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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

All Scene Ideas

All Scene Downloads

Mobile

Alita Battle Angel new

1917

A-Team, The

12 Years a Slave

Aliens & Demons

Alone in the Dark

Abominable

Angel and the Badman

Adrift

127 Hours

Addams2

Adastra

1040 Christianity in the New Asia

Aladdin

355 2

And Then There Were None

AllMyLife

Addams

Donald Sutherland

Jeffrey Thomas

Lupita Nyong'o

Dee Wallace-Stone

Sarah Paulson

Quinton "Rampage" Jackson

June Duprez

Tommy Lee Jones

Sam Mendes

Robert Rodriguez

Roy and Thomas are being escorted across the moon towards the base on the other side.  Suddenly, several unidentified rovers appear and are gaining on the three military vehicles.  The astronauts are immediately on the alert, knowing they are in an area known for its pirates.  Any doubt as to the danger of the situation is dispelled when the pirates fire on the astronauts.  The astronauts radio for help, but none is nearby and their connection is spotty.  Very quickly, two of the three vehicles are taken out by enemy gunfire.  Roy's suit is punctured in the attack and he has to work quickly to plug the hole.  The Lieutenant calls again for help, but his words are cut off as artillery strikes him, killing him instantly.  Now, Roy and Thomas are the only ones left on a functioning rover, with four enemy craft chasing them.  With skillful driving, Roy is able to disable one.  He fires on another, taking out the pirates.  But, when the third comes in to attack, it succeeds in ramming Roy's rover, sending it over an enormous cliff.  Roy and Thomas, on top of the rover, sail over the cliff, spinning around in circles.  With the reduced gravity, their fall is slowed somewhat.  They finally hit ground and drive towards the darkness that will hide them.  (Caution: h-word used, s-word whispered)


Sol has just told Jenn that his liver cancer has returned.  Jenn stands, too stunned with grief to speak, while Sol continues: "The level of aggression is very concerning.  Absolute worst-case scenario is six months."  Jenn begins to weep.  Sol tries to give her hope with the knowledge that he will be able to participate in a clinical trial that could possibly extend his life, but he can see that Jenn is devastated.  He takes her face in his hands, promising: "I'm gonna beat this.  I will."  


Roy is being evaluated as a candidate for an important mission to space.  Roy, promising to devote his all to the mission: "I am ready to go.  Ready to do my job to the best of my abilities.  I am focused only on the essential, to the exclusion of all else.  I will make only pragmatic decisions.  I will not allow myself to be distracted.  I will not allow my mind to linger on that which is unimportant.  I will not rely on anyone or anything.  I will not be vulnerable to mistakes."  While Roy speaks his promise, he is thinking back to when he said goodbye to his wife, leaving her behind for what could be a very long time.  They stare at each other wordlessly until Eve leaves her house keys on the table and walks away. 


The women are in their hotel room, seemingly safe, when, suddenly, armed men crash through the window and enter the room.  Before they have time to react, a half dozen thugs have their guns trained on them and they are helpless to escape.


The competitors in the science fair are lined up onstage, awaiting the announcement of the winner.  Wednesday, whose experiment was certainly astounding (see clip #CV11057) takes a step forward, fully expecting her own name to be called.  Teacher: "And the winner is...everyone who participated!"  The kids cheer, all except Wednesday, who would have won the competition easily if a true victor had been announced.  Teacher, continuing: "This year, we are embracing a new philosophy.  Just trying makes you a winner."  Another teacher begins pinning ribbons on each student.  Wednesday throws up her hands in exasperation: "But how can you be a winner of no one is a loser?"  Teacher: "Every single one of you is special."  Wednesday, crossing her arms: "Disagree."  She points to a kid whose experiment had failed: "He's not special.  Did you see that volcano?  Is this the third grade?"  A man walks by and unceremoniously slaps a ribbon on Wednesday.  She tears it off: "It does not count!"


Margaux, a home-improvement guru, is peppering her assistant with instructions in preparation for their upcoming season finale.  Margaux's teenage daughter, Parker, rides up on her bicycle, anxious to get her mother's attention.  Parker: "You're never gonna believe this!"  Margaux, barely reining in her irritation: "What is it, Parker?"  While Parker tells her mother her news, Margaux texts on her phone, hardly listening.  Margaux: "I don't have time to talk right now, sweetheart.  Mama needs to help people."  Parker: "I need help.  Aren't I people?"  Margaux chuckles dismissively: "You're cute.  Run along, honey."  She turns and walks away, resuming her conversation with her assistant.  Parker calls after her, looking hurt: "Mom!"  When she receives no response, Parker pedals away.


UFO conferences may not seem like a good place for a Christian theology professor, but that’s where you can sometimes find Dr. Michael Heiser, an Old Testament scholar and bestselling author. Dr. Heiser discusses his interest in UFO stories and why he's had better theological discussions at UFO conferences than he has had in church!


Greg Tiernan

Sol and Jenn are walking in the park when Sol suddenly breaks out in song, serenading Jenn.  At first, she's embarrassed, but then she notices that Sol isn't singing alone.  From every direction in the park, friends and family are joining them, singing the same song, to the accompaniment of a 3-piece orchestra.  Jen starts to laugh and to cry as Sol begins to speak.  "I didn't know how much I could actually love until I met you, and it keeps growing every, single day."  Sol gets down on one knee, holding out a ring: "You make me feel like I can do anything.  We can do anything.  And I want to do it all.  And I've never wanted anything more than for you to be my wife."  He places the ring on Jenn's finger as their friends and family erupt in cheers.


Danny Boyle

Roland Young

The monolithic Lurch is playing the organ when Thing (a disembodied hand) comes along and changes what the butler is playing with a continual ‘thumbs down.’ Lurch finally starts a few notes that Thing actually likes, as the two create the now famous theme song.

Charlize Theron

Dr. Risner discusses Gnosticism.  "Gnosticism is an ancient belief system that was a strong competitor to the early Church. Because it used Biblical language, it used 'Jesus stuff' as part of its presentation of what salvation meant and what the nature of the world was."  "I view this part of Ufology as nothing more than intelligent, demonic beings, using old lies and repackaging them for a 20th and 21st Century audience."


Penelope Cruz

Diane Kruger

Out in the forest with Everest and friends, Yi begins playing a beautiful song on her violin. As she plays, hundreds of flowers begin to bloom everywhere. She immediately thanks the mystical Yeti for the miracle, when her friend corrects her: “You did that, Yi—you did!”

Harry Shum Jr.

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)


Wednesday is having a cup of tea with Cousin It.  She looks at the hair-covered creature and asks: "Did it ever bother you that you were so different from the rest of the family?"  It speaks in his babbling tone, which Wednesday understands perfectly.  He tells her he went through a rebellious phase as a young person where he shaved off all his hair in an effort to fit in.  Wednesday, realizing why Cousin It is now so self-assured: "So, that's what changed.  You owned who you were."  When Cousin It tells her to do the same, Wednesday sighs: "That's the problem.  I don't know who I am."


Mace, Graciela, Marie, and Khadijah are tracking the man who has stolen the device.  The man is moving quickly through the tiny market stalls and tight alleyways of a Moroccan market, and the women have to keep in close communication in order to follow him.  When one loses sight, another picks up the trail.  In this way, they are able to warn each other when danger is coming.  Several enemy agents have joined in the chase, but are unaware that the women are already tracking the package.  One by one, the women work together to take out their enemies while also not losing sight of their quarry.  Finally, they have neutralized all of the enemy agents and all that remains is to take the device from the man.  But he has entered a busy square, full of people, and the women meet to discuss what to do next.  They worry that the square is too exposed and might be watched by their enemies.  Graciela, however, has an idea.  Mace, Marie, and Khadijah, synchronizing their moves with great skill, take turns bumping into the man.  One distracts him while another steals the device and passes it off to the third.  The man, realizing the device is gone, looks around frantically at the faces that surround him, but the women have already melted into the crowd. (Caution: violence)


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)


At the family dinner table, as children Wednesday and Pugsley pester each other, parents Gomez and Morticia discuss Pugsley’s upcoming Mazurka (a rite of passage that every Addams family member takes) – when Uncle Fester ‘drops’ by!

Dr. Ido has equipped Alita with a new body after her old one was destroyed by Grewishka.  Alita, excitement written on her face, shows Ido what her new body can do.  Gracefully, she stands on her hands, twisting backward mid-air.  Then, she lifts an arm until she stands on one hand.  Finally, she balances on a single finger.  Even Dr. Ido looks amazed.  Alita stares in awe at her own finger, which now emits blue fire.  Dr. Ido explains that her body somehow draws in air and generates a plasma beam.  Grateful for her new body, Alita sits down next to Dr. Ido and takes his hand, smiling at him.  Dr. Ido: "Now you know who you are."  She leans in to put her head on her foster father's shoulder.  Dr. Ido: "But, that's just a shell.  It's not bad or good.  That part's up to you."


Everest is on the run with his human friends when the group complains of being hungry.  The Yeti immediately responds and awes the humans with his mystical powers of growing gigantic blueberries!

Roy and Thomas are being escorted across the moon towards the base on the other side.  Speeding over the surface on moon rovers, Roy finds himself amazed all over again at the beauty of space.  The landscape of silvery-gray sand shows starkly against the blackest sky.  When their rovers kick up clouds of moon dust, Roy lifts an arm, putting his fingers into the flow, and dust seems to shimmer off his fingers.  Thomas tells Roy to look up at the black sky.  Above them is Earth, shining bright blue and green and beautiful.  Thomas confesses that, for him, the sight never fails to take his breath away.


Dr. Michael Heiser

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)


Jin is sneaking away from the evil Burnish Industries henchmen and needs to find his way through the jungle to his friends.  Thinking he can escape on a motorcycle, he excitedly starts the engine, first checking his perfect hair in the mirror.  But, as he revs the motor, it leaps out from underneath him and sails over the cliff.  Thus begins Jin's journey through the wilds.  Wearing designer jeans and expensive footwear, he runs toward the forest.  He halts within a few seconds, spotting dozens of pairs of eyes peering at him from the darkness.  But, determined to overcome his fear and meet his friends, he clenches his jaw and pulls out his cell phone.  Turning on the flashlight, he runs into the darkness, yelling to frighten off any creatures.  Soon, he is lying on the ground, panting in fear and exhaustion.  But, just as quickly, he is off again, running through the jungle with his cell phone held out in front of him.  When it begins to pour sheets of rain, Jin slows to a walk, holding his beloved designer shoes in his arms, underneath a large leaf.  When a branch tears Jin's expensive sweater in half, he grits his teeth, paints his face with mud, and ties the sweater piece around his forehead like a bandana.  He continues running.  Finally, he reaches the river, where a villager offers to trade a boat for Jin's cell phone.  Reluctantly, Jin starts to hand it over, but pulls back, cradling it to his chest: "Nope.  Nope.  Can't do it."  But, within seconds, he hands it over and takes the boat, knowing his friends are more important than his clothes, his image, or his phone.


Sol has just told Jenn that he is considering giving up on his cancer treatment.  He tells her how devastating it is for a chef to lose his sense of taste (the chemo drugs took it away).  Sol, near tears: "They couldn't take away the others…instead, they take taste!"  Jenn: "If they took sight, you wouldn't be able to see me.  If they took hearing, you wouldn't be able to hear my voice."  Jenn puts her hand on Sol's shoulder: "If they took touch, you couldn't feel this."  She looks into Sol's face, willing him to promise: "No early goodbyes.  No giving up.  I'm no widow, Sol.  I am your bride, and that is all you're allowed to see."  The two embrace as Sol agrees to continue to fight.


Mena Massoud

When Mace and Khadijah enter the hotel room, Mace immediately trains her gun on Marie.  Marie points her weapon back at Mace and the two are in a stand-off.  Neither trust each other and neither will lower her gun.  Graciela and Khadijah try to get Mace and Marie to listen to one another, but neither will bend.  Khadijah: "We all want the same thing here."  Mace: "No, we don't."  Khadijah, exasperated: "Come on.  Go ahead.  Pull the trigger.  Kill each other."  Khadijah tells the two enemies that she knows why they are angry with each other (they keep interfering in each others' work): "But the only way we are gonna accomplish anything is if we join forces."  Mace: "Are you crazy?"  Khadijah: "The enemy of my enemy is my friend.  We have a common enemy."  Seeing her point, Mace and Marie lower their guns.  (Caution: "pissed" spoken)  


While Graciela and Khadijah call home to their families, Marie and Mace, who have no family, sit alone.  Khadijah finishes her call and sits down beside Mace.  She tells Mace that their extended mission won't please Abdel, who hasn't been sleeping well without her.  Mace, perhaps feeling relationships are too constricting: "That's real love, huh?"  Khadijah: "That's real life, Mace."  Mace: "James Bond never has to deal with real life."  Khadijah: "James Bond always ends up alone."


George MacKay

Sol and Jenn have decided to put their wedding plans on hold because of Sol's cancer diagnosis.  Their closest friends sit them down and tell the couple that they want to organize a wedding for them.  Jenn: "Guys, weddings take months to plan."  Amanda, smiling: "And yours will take three weeks."  The three friends explain they already have a number of people willing to cover food, flowers, and the like, and that they have already begun fundraising for the remainder of the cost.  Jenn and Sol are overwhelmed by their generosity but uncertain as to whether they should accept: "Guys, we're really touched, but this just seems impossible.  You know, we're asking for a lot of money from friends and strangers."  Megan, smiling: "We can do this.  And you deserve it."  The couple agrees and the wheels are immediately set in motion.  In Gigi's restaurant, Gigi passes out fliers advertising the fundraiser.  Amanda passes around a donation bucket in their favorite sports bar.  The friends get together and hold a bake sale.  Mina passes out fliers at the local college.  Everybody pitches in and before they know it, they are almost to their goal.  Amanda shows Megan the GoFundMe account where hundreds of generous donors have come together to make an impossible wedding possible.


René Clair

Reuben Evans

Will Smith

Bradley Cooper

Mahershala Ali

Evan Leong

As Jafar's guards lead Jasmine away, she hears his words ringing in her ears: "It's better for you to be seen and not heard.  Stay silent."  Jasmine begins to sing: ♪ "Stay in your place.  Better seen and not heard.  Well, now that story is ending.  I won't be silenced.  You can't keep me quiet.  Won't tremble when you try it.  All I know is I won't go speechless.  Let the storm in.  I cannot be broken.  I won't live unspoken.  I won't go speechless." ♪ Jasmine sings from her heart, tears in her eyes, frustrated that all her life she has been told to keep quiet rather than stand up for herself and what she believes.  As the song ends, Jasmine shakes off her guards and calls out to Hakim.  Despite Jafar's orders, she once again enters the throne room and approaches Hakim.  Boldly, she speaks up for what she knows is true, reminding Hakim that he has always been a loyal and just man.  But, just as she has chosen to stand up for what's right, Hakim now has a choice to make: "Our greatest challenge isn't speaking up against our enemies, but defying those whose approval we seek the most.  Will you stand silent while Jafar destroys our beloved kingdom, or will you do what is right?"


Gomez has decided the entire family is going to take a road trip.  Wednesday looks in disgust at the antiquated RV that is to be their home for the next several weeks: "Mother, Father, this is cruel.  Even for you."  Gomez, brightly: "Let's go, Wednesday.  It's time for some family bonding.  Whether you like it or not.  You see, Wednesday, this trip will bring the Addams family closer than ever before."  Uncle Fester follows the children into the camper.  Wednesday and Pugsley now find themselves trapped between the large bellies of their uncle and their father.  The two children struggle to free themselves, but they are wedged tightly.  Wednesday, darkly, offers an alternative possible ending to their family vacation: "Or, there will be no survivors."


Grewishka, a gigantic, violent cyborg, knocks down the wall and enters the bounty hunter bar.  Sporting new claw extensions on his metal arms, he spears one of his acquaintances with them, just to show off.  The man falls to the floor, dead.  Grewishka tells the bar patrons that he is there for Alita.  When Dr. Ido asks the others if they will protect her, they refuse: "Not our problem."  Bravely, Alita steps forward.  A little dog runs up to Grewishka to protect the girl, growling at the giant thug.  Grewishka, looking at the tiny pooch: "Awww.  The only one with courage."  Without hesitating, Grewishka spears the dog with a claw (offscreen).  All that is seen is a small pool of blood on the floor.  Alita bends down and touches the blood.  She smears a streak under each eye, like war paint, honoring the dog's sacrifice.  She stands, facing Grewishka, saying loudly: "I do not stand by in the presence of evil!"  Grewishka sends his claws flying toward the girl.  When she escapes them, Grewishka tears a hole in the floor and jumps several stories down, daring her to follow and complete their battle on his turf.  Alita boldly jumps in after him.  (Caution: violent scene)


After using his first wish to assume the identity of a prince, Aladdin shows up at night to offer Princess Jasmine of Agrabah a magic carpet ride. “Do you trust me?”

Margaux sits in front of her large display of computer monitors and logs into her favorite website…Neighborhood Peeps.  (The site, meant for neighborhood connection, is really used for gossip and spying on each other.)  Margaux, adopting a false identity, invents disparaging details about the new family in the neighborhood and posts them for everyone to see: "Did you hear about those Addams people?  Someone told me they're wanted in thirty states."  Soon, everyone in town is checking their phones, gasping in horror at what they read: "You know, they're raising a garden of man-eating plants?  They're feeding them our pets!" "They're gonna turn us all into zombies!"  "Where are they from anyways?"  "It doesn't matter, it's obvious they don't belong here!"  "Those awful people up on the hill...they're not even on Neighborhood Peeps!"  "If other people are scared, then I'm scared!"  "I believe everything I read!"  "If someone posted it, it must be true."  Texts are flying and rumors are abounding.  Margaux sits back in her office chair with a smile, satisfied at her work.


Aladdin asks the genie what he would wish for if he were given wishes.  The genie knows immediately what he desires: "I'd wish to be free."  Aladdin, knowing firsthand the genie's magical abilities: "Why don't you just set yourself free?"  Genie, laughing: "Only way a genie gets to be free is if the owner of the lamp uses one of his wishes to set him free.  And the last time that happened was, like, the fourth of Neverary."  The being so powerful that he can conjure fruit out of midair and shrink himself to the size of a mouse is unable to free himself from bondage.  


Marielle Scott

Yi sits alone in the forest, heartbroken because her father's violin has just been broken.  When Jin joins her, she sadly tells him how much the violin meant to her.  It had been her father's, and he used to tuck her in at night with a special song: "It made me feel like everything was gonna be okay."  (Yi's father has since passed away.)  When Jin apologizes for previously criticizing her for being too busy and never home, she tells him he was right: "I know I keep busy.  I just...I don't know why.  I mean, I...I miss him and I don't want to miss him, but...I haven't even cried yet, Jin!"  Yi admits she is frustrated because of the distance that has grown between herself and the rest of her family, but she doesn't know what to do about her grief.  Jin, gently: "Well, are you sure they're the ones who are distant?" 


Roy is undergoing a computerized psychological evaluation after a tragedy occurred onboard ship.  (The captain was killed violently.)  Roy, processing his thoughts aloud: "We go to work, we do our jobs, and then it's over.  We're here, and then we're gone."  Computer voice: "Please describe how the incident itself affected you."  Roy: "The attack...it was full of rage.  I understand that rage.  I've seen that rage in my father.  I've seen that rage in me.  Because I'm angry that he took off.  He left us.  But when I look at that anger and if I push it aside, just put it away, all I see is...hurt.  I just see pain and I think it keeps me walled off from relationships and opening myself up and really caring for someone.  And I don't know how to get past that.  And it worries me.  And I don't wanna be that guy.  I don't wanna be my dad."


Yi and Peng flop to the ground in sheer exhaustion.  Discouraged by their long and arduous journey, Yi is beginning to feel she made a mistake in trying to help the yeti find his home.  She hangs her head and sighs, ready to give up.  Suddenly, a koi fish leaps out of the river and slaps Everest in the face.  Peng, watching the fish work hard to travel upriver: "Why are they swimming against the current?"  Yi: "They're actually trying to get back home."  Peng, watching one fish leap up tiny waterfalls and boulders: "Do you think he'll make it?"  Yi: "Well, he's sure gonna try.  You know, these fish are the symbol of perseverance."  When Peng is confused by the word, Yi explains: "It means that, when things get really tough, they never give up."  A light dawns in Yi's eyes as she realizes how the koi's determination applies to her situation.  Newly energized, she stands up and rallies the others: "We have to keep going!  Come on, you guys, let's go!"


Yi makes a beeline toward the door of the apartment, but her grandmother stops her, looking at her dark sunglasses in disapproval: "What are you supposed to be?  A famous person, now?"  Yi sighs, takes off the glasses, and stops in front of the door.  Mom: "Where are you going?"  Yi, still facing the door: "I've got stuff to do."  Nai Nai: "Stuff?  What is this stuff?  It's summer holiday!  Either be busy or be on holiday, that's what I say."  Mom: "Be careful out there!"  Yi, with an air of long-suffering: "Of course."  Nai Nai: "Be back before dinner."  Yi: "I'll try."  Mom: "Warm enough?"  Yi: "Toasty."  Nai Nai, with a scowl: "No boys!"  This last warning causes Yi to turn her head away from the door in disgust: "No, no boys."  Mom, hopefully: "Do you need any money?"  Yi, sighing again: "Mom, Nai Nai, I've got it covered."  Yi quickly opens the door before either woman can say another word.  As the door slams behind her, it catches on her backpack and Yi is forced to sheepishly open the door and retrieve it.  When the door shuts for a second time, Nai Nai looks at it suspiciously: "What on earth do you think she does all day?"


Harry Carey

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.


Jennifer Connelly

Conrad Vernon

Michael Fassbender

Alita – a refurbished cyborg with an intact human brain – awakens with no memory of her past. Alone in her room, she instinctively practices the long-lost ancient Martian martial art of ‘Panzer Kunst,’ and asks, “Who was I?”

Roy is an astronaut on the International Space Antennae.  His job is to monitor possible communications from space and to help maintain the enormous antennae that extends from the earth and out past the atmosphere.  Wearing his spacesuit, he climbs on the structure of the antennae and looks down.  Earth is far below, and he quickly spots the malfunctioning mechanical arm he has set out to fix.  As he climbs toward it, a sudden and powerful surge shakes the antennae.  Roy tries to communicate with control, but the reception is spotty.  Roy can only watch helplessly as the surge begins to blow circuits everywhere along the antennae.  Showers of sparks burst amid loud booms, blowing astronauts off the antennae.  Roy watches his friends fall toward Earth.  As Roy looks, the explosions grow nearer and nearer.  Knowing he is about to be struck by the blast, Roy pushes off the antennae, allowing himself to fall.  While he freefalls toward Earth, his body begins to spin uncontrollably.  Continuing to try to contact control, Roy tells them he is trying to limit the force of the spin so he doesn't black out.  A close-up of his face shows the effort it requires to stay conscious.  Finally, after entering the atmosphere, he is able to stop the spin enough to open his parachute.  It hasn't been open long, however, before debris from the damaged antennae strikes it, punching a hole in the middle.  The chute continues to operate fairly normally until another chunk of debris strikes the corner.  The parachute veers wildly and Roy hits the ground at an alarming rate of speed.  He last view before he passes out is of medical personnel racing toward him.


"So, at the end of the day, we have a really strange mixture of Biblical theology, the supernatural world, the unseen world; mixed in with all this UFO stuff: sightings, alleged alien contact and obductions. What do we do with all this? How do we process it? I really do think processing is the key. We need to be honest. The world is a lot stranger than what we think it is." 


Jenn, narrating scenes of people going about their daily lives: "The average person lives 27,375 days.  That's all we get, if we're lucky.  27,375.  At first, I thought it didn't really seem like a lot of time.  But, then again, how many days do we really remember anyway?  Most days pass by, unnoticed, unremarkable, unmarked.  Because we only remember the days when we feel something happened.  Something beautiful or tragic.  Most days will pass in a blur.  So many of mine did.  They were lost in routine or school or both.  I didn't notice my life was becoming a series of forgotten days.  Everything was being saved for later.  Live spontaneously...later.  Travel...later.  Find love...later.  But, everything can change in a day.  And what might be missing becomes so very clear."


Dean-Charles Chapman

James Gray

Dr. Ido shows Alita a picture of his daughter, explaining that she was murdered.  A pretty young girl, seated in a wheelchair, smiles for the camera.  He tells how one of his clients, a violent cyborg, had come to the clinic searching for drugs to steal.  Dr. Ido caught him in the act.  Furious, the man stormed out of the clinic, striking down the girl who was in his path.  After that, Dr. Ido's wife left him and he was alone with his grief.  Feeling the need for vengeance, he became a legal bounty hunter in order to kill the murderer.  But, the revenge left him empty: "It brought no peace."  Alita: "Did you ever find peace?"  Dr. Ido: "I found you."  (Caution: scene may disturb some viewers)


When two cute teenage girls walk by, Uncle Fester tells Pugsley it's his golden opportunity to test his methods for attracting women: "The key with women is to make a strong first impression."  Pugsley: "You mean like a bad smell?"  Uncle Fester: "Well, that goes without saying.  What I mean is, it's important to make a big splash."  Pugsley walks up to the girls, pretending to trip and fall at the last moment: "Ouch!  I just skinned my knee...falling for you."  Pugsley gives the girls a sly wink.  The girls laugh, but not in a good way.  "That's so corny."  "Did you get that from a book?"  Pugsley turns to glare at Uncle Fester, who is busily scanning his own self-help book on dating.


Jill Culton

Aladdin tells the genie that he is going to continue pretending to be a prince indefinitely.  Genie, wondering what this will do to his relationship with Jasmine: "So, you just never tell her the truth?  You're gonna keep living the lie?"  Aladdin, making excuses: "It's not a lie.  People can change."  The genie obviously disagrees.  Aladdin: "Everything is better now.  No one got hurt.  You'd rather me be back on the streets stealing to survive?  I thought you'd be happy for me."  Genie: "You'd rather lie to somebody you love than give all of this up."  Aladdin: "People like me don't get anything except by pretending."  Genie: "The more you gain by pretending, the less you're actually gonna have."


It is their wedding day, and Sol looks into the eyes of his bride: "I vow to never stop loving you.  Because of you, I have found someone in me that I never would have known.  Someone that I never would have become.  You found me.  Thank you for showing me what home is, what living is.  For showing me that I can be great.  I love all of you with all I have and I will all my life."  Jenn, smiling at her groom: "Every morning, I wake up and I choose you.  I choose us.  I choose this.  I vow to never stop loving you."  As family and friends applaud, the bride and groom kiss.


Laura Brousseau

MC Hammer

Lee Dixon

Irene Rich

Walter Huston

Chiwetel Ejiofor

Jessica Chastain

Gerald McRaney

Bingbing Fan

James Edward Grant

Abu and Aladdin are inside the Cave of Wonders.  Forbidden treasure lines the rocky paths, glimmering brightly to tempt any intruders.  At the top of a tall pinnacle rests the lamp, which is the only treasure Aladdin is permitted to take.  Abu spots a pretty necklace and reaches out a paw.  Aladdin: "Abu, keep your little monkey hands to yourself."  Abu, looking guilty, obediently turns away from the treasure.  Aladdin, ignoring the shining piles of gold and jewels, makes his way to the top of the pinnacle.  On his way up, he slips on a huge ruby.  The jewel falls down the rocky precipice, landing in front of Abu.  Abu stares at it, the reflection of the red jewel shining in his eyes.  Just as Aladdin reaches for the lamp, Abu reaches for the jewel.  He holds it reverently, awed by its beauty.  The cavern begins to tremble and a loud growl is heard.  Aladdin turns, seeing Abu holding the forbidden treasure: "Abu, no!"  A deep, angry voice fills the chamber: "You have touched the forbidden treasure!  Now you will never again see the light of day!"  An earthquake shakes the cave and lava pours into the cavern, surrounding Aladdin.


Santiago and Elijah are negotiating the purchase of a dangerous new technology.  Columbian agents listen outside the compound as Santiago shows Elijah the power of his weapon.  He explains that the device can access and control anything linked to the internet.  Santiago tells Elijah to look out the window.  The two men see a plane in the sky.  Santiago's son Jeronimo hits a few buttons on his laptop and the plane explodes in mid-air.  Santiago laughs.  For the next demonstration, Jeronimo takes out all of the power in Bogota with nothing but a few key strokes.  Santiago: "This little toy can do far more.  This is just a taste."


When Genie knocks on the door to the princess's chambers, Dalia answers, surprised that Genie made it past the 48 guards.  Dalia: "Impressive."  Genie: "That's what people say about me."  Dalia doesn't appear impressed by his display of ego, so Genie backpedals: "That didn't come out the right way.  No one says that.  I don't know why I said that."  He whips a bouquet of flowers out from behind his back.  Dalia initially thinks they must be from Ali to the princess and tells Genie she would hate them.  Genie: "These are actually from me to you."  Dalia, expressionless: "Would you excuse me a moment?"  She closes the door in his face.  Inside the princess's room, Dalia practically jumps up and down in excitement.  Outside, in the hallway, Genie is quietly berating himself for apparently bungling his attempt at wooing Dalia.  Dalia opens the door and accepts the flowers.  Genie, awkwardly: "I was noticing how pleasant the evening is.  At the party, I noticed you noticing...how pleasant I am."  Dalia raises an eyebrow.  Genie: "How is this going?"  Dalia: "It's clumsy, but in a charming sort of way."  Genie, encouraged, asks Dalia to take a walk with him.  Dalia: "Just the two of us?  On purpose?"  Genie: "Yes, as people."  Dalia agrees and the two head off together.


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."

Jaeson Ma

Mike Bickle

MC Jin

Van Ness Wu

1040: Christianity in the New Asia

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)

Solomon has just told Mr. Bass the story of his kidnapping and enforced slavery.  Bass is grieved to hear of Solomon's sufferings.  Solomon: "Do you believe, sir, in justice, as you said?"  Bass: "I do."  Solomon: "That slavery is an evil that should befall none?" Bass: "I believe so."  Solomon, basing his request on Bass's acknowledgement of the injustice done, pleads with Bass to deliver a letter to his family, letting them know of his condition and location.  Bass appears to wrestle with the request.  He admits to Solomon that he fears for his own life, as well as Solomon's, if he were to agree to write the letter.  Solomon nods, quietly, understanding the risk.  Bass sighs, looking back at Solomon's cruel master: "I will write your letter, sir.  And if it brings you your freedom, it will be more than a pleasure.  It will be my duty."  Solomon looks at Bass with an expression of amazed joy.

Steve McQueen

Paul Giamatti

Brad Pitt

Benedict Cumberbatch

Alfre Woodard

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.

James Franco

Amber Tamblyn

Kate Burton

Kate Mara

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


Schofield walks alone at night through the ruins of the abandoned town.  In the distance ahead, a massive fire is burning.  Suddenly, the sound of gunfire and the ricochet of a bullet alert Schofield to imminent danger.  He begins to run down a narrow road travelling between the ruins of walls.  Flares light the sky in intervals, but plunge Schofield into blackness when they fade.  In the darkness, he runs, trying to evade the unseen enemy.  In the light, he seeks shelter behind the ruins.  It seems, indeed, like the valley of the shadow of death, as huge shadows are cast over the ruins by the flares in the sky.  And Schofield runs, holding his gun in his arms, just trying to survive.  At last, he exits the dark, narrow lane, and enters a courtyard lit by a strange orange glow.  He stares ahead, awed by the sight of an enormous fire engulfing a building.  The flames are now his only light, outlining a shadowy figure on the other end of the courtyard.  His hidden enemy is now in sight.


After a harrowing overnight journey across the front lines, Schofield has finally made it to his destination.  Ordered to carry a message to Colonel MacKenzie that will undoubtedly save hundreds of lives, Schofield is determined to carry out his task, no matter the cost.  Wounded and weary, he jogs, limping, down the trench.  The trench is filled with soldiers about to be sent onto the battlefield.  These men are the men he can save if he can get to the colonel in time.  When Schofield finds the captain in charge of the soldiers, he tries to convey his message that the attack must be stopped.  But the captain is crying incoherently, shell-shocked by the battle that has already begun.  When Schofield is unable to make his message understood, he continues on down the trench.  Shells begin bursting all around him, sometimes so close the blast knocks him down.  But he rises again and continues toward his goal.  He looks neither to the right nor to the left, never distracted from his main focus, even by the looming threat of death.  He reaches another captain and conveys his message.  The captain tells him that he will have to wait to deliver it until the soldiers have exited the trench (the trench is now almost completely blocked by men waiting to enter the battlefield).  Schofield, breathing heavily, looks at the packed, bombed-out trench.  He looks upward toward the battlefield.  Knowing the decision will likely mean death, Schofield climbs out of the trench and begins running down the open field.  The captain orders him to stop, but Schofield ignores him.  He is a man now caught between two armies and danger could come from either direction.  But his determination to complete his mission is stronger than any fear he has for his life.  He runs, bombs bursting around him, bullets flying by him, men falling beside him, soldiers knocking him down again and again.  But he keeps getting up and running toward his goal.  Finally, he drops back into the trench.  But when he tries to give the message to MacKenzie, two soldiers stop him and will not allow him into the bunker.  Schofield desperately tries to explain, but they will not listen.  Finally, he punches the commanding officer and dives into the bunker.  Interrupting a conference between men who far outrank him, Schofield boldly holds out the letter: "Colonel MacKenzie, this attack is not to go ahead!  You have been ordered to stop!"  (Caution: h-word used, scene may disturb some viewers)


Colin Firth

Mace and Nick have set up a meeting with Luis in order to exchange money for the device.  Pretending to be newlyweds, the two sit down at the prearranged table in the café, next to Luis.  Nick sets his backpack of money down beside Luis's identical bag, intending to make the switch after the preliminaries are complete.  When Mace returns to the table, she sits down beside Nick and the three have a coded conversation, the purpose of which is to correctly identify each other before the trade.  Unbeknownst to any of them, however, the barista in the café is also a spy.  Before they can make the switch, the barista orchestrates a spill onto Nick and Mace and, during the ensuing confusion, she steals Nick's bag.  Before Nick can react, the barista is already running away.  Nick and Mace chase after her.


Simon Kinberg

355, The

After the team's stolen military plane is shot down, the men survive by finding refuge in a tank which was on board.  Even though it has a large parachute attached, they still fall rather quickly toward the earth.  Spotting a lake a few miles from them, Hannibal orders the tank to be fired horizontally repeatedly -- the gun's kick-back driving them toward the lake -- as they try and "fly the tank."  Meanwhile on the lake, a man is fishing using dynamite -- raising the ire of the wife on shore making lunch: "It's not fair to the fish!  You're cheating!"         Man: "You with your nagging.  You're chasing them away."       At that moment, the tank's gunfire and the tank itself hit the water by the man, exploding him off the boat!       The wife looks to the heavens and begins to laugh.

When the mysterious Arab meets secretly with men in a high-rise office in Frankfurt, Germany to make a trade for valuable U.S. currency plates, Hannibal and his team activate their plan.  B.A. -- on an adjacent skyscrapper pretending to clean windows -- fires a missile through the office window just as Hannibal propels into the opening from above.  Hannibal quickly subdues the henchmen, bags the Arab's head, straps a parachute to his chest and pushes him out the window.  The chute opens just in time for Murdock to fly by in a helicopter and grab the parachute lines with his landing gear.

Hannibal, Face and B.A. are at a military mental hospital to grab the newest member of their team -- the looney pilot Murdock...     Hannibal: "Everybody's met Mr. Murdock."       Face: "Met him?  He lit my arm on fire."         B.A.: "He stitched a lightning bolt in mine, man (while posing as a doctor)."     Hannibal (to Murdock): "Look at me, son.  I'm told you're a h--- of a chopper pilot."       Murdock: "The best, sir."       B.A.: "I'm not getting on a chopper with this nut job."         Face: "Yeah, that's a good...  Is he another one of your projects?"        Murdock (to Hannibal): "I'm a real soldier.  I'm a Ranger, baby (which the entire team is)!"       Face: "I'm worried!"         Murdock (to Hannibal): "I'm a Ranger, sir."        Hannibal: "That's good enough for me.  You've been released into our care and reinstated, Captain."          Face: "I'm not even close to good with that..."          Murdock (to Hannibal while saluting): "Thank you, sir."

Hannibal meets with his team, and while explaining his intricate and risky plan to steal back U.S. currency plates (Faceman: "This is beyond nuts, boss..."), the boys are shown executing each stage in the future mission.  Elements include: Stealing parts of cars from a nefarious competing group; "borrowing" press credentials, cameras and IDs from a press crew; distracting a female reporter with seduction.    After customizing each item, the men work together to pull off the elaborate and perfectly timed sting.     (Caution: "hell" used once as profanity; men drinking toasts; violence)

Hannibal and his team have been imprisoned for six months when CIA agent "Lynch" pays Hannibal a visit.  Hannibal convinces Lynch that if the agent helps he and his men break out, Hannibal will locate the missing U.S. currency plates.  Hannibal, already prepared to move with a plan, gives Lynch a piece of paper which says: "5cc's Tetrodotoxin Infused Cuban Cigar."        Hannibal: "Make sure the dosage is right.  And when I say right, I mean perfect."       The cigar comes to Hannibal's room, and after smoking it and falling into a state that mimics death, his body is placed into a crematorium by a prison nerd.  Once inside, Hannibal wakes up just in time to kick aside the flame-throwers.          When the prison worker opens the door to remove the ashes... a smiling Hannibal greets him instead: "So... Satan walks into this bar..." -- causing the worker to immediately pound his chest and pass out.

After Hannibal and Face break B.A. Baracus out of prison, they leave him alone in a restaurant restroom with some clothes and electric hair clippers -- allowing him to sport his trademark "bad boy" Mohawk once again.  But his buddies are confused when he returns to the table with normally trimmed hair...     Face: "Where's the Mohawk?"       B.A.: "What?  You don't like my new do, man?"       Face: "Do I like it?  Well, we got you the clippers.  I thought..."        B.A.: "Yeah, I used them."          Hannibal: "Hey.  What's up, big guy?  Come on, you can speak to us."        B.A.: "Guys...  I can't kill anybody (he's previously killed dozens of men in the line of duty)."      Hannibal: "What do you mean?"       B.A.: "I've taken a vow.  ...Of non-violence.  I'll still do anything for you guys, you know that.  But I just can't kill, man.  Old habits may die hard, but, they still gotta die.  When I was a kid, all you heard in the hood was, 'Bosco's a bad-a--, out collecting scalps.'  That's where the Mohawk came from.  Was always at war."       Hannibal: "And that's what warriors are for."        B.A.: "Hannibal, man.  I don't miss that life.  I'll help you get Murdock, and right that wrong, but I can't kill."         Face: "Even Pike (the film's villain)?  Even if killing him would clear your name?"       B.A.: "My conscience is the only thing I need clear."     (Caution: "a--" is mildly used as profanity)

A few hours before the team's biggest mission yet -- with the probability of bad guys getting killed -- Hannibal approaches a very solemn B.A. Baracus (who has recently taken a vow of non-violence -- see Scene #CV04443)...       B.A.: "It's gonna get heavy, isn't it?"        Hannibal: "Well, I can't promise you it won't."          B.A.: "Let me read you something real quick: 'Victory attained by violence is tantamount to defeat, for it is momentary.' "          Hannibal: "Gandhi."       B.A. nods his head.          Hannibal: "It is better to be violent if there is violence in our hearts, than to put on the cloak of non-violence to cover impotence."        B.A.: "Who said that?"          Hannibal (smiling): "Same guy."       B.A. continues looking at his Gandhi book.       Hannibal: "Gandhi wasn't afraid to fight for the things he believed in.  What is it you believe in, B.A.?"          After pondering for awhile and looking at his Ranger tattoo, B.A. is in the bathroom with his hair clippers.... (see Scene #CV04443)

Joe Carnahan

Liam Neeson

Jessica Biel

Patrick Wilson

Sharlto Copley

It is summer vacation, but Yi is doing everything except vacationing.  First, she goes to her dog-walking job, where she walks a half-dozen spasmodic pups down the crowded city streets.  From there, she goes to her babysitting job, where she's paid to watch a perpetually petulant brat who throws food in her face.  Next, she goes to the restaurant, where her job is to lug smelly fish scraps to the dumpsters.  She holds her breath and dumps bin after bin while music plays in the background: ♪ "A girl's gotta do what a girl's gotta do." ♪


Yi gingerly approaches the wild yeti, who scowls at her ferociously.  She kneels down slowly, holding up her hands in a gesture of peace.  Carefully, she shows him the bandages she has brought for his hurt arm.  But, when she tears it in half, the ripping sound startles him and he growls in anger and fear.  He looks at her distrustfully, cowering in the corner.  But, when his arm causes him pain, Yi again holds up the bandages, trying to silently convey the truth that she is there to help.  The yeti reaches out his arm, allowing her to put on the bandages.  He watches her closely while she works, his countenance changing from fear to trust.  And, when she is finished, he leans back with a smile and a sigh, already feeling relief from the pain.  Yi watches in amazement as he starts to fall asleep.  


Todd Wilderman

Chloe Bennet

Albert Tsai

Tenzing Norgay Trainor

A sudden power surge rocks the shuttle, startling its crew.  Seeing that the surge has knocked out their primary electrical controls, the captain begins to quietly panic.  It is Roy, from the co-pilot's seat, who switches controls to manual.  It is Roy who watches the control panel and warns the captain that their descent toward Mars is too fast.  And Roy is the one who expresses concern that their angle of descent is off.  While Roy keeps his head, the captain seems to be unable to make a decision.  He stares ineffectually at the controls, stammering.  A warning voice sounds, confirming Roy's diagnosis: "Incorrect angle of descent."  The shuttle grows nearer and nearer to the planet.  Roy, seeing the captain doing nothing: "Go to manual."  The captain hesitantly reaches a hand toward the manual control, then pulls it back.  His terror has paralyzed him.  Roy, repeating: "Go to manual."  Franklin: "Captain, you need to do something!"  All the captain can do is stammer.  Roy, one last time: "Go to manual."  The captain looks at Roy helplessly.  Roy takes control of the ship, coolly and expertly steering them safely into dock.  (Caution: h-word used)


Ad Astra

When his teenage daughter refuses to come and eat with the family for the third day in a row, Gomez is disheartened.  Wednesday instead sends a note to explain her absence: "Dearest Mother and Father, I will not be attending this evening's ritual mastication..."  Gomez stands up: "I should go try to talk to her!"  Morticia, continuing to read the note: "Don't try to talk to me.  I want to be alone."  Uncle Fester: "We should bring her a plate at least."  Morticia, reading: "Don't even bring me a plate."  Gomez, hurt: "Why is she avoiding us?  All I ever do is try to love and support her."  Morticia: "Gomez, I think she's saying that's the problem."  Gomez, missing the point: "She's trying to tell me that what a young girl wants is a ton of attention from her father!"  Morticia: "Or, you could just keep being yourself.  Let her come back to us when she's ready."  Gomez: "But that could take forever!"  Gomez's eyes brighten as he comes up with an idea to bond with his daughter: "We are going on an Addams family vacation!"


It is Wednesday's turn to demonstrate her project at the science fair.  She addresses the room: "Have you ever found yourself discontented by those closest to you?  Are you irked by their inability to heed simple requests?"  She looks pointedly at her parents in the back, who are grinning and taking pictures: "Such as, please don't come to my science fair."  Wednesday, standing before a large, blanket-covered object: "Do you ever wish you could take their undesirable qualities and eliminate them forever?  It can be done.  Meet my Uncle Fester."  She unveils a rotund man wearing nothing but spider-covered underwear.  She hands him a Rubik's cube.  He looks at it in some confusion, sniffs it, and finally eats it, belching loudly.  The crowd groans in disgust.  Wednesday: "Stomach turning, isn't it?"  She then points to her pet octopus, who holds three Rubik's cubes in his tentacles.  Within seconds, he has solved them all.  The crowd gasps in amazement.  Wednesday tells her audience that she has created a way to extract personality traits from one creature and give them to a creature who is lacking.  She mixes a neon-green drink and hands it to Uncle Fester.  Within seconds of gulping it down, Fester's pupils change to slits and he seems to become someone else for a moment.  She hands him a Rubik's cube.  This time, he solves it in only a moment.  


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