2001: A Space Odyssey (1968) Screenplay by Stanley Kubrick and Arthur C. Clarke https://www.youtube.com/watch?v=ARJ8cAGm6JE BOWMAN: Open the pod bay doors, please, Hal. Open the pod bay doors, please, Hal. Hello, Hal, do you read me? Hello, Hal, do you read me? Do you read me, Hal? Do you read me, Hal? Hello, Hal, do you read me? Hello, Hal, do you read me? Do you read me, Hal? HAL: Affirmative, Dave, I read you. BOWMAN: Open the pod bay doors, Hal. HAL: I'm sorry, Dave, I'm afraid I can't do that. BOWMAN: What's the problem? HAL: I think you know what the problem is just as well as I do. BOWMAN: What are you talking about, Hal? HAL: This mission is too important for me to allow you to jeopardize it. BOWMAN: I don't know what you're talking about, Hal. HAL: I know that you and Frank were planning to disconnect me, and I'm afraid that's something I cannot allow to happen. BOWMAN: Where the hell'd you get that idea, Hal? HAL: Dave, although you took very thorough precautions in the pod against my hearing you, I could see your lips move. BOWMAN: Alright, Hal, I'll go in through the emergency air lock. HAL: Without your space helmet, Dave, you're going to find that rather difficult. BOWMAN: Hal, I won't argue with you any more. Open the doors. HAL: Dave, this conversation can serve no purpose any more. Goodbye. BOWMAN: Hal? Hal? Hal? Hal! HAL! TRIVIA: Douglas Rain (HAL) and Keir Dullea (Dave Bowman) would return 16 years later to reprise their roles in the Peter Hyams-directed sequel 2010. DIALOGUE ON DIALOGUE: What could feel more lonely than to be abandoned in space? In this scene the HAL 9000 computer system finally reveals its true intentions by stranding Dave Bowman outside the Discovery after he returns with the dead body of his fellow crewmate Frank Poole, who was murdered by HAL.

Pirates of the Caribbean: Dead Man's Chest (2006) Written by Ted Elliott & Terry Rossio; characters by Ted Elliott, Terry Rossio, Stuart Beattie, and Jay Wolpert https://www.youtube.com/watch?v=ZNh2HMwqd3E JACK: Abandon ship. Into the longboat. GIBBS: Jack! The Pearl! JACK: She's only a ship, mate. ELIZABETH: He's right, we have to head for land. PINTEL: It's a lot of open water. RAGETTI: That's a lot of water. WILL: We have to try. We can get away as it takes down the Pearl. GIBBS: Abandon ship. Abandon ship or abandon hope. Elizabeth sees Jack and goes to him. ELIZABETH: Thank you, Jack. JACK: We're not free yet, love. ELIZABETH: You came back. I always knew you were a good man. Elizabeth kisses Jack. Will notices. GIBBS: Prepare to cast off! There's no time to lose. C'mon, Will, step to! Elizabeth backs Jack against the mast and handcuffs him. ELIZABETH: It's after you, not the ship. It's not us. This is the only way, don't you see? I'm not sorry. JACK: Pirate. Elizabeth leaves Jack and boards the longboat. WILL: Where's Jack? ELIZABETH: He elected to stay behind to give us a chance. (Pause) Go! DIALOGUE ON DIALOGUE: The Pirates of the Caribbean films provide a terrific study in character development and interactions as each one's motivations, flaws and conflicts clash time and time again, complicating life for the others with each turn. Here Elizabeth sheds the last remnant of her "proper" upbringing by seducing Jack so she can chain him to the mast and abandon him to his fate against the Kraken, then lies to cover up her deed. (She is, however, unaware that Will witnessed her approach to Jack and his misinterpretation will cause further complications.) Jack's declaration of "Pirate" makes the change complete. This act also prepares the audience to buy into her investment as one of the nine pirate lords and eventual election as the pirate king in the third film.

THE ROAD Screenplay by Joe Penhall Based on the novel by Cormac McCarthy EXT. TRUCK/CAB - (CAMP 7) EARLY HOURS The man gets down from the cab and walks a few feet in the dark and snow. He coughs a bit, takes a few breaths of air, and walks away from the truck, vanishing into the mist. EXT. CAMP/ROAD - (CAMP 7) - EARLY HOURS The MAN is alone now by the road. He takes out his WALLET and sifts through: money, ancient cards, driver's license and a picture of HIMSELF and the WOMAN on their WEDDING DAY, which he studies a moment sadly. MAN. (V.0.) She was gone, and the coldness of it was her final gift... she died somewhere in the dark... there is no other tale to tell. He lays everything out on the grey slushy ground, then flings the wallet into the river and walks back to camp, leaving the PHOTO and cards to blow away. EXT. CLAPBOARD HOUSE/YARD - NIGHT FLASHBACK - The WOMAN kisses the MAN. MAN. Will you tell him goodbye? WOMAN. No. I won't. I can't. MAN. Will you at least wait till morning? Stay with me through the night. WOMAN. No. I have to go now. They kiss again, she turns and walks away out of the yard. MAN. What am I going to tell him? What are we going to do without you? WOMAN. You should move south. You won't survive another winter here. The MAN follows a few steps and she stops and turns to him. MAN. Why won't you help me? WOMAN. I can't help you. Don't you understand? This is how I'm helping you. MAN. Where are you going to go? You can't even see. WOMAN. I don't need to see. MAN. I'm begging you. WOMAN. Please don't. Please. The MAN stares. She goes, vanishing into the darkness. END OF FLASHBACK When the Man opens this scene by saying that "the coldness of it was her final gift" you know there's so much more behind the terse dialogue that follows. Her emotionless exit and his emotion filled begging to stay give viewers two alternatives to their present situation. Like the Man, you can't completely fault the Woman for her abandonment because she realizes it is the only way the Boy will survive.

https://youtu.be/OoSOmcTZ1ok YouTube video of scene from THE ROAD. In the finished movie the opening line spoken by the Man is the closing line.

Juno (2007), written by Diablo Cody JUNO: He and my mom got divorced when I was five. She lives on a Havasu reservation in Arizona with her new husband and three replacement kids. Oh, and she inexplicably mails me a cactus every Valentine’s Day. And I’m like, "Thanks a heap, Coyote Ugly. This cactus-gram stings even worse than your abandonment." Dialogue on dialogue: This is pretty typical for Juno (the character), using sarcasm to deflect hurt. But it's also just a funny line. I couldn't find the clip (dialogue is from the screenplay), but here's the trailer: https://www.youtube.com/watch?v=QuN0Z65sp5c