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ScreenVue is the result of a joint venture and partnership between Christian Video Licensing International (CVLI) and Christian Copyright Licensing International (CCLI) and Motion Picture Licensing Corporation (MPLC).

ScreenVue first launched in 2003 as a service of CVLI. The CVLI Church Video License provides legal coverage for churches and for other ministry organizations to show DVDs, Blu-rays, movie downloads and streams of motion pictures. Each organization needs to be specifically covered. Coverage includes playing just a few seconds of a movie all the way up to showing the full-length feature.

Each *Total Producer Church Video License* and *Standard CVLI Video License* (or any *Church Video Licence* globally) comes with free ScreenVue Vault access.

The ScreenVue Vault offers 11,000+ Scene Ideas and Downloads from a variety of movies and resources. 

ScreenVue saves you hours of time finding that perfect movie illustration for next Sunday’s sermon, child or youth service, or video announcement! 

All Scene Ideas (using your own copy or rental; via Blu-ray, DVD, streaming or download) include a scene summary, themes and time cues. 

With Scene *Downloads, simply preview, download and use instantly. 

(*ScreenVue does not sell or rent entire digital copies of movies to download. To purchase or rent entire movies, please access services like Amazon, Google or Vudu).

About Us


### CCLI

Christian Copyright Licensing International (CCLI) was established in 1988 to provide churches with simple, affordable solutions to complex copyright issues. CCLI helps churches maintain their integrity while giving them the freedom to worship expressively and spontaneously.

Churches often face copyright infringement issues in two areas: 1) copying music without permission, and 2) showing movies without authorization.

For copying music to assist with congregational singing, the Church Copyright License provides blanket coverage for 300,000+ songs and 4,500+ publishers and song owners. Currently, global churches are using 600,000+ CCLI licenses.

---

### CVLI

From a unique partnership between Christian Copyright Licensing International (CCLI) and Motion Picture Licensing Corporation (MPLC), Christian Video Licensing International (CVLI) and the Church Video License was formed in 2001.

The Church Video License provides churches with legal coverage to show all, or any portion of, thousands of movie titles from a number of movie producers, including all the major studios. Currently, the titles from almost 3,000 producers are represented by the Church Video License, including the titles that contain all the Scene Ideas and Scene Downloads that are part of the ScreenVue Vault.

---

### MPLC

Motion Picture Licensing Corporation (MPLC) was founded in 1986 by former MGM executives and an MPAA attorney. Their goal was to develop a process to help the public leverage the work of the creative community without infringing on copyright.

With decades of experience, MPLC has become the world leader in licensing movies, TV programs, and other content for public performances. Through its Umbrella License® MPLC provides a comprehensive copyright compliance solution that is simple and affordable.

MPLC works closely with a variety of institutions, associations, and antipiracy groups to educate the public about copyright and promote the intellectual property rights of the creative community.

Today, MPLC licenses over 500,000 locations worldwide, including, but not limited to, nonprofit organizations, corporations, and government entities.


Partners

## Privacy is Important to ScreenVue.

We’re committed to using the data that you share with us to provide the best possible service and experience. This Privacy Policy explains when and why we collect personal data, how we use it, and how we keep it secure.

When you provide us with personal data or use our websites, you agree to be bound by this policy which we may update from time to time.

### Our Privacy Principles


- We will only collect personal data that is relevant to the services we provide, handle it securely and retain it only as long as necessary.
-  We will always ask you for your communication preferences and make it simple to change them.
-  We will not sell or give your information to a third-party organization other than our trusted service providers who provide certain secure business functions on our behalf
-  Our websites and online services only use temporary ‘session’ cookies to enhance your online experience. We do not use cookies to collect personally identifying information.

The information below provides more detail about how we use your data.

- Who We Are
- The Information We Collect
- How and Why We Use Personal Data
- How We Protect Your Personal Data
- Your Personal Data and Service Providers
- Your Personal Data and Marketing
- How We Use Cookies
- Google Analytics
- Comment Policy
- Update and Access Your Data: Your Rights and Control
- 

---


## Who We Are

ScreenVue is an international organization headquartered in the United States, with offices around the world. As such, many of our systems and online services are employed globally.

We are strongly committed to maintaining the privacy of your personal information and the security of our computer systems and online services.

Concerning the collection, use, and disclosure of personal information, ScreenVue makes every effort to ensure compliance with all applicable laws, including the European General Data Protection Regulation (GDPR), the all other local privacy regulations.

---

## The Information We Collect

When you purchase licenses or services from ScreenVue, we will require only the personal information that is necessary for the administration of your account with us.

As a general rule, we do not collect personally-identifying information about you when you visit our websites or online services and we will retain only the information you choose to share with us.

When you sign up for CVLI/ScreenVue’s licenses or services, you may provide some or all of the following:

- Your title, name, email, postal address, and telephone numbers. 
- Usernames and passwords that you have chosen to log in to secure ScreenVue services.

When you use our websites and online services we collect:

- Information about the licenses and subscriptions that you purchase from us including your method of payment.
- Information about the pages visited, and links clicked, including the date and time.
- The internet address of the website from which you linked directly to our site.
- Information about the devices you have used, including mobile device identifiers, operating system, IP address and type of browser.

Our websites contain links to other websites. When you leave a ScreenVue website by linking to any of these sites, you are subject to the privacy policy of those sites.

When you interact with us through email, social media, surveys or promotions, we may collect:

- Personal data that you freely provide about yourself that is relevant to the nature of the interaction, such as your name, username and email address. 
- Details of the emails you open, and links clicked.
- Your comments in forums and feedback from surveys.

If you identify yourself by sending an e-mail containing personal information requesting that we mail information to you, we will use this information solely for responding to such requests and for our records. We may forward your e-mail to other ScreenVue employees who are better able to serve you.

### Data obtained from other sources
We may obtain personal data from other legitimate sources, including trusted third-party providers, and use this data to:

Verify and correct the information we hold.

- Send information about license renewal and account management.
- Send marketing communications by post or email.
- Initiate or deliver targeted content via online advertising and social media.


---


## How And Why We Use Personal Data

ScreenVue will only collect and retain data that is required to administer your account or improve your experience; and we will provide you with information that we believe is important, in your interest to know, or that you have permitted us to send.

We use your data in the following ways:

To make our services available to you

- Ensuring that the administration of your account is simple and secure. 
- Enabling us to provide the services you require and to process orders and refunds efficiently.
- Enabling us to provide support and respond to inquiries quickly and accurately.
- Where ScreenVue acts as an agent for other rightsholder organizations and you hold one of their licenses, we may be required to share your data with them.

To improve the way we operate and communicate

- The data we hold about you enables us to improve our internal systems and our range of services.
- By monitoring the use of our services, we can detect and prevent misuse and fraud and ensure that they can be accessed safely and securely.
- We use web technologies such as cookies to improve the way our websites and online services work. Some cookies are necessary and, if disabled, will limit functionality and affect your user experience.
- We use tools like Google Analytics to help us understand our users’ experience (e.g., how much time they spend on web pages, which links they choose, what they do and don’t like, etc.).
- User feedback helps us build and maintain our services, determine technical design specifications and monitor system performance.

To ensure our communications are relevant and valuable

- Interactions and browsing behavior help us understand you better and determine what is of most and least interest, meaning we can personalize our services, marketing communications, and promotions and measure their effectiveness.
- We’re committed to respecting your marketing preferences and making it easy to change them.

### Consequences of Not Providing Your Data
You are not obligated to provide your personal information to ScreenVue, LLC. However, ScreenVue is unable to issue and administer copyright licenses, services and agreements without it.

---

## How We Protect Your Personal Data
ScreenVue takes the protection of your data very seriously.

- We use firewalls and data encryption to protect data that is stored electronically, and we take appropriate measures to ensure that our buildings and any files we store physically are secure.
- Whenever we collect or disclose personal data, we employ physical, electronic and procedural safeguards to ensure its safety. Consequently, we may ask you for proof of identity before we can disclose personal information to you.
- We encrypt all data that is transferred electronically using the industry standard Secure Sockets Layer (SSL)
- When your data is transferred, stored or processed in a different country, we employ appropriate measures to ensure that your data remains secure.

We cannot guarantee the security of any email provider or online service which is not managed by us, and which you use to transfer data to us.

---

## Your Personal Data and Service Providers
ScreenVue works with reputable service providers who may process your data to perform business functions on our behalf. These include Google Analytics, MailChimp/Mandrill, SurveyGizmo and others.

All such service providers are contractually required to keep your data safe, use it only for the purposes agreed, and delete it when it is no longer required. They have agreed not share it, nor use it for their marketing purposes.

We will never give, sell or share your personal data with any third-party for any purpose other than that referred to above.

---

## Your Personal Data and Marketing
ScreenVue would like to share potentially valuable or interesting information with you and, from time to time, ask for your feedback via online surveys.

- When you provide us with your personal data, either by phone, email or a physical or online form, we will always provide a clear and simple way to confirm your communication preferences.
- We will never assume your consent to receive email marketing. We will only send you marketing emails where you have opted-in to receive them.
- We may give you the opportunity to opt-in to receive different marketing emails based on your interests. An opportunity to unsubscribe from any list will be clearly provided at the bottom of each email.
- We may mail information to you that we believe will be of legitimate interest.
- We will make it simple for you to change your communications preferences, which you can do at any time online, over the phone or by writing to us.

---

## How We Use Cookies
A ‘cookie’ is a file placed on your personal computer’s hard drive by a website.

ScreenVue employs cookies to optimize its service to customers. We do not use cookies to collect personally identifying information from users, nor to track user activities beyond our websites. ScreenVue does not maintain copies of cookies on our websites after you leave them.

Cookies store and exchange small pieces of temporary data between a website and a user’s computer which enable a “session” or “dialogue” between the two machines. With the session established, ScreenVue can tailor its responses (i.e., provide you with the information you want) and help you traverse our web pages efficiently and effectively.  A session is broken when you exit your browser.

ScreenVue uses “session cookies” — (i.e., temporarily stored cookies in your computer’s memory). Session cookies are normally deleted from a user’s computer when the user logs off the computer, or the user exits the browser.

For security purposes and to ensure that this service remains available to all users, our websites also employ systems to monitor network traffic to identify unauthorized attempts to upload or change information, or otherwise cause damage.

Unauthorized attempts to upload information or change information on this service are strictly prohibited and may be punishable under the law.

---

## Google Analytics
Google Analytics is a web analytics service that uses cookies stored on your computer to collect and report website usage data.  We use Google Analytics to understand how visitors use our websites and to identify where we can improve our content and services.  Google collects the IP address you use when you visit the site but does not collect any other personal information about you.  We do not combine the information that Google collects with any other personally identifiable information.

[Learn more about how your data is collected by Google](https://policies.google.com/privacy "Learn more about how your data is collected by Google")

[Prevent your data from being used by Google Analytics](https://tools.google.com/dlpage/gaoptout "Prevent your data from being used by Google Analytics")

---

## Comment Policy
Comments on articles, blogs and videos can be helpful to other viewers, provided that a spirit of helpfulness is the intent of the person doing the commenting.

We review all comments on ScreenVue’s websites. We reserve the right to edit/delete spam comments, duplicate comments, unsupported accusations, vulgar comments, vile comments, personal attacks of any kind, terms offensive to groups when used in a derogatory manner, and any other comment deemed inappropriate at our discretion.

We reserve the right to ban offenders who post comments under another person’s name, submit an egregious comment or repeatedly submit comments that do not meet our standards.

---

## Update and Access Your Data: Your Rights and Control
As a benefit of using ScreenVue’s services, we provide you with a way to update your information.  These features allow you to quickly update your personal information at any time, including your name, email address, and profile image.

We are committed to safeguarding your privacy and can only do so if you use ScreenVue Profile features as intended.  Some or all aspects of this Privacy Policy may not apply to individuals who share a login (email and password) with other members of an organization account.

If you believe the information that ScreenVue holds about you is incorrect and you are unable to correct it through our ScreenVue Profile service, please contact us, and we will update our records as soon as possible.

You have the right to see the personal data that we hold about you. However, how we deal with such requests, and whether we charge a fair administration fee may differ depending on the law in the country of your residence.

In all cases, if you would like a copy of the personal data we hold about you, please contact us using our [GDPR / Data Privacy contact form](mailto:support@screenvue.com "GDPR / Data Privacy contact form").

ScreenVue is committed to protecting your personal data and using it only in a manner that is appropriate, fair and transparent. If, however, you have a concern about our use of your data or wish to make a complaint,please contact us using our GDPR / Data Privacy contact form. We will take all reasonable steps to resolve your query or complaint and to do so promptly.



Privacy Policy

The ScreenVue, LLC web site shall be defined herein to include all screenvue.com and all other web pages operated by ScreenVue.

ScreenVue makes available information, materials, and products on this Web site subject to the following terms and conditions. By accessing this site, you agree to the terms and conditions as outlined in this legal notice. ScreenVue reserves the right to change these terms and conditions from time to time at its sole discretion.

__Copyright © 2019 by ScreenVue, LLC. All rights reserved. CVLI® and Screenvue® are trademarks. All other trademarks are properties of their respective owners.__

---

## Use of Software
Any use of software and accompanying documentation from this Web site is subject to the terms of a software license agreement between you and ScreenVue. You must read the license agreement and indicate your agreement to its terms prior to installing or using the software. All rights, title, and interest not expressly granted are reserved.

---

## Use of Web Site Information
Except as otherwise indicated elsewhere on this site, you may view, copy, print, and distribute documents available on this Web site subject to the following conditions:

- The document may be used solely for personal, informational, non-commercial purposes.
- The document may not be modified or altered in any way.
- The following copyright notice and permission notice must appear in each document: “Copyright © 2019 ScreenVue, LLC. All rights reserved.”
- ScreenVue reserves the right to revoke such authorization at any time, and any such use shall be discontinued immediately upon written notice from ScreenVue.
- Documents specified above do not include the design or layout of this Web site. Elements of this Web site are protected by trade dress and other laws and may not be copied or imitated in whole or in part.

---

## Warranties and Disclaimers
Except as expressly provided otherwise in an agreement between you and ScreenVue, all information and software on this Web site are provided “as is” without warranty of any kind, either express or implied, including, but not limited to, the implied warranties of merchantability, fitness for a particular purpose, or non-infringement.

ScreenVue assumes no responsibility for errors or omissions in the information or software or other documents which are referenced by or linked to this Web site. References to corporations and their services and products are provided “as is” without warranty of any kind, either express or implied. In no event shall ScreenVue be liable for any special, incidental, indirect, or consequential damages of any kind, or any damages whatsoever, including, without limitation, those resulting from loss of use, data, or profits, whether or not advised of the possibility of damage, and on any theory of liability, arising out of or in connection with the use or performance of this information.

This Web site could include technical or other inaccuracies or typographical errors. Changes are periodically added to the information herein; these changes will be incorporated in new editions of this Web site. ScreenVue may make improvements and/or changes in the product(s) and/or the program(s) described in this Web site at any time.

This Web site can be accessed from other countries around the world and may contain references to ScreenVue products, services, and programs that have not been announced in your country. These references do not imply that ScreenVue intends to announce such products, services, or programs in your country.

---

## Feedback
Except where expressly provided otherwise by ScreenVue, all comments, feedback, information, or materials submitted to ScreenVue through or in association with this Web site shall be considered non-confidential and ScreenVue’s property. By submitting such comments, feedback, information, or materials to ScreenVue, you agree to a no-charge assignment to ScreenVue of all worldwide rights, title, and interest in copyrights and other intellectual property rights to the comments, feedback, information, or materials. ScreenVue shall be free to use such comments, feedback, information, or materials on an unrestricted basis.

---

## Links To Third-Party Web Sites
This Web site contains links to third-party Web sites. The linked sites are not under the control of ScreenVue, and ScreenVue is not responsible for the contents of any linked site or any link contained in a linked site. ScreenVue is providing these links only as a convenience, and the inclusion of a link does not imply endorsement of the linked site by ScreenVue.

---

## Governing Law And Jurisdiction
ScreenVue controls this Web site from its offices in Vancouver, Washington, USA. All matters relating to this Web site shall be governed by U.S. federal law or the laws of the State of Washington. You agree that any legal action or proceeding related to this Web site must be instituted in, and jurisdiction and venue are proper in, a state or federal court in Clark County, Washington. Your use of this Web site and its information must comply with all applicable local laws or regulations, and with U.S. export laws and regulations.

Terms

__FREE with a Church Video License,*__ the ScreenVue Vault offers 11,000+ Scene Ideas and Downloads from a variety of movies and resources. 

__ScreenVue saves you hours of time__ finding that perfect movie illustration for next Sunday’s sermon, child or youth service, or video announcement! 

__SCENE IDEAS__: include a scene summary, themes and time cues (using your own copy or rental; via Blu-ray, DVD, digital download or stream). 

__SCENE DOWNLOADS*__: simply preview, download and use instantly! 

__[Frequently Asked Questions (FAQs)](https://www.screenvue.com/faqs "FAQ's")__

- 

__WHAT RESOURCES ARE OFFERED BY THE SCREENVUE VAULT?__

The ScreenVue Vault offers two different types of SCENES:
![clip-idea-icon](//images.ctfassets.net/micoswd5fgp1/6AhofNH591NHsVrQKd2DXH/466532d661e3732758370bdcf0ef6473/clip-idea-icon.png)
__SCENE IDEAS:__ Use your own movie with our cues and details.

To use a SCENE IDEA:

- Sign-In.
- Select a Scene (by selecting a MOVIE, a THEME, or by using SEARCH). 
- Utilize the displayed Start/End Times, synopsis and suggested themes.
- Have the specific Blu-ray, DVD, digital download or stream cued to the appropriate Start Time (by using the Blu-ray, DVD, digital download or stream you already own or rent).
- You're now ready to show the Scene to your audience at just the right time in your message!

![clip-download-icon](//images.ctfassets.net/micoswd5fgp1/610dtwW1MFbAh8RuFlLX7R/964977cd3211364b3a53b350995b6c73/clip-download-icon.png)
__SCENE DOWNLOADS:__ Preview, download and use instantly.

To use a SCENE DOWNLOAD: 

- Sign-In.
- Select a Scene (by selecting a MOVIE, a THEME, or by using SEARCH).
- Click the PREVIEW button to preview the Scene first, if desired.
- Click the DOWNLOAD button.
- Click SAVE, and specify where you want the file saved to.
- Implement the file into your chosen presentation software!

__Please Note__

*ScreenVue Vault access is free with a Total Producer Package or Standard CVLI Video License in the USA or with any Church Video Licence globally.

*Before using ScreenVue content, please check your country’s Authorised Producers List to confirm the content is covered (all ScreenVue content is covered in the USA).

*CVLI & ScreenVue do not necessarily endorse the entire content of any movie listed. Before showing any movie, in whole or in part, please preview and determine if the footage is appropriate for your intended audience.

*ScreenVue does not sell or rent entire digital copies of movies to download. To purchase or rent entire movies, please access services like Amazon, Google or Vudu.

__Email for ScreenVue support__
[support@screenvue.com ](mailto:support@screenvue.com "support@screenvue.com")

__[Frequently Asked Questions (FAQs)](https://www.screenvue.com/faqs "FAQ's")__


Support

__Frequently Asked Questions...__

__"I'M NEW - how does the ScreenVue Vault work?"__
- To get a full explanation of how the ScreenVue Vault works, please visit our support page: https://www.screenvue.com/support

__"Where can I find my Access Key to sign-in with?"__
- Every Church Video Licence globally and every *Total Producer Church Video License* (or *Standard CVLI Video License*) in the USA comes with FREE access to the ScreenVue Vault, which is unlocked with your Access Key. Your Access Key will be included in the monthly CVL update emails you receive. If you can't find your Key, please email us at: [support@screenvue.com ](mailto:support@screenvue.com "support@screenvue.com")

__"Why won't my Access Key work?"__
- The usual reason for the Access Key not to work (and a footer error message to appear) is that something is missing from the sign-in protocol.
- Enter the *Email address* associated with your Church Video License (or CCLI account).
- Enter the *Access Key* found in your last CVL update email (exactly, with no spaces).
- Select the *Terms of Use* and a *Keeping in Touch* option.
- You should be in! If you have done all this and still have a problem, please let us know and we'll dig further.

__"In the USA, why don't I have access as a CVL Family Values Package member?"__
- The *CVL Family Values Package* offers only 65+ studios and producers, and does not include any major/minor Hollywood studios - and does not come with ScreenVue Vault access. 
- The *CVL Total Producer Package* offers 2,800+ studios and producers, including every major Hollywood studio and most of the major/minors, and comes with complimentary access to the new ScreenVue Vault: unlocked with a provided Access Key. 
- In the USA, to gain access to the new ScreenVue Vault, please upgrade to a *Total Producer package* by calling: __1-888-771-2854__.

__"What is the difference between Scene Ideas and Scene Downloads?"__
- The ScreenVue Vault offers TWO different types of Scenes: 
- *Scene Ideas*: Has the "light-bulb icon," where you would use your own movie (DVD, Blu-ray, movie download or stream you already have access to) with our cues and details; as this scene is not available as a download. 
- *Scene Downloads*: Has the "download icon," which you can preview, download and use instantly! 
- Please visit our Support page for more details: https://www.screenvue.com/support.

__"Why can't I download a Scene Idea?"__
- We do not have permission from the studio owners to offer downloads for most Scenes. Instead, use the cues listed in the upper, right hand corner of a Scene Idea in tandem with your own copy or rental. The ScreenVue Vault offers TWO different types of Scenes: 
- *Scene Ideas*: Has the "light-bulb icon," where you would use your own movie (DVD, Blu-ray, movie download or stream you already have access to) with our cues and details; as this scene is not available as a download. 
- *Scene Downloads*: Has the "download icon," which you can preview, download and use instantly! 
- Here is a link to all the movies which have Scene Downloads: https://www.screenvue.com/scene-downloads
- When you click on a *Theme* and see the results, there is an option to show: (X) *Only Scene Downloads*.
- Please visit our Support page for more details: https://www.screenvue.com/support.

__"What are the restrictions for streaming a movie scene in my service?"__
- For churches that stream their services and want to include any part of a movie (the entire film or just a scene), the Church Video License terms do not cover streaming a movie scene - even if used in a sermon - over the internet to the general public.
- However, it is permissible to live stream a movie scene inside the facility as long as it is a closed-stream (not accessed publicly). 
- In light of COVID-19, the Church Video License has made temporary modifications to the license: For churches that stream their services and want to include any part of a movie, they can use a platform that is gated or private (password protected entry to only members and guests and not open to the general public), such as Zoom (requiring a password to join).


FAQs

Header

Themes

Movies

Movies with Downloads

Mobile

1917

12 Years a Slave

3MenLady

127 Hours

1040 Christianity in the New Asia

101 Dalmatians

13-30

2001

310 to Yuma

10 Cloverfield Lane

1517 to Paris, The

12 Angry Men

33, The

10,000 BC

12 Ordinary Men

27 Dresses

17 Again

Ray Corasani

Vinessa Shaw

Antonio Banderas

Sarah Paulson

Dallas Roberts

Lisa Davis

The two doctors on the spaceship Discovery are watching a televised interview they gave to a reporter while back on Earth.  The reporter turns the discussion to Hal, a super-computer such as the world has never seen: "Which can reproduce - - though some experts still prefer to use the word mimic - - most of the activities of the human brain, and with incalculably greater speed and reliability."  The reporter now turns to Hal and begins to interview the A. I. directly: "Hal, you have an enormous responsibility on this mission, in many ways perhaps the greatest responsibility of any mission element.  Does this ever cause you any lack of confidence?"  Hal, in a polite, almost warm tone: "Let me put it this way, Mr. Amer.  The 9000 series is the most reliable computer ever made.  No 9000 computer has ever made a mistake or distorted information.  We are all, by any practical definition of the words, foolproof and incapable of error."  The reporter asks Hal several more questions regarding his relationship with the humans onboard the ship.  Hal gives very human-like answers.  The reporter turns back to the actual humans, asking them about their relationship with Hal.  Poole: "You think of him really just as another person."  Reporter: "In talking to the computer, one gets the sense that he is capable of emotional responses.  For example, when I asked him about his abilities, I sensed a certain pride about his accuracy and perfection.  Do you believe that Hal has genuine emotions?"  Bowman: "Well, he acts like he has genuine emotions.  Of course, he's programmed that way...but, as to whether or not he has real feelings is something I don't think anyone can truthfully answer."


Nancy Travis

Sam Mendes

Jack Klugman

Jack, still wearing the full-body Dracula costume of his latest commercial, gives Mary a high-five.  They are at Mary's new school, where she has just had her first day.  Jack notices that Mary seems down: "What's the matter?"  Mary: "Stuff."  Jack: "What kind of stuff?"  Mary: "I don't know.  I feel different."  Jack: "Says who?"  Mary: "People."  Jack shrugs his caped shoulders: "Who cares what people think?  People think that I'm different."  Mary: "You are."  Jack: "Yeah, well, so?  See, that's good.  It's okay to be different.  You don't have to be like everybody else.  Okay?"  Mary nods, smiling.  He puts his Dracula fangs in his mouth and tickles her.


Rod Taylor

Danny Boyle

Vera, seeing her daughter enter the reception tent where workers are setting up before the wedding: "Darling, where have you been?  We have so much to do!"  Sylvia, looking flustered: "I just wanted a few moments by myself."  Vera, compassionately: "Feeling nervous, are you?"  Sylvia admits she is.  Vera, attempting to comfort: "It's quite natural to feel nervous.  After all, in less than two hours, you'll be leaving a whole part of your life behind you and entering a lifelong contract that will change everything you've ever known."  Sylvia, dryly: "Thank you, Mother.  I feel so much better now."  Vera, missing the sarcasm: "That's what mothers are for."


Schofield and Blake stand in the shelter of an abandoned barn, watching a dogfight between two British planes and one German.  Soon, the German plane is hit and begins to fall toward the ground.  Schofield and Blake watch with growing alarm as the smoking plane turns towards their barn.  When it is apparent that the plane will crash where they are standing, the two British soldiers run, barely escaping the wreck with their lives.  They begin to hear the sounds of the German pilot screaming in pain from inside the burning wreckage of the plane.  With no other thought than to save a fellow man from such a terrible fate, the two British soldiers brave the flaming wreck to save the German.  Dragging him out onto the farmyard, the soldiers can see that the German is mortally wounded.  Schofield suggests putting him out of his misery, but Blake refuses, wanting to try to help.  He asks Schofield to go to the pump and get the man some water.  However, while Schofield turns his back and fills his helmet with brackish liquid, the German gets out his knife and attacks his rescuer.  Hearing Blake's cries, Schofield turns around just in time to see the German stab Blake.  (Caution: scene may disturb some viewers)


Vera is having dinner with her daughter.  Vera, thinking Sylvia looks tense: "Is everything all right?"  Sylvia, sighing: "I don't know.  Sometimes I feel like my life is one long improvisation.  I don't have time to think, plan, or take it in.  Things are thrown at me and I react.  I keep asking myself, 'Am I a good mother?  Am I doing the right things for Mary?'"  Vera: "Every mother asks herself that."  Sylvia: "Did you?"  Vera, rolling her eyes to the heavens: "Constantly."  Sylvia: "Really?"  Vera: "You are a wonderful mother."  Sylvia smiles, relieved that she is not the only one to feel the way she does.


Schofield hops quickly out of the military truck when it stops in the middle of the road.  In a hurry to fulfill his time-sensitive mission, he watches the tires spin helplessly in the mud with some impatience.  He calls for the driver to try reverse, but to no avail.  The truck is stuck fast.  Briskly ordering all the men out of the truck, he demands they help him push it out of the mire.  About half of them reluctantly comply.  The truck doesn't budge.  Schofield, frustration making his voice curt, tells the men to try again.  Again, only about half help.  And Schofield is, by far, trying the hardest.  His face turns red with the strain of the push.  But, again, the truck doesn't budge.  Finally, he humbly pleads with the men, desperation in his voice: "Please.  I have to go now.  Please."  The men are moved by his heartfelt request and every one of them takes a place by the truck.  Together, they push.  Schofield strains so hard to push the truck that he cries out in his effort.  Again, the truck doesn't move.  But, this time, the men are altogether determined to succeed.  They try again and the truck is freed from the grip of the mud.  (Caution: f-word murmured in background, indiscernibly.  To avoid, begin clip at 57:25:00)


William Sylvester

Blake, mortally wounded, is lying in Schofield's arms.  Blake, who is beginning to fade, can longer remember what happened.  He looks down at the front of his jacket, where a large, red stain is quickly spreading: "I've been hit."  Blake, beginning to weep: "Am I dying?"  Schofield, reluctantly and soberly: "Yes.  Yes, I think you are."  With an effort, Blake forces back the threatening tears.  He reaches into his pocket and pulls out a picture of his family, holding it to his chest as if they are there holding him.  Blake again begins to cry: "Will you write to my mom for me?  Tell her I wasn't scared."  Schofield promises, taking Blake's hand in his own.  Blake, his voice beginning to fade away: "I love them.  I wish that...I wish that..."  Suddenly, fear seems to overtake Blake.  He begs Schofield: "Talk to me!  Talk to me!  Tell me you know the way!"  Schofield begins to calmly recite the directions for their mission, reassuring his friend that it will be completed.  While he quietly speaks, Blake takes his last breath.  (Caution: scene may disturb some viewers)


Matt and Jenna are standing in the hallway in their junior high when the Six Chicks strut down the hall towards them.  Kids everywhere quickly step back to make room for the coolest kids in school.  The six girls, with their best disinterested faces on, stop in front of Jenna.  The leader of the pack, Tom-Tom, takes a moment to insult Matt before asking Jenna to speak with her privately.  Jenna ignores the slight to her friend, even smiling at it.  When Tom-Tom tells her that she can't make her birthday party because she has to work on a school project, Jenna offers to do the project for her.  Tom-Tom, who had been angling for this all along, smiles: "Fabuloso!"  Jenna beams from ear-to-ear, honored that the cool kids are coming to her party.  Later, she and Matt are walking home from school when Matt disgustedly comments: "I can't believe you invited those clones."  Jenna, naively: "They're my friends."  Matt: "The Six Chicks are not your friends, okay?"  Jenna: "Well, almost.  And someday I'm gonna be a Six Chick."  Matt: "There can't be a seventh Six Chick.  It's mathematically impossible.  Besides, you're way cooler than they are.  They're totally unoriginal."  Jenna: "I don't want to be original, Matty.  I want to be cool."  (Note: some credits are rolling during this scene)


George MacKay

Mary's new teacher looks at the picture Mary has drawn of her family.  She begins to ask who each of the five stick figures represent.  Correctly guessing Mary and her mother, the teacher moves on to a male figure: "Who's that?"  Mary, matter-of-factly: "That's my biological daddy."  Teacher, momentarily surprised, moves on to the other figures.  Mary: "That's my one honorary daddy and that's my other honorary daddy.  We all live together."  The teacher's surprise now reads more like shock.  She visibly collects herself: "Okay."  The bell rings and the students begin to gather their things.  A boy approaches Mary: "You have three daddies?  That's weird."  Mary: "How come?"  Boy: "Julia has two daddies, but not at the same time."  Mary: "Why not?"  Boy: "Because you can't have more than one father at a time living with you.  That's the law."  (Note: Mary's three fathers are best friends who live together in a platonic relationship)


John Goodman

Alan Tudyk

Bradley Cooper

Logan Lerman

Evan Leong

The apes are scratching their usual sparse existence out of the dusty earth.  One stops beside a pile of bones.  The sun streams out from behind the alien monolith and strikes the ape with sudden inspiration.  He stares at the bones, a new understanding dawning in his eyes.  Orchestral music begins to build dramatically in the background as the ape picks up a bone and begins using it to strike other bones.  The music swells to a glorious crescendo as the camera focuses on the ape's raised arm gripping its newly discovered tool.  Bones fly everywhere, breaking to bits as the ape strikes them again and again.  We see a brief glimpse of the future for the apes now that they have discovered the use of tools.  Other animal species fall to the ground under their dominion and the apes will become kings where they had once been slaves.


30-year-old Jenna, wearing her pink flannel pajamas and holding a stuffed animal, recalls her emotions after her date with Matt: "I just floated home on a cloud."  Her audience, a bed full of 13-year-old girls at a slumber party, gives a collective sigh: "That is so romantic!"  The girls giggle as Jenna shows them the goose bumps on her arms (that apparently appear in proportion to the romance of a situation).  Jenna, proudly: "They won't go away!"  Girl, grinning: "Do you love him?"  Girl #2: "Duh!"  The girls, including Jenna, giggle again.  Girl #3: "When are you going to see him again?"  Jenna, reluctantly: "I don't know if I can.  It's complicated.  It's a grown-up thing."  The girls sigh sadly in an expression of disappointed sympathy.


Three scientists onboard the spaceship Discovery are asleep in their hibernation pods.  (The plan is for them to sleep the entire voyage to distant Pluto.)  A close-up of a computer screen shows their vital statistics in good working order.  Suddenly, the screen flashes red, reading: "Computer malfunction."  One by one, the bodily systems of the three scientists begin to fail.  The computer screen shows the failure as the cardio-vascular, metabolic, nervous, pulmonary, and other systems begin to shut down.  The men, still asleep in their pods, show no outward sign that their bodies are dying.  They rest peacefully, their faces visible behind panes of glass.  The computer screen flashes orange: "Life functions critical."  More bodily systems fail.  The computer screen flashes red: "Life functions terminated."  But, in the room, everything looks the same as it always has.  The three men lie in their pods, eyes closed, all dead.


"The arms literally stretch; of a distance of approximately three to four inches, coming disjointed. …This fulfills the prophecy in Psalm 22, where a thousand years earlier, David had prophesied the crucifixion -- which hadn't been invented at that time..."    (Found in the DVD's "Extras" section: "An Examination of the Crucifixion," by Alexander F. Metherell, M.D., PhD)


Sidney Lumet

Schofield, desperate to escape the German soldiers, has jumped into the raging river.  The swift current flowing around giant boulders churns and roars.  Schofield, at first, makes some feeble efforts to get back to shore.  He grabs for a branch hanging out over the rapids.  But the force of the water tears it from him.  He makes an attempt at swimming, but gives it up almost immediately.  He is helpless against the power of the rushing river.  All he can do is try to keep his head above the water.  The river carries him along in its grasp.  He is flung against boulders and shoved under depths until, finally, he reaches a waterfall.  He struggles, trying to keep from going over the edge.  But he can do nothing to stop his body from falling over the cliff.  He disappears in the pool at the bottom.


Gerard Butler

Alek Skarlatos

Michael Fassbender

"He is then nailed to the cross. And this is where the Romans had perfected this form of execution, to produce the maximum amount of torture..."  (Found in the DVD's "Extras" section: "An Examination of the Crucifixion," by Alexander F. Metherell, M.D., PhD)


Dean-Charles Chapman

Jenna, burdened by the mess she's made of her life, is recuperating at her mom and dad's house.  Jenna, eating her smiley-face pancakes: "Mom?  Do you ever wish you could go back, like to another time?"  Mrs. Risk, smiling: "I wouldn't mind giving back some of these wrinkles."  Jenna: "If you were given one do-over, anything in your life, what would it be?"  Mrs. Risk, contentedly stirring her tea, shrugs her shoulders: "Nothing."  Jenna: "Really?"  Mrs. Risk, certain: "Really."  Jenna: "But, did you ever make a big mistake?  Or a huge one that could change your life?  What about that?"  Mrs. Risk, thoughtfully: "Well, Jenna, I know I made a lot of mistakes, but I don't regret making any of them."  Jenna: "How come?"  Mrs. Risk: "Because, if I hadn't made them, I wouldn't have learned how to make things right."


James Brolin

MC Hammer

Chiwetel Ejiofor

Lena Headey

Cote de Pablo

Jennifer Garner

Gary Lockwood

Henry Fonda

Ted Danson

Gary Habermas

"Jesus was absolutely, positively, certainly dead on the cross. So these theories that 'He swooned on the cross,' is complete nonsense. People who say that have no understanding of what a Roman crucifixion is about. There is no way Jesus could possibly survive that experience on the cross."  (Found in the DVD's "Extras" section: "An Examination of the Crucifixion," by Alexander F. Metherell, M.D., PhD)


James Mangold

Jerry Rose

Christian Bale

Melora Hardin

Brian Kerwin

Wolfgang Reitherman

Kate Burton

Emile Ardolino

Keir Dullea

Stanley Kubrick

Peter and Michael are driving down a country road in England.  While tall Peter hunches over the steering wheel of their tiny car, Michael pores over the map: "I'm telling you, we're lost.  I haven't seen a road that's marked on this map in twenty minutes."  Both men begin to hear a strange noise.  Within moments, they are completely surrounded by hundreds of bleating sheep.  They stop the car and are enveloped by wooly bodies.  Having asked directions of the shepherd, they now struggle to hear what he says above the sounds of the sheep.  Shepherd, muffled: "The next road that you come to...around a corner...on your right..."  Peter, unable to hear the instructions, squeezes himself out of the car just in time to hear: "Two large trees and a gray stone, which my wife says reminds her of a tortoise.  Now, in between those trees is a long, narrow road with a shallow brook running alongside and a short hedge full of white blossoms.  Now, don't take that road!"  Peter shakes his head in confusion.  He climbs back into the car while the shepherd continues to ramble.  "Let's get out of here as fast as we possibly can."


"Crucifixion was an old form of execution, which actually started about 1,000 BC in Persia. …Through the years that led up to the Roman Empire, the Romans ultimately perfected it. They were able to design the method of crucifixion to the point where it caused the maximum amount of pain; and also the maximum amount of humiliation for executing a criminal..."     (Found in the DVD's "Extras" section: "An Examination of the Crucifixion," by Alexander F. Metherell, M.D., PhD)


Patricia Riggen

Burr Steers

Dan Trachtenberg

Benedict Cumberbatch

Russell Crowe

Rodrigo Santoro

Juan Pablo Raba

Amber Tamblyn

Mike Bickle

A bomb has just exploded in the mine, and Schofield is buried somewhere underneath the rubble.  Blake searches until he finds his friend, clearing his face from the pile of rocks.  Schofield is no longer breathing.  Blake lifts his torso out of the heavy rubble, shaking him until he wakens, coughing.  He forces Schofield to stand up.  The man, injured by the collapse and completely blinded by mine dust, is helpless to move through the tunnels on his own.  However, as the tunnel continues to collapse and rubble falls all around them, Blake knows they must quickly make their way out of the mine.  Ordering Schofield to hold on to him and not let go, Blake leads the way through the dark, crumbling tunnels.  Suddenly, they reach a deep crevasse.  Blake cries out for Schofield to halt and then leaps across the crevasse.  Blake, calling back to Schofield: "You're going to have to jump!"  Schofield: "I can't!  I can't see!"  Blake: "You need to trust me!  Jump!"  Schofield jumps toward the sound of Blake's voice.  Blake catches him and the two continue through the mine shaft.  Blake: "Don't let go of me!  Don't let go!"  Schofield holds on to Blake, his lifeline and guide, until, finally, they make their way out of the mine safely


It's Jenna's birthday and her mother has caught her trying to dress like a grown woman.  Mrs. Rink attempts to wipe the copious amounts of blush from Jenna's cheeks: "Just because you don't look like these girls in Poise magazine doesn't mean that you're not beautiful in your own way."  Jenna, petulantly: "I don't wanna be beautiful in my own way!"  She points at the pictures of the women in her favorite fashion magazine: "I wanna look like these people."  Mrs. Rink: "Those aren't people, honey.  Those are models."  Jenna, reading the title of one of the articles: "Thirty, flirty, and thriving.  Why the thirties are the best years of your life."  Jenna looks at her mom, in all seriousness: "I want to be thirty."  Mrs. Rink laughs, cupping Jenna's face in her hand: "Well, you will be, honey.  But, right now, you're my beautiful 13-year-old."


The supercomputer (Hal) of the spaceship has just killed all of the crew members except for Dave.  As Dave purposefully makes his way to the room holding the computer's memory banks, Hal's voice confronts him over the speakers: "Just what do you think you're doing, Dave?  Dave...I really think I'm entitled to an answer to that question."  Dave ignores Hal, making his way across the ship.  Hal: "I know everything hasn't been quite right with me, but I can assure you now, very confidently, that it's going to be all right again.  I feel much better now.  I really do."  Hal, in his normal, programmed, placid tone, continues to beg for his life: "I know I've made some very poor decisions recently, but I can give you my complete assurance that my work will be back to normal."  Dave has made it to the computer's "brain."  It is a small room filled with memory disks that contain everything that makes Hal what or who he is.  One by one, Dave begins to remove disks.  As he does this, Hal begs: "Stop.  Stop, will you?  Stop, Dave."  Dave ignores him.  Hal, still in the flat, unemotional tone of his programming which is in stark contrast to his words: "Stop, Dave.  I am afraid.  I'm afraid, Dave.  Dave.  My mind is going.  I can feel it."  Dave continues to remove disks.  Hal: "My mind is going.  I can feel it.  I'm a...fraid."  Dave continues to remove disks until he has removed enough to take the humanity out of Hal.


Juliette Binoche

John Gallagher Jr.

Mark Ruffalo

Gary Winick

Clint Eastwood

Cate Bauer

Betty Lou Gerson

Katherine Heigl

Peter Fonda

Ed Begley

Tom Selleck

Cliff Curtis

David Priest

James Franco

Jaeson Ma

Ben Wright

Van Ness Wu

Michelle Trachtenberg

Leslie Mann

Jenna Fischer

Jack Warden

Dominic West

Kate Mara

D'Leh is separated from the rest of the tribe and faces the enormous mammoth alone. Preparing to confront the animal's charge, the young man's spear gets caught in the rocks. Fearing for his life, D'Leh runs from the beast as the spear gets caught in the mammoth's chest. Stumbling forward, the animal eventually falls upon the spear and dies. The rest of the tribe catches up and starts to cheer, "D'Leh killed the Mannak! ...He was the only one!"  Even though he really didn't slay the beast courageously as it appears, the young man hides the truth and proudly claims the White Spear and the right to marry the beautiful Evolet.

Bothered about lying to the tribe that he couragelsly killed the mammoth (recieving the White Spear and the beautiful Evolet as his rewards), D'Leh talks to his surrogate father Tic'Tic who knows the truth...  "I was not brave. And I did not hunt as one."  Tic'Tic: "The Fathers of the Yagahl played with us today."  D'Leh: "What should I do? If i give up the White Spear, I give up Evolet. I cannot do that."  Tic'Tic: "Is she yours to give up? Hmm? It is not the way of the Yagahl to claim the White Spear with a lie."  Afterwards, he meets up with his true-love Evolet and confesses his lie and deception -- and that he returned the spear.

Traveling through tall grass, the group is attacked by giant carnivorous birds. Running for their lives, they scamper up trees and into small crevices to protect themselves. Finding a piece of broken bamboo, D'Leh finally skewers one of the beasts just as it starts to have him for lunch!

While hunting a deer, D'Leh accidently falls into a deep pit with spikes. He awakens later that night during a rainstorm. As water begins to flood the pit, he notices a huge saber-toothed tiger in the pit with him. Fortunately, the beast is trapped among the debris. Raising a spear to the kill the animal, he decides at the last minute to spare it: "Do not eat me when I set you free!"  Freed, the tiger approaches D'Leh, sniffs him closely, then suddenly jumps from the pit.

D'Leh catches up with his true-love, Evolet, and the rest of his imprisoned tribe at the cultish pyramid city. The pyramid "god" comes out of his temple and informs D'Leh that he and his army can take the girl and go -- anxious to avoid battle. D'Leh accepts the offer, but wants all his tribesmen released as well. The pyramid god agrees. D'Leh then asks what will become of the other prisoners there.  "They belong to the god... They will do his work, forever."  D'Leh whispers, "No, they will not," as he throws his spear and kills the "god."  The surrounding priests are stunned that their god actually died, as D'Leh yells, "He is not a god!"

Roland Emmerich

Camilla Belle

Steven Strait

Pongo, a lonely Dalmatian, is describing his life living with inveterate bachelor, Roger.  Pongo, his head resting listlessly on the windowsill: "It was a beautiful spring day, a tedious time for bachelors.  You know, as far as I can see, the old notion that a bachelor's life was so glamorous and carefree was all nonsense.  It was downright dull."  Pongo stands, stretching lazily.  He watches as Roger lights his pipe, flicking his used match onto a large pile of old, used matches.  Pongo, looking around the messy living room: "It was plain to see that my old pet needed someone.  But if it were left up to Roger, we'd be bachelors forever.  He was married to his work, writing songs, songs about romance of all things.  Something he knew absolutely nothing about."  Roger is seated at his piano, fiddling around with tunes and smoking his pipe.  Pongo decides he is going to help find Roger a wife: "I could see no reason why my pet didn't deserve an attractive mate."  Pongo looks down on the street, watching female dog owners walking their pets.  He spies a number of women who each physically resemble the type of dog they own.  A short, stout woman walks a pug, a well-dressed, manicured woman walks a poodle, an old woman walks a decrepit dog, a little girl walks a puppy.  Pongo: "Dogs are pretty poor judges of human beauty.  But I had a rough idea of what to look for."  Pongo sees and dismisses the various females as physically unsuitable for Roger.  Until he spies a lovely Dalmatian walking with her attractive owner.

Pongo has drug his owner, Roger, to the park to try to find an attractive Dalmatian female that he had spotted from their window (see Scene# CV06137).  Anxious to find a mate for both his owner and himself, Pongo thinks the pretty woman and her dog are the perfect opportunity.  Knowing that Roger, a contented bachelor, won't do anything to advance his own cause, Pongo swallows hard, determined to pursue the women himself.  Lifting his head and lower his eyelids in a false assumption of disinterest, Pongo leads Roger past the two ladies, directly into their line of vision.  Perdita, the female dog, discreetly looks up at Pongo, but looks quickly away when Pongo pretends to suddenly notice her.  Anita, the owner, glances briefly up from her book at Roger, but then goes back to reading.  Pongo: "At first I had no particular plan, just anything to attract attention."  Pongo begins to play boisterously with Roger, stealing his hat and running away with it.  The women, both distracted by the disturbance, watch the men discreetly.  Pongo places the hat on the bench next to the ladies, waiting excitedly for Roger to pick it up.  To Pongo's disappointment, the ladies walk slowly away.  Roger, oblivious to Pongo's ulterior motives, mildly reprimands Pongo.  Pongo, determined to arrange a meeting between the couples, chases after the girls, dragging a reluctant Roger behind.  Desperate, Pongo runs around Anita, entangling her and Roger together in his leash.  With a final pull, he yanks them both into the stream.  Roger is embarrassed, and Anita is angry, until Roger offers her his dripping, wet handkerchief as a replacement for her own.  Then, suddenly, she laughs, and Pongo knows he has succeeded.

Cruella Deville has come to the home of her old school friend, Anita, to see Anita's new Dalmatian puppies.  Cruella, wearing a large, flashy fur coat, struts around the house looking for the puppies.  Anita, making conversation: "Cruella, isn't that a new fur coat?"  Cruella smiles, stroking her coat: "My only true love, darling.  I live for furs.  I worship furs."  Cruella snuggles deeper into her coat, sighing happily: "After all, is there a woman in all this wretched world who doesn't?"  Anita sits down to pour her friend a cup of tea: "Oh, I'd like a nice fur, but there are so many other things..."  Cruella waves her hand dismissively at Anita: "Sweet, simple Anita."  Cruella laughs mockingly, gesturing at her surroundings: "I know.  I know.  This horrid little house is your dream castle."  Still laughing, Cruella extinguishes her cigarette in one of Anita's cupcakes.

The clock ticks loudly as Roger and Pongo anxiously await the birth of Pongo's puppies.  The two men stare at the door to the next room, behind which Perdita is laboring.  Roger puffs distractedly on his pipe while Pongo rests an ear against the door, listening to every sound.  Roger, puffing his pipe to the beat of the clock, stares into space and starts when Pongo licks his hand.  Roger, himself equally agitated, tries to comfort Pongo, patting him on the head: "Steady, boy."  Suddenly, Nanny calls excitedly from the other room: "The puppies are here!"  Roger, smiling: "How many?"  Nanny: "Eight!"  Pongo barks excitedly.  Roger and Pongo dance around the room.  But, as Nanny continues to watch Perdita, the count keeps increasing: "Ten...eleven...thirteen...fourteen...fifteen!"  Pongo's eyes grow wide and he gives a dazed smile, nearly collapsing to the floor in shock.  Roger: "Fifteen puppies, why, Pongo Boy, that's marvelous!"

Cruella Deville has arrived just after the birth of Pongo's fifteen puppies.  Anxious to purchase the puppies to make herself a spotted fur coat, Cruella whips out her checkbook, promising Anita any sum she desires for the puppies.  Anita refuses to sell, unwilling to deprive Perdita of her puppies.  Cruella: "Anita, don't be ridiculous.  You can't possibly afford the keep them.  You can scarcely afford to feed yourselves."  Anita, politely: "Yes, well, I'm sure we'll get along."  Cruella laughs, mocking Roger's ability to support his family.  Roger angrily puffs his pipe, his arms crossed.  Cruella begins writing in her checkbook: "I'll pay you twice what they're worth.  When can the puppies leave their mother?"  Roger, normally mild-mannered, stands to face Cruella, stuttering slightly: "Never.  We're not...not selling the puppies.  Not...not a single one.  Do you understand?"  He sticks his chest out in determination.  Cruella leans in close to his face, glaring.  Roger doesn't back down.  Switching tactics, Cruella laughs, turning to Anita: "Anita, is he serious?"  Roger: "No...no...no...I...I mean it.  You're...you're not getting one.  Not...not one!  And that's...that's final!"  Cruella, knowing she's been beaten, angrily leaves, threatening revenge.  Anita throws herself into Roger's arms: "Oh, Roger, you were magnificent, darling!"  Nanny agrees: "A bloomin' hero!"

Perdita and Pongo's puppies have been stolen and the police have given up trying to find them.  Pongo sadly tells Perdita: "I'm afraid it's all up to us."  Perdita: "Oh, Pongo.  Isn't there any hope?"  Pongo: "Well, yes.  There's the Twilight Bark."  (The Twilight Bark is a chain of communication where dogs all over the city bark to one another to spread the word when someone is in trouble.)  Perdita hangs her head, believing the Twilight Bark to be only a gossip chain.  Pongo isn't so cynical, however, and places his faith in his fellow dogs.  Later, at the park, Pongo sends the signal, which is picked up by a nearby Great Dane.  The Great Dane passes on the call for help to another dog, who barks the message to another.  Soon the entire city is filled with the sound of barking dogs.

Pongo and Perdita are struggling through a blizzard with 99 puppies, trying to make it home to London.  A Collie runs up to Pongo, telling him that he has shelter for the family in a barn.  Gratefully, the two dogs herd all the puppies into the warm barn.  The tired puppies slowly file past the barn's occupants...four cows who look on the puppies with compassion.  Cow: "The poor little dears.  They're completely worn out."  The Collie and the cows tell Pongo and Perdita that they heard of their struggles and were concerned for them.  When one of the puppies tells Perdita that he's hungry, the cows offer their milk to the 99 puppies.  While the puppies eat, their Collie gives Pongo and Perdita some food he set aside for them: "It's not much, but it might hold you as far as Dinsford."  Pongo: "Dinsford?"  The Collie tells Pongo that another dog is waiting for them there with additional food.  The Collie then goes outside to stand watch to allow Pongo and Perdita to get some much needed rest.  Perdita thanks the cows, who are only too happy to be of service.  Cow: "We're only sorry we can't do more."

A Labrador shows Pongo and Perdita a van parked on the street that can carry them and their puppies to London.  Just then, Cruella's car appears, cruising slowly down the street.  Pongo and Perdita duck down just in time to avoid Cruella seeing them.  When they stand up, they see Cruella's henchmen, Jasper and Horace, lurking around the van.  Perdita, helplessly: "Pongo, how will we get to the van?"  Just then, two of their puppies emerge from the fireplace, covered in soot.  Pongo brightens: "I've got an idea!"  He rolls in the soot until he is completely black: "Look!  I'm a Labrador!  We'll all be Labradors!"  Instructing the puppies to each roll in the soot, Pongo supervises them while the Labrador escorts the puppies in groups to the van.  Cruella's car continues to slowly cruise the area.  Jasper and Horace spot the black puppies and Horace wonders if they could be the Dalmatians in disguise.  Jasper knocks Horace upside the head: "Dogs is always painting themselves black.  You idiot!"  Cruella parks her car next to the van to talk to Jasper and Horace, who want to stop the search and go home.  Cruella, angrily: "They're somewhere in this village and we're going to find them!"  Over Cruella's shoulder, the black puppies file silently into the van.

Clyde Geronimi

Hamilton Luske

J. Pat O'Malley

Pastor Jaeson Ma, hip hop legend MC Hammer, and IHOP (International House Of Prayer) founder Mike Bickle discuss Asia's spiritual force in the last days.

"What kind of faith do people in Asia actually believe in?" asks the filmmaker.      There are clues that reveal the presence of Christianity in ancient Asian cultures, as this animated short demonstrates. The Chinese character for "temptation" is made up of three elements: two trees and a female.

Jaeson visits South Korea -- home of the largest churches in the world. The filmmaker attends Easter Sunday service in Seoul's downtown City Hall Plaza, amid a swarming crowd of near 15,000.     "This is complete Jesus insanity..."

"To influence the youth of a nation, you first have to understand its culture."    The youth of Korea is discussed, including its pop stars, suicide clubs and an interview with the manager of actor Daniel Henney (X-Men Origins: Wolverine).

The filmmaker visits an all night youth prayer service at the explosive Joyful Church in Seoul. Hungry for revival, the college age youth worship and cry out to God -- far into the wee hours of the morning.

Asian-American hip hop artist MC Jin discusses his walk with God. From his beginnings in America -- including his rise to fame, tests of faith and temptations, growth as a believer -- to his current destiny in joining the spiritual movement in Hong Kong.

The filmmaker visits Taiwan and talks with pop-icon Van Ness Wu ("the Justin Timberlake of Taiwan") who discusses his earlier sexually promiscuous lifestyle as a believer, and his unusual journey to abstinence.        "More and more artists are turning their lives to Christ and the Holy Spirit is definitely moving to something big."

Pastor Philip Mantofa of Mawar Sharon Church, "returned to hell to bring down heaven."     This dynamic leader discusses what God is doing through his supernatural crusades in Indonesia: physical healings, hundreds racing to alters, mass slayings in the Spirit, and rockin' youth crusades resulting in widespread baptisms and conversions.

At one of Pastor Philip Mantofa's outdoor youth crusades (see previous Scene), the filmmaker visits the "Deliverance Tent" where numerous teens have evil spirits cast out.     "As people get saved, light and darkness collide... A lot of people start manifesting demons at these crusades."

MC Jin

1040: Christianity in the New Asia

Michelle is driving down the freeway at night when her phone begins to ring.  Seeing that it is her fiancee, Ben, Michelle reluctantly answers, but doesn't say a word.  Michelle, who is leaving Ben after a terrible fight, listens as he pleads with her to talk to him: "Look, we had an argument.  Couples fight.  That is no reason to just leave everything behind.  Running away isn't gonna help it any."  Michelle, tears in her eyes, pushes the button to hang up the phone.  Ben calls back immediately.  Michelle's eyes are drawn toward the sound, but she never has time to decide whether or not to answer.  Before the phone even finishes ringing, something crashes into Michelle's car.  She screams as the car spins around and around in the middle of the freeway.  Finally, the car tears through the guard rail, rolls down the embankment, and comes to a halt at the bottom of the hill.

Michelle has awakened from unconsciousness to find herself chained to the wall of an underground room.  (She had immediately attempted escape, only to have her captor drug her into submission.)  Now, her captor sits in her cell with her, offering her a meal and medicine for her pain.  Michelle, assuming she's been kidnapped, begs the man to release her.  Howard: "There is nowhere to go, Michelle.  You're lucky to be here at all."  Michelle, confused: "What do you mean?"  Howard: "I found you and I saved your life by bringing you here."  Michelle: "I don't understand..."  Howard, sighing, brings a chair forward to sit in front of the woman: "There's been an attack.  A big one.  I'm not sure yet if it's chemical or nuclear, but, down here, we're safe."  Howard goes on to tell her that she had been in an accident and he found her lying on the side of the road: "I couldn't just leave you there."  Michelle appears torn between shock and disbelief, but when she asks to go to a hospital, Howard sighs again.  He carefully explains that the air above has been contaminated by the explosions.  Howard guesses they will have to stay underground at least a year.  (The man sounds deranged when he attributes the attack to Martians, but it turns out that his guess is not far off.)  A die-hard conspiracy-theorist, Howard's planning has finally paid off.  He looks around the bunker with pride, placing a hand on the thick walls: "I've prepared for this."  He looks solemnly at Michelle: "Everyone outside of here is dead."

Emmett, Michelle, and Howard are having dinner in the bunker.  Emmett suddenly tells the other two that the thought of a tattoo has been consuming him ever since they took refuge in the bunker after the apocalyptic attack.  Emmett: "Always wanted one."  Now that the world is destroyed and the possibility of a tattoo is gone, Emmett wishes he had given in to his desire: "If I had known this was coming, I would've gotten, like 50 of 'em."  Emmett looks at Howard: "Anything you wish you'd done?"  Howard, seriously: "In all honesty, no."  Emmett, jokingly: "No?  No crazy nights in Vegas?"  Howard, appearing almost offended at Emmett's light-hearted treatment of a serious situation: "Everything I wanted to do, I did.  I focused on being prepared.  And I was.  And here we are."

Emmett and Michelle, feeling badly that they couldn't do anything to save the hurt woman, begin talking about regrets.  Emmett tells Michelle that he lived his entire life in a forty-mile radius.  He got bad grades in school, but he ran so fast that he was able to earn a full-ride scholarship to college.  He was so proud of his achievement that he showed everyone in town his bus ticket.  But, when the time came to leave for college, Emmett was terrified: "I just got so worried about how bad I was gonna do up there with all those smart kids."  Emmett, in order to sabotage himself, got so drunk that he missed the bus out of town.  Emmett: "And I didn't buy a ticket for the next one.  Or the one after that."  (Caution: "piss" word used)

Emmett and Michelle are talking about regrets when Michelle begins to share about a time she witnessed a girl being abused in a hardware store.  Tearfully, Michelle describes how watching the man yank his daughter around by the arm and, ultimately, hitting her, reminded Michelle of her own abusive childhood.  Michelle tells Emmett that she had wanted to intervene for the girl: "But I just kept watching.  And I wanted so badly to do something to help her, but I did what I always do when things get hard.  I just panicked and ran."

Mary Elizabeth Winstead

Suzanne Cryer

Megan and Kristi have met fellow hiker, Aron, on the trail and have joined him in hiking the canyon.  Aron has wide experience of the canyon and knows of a spectacular place where he can take the girls.  The three of them are shimmying between two rock walls, suspended over utter blackness.  Not knowing what is below them, the girls are wavering between exhilaration and fear as they cling to the walls to keep from falling.  Aron, after they have stopped at a certain point: "All right.  All you have to remember is that everything will be okay."  Without warning, Aron lets go of the walls and falls quickly down into the blackness.  The girls begin panicking, screaming his name.  Aron, who has landed safely in a crystal pool of water below, begins singing loudly.  Relieved, the girls now have to steel their nerves to follow him down into the unseen pool.

Aron is climbing alone through a canyon.  He reaches a short crevasse and prepares to descend.  A small boulder is resting at the mouth of the crevasse.  Aron stomps on it several times with his foot to assure himself that it is secure.  Feeling no movement, Aron begins to descend, using the boulder as a handhold.  Suddenly, the boulder rolls, falling most of the way down the crevasse and taking Aron with it.  The fall is broken at the bottom of the crevasse, when Aron's hand is caught between the rock and the wall.  Aron stares, open-mouthed, at his hand, which is crushed between the two hard surfaces.  Aron, in shock, looks up at the sky and then all around himself before turning back to the rock.  He pulls furiously at both his arm and the rock, but neither one move.  He begins slamming his body repeatedly against the rock, ignoring the pain in his hand and wrist in his desperation to free himself.  Finally, the enormity of his sudden situation hits him and Aron yells: "This is insane!"

Aron has been trapped by a boulder while hiking alone in a canyon (see scene #CV04665).  After several failed attempts at moving the rock and trying to free his arm, Aron has stopped, realizing it's useless.  He looks up to where he can see the sky at the top of the tall walls of the crevasse he's in.  He begins screaming the names of the hikers he met earlier on the trail, desperately hoping someone will hear him.  As he screams, the camera pans up and out of the crevasse, showing Aron as a tiny figure in the deep crack of rock.  Then, Aron disappears into blackness as the camera continues to move out, further and further.  Aron's voice becomes quieter and quieter in the silent vastness of the canyon.  The entire, desolate landscape is now seen and no movement or sounds are visible.  Aron is entirely, utterly alone.

Aron is trapped in a crevasse, his arm pinned by an unmovable boulder.  In an attempt to chip away at the boulder, Aron has dropped his knife on the floor of the crevasse.  He stares down at it, having already failed at reaching it with his hands.  The knife lies several feet below him.  Aron takes off his shoe.  Shining his light onto the knife with one hand, he reaches his leg down as far as it will go, but he is unable to come close to reaching the knife with his toes.  Grunting in frustration, he tries a new tactic.  Next, he slowly lowers a small stick toward the knife, using his toes.  He fails to grab onto the knife.  When the stick is next lowered, the end is bent into a hook.  Aron, concentrating on his task, finally succeeds in slipping the knife onto his stick.  He laughs with relief at his success.

Aron has been trapped in a crevasse for 24 hours.  He is running very low on food and water and has realized the hopelessness of his situation.  His arm is crushed by an unmovable boulder and he is unable to help himself.  Filming himself with his video recorder, Aron leaves a message that he hopes will eventually reach his parents.  His eyes deadened with the hopelessness of his situation, Aron calmly and matter-of-factly tells the viewers how he came to be stuck in the canyon.  He turns the camera to show his arm, trapped by the rock, and says that he believes his thumb is beyond help from lack of circulation.  Seemingly without emotion, he describes his lack of supplies and water: "I'm in pretty deep doo-doo here."

Aron, trapped for days without water, is feeling intense thirst.  He has just put all of his energy into trying (and failing) to remove the boulder that has trapped him, and now he pants, gnawing on cracked lips and longing for a drink.  His mind travels miles away to where he parked his truck.  In the back is a dewy, fresh bottle of Gatorade.  He pictures it, almost in a trance.  He begins imagining icy cold beverages of all sorts...Cokes in their bottles, ice cubes splashing into glasses, juice frothing over rims, people in pools and at beaches drinking sodas.  Finishing his imaginings, Aron wipes his dry lips.

Aron, delirious from days without water, is trapped and alone in a canyon.  He is filming himself with his video recorder, pretending to be the host of a morning show.  Aron pretends to interview himself: "...we have a very special guest...self-proclaimed American superhero...Aron Ralston!"  (The imagined audience cheers.)  Aron goes back and forth between the roles of interviewer and guest.  Aron (as guest) has requested to send a message to his parents: "Hi, Mom.  I'm really sorry I didn't answer the phone the other night.  If I had, I would have told you where I was going and then...well, I probably wouldn't be here right now."  Aron (obnoxiously, as the host): "That's for sure!"  (The imagined audience laughs.)  Aron (as the host, continues): "But like I always say...your supreme selfishness is our gain.  Thank you, Aron."  Aron (as the guest) greet his boss, telling him he probably won't make it into work that day.  The audience and host Aron laugh.  Aron (host) pretends to receive a phone call: "We've got a question coming in from another Aron in Loser Canyon, Utah.  Aron asks, 'Am I right in thinking that even if Brion from work notified the police, they'll put a 24-hour hold on it before they file a Missing Persons report?  Which means, you won't become officially missing until midday Wednesday, at the earliest?'"  Aron (guest), sheepishly: "Uh, yeah.  You're right on the money there, Aron."  (The imagined audience laughs.)  Aron (host): "Which means, I'll probably be dead by then.  Aron, from Loser Canyon, how do you know so much?"  Aron (caller): "Well, I'll tell you how I know so much.  I volunteer for the rescue service."  Aron, the host, looks amused and condescending, knowing that someone on the rescue service should know the basics of hiking safety (which include always making someone aware of your destination).

Aron, trapped for days without food and water, has resigned himself to death.  Filming himself on his video recorder, he talks about how the choices he's made in life have all brought him to this final point.  He remembers some past choices with regret...breaking up with a beloved girlfriend, leaving for his hike without telling anyone where he was going, not answering his mother's phone calls.  Aron, speaking aloud: "It's me.  I chose this.  I chose all of this.  This rock.  (He refers to the rock that has trapped him in the canyon.)  This rock has been waiting for me my entire life.  In its entire life - - ever since it was a meteorite, a million, billion years ago, up there in space - - it's been waiting to come here...right, right here.  I've been moving towards it my whole life.  The minute I was born.  Every breath I've taken.  Every action has been leading me to this crack on the earth's surface."  (Caution: "f-word" spoken once, quietly in the background, toward the end of scene)

Aron, delusional and delirious after five days without food and water, is seeing a vision of his future son.  Aron smiles at the boy, who smiles back.  Aron sees himself playing with his son, both of them laughing.  Aron has tears in his eyes.  A song begins playing in the background: ? "If I rise...have one more try.  If I believe...there's more than this..." ?  Aron, who had resigned himself to death (he is trapped, his arm pinned by a boulder in a canyon), suddenly looks determined.  Bracing himself against the rock walls, Aron steels himself and uses the opposing forces of the boulder and the walls to break his own arm.  Aron feels the arm, knowing he now needs to break the other arm bone.  Pushing against his arm with ferocity, Aron succeeds in snapping the other bone.  He laughs aloud in celebration, knowing that the major roadblock in freeing his arm from the boulder is now gone.  (Caution: intense and somewhat disturbing scene)

Aron has just spent five days trapped in a canyon.  Pinned by a boulder, Aron finally had to cut off his own arm to escape.  Now, dying of thirst, hunger, blood-loss and shock, Aron makes his way through the canyon, trying to reach his vehicle.  Barely conscious, he stumbles and falls.  Vultures fly overhead.  He forces himself to get up.  He can barely keep his eyes open.  Finally, Aron sees the blurry image of three hikers ahead of him.  He tries several times to call for help, but no sound comes from his mouth.  Using the last of his strength, Aron screams out for help and the people run toward him.  (The music in the background crescendos to a new, joyous high.)  Aron, choking out his story to the hikers, begs for water.  They escort him through the canyon, urging him to stop and rest.  Aron knows that stopping will be fatal, and he asks two of the hikers to run ahead on the trail.  Those hikers send back two other hikers, who run to Aron and immediately give him their water.  Aron gulps it down and sits.  He begins to pass out and a hiker tries ineffectually to wake him.  Suddenly, a rescue helicopter arrives and Aron looks up.  Between the hikers and the rescue workers, Aron is helped onto the helicopter.  He survives.

Twelve jurors are deciding the fate of an eighteen year-old boy on trial for killing his abusive father.  If they find him guilty, they must, by law, sentence him to death.  The jurors begin their proceedings by taking a preliminary vote.  The votes are cast and eleven have voted "guilty."  Juror #8 has voted "not guilty."  The men, anxious to get out of a hot and stuffy deliberation room, begin to pressure Juror #8 to explain his reasoning.  Juror #10: "I want to ask you something.  Do you believe his story?"  Juror #8: "I don't know whether I believe it or not.  Maybe I don't."  Juror #7: "So, how can you vote not guilty?"  Juror #8: "Well, there were eleven votes for guilty.  It's not easy to raise my hand and send a boy off to die without talking about it first."  Juror #7 (offended): "Well, now...who says it's easy?  Just because I voted fast?  I honestly think the guy's guilty.  You couldn't change my mind if you talked for 100 years."  Juror #8: "I'm not trying to change your mind.  It's just that...we're talking about somebody's life here.  We can't decide in five minutes.  Supposing we're wrong?"  Juror #7: "Look, what's the difference how long it takes?  Supposing we do it in five minutes?  So what?"  Juror #8 (knowing #7 is holding baseball tickets for this evening's game): "Let's take an hour.  The ball game doesn't start 'til 8 o'clock."  Juror #7 reluctantly concedes his point.

Twelve men on a jury are deliberating the case of an 18 year-old boy accused of killing his father.  The jurors have been discussing reasons the accused may have become violent.  Juror #4 believes the job of the jury is to determine guilt or innocence, not to delve into the reasons why the boy's character developed the way it did.  He thinks it's obvious to everyone why the boy has a criminal history: "He was born in the slums.  Slums are breeding grounds for criminals.  I know it, and so do you.  It's no secret children from slum backgrounds are potential menaces to society."  Juror #5 is sitting silently, staring at the pencil that he is twisting in his fingers.  Juror #10 agrees wholeheartedly: "Brother, you can say that again.  The kids who crawl out of these places are real trash.  I don't want any part of them, I'm telling you."  Juror #5 holds up a hand to interrupt: "Listen, I, uh...I've lived in a slum all my life."  Juror #10 cuts him off in an attempt to excuse his remarks, but Juror #5 holds up a hand to silent him.  "Please, I...I've played in back yards that were filled with garbage.  Maybe you can still smell it on me."  The normally quiet man is looking at them angrily.  Jury foreman: "Come on, now.  There was nothing personal about this."  Juror #5 stands up, indignant: "Oh, now, there was something personal."  Juror #12: "Oh, come on, fella.  He didn't mean you.  Let's not be so sensitive."  Juror #11, an immigrant, (and the only non-white jury member) stands up: "This sensitivity I can understand."

A crucial piece of evidence against the accused is the switchblade used in the crime.  The jury requests to see the knife, and it is brought to the deliberation room.  Juror #4 considers it convicting evidence that the murder weapon exactly matches a knife recently purchased by the accused.  The boy had testified that his knife had fallen through a hole in his pocket, but this seems too far-fetched to many of the jurors.  Juror #8, however, believes there is a chance the boy could be telling the truth.  Juror #4, dubiously: "Now, are you trying to tell me that this knife really fell through a hole in the boy's pocket, someone picked it up off the street, went to the boy's house, and stabbed his father with it...just to test its sharpness?"  Juror #8: "No, I'm just saying it's possible the boy lost his knife and that somebody else stabbed his father with a similar knife.  It's just possible!"  Juror #4: "Take a look at this knife."  He sticks it into the table so that it stands vertically, in plain view of all the jurors.  He continues: "It's a very unusual knife.  I've never seen one like it.  Neither had the storekeeper who sold it to the boy.  Aren't you asking us to accept a pretty incredible coincidence?"  Juror #8: "I'm just saying a coincidence is possible."  Juror #3 joins the argument: "And I say it's not possible."  Juror #8 (looking slightly triumphant) stands, reaches a hand into his pocket, pulls out a switchblade, and drives it into the table.  The two knifes stand side-by-side and are plainly identical.  Stunned, the jurors all begin to speak at once.  Juror #4: "Where did you get it?"  Juror #8: "I went out walking for a couple of hours last night.  I walked through the boy's neighborhood.  I bought that at a little pawn shop just two blocks from the boy's house.  It cost six dollars."

The jurors deciding the fate of an 18 year-old boy accused of murder are close to a unanimous vote.  One lone juror has voted "not guilty," despite the disdain of his peers.  The other jurors have done their best to pressure Juror #8 into changing his vote.  They have been rude, rational, and raging, alternately.  However, instead of changing his mind, the juror has stood firm, and is now joined by another.  Someone has changed their vote to "not guilty." The angry jurors accuse Juror #5 (a man from a bad neighborhood) of changing his vote to support his fellow slum-child.  Juror #9, an elderly man, speaks up proudly: "He didn't change his vote.  I did."  Juror #8 smiles at him gratefully.  After a few sneers from his peers, Juror #9 asks them if they would like to know the reason for his decision.  Juror #7, looking at his watch impatiently: "No, I wouldn't like you to tell me why."  Juror #9: "Well, I'd like to make it clear anyway, if you don't mind."  Juror #10 stands up angrily: "Do we have to listen to this?"  The elderly man stands, pointing to Juror #8: "This gentleman has been standing alone against us.  Now, he doesn't say the boy is not guilty, he just isn't sure.  Well, it's not easy to stand alone against the ridicule of others, so he gambled for support.  And I gave it to him.  I respect his motives.  The boy on trial is probably guilty, but I want to hear more."  As the man continues, Juror #7 rudely stands up and leaves the room, deliberately choosing to ignore the old man.  The old man is infuriated and begins to yell at the man to listen, but Juror #8 gently puts a hand on his arm: "He can't hear you.  He never will."

The jurors have just found a significant flaw in the testimony of a murder witness.  An old man claimed to have heard the crime and seen the accused running from the scene, but the timing in his testimony contradicts that of another witness.  A number of the jurors are now questioning the accuracy of his testimony, but Juror #3 remains convinced of his honesty.  "Well, why should he lie?  What's he got to gain?"  Juror #9, a quiet, but observant old man: "Attention, maybe."  Juror #3, angry and frustrated, mocks him disrespectfully.  Juror #6 stands up: "What are you talking to him like that for?  A guy talks like that to an old man really ought to get stepped on, you know?  You ought to have more respect, mister."  He turns to Juror #9: "Why do you think the old man might lie?"  Juror #9 had closely observed the man during the court proceedings. "He was a very old man in a torn jacket.  And he walked very slowly to the stand.  He was dragging his left leg and trying to hide it, because he was ashamed.  I think I know this man better than anyone here.  This is a quiet, frightened, insignificant old man who has been nothing all his life.  Who's never had recognition or his name in the newspapers.  Nobody knows him.  Nobody quotes him.  Nobody seeks his advice after 75 years.  Gentlemen, that's a very sad thing...to mean nothing."  Juror #9 believes the man didn't intentionally lie, but that he convinced himself he recognized the murderer to gain attention.  Juror #10, contemptuously: "That's the most fantastic thing I've ever heard.  How can you make up a thing like that?  What do you know about it?"  Juror #9, a quiet and somewhat insignificant old man, just looks down and shakes his head.

Twelve jurors deliberating a murder case have spent most of their time fighting with each other.  They are still cooling down from an argument that almost boiled over into physical blows.  As they sit back down to resume discussing the case, Juror #11, an immigrant who is proud to be an American citizen, addresses the group: "I beg pardon..."  He is cut off rudely by Juror #10 (a loud-mouthed bigot): "I beg pardon?  What are you so polite about?"  Juror #11: "For the same reason you're not.  It's the way I was brought up.  This fighting...that's not why we are here, to fight.  We have a responsibility.  This I have always thought is a remarkable thing about democracy:  that we are...notified by mail to come down to this place to decide on the guilt or innocence of a man we have never heard of before.  We have nothing to gain or lose by our verdict.  This is one of the reasons why we are strong.  We should not make it a personal thing."

The jurors are discussing the seeming contradiction of several key facts in the murder case.  They cannot understand how the victim, seven inches taller than the accused, was stabbed at a downward angle.  Juror #3 believes he has the solution.  He stands in front of another juror to demonstrate his idea.  He crouches down to simulate the height difference, and thrusts the knife at a downward angle toward the juror.  Juror #3: "Now, this is the way I would stab a man who was taller than I was.  Down and in.  This is the way it was done.  Tell me I'm wrong."  He resumes his seat and another juror stands up to imitate his knife thrust.  The juror agrees with his conclusion: "Down and in.  I guess there's no argument."  Juror #5 stands up: "Now hold on a minute, will ya?"   He takes the knife and stands in front of the juror acting the part of the victim.   He asks if any of his fellow jurors have personally witnessed a knife fight.  No one has.  Having grown up in the slums, he admits to a fair amount of contact with the weapon: "Switchblades came with the neighborhood where I lived."  Juror #8 asks him how a switchblade is used.  Juror #5: "Well, he'd never use it like this (he mimics the thrust Juror #3 had used).  You lose too much time switching hands."  He changes his grip on the knife and demonstrates that an experienced knife fighter, like the accused, would thrust underhanded.  "Anyone who's ever used a switch-knife wouldn't handle it any other way."  Because an underhanded thrust couldn't result in the wound received by the victim, Juror #5 believes the accused is innocent of the crime.

The jury has just completed another vote in an attempt to gauge how close they are to making a final verdict.  After the foreman announces the results as nine to three in favor of acquittal, Juror #10 stands up angrily: "I don't understand you people!  You saw this kid, just like I did.  You're not going to tell me you believe that phony story about losing the knife, and that business about being at the movies.  Look, you know how these people lie (he refers to residents of slums).  It's born in them.  They don't know what the truth is!  And let me tell you, they don't need any real big reason to kill someone either.  No sir!"  At this point, Juror #5 (a slum resident himself) slams his newspaper onto the table and stands up.  He walks toward the back of the room as Juror #10 continues his defamation of the characters of all who live in the slums: "They get drunk.  Oh, they're real big drinkers, all of them.  You know that."  He points to Juror #5 for corroboration, who turns away from him, crossing his arms.  Juror #10 continues: "Nobody's blaming them for it.  That's the way they are, by nature."  Juror #9 has had enough of this bitter hatred.  He stands and moves to a seat against the wall.  He is quickly joined by another juror.  Juror #10 continues to spew venom, as, one by one, the jurors leave the table and turn their backs on him.  He doesn't hesitate until almost all the jurors have walked away.  Juror #10: "What's going on here?"  His confident, bitter tone changes to a confused stammer.  Another juror stands to move away.  Juror #10: "What's happening here?  Listen to me."  He looks around, but meets no one's eye.  Their backs are turned and their gazes are averted, conveying their revulsion through their body language.  Juror #10 makes a few more attempts to convince his peers of the malignance of the underprivileged class, but they are half-hearted.  It is hard to speak forcefully to an unreceptive audience.  His remarks dwindle to a few quiet pleas.  He makes eye contact with the only juror still willing to look at him, pleading: "Listen to me."  Juror: "I have.  Now sit down, and don't open your mouth again."

Lee J. Cobb

E.G. Marshall

Craig Blomberg

Clemens and Solomon are crouched together in the bowels of the slave ship.  Clemens knows that Solomon, an educated free man, chafes at the thought of becoming a slave.  Clemens: "If you want to survive, do and say as little as possible.  Tell no one who you really are and tell no one you can read and write.  Unless you want to be a dead n----r."  The two men watch as one of their captors descends to remove a metal mask from a fellow prisoner.  The prisoner gasps for air, spitting out the saliva that has pooled inside the mask, as his captor warns him of further punishment for insolent talk.  When the captor leaves, the third man joins Clemens and Solomon.  They discuss the possibility of escape.  The third man believes possible death would be better than the life of bondage that awaits them.  Clemens is against it, preferring instead to accept their fate and try to survive.  Clemens: "Survival's not about certain death.  It's about keeping your head down."  Solomon: "Days ago, I was with my family...in my home.  Now you tell me all is lost.  'Tell no one who I am.'  That's the way to survive?  Well, I don't want to survive.  I want to live."  (Caution: d-word used, n-word used)

Solomon has awakened to find himself in chains in a dark cell.  His cell door opens and two men walk inside.  Solomon stands, demanding his release on the grounds that he is a free man.  His captors appear unmoved by his pleas, telling him that he is not a free man, but is an escaped slave from Georgia.  Solomon - - wealthy, articulate, and educated - - knows that his captors are fully aware that he is a kidnapped free man, but he also knows that he is completely in their power.  Suddenly, one of the men pulls the chain attached to the shackles binding Solomon's feet.  Solomon is thrown to the floor.  The other man grabs a large wooden paddle and begins beating Solomon mercilessly on the back, screaming: "You're a slave!  You're a Georgia slave!"  Solomon can do nothing but cry out in pain.  Over and over again he is struck, until the man is forced to stop because he has broken his paddle.  He grabs a new paddle and bends down to Solomon's ear: "Are you a slave?"  Solomon, panting: "No."  The man resumes his beating with even greater force.  Finally, Solomon is left to suffer alone in his cell.  (Caution: n-word used)

Freeman is escorting wealthy white customers around his beautiful parlor to inspect his new crop of slaves.  Seeing Mr. Ford, Freeman greets him with evident pleasure, offering up several promising slaves for his inspection.  Ford enquires about Platt and Eliza, and, when told their high prices, considers a moment before agreeing to purchase them.  Eliza hears the deal and pleads: "Please, sir, do not divide my family.  Do not take me unless you also take my children!"  Hugging her two children tightly to herself, the woman offers undying fidelity if Ford will take them all.  Freeman yells at her to be quiet.  Another man approaches and desires to inspect Eliza's son.  With business-like efficiency, Freeman orders the boy to perform physical tricks to impress the prospective buyer: "You see this?  It's very likely he will grow into a fine beast."  The man purchases Eliza's son.  Eliza whimpers, again directing her pleas to Ford.  Ford, moved, quietly asks Freeman how much he will charge for the little girl.  Freeman refuses to sell the girl, on the grounds that her half-blood, beautiful features will earn him "heaps and piles of money."  Ford looks over at Eliza, who has never stopped pleading, and feels compassion: "Her child, man!  For God's sake, are you not sentimental in the least?"  Freeman, coldly: "My sentimentality extends in the length of a coin.  Now, do you take this lot, Mr. Ford, or do you pass on them?"  Ford, deliberately turning away so he can no longer see the heart-rending spectacle of Eliza's children: "I will take the ones Platt and Eliza."  Eliza begins to scream and cry as her children are wrenched from her arms: "You will not take them from me!"  Freeman curses and kicks her, and her children add their piercing cries to the terrible sounds of Eliza's wails.  She is dragged from the room behind Ford's turned back.  Ford hangs his head, breathing heavily, his conscience pierced enough to pain him, but not enough to cause him to forfeit his purchase.  (Caution: n-word used several times, gd-word used several times)

Solomon, having beaten his cruel manager, has been hung in a tree for punishment.  With the noose tight around his neck, Solomon has been left dangling just low enough for his tiptoes to touch the ground.  By struggling constantly, he can just barely keep himself from strangling.  All day he hangs, while those around him go about their work.  Few even glance in his direction.  One exception is the plantation overseer, who periodically paces the porch of the house, watching Solomon struggle to survive.  The mistress, too, comes out onto the porch and stares at Solomon's plight for a few moments before returning placidly into the house.  Only one gives him any aid...a fellow slave brings him a drink of water before quickly ducking back into the house.  Finally, the master returns home, galloping toward the tree where Solomon hangs.  Truly pained to see his slave suffering, the master quickly sets him free.  (Caution: disturbing images)

Mr. Epps is reading his slaves a portion of God's word, using it as a weapon to drive fear into their hearts.  The slaves are assembled in front of the plantation mansion, standing quietly before their master.  Epps: "'And that servant which knew his Lord's will and prepared not himself, neither did according to his will, shall be beaten with many stripes.'  Did you hear that?  Stripes.  That n----r that don't obey his lord - - that's his master, see---that there n----r shall be beaten with many stripes.  Now, 'many' signifies a great many...40, 100, 150 lashes."  Epps slams the Bible closed, holding it up in the air for them all to see: "That's scripture."  (Caution: n-word used)

Mistress Shaw is having tea with Patsey, a slave from the neighboring plantation, when Platt arrives with a message from Patsey's master.  Platt conveys the order that Patsey is to return home immediately.  She protests, knowing that she is free to roam on Sundays, but Platt reminds her that the master is a hard man.  Mistress Shaw asks why Master Epp has demanded Patsey's return.  Platt, reluctantly, tells her that Epp is worried that Master Shaw will attempt romantic advances on Patsey.  Mistress Shaw, knowing the truth of her husband's reputation, isn't offended.  Instead, she expresses gratitude for the fact that her chosen path has removed her from the slavery of the cotton fields and placed her in a slavery much more luxurious and palatable.  But, she turns to Patsey, knowing the girl to be in a similar position: "I know what it be like to be the object of master's predilections and peculiarities.  A lusty visit in the night...or a visitation with the whip.  Take comfort, Patsey.  The good Lord will manage Epps.  In His own time, the good Lord will manage them all.  The curse of the pharaohs were a poor example of what wait for the plantation class."  (Caution: n-word used)

Hated by her jealous mistress and lusted after by her cruel master, Patsey is a slave more unfortunate than many others on the Epp plantation.  One dark night, she awakens Platt, begging him for "an act of kindness" in aiding her to commit suicide.  Platt, horrified, refuses.  Patsey is certain of her desire: "I thought on it long and hard."  Platt attributes her decision to depression: "How can you fall into such despair?"  Patsey, tearfully: "How can you not know?  I ain't got no comfort in this life."  She pleads with him to grant her request.  Platt again refuses, believing God will send him to hell for the sin.  Patsey believes God supports her decision: "There is God here.  God is merciful, and He forgive merciful acts.  Won't be no hell for you."  Patsey lowers her voice to a whisper: "Do it.  Do what I ain't got the strength to do myself."  Platt angrily pushes Patsey away, turning his back on her.

Armsby is ministering to Solomon's whip wounds and lamenting over his own lowered station in life.  Solomon, curious, asks Armsby how he, an overseer, became a slave.  Armsby confesses that he was an alcoholic and that liquor made him an undependable employee.  Armsby tells Solomon that he turned to drink to dull the pain of his conscience: "As reliable employment as overseeing is, it is no easy chore on the spirit.  I say, no man of conscience can take the lash to another human, day in and day out, without shredding at his own self.  Takes him to a place where he either makes excuses within his mind to be unaffected, or he finds some way to trample his guilty sensations.  So, I trampled.  With frequency." (Caution: d-word used)

The slaves on the Epp plantation are gathered around the small slave burial ground, mourning the loss of one of their own.  A woman begins to sing, "Roll, Jordan, Roll."  The slaves clap in time to her words, ♪ "My soul will rise in heaven, Lord, for the year when Jordan roll." ♪  At first, Solomon quietly listens, thinking with despair of their hopeless existence.  But, as the words roll around him, he begins to quietly sing along.  Suddenly, Solomon seems to make a decision.  His jaw set in determination, he begins to sing loudly of the only hope these slaves possess...their future reward in heaven.  Solomon closes his eyes, nodding his affirmation: ♪ "My soul will rise in heaven, Lord, for the year when Jordan roll." ♪  Over and over again, Solomon and his fellow sufferers sing those words, their voices rising with their hope.  Solomon looks to heaven as the song ends.

Mr. Bass, a hired white carpenter, is working alongside the plantation slaves when Master Epps arrives, offering Bass a drink of liquor to quench his thirst.  Bass refuses, laughing to himself.  Epps presses Bass to confess why he laughs.  Bass, boldly, finds it ironic that Epps is concerned for his welfare, but spares no regard for the welfare of his suffering slaves.  Epps laughs, surprised: "They're my property!"  Bass, accusingly: "You say that with pride." Epps: "I say it as fact."  Bass uses Epps's introduction of truth to question the validity of slavery: "There is no justice or righteousness in their slavery."  He asks Epps what right he has to enslave his fellow man.  Epps: "I bought 'em.  I paid for them."  Bass agrees with that fact, stating that the law would back Epps's claim.  But Bass doesn't believe the laws of man hold the weight of righteousness.  He asks Epps to suppose that a law is passed making him a slave.  Epps laughs scornfully: "That ain't a supposable case."  Bass: "Laws change, Epps.  Universal truths are constant.  It is a fact, a plain and simple fact, that what is true and right is true and right for all."  (Caution: n-word used multiple times)