from the giant television screen. HAMMOND (screen) Hello, John! HAMMOND (stage) (to the group) Say Hello! (then, fumbling with his three by five cards) Oh, I've got lines. He scams them, looking for his place. The screen Hammond continues without him, HAMMOND (screen) Fine, I guess! But how did I get here?! HAMMOND (stage) Uh -- (Finding his place) Here, let me show you. First I'll need a drop of blood. Your blood! The screen-Hammond extends his finger and the stage-Hammond reaches out and mimes poking it with a needle. HAMMOND (screen) Ouch, John! That hurt! HAMMOND (stage) relax, John. It's all part of the miracle of cloning! #2 https://www.youtube.com/watch?v=oijEsqT2QKQ John Hammond: [as they gather around a baby dinosaur hatching from its egg] I've been present for the birth of every little creature on this island. Dr. Ian Malcolm: Surely not the ones that are bred in the wild? Henry Wu: Actually they can't breed in the wild. Population control is one of our security precautions. There's no unauthorized breeding in Jurassic Park. Dr. Ian Malcolm: How do you know they can't breed? Henry Wu: Well, because all the animals in Jurassic Park are female. We've engineered them that way. [they take the baby dinosaur out of its egg. A robot arm picks up the shell out of Grant's hand and puts it back down] Dr. Ian Malcolm: But again, how do you know they're all female? Does somebody go out into the park and pull up the dinosaurs' skirts? Henry Wu: We control their chromosomes. It's really not that difficult. All vertebrate embryos are inherently female anyway, they just require an extra hormone given at the right developmental stage to make them male. We simply deny them that. Dr. Ian Malcolm: John, the kind of control you're attempting simply is... it's not possible. If there is one thing the history of evolution has taught us it's that life will not be contained. Life breaks free, it expands to new territories and crashes through barriers, painfully, maybe even dangerously, but, uh... well, there it is. John Hammond: [sardonically] There it is. Henry Wu: You're implying that a group composed entirely of female animals will... breed? Dr. Ian Malcolm: No, I'm, I'm simply saying that life, uh... finds a way.