The present article continues and develops the topic of the article “A Silent Scene in view of the speech genre theory”. The phenomenon of an inner silent scene (ISC) remarkably enhances the autocommunicative dynamism of inner speech. The basis for an ISC can be seen in critical moments within our verbal and thinking activities – new inner and outer signals causing more or less meaningful reorientation of our attention. From the point of view of basic script components, an ISC originally presupposes a customary and relatively even thinking process able to be interrupted with an unexpected guess, a puzzling discovery, an amazing impression or a sudden awareness of the value of what earlier seemed meaningless or invisible. At the same time, one remarks the noticeable change in the attitude of the subject of observation to themselves, others, the surrounding circumstances, time, and space. The enlightment is often accompanied by exclamations, questions or statements which are usually emotionally colored and full of surprise, anguish or a happy inspiration. As a result, the flow of thoughts acquires new emotional and conceptual impulses and a new quantitative meaning. Varieties of ISC in the autocommunicative process still defy systemic estimation. The development of the plot and composition of a ISC may be distinctly imprinted in ego documentary evidences, lyrical meditations or fictional psychological narratives. The author offers his observations of the texts of I. A. Goncharov, M. M. Prishvin, A. S. Pushkin, M. E. Saltykov-Shchedrin, L. N. Tolstoy, I. S. Turgenev, and A. P. Chekhov. The semantic slant of a ISC can noticeably impact the consistency and productivity of verbal and thinking activities.