"Being Human", with Robin Williams, is a movie with five separate stories that deal with survival, love, and the need to belong. In the final story, Hector (Robin Williams), is a divorced father who finally reunites with his children after staying away for about 3 years.

The 2 minute clip begins in a seaside restaurant with 14 year old Betsy and 12 year old Thomas seated facing Hector. Waves are splashing on the beach just through the restaurant windows. Betsy says to Hector, "Lots of people get divorced. Doesn’t mean they disappear."

Hector answers, "Right. After that I went kind of crazy. For a long time." He motions toward Thomas. "I did come to see you a couple of times. Do you remember?"

"No. Not really."

"Well it wasn’t very easy. She and Donald happened so quickly. I missed you terribly. But I thought maybe I should stay away till your mother got settled. That’s not the truth. I missed you but I was still crazy. Your mother and I got married so young. I wasn’t used to all that freedom. It went to my head. Then you moved to New Jersey."

Betsy tells him, "It’s 40 minutes away on a slow bus."

"Yes. You’re right. You’re right. Not too many excuses for the first year. The second is easier though. I was in jail."

Thomas asks him, "What for?"

"I was working for the government doing big contracts. There’s a lot of money in that. And a lot of temptations. My boss asked me to juggle a couple of papers. I did. We got caught. I had to testify against him. It was like killing somebody."

"Thomas wanted to visit you in jail but mom wouldn’t let him?"

Thomas tells him, "I didn’t even know when you got out."

"I know. I wasn’t in great shape. And I sure didn’t want you to see me like that." Hector briefly tell them about his real estate business and his girlfriend.

Thomas asks, "So you haven’t been staying away because of us?"

Hector is concerned and asks, "What do you mean? Is that what you think? I was avoiding you two? You mustn’t think that?" He pauses for a moment, a guilty look on his face, as both kids look uncomfortable. "It’s terrible. I left you two, didn’t I? I left you all alone" There’s another uncomfortable pause and finally Betsy says in a reassuring voice, "We weren’t all alone." (Referring to her mother and stepfather). Clip ends.

Time: 1 hour 45 minutes 20 seconds - 1 hour 47 minutes 35 seconds from the Warner Brothers logo.

"The Bridges of Madison County": The Tragedy of Depending on Earthly Love for Fulfillment

"The Bridges of Madison County", with Clint Eastwood and Meryl Streep, is about an unhappy rural Iowa housewife, Francesca, who one day meets and falls in love with Robert, a worldly, divorced National Geographic photographer. Francesca’s husband and two teenage children had gone to a state fair for a few days. While they’re away she is tempted by a love and a life she never dreamed was possible for her.

The five minute clip begins with Robert and Francesca finishing up a candlelight dinner in Francesca’s home. They had both found "true love" for the first time in their lives and Robert wants Francesca to leave her family and travel the world with her. Francesca has an obviously distressed look on her face and tells Robert why she can’t go with him: it doesn’t seem like the right thing to do; it would seriously harm her faithful husband and children; no matter where she went with him she would always carry her family with her.

Robert calmly counters that their meeting was no accident. "Some people search all their lives for this and never find it. Others don’t think it exists. Are you going to tell me that this is the right thing to do, to give it up?" Francesca, still with a stressed and defeated demeanor, says, "We are the choices that we have made, Robert. When a woman makes a choice to get married and have children, her love begins, but in another way it stops.... You stop and stay steady so your children can move, and when they leave they take your life and the details with them. You’re expected to move on again but you don’t even remember what moved you...."

Robert stands up and momentarily rubs her shoulders. Francesca laments, "You never think love like this is going to happen to you. I want to keep it forever. I want to love you the way I do now for the rest of my life, but, if we leave, we lose it. I can’t make an entire life disappear to start a new one. All I can do is try to hold on to both of us somewhere inside of me." With tears in her eyes she stands up, tells Robert she needs his help, and walks over into his arms. End clip here.

"Chariots of Fire": Use Your God-Given Gifts

At the start of this 3 ½ minute scene, two missionary directors are sitting in a living room with Eric Little. They tell him he is the possesor of many gifts and it is his sacred duty to put them to good use. The Mission can only gain by his success. He will "make folks sit up and notice". He could be good enough for the Olympic Games. "Run in God’s name, and let the world stand back in wonder."

Next 2 brief scenes, Eric Little is in a foot race around an oval track with a few cheering fans. Just behind a few of them is a sign advertising the Athletic Meeting. Next scene is an indoor church service with everyone singing hymns and Eric and his sister standing in the front facing the congregation.

Immediately following there is another race in an outdoor track in a heavy downpour. Eric Little comes out in front by a wide margin. There is a close up of a sign advertising "Athletics International - Ireland vs. Scotland." Below is an invitation to hear Eric speak at 6:00 that evening.

The final scene is Eric speaking to a small group outdoors. It is still raining and many, including Eric, are under an umbrella. The camera pans the eagerly attentive and drenched group halfway through the sermon. Eric says:

You came to see a race today. To see someone win. It happened to be me. (mild laughter) But I want you to do more than just watch a race. I want you to take part in it. I want to compare faith to running a race. It's hard. It requires concentration of will. Energy of soul. You experience elation when the winner breaks the tape. Especially if you got a bet on it. (laughter) But how long does that last? You go home. Maybe your dinner's burned. Maybe you haven't got a job. So who am I to say believe, have faith, in the face of life's realities. I would like to give you something more permanent. But I can only point the way. I have no formula for winning the race. Everyone runs in their own way. Or his own way. And where does the power come from to see the race to its end? From within. Jesus said, "Behold, the kingdom of God is within you. If with all your hearts you truly seek me, you shall ever surely find me." If you commit yourself to the love of Christ, then that is how you run a straight race.

By the end of sermon the sun is shining and everyone has closed their umbrellas. Eric, smiling, shakes people's hands. Scene and clip ends.

Alternate titles - Man’s Need For: Awe and Wonder; Something Beyond Himself; Another World; God’s Glory; To Transcend His Earthly life.

Close Encounters of the Third Kind is Steven Spielberg’s classic 1977 film about mankind making first contact with benevolent alien visitors. The clip is the last 3 ½ minutes of the film and there is only one word said.

A giant magnificent spaceship with many colored lights has landed at the base of a remote Wisconsin mountain before expectant government officials, scientists, and UFO investigators. Several dozen all white childlike aliens had stepped out of the ship. The clip begins with a line of people in orange jump suits and shoulder bags - they look like they’re ready for a trip. Two of the small aliens take the hand of the man at the end of the line, Roy (Richard Dreyfeuss), and lead him toward the bright light which makes up the entrance to the spacecraft. The other aliens gather round and excitedly escort Roy.

One of the woman characters takes a photo. Roy, embraced in light and looking very calm, stops and looks back at two men standing close by. One of them nods - as if to say "go ahead". Roy smiles, savors the moment, and takes one last look at earth. A boy and his mother are caught up in the awe and emotion of the moment. Roy walks up the ramp of the spaceship and into the bright light. The small aliens follow.

A taller alien walks out and faces Lacombe - the lead UFO investigator. They communicate briefly by hand signals. Lacombe smiles. There is a close up of a serene and contented look on the alien’s face. There are several shots of groups of ordinary looking people standing in awe, completely mesmerized, transfixed by the dazzling spectacle of the ship, the innocent looking alien beings, and the inexpressible significance of the moment. The taller alien walks back into the brightness of the ship’s entrance.

The lights on the ship begin to shift, indicating it is about to take off. There is a close up of a boy, who says "bye". The colorful, glowing ship slowly rises and is seen in all its beauty, majesty, size, dazzling color and complexity. Film and clip ends.

Pastors can say: "If man would be in such awe and wonder over such a spectacle, imagine the awe and wonder when we behold Christ in all His glory and majesty." There is also the idea of man’s need to transcend all he is and his desire fore something greater. Even though the clip is entirely visual, many have seen this film or can easily imagine the spaceship. The pastor can tell this illustration by describing the ship, the significance of the moment, and the rapturous faces of all those who are beholding such an awe inspiring spectacle.

"Proof of Life": Woman Tries To Make Sense Out of Life’s Trials

"Proof of Life" is the story of an engineer, Peter Bowman (David Morse), who is kidnapped in a ficticious South America country by rebel soldiers. They ask for a very large ransom. His wife, Alice Bowman (Meg Ryan), convinces a specialist, Terry Thorne (Russell Crowe), to negotiate his release.

The two minute clip begins at the end of another difficult negotiating session done through short wave radio. Looking tired Alice sits down in a large living room. Terry sits in front of her and asks if she’s okay. In a pensive mood Alice responds, "People say things happen for a reason. You must get a lot of that, right?" He nods. "I had a miscarriage eight months ago. In Africa. It wasn’t anybody’s fault. It wasn’t Peter’s fault. Not like I didn’t try to blame him. Or blame myself. Like I deserved it. Was there a reason? If I could figure it out."

The scene then switches to an remote camp where Peter is sitting with another prisoner in a small tent. They are both bearded and look tired but otherwise seem okay. Peter laments, "I thought if I wasn’t the one to keep control, everything would fall apart. And I thought that I could just make it all happen."

The scene immediately switches back to Alice, shaking her head. "The places we’ve been. Thailand. Africa. There’s so much pain. You can’t possibly make any sense out of it. You can’t push it away. Even if you’re paralyzed by it, what good are you? So, just let it go."

The scene switches again to where the other prisoner asks Peter, "And now that you don’t have control? It’s like faith. Once you let go, how everything becomes clear."

Peter continues to berate himself, "All the stupid, stupid stuff I worried about. Everything that I put her through."

Back in the house, Alice says, "Since the baby, it’s like everything I’ve learned along the way, somehow it didn’t apply to me too. You’d think I would’ve gotten the message."

Peter says to himself, "I’ve got to get through this. I’ve got to get home."

A puzzled looking Alice concludes, "Things don’t happen for a reason. They just ... happen. My daughter is buried in Africa. Who can explain that?" End clip here.

Without God, there is no sense, reason, or purpose in life’s trials and tragedies. Despair often sets in when people have only themselves and luck to rely on during difficult trials.

"Crime and Punishment": Sin Will Take You Where You Don’t Want To Go

"Crime and Punishment" is based on the classic Dostoievsky novel about a desperate young man’s battle with his conscience and the law after he murders an elderly pawnbroker. The 1935 version from Columbia Pictures stars Peter Lorre as Roderick Raskolnikov and Edward Arnold as the Inspector.

The two minute clip begins with the conscience-stricken Raskolnikov opening his apartment door to a strange man at his front door. The man takes off his hat and introduces himself. "I hope you’ll pardon me for calling so early. I’ve been trying since yesterday morning to get in touch with you. My name is Grilov. Hasn’t your sister ever spoken of me? She was employed as governess in my home."

In a panicky, paranoid voice, Raskolnikov says, "Don’t lie to me. You’re from the police! I saw you yesterday at police headquarters."

"I went there to find out where you lived. I thought because of your work in criminology they might know."

"And afterward you followed me, didn’t you?"

"I know. I waited hoping to see you when you came out. But you were with the Inspector. And I didn’t want to intrude." He briefly concludes his explanation and Raskolnikov reluctantly lets him in.

In an impatient tone Raskolnikov asks, "Well then, why did you trace me? What do you want?"

"Your assistance in clearing up a great injustice. It is because of me that your sister lost her position. It is because of me that her good name was ... well, I’ll be frank with you. At the time this happened I was very infatuated with Antonya. But all that’s over."

"Why do you tell me all this?"

"I want you to intercede for me with your sister. I know she won’t see me."

"Odd, isn’t it? What did you expect? Her gratitude?"

"Hardly. That’s why I came to you." He takes out a bundle of paper money from his breast pocket. "I want you to give her this. My wife died and left some money to your sister. Five hundred rubles." He drops it on the desk in front of Raskolnikov. "To make up for her unjust suspicions. All I’m asking is you give her the money, let me see her and apologize." Raskolnikov looks at him in disbelief. Grilov tries to reassure him. "Haven’t you ever committed a wrong? If you have you must know that the worst consequences are the unforseen ones. It’s like dropping a stone in a pool. Waves spread out in all directions and touch shores you couldn’t see before." End clip.

"Jim Thorpe: All American" Committee Sticks To The Letter Of The Law

"Jim Thorpe: All American" stars Burt Lancaster as one of the greatest American athletes of all time. The film details the start of Thorpe’s record breaking athletic career at an Indian college, as well as his incredible athletic feats in the 1912 Olympics and in professional baseball and football. As the film’s technical advisor, Thorpe doesn’t gloss over his trials and vices. Much of the film is devoted to his marital problems, death of his young son, drinking, bad temper, and inability to hold down a job after retirement from athletics.

The 2 ½ minute clip begins with a newspaper headline: "Jim Thorpe Accused of Professionalism - Must Face Charge That He Accepted Money." In the following scene, Thorpe is standing before officials of the Amateur Athletic Union. His long time coach and friend, Pop Warner, is seated behind him. One of the Committee members says, "According to our information, Mr. Thorpe, you played baseball one summer with a team in the Carolina Eastern League. What name did you play under?"

"My own name. What other name would I use?"

Another member says, "You certainly are aware, Jim, that college athletes sometimes attempt to make money playing under assumed names."

"If I had to do something under any other name than my own, I wouldn’t do it."

"But you admit that you played baseball?"

"Yes of course I admit it."

The original member says, "This is a very serious charge, Mr. Thorpe. Do you have any defense to offer?"

Thorpe hesitates for a moment, then says, "No sir. I don’t know what to defend. I can’t see that I’ve done anything wrong."

"You did accept money?"

"Yes. For room, board, and expenses only. I wasn’t playing for the money that was in it. I like baseball. It seemed like a good way to keep in training over the summer."

"Is there anything further you wish to say?"

"Only that if I’ve done anything wrong, I’m terribly sorry. But I didn’t know about the rules."

"Jim, ignorance is no excuse."

Pop Warner asks to speak and is allowed. Thorpe sits down and Warner stands up. "I just want to say, gentlemen, that ignorance sometimes is an excuse. Our boys from Carlyle come to us from the reservation. The government pays their expenses at school. That doesn’t make them professional. In the summer when the government stops paying their expenses, they have to earn their keep somehow. Yes, Jim played ball one summer for a small amount of money to cover his room, board, and expenses. Does that make him a professional? If we’re going to stick to the letter of the law, yes. But in this case, it shouldn’t. We all know that at best, there is a fine vague line between professionalism and amateurism. Jim drove honestly and sincerely to a great goal. He worked and fought his heart out to win those Olympic crowns. As far as I’m concerned he’s a pure athlete. You mustn’t take those medals away from him, gentlemen. You mustn’t."

The Committee head thanks and dismisses them, telling them they will be advised of their decision. Scene and clip ends. Thorpe is disappointed and angry when the decision comes to revoke his medals.

"Pleas to have Thorpe's good name restored to Olympic rolls persisted. They were based on a rule, in effect in 1912, which said officials had 30 days to contest an athlete's amateur status. Thorpe's standing did not come into question until six months after the Games. It was not until Oct. 13, 1982, that the International Olympic Committee finally agreed to restore Thorpe's gold medals. The following January, replicas were presented to Thorpe's family." (Http://espn.go.com/sportscentury/features/00016499.html)

"Little House On The Prairie - Premiere": Judging By Appearances

"Little House On The Prairie - Premiere" is the movie that launched the popular series starring Michael Landon and Melissa Gilbert. Based on the real life "Little House" books by Laura Ingalls Wilder, the film depicts the American pioneer family’s struggles and joys as they move from Wisconsin to build a home on the plains of Kansas.

The two minute clip begins as the Ingalls family is outdoors taking time out for lunch with a new found friend, Mr. Edwards (Victor French). He is helping the family build their home. He is a rough, unpolished bachelor who has just shown 8 year old Laura (Melissa Gilbert) how far he can spit. Begin the clip when Laura asks him if she could do it too. Together they move their mouths around to work up a mouthful of spit. Mrs. Ingalls (Karen Grassle) notices this and before Laura can spit she firmly says, "Laura!"

"Mr. Edwards is teaching me how to spit."

"Spit! Do you consider that a worthy accomplishment, Mr. Edwards?

"Well, don’t know how worthy it is, ma’am. Sure comes in handy in a stiff breeze." He notices Mrs. Ingalls disapproving expression and says, "Best get back to work." He compliments her on lunch.

In the next scene it is late that night and Mrs. Ingalls is talking with Mr. Ingalls (Michael Landon), who is smoking a pipe. She complains: "He is uncivilized."

"He’s a little rough around the edges ‘cause he hasn’t had the advantage of the refining influence of a good woman."

"I can imagine the kind of women he’s known. I don’t like having him around the children, Charles. Especially Laura. For some reason she’s taken to him."

"So have I. He’s a good man. He’s been kind to us. I expect you to be civil in front of him."

"I am civil. But I will not be friendly. I doubt he’s ever seen the inside of a church."

"I hardly think that’s any way to judge a man. I know an awful lot of pious churchgoers who wouldn’t think twice of doing some poor old widow woman out of her pittance." He tells her he’s going to bed.

Mrs. Ingalls thinks about his point and says, "I’ll be friendly. But my heart won’t be in it." Scene and clip ends. Mrs. Ingalls soon learns to respect and appreciate Mr. Edwards as he continues to be helpful and brings Christmas presents for the children when the parents had very little to give.

Time: 25 minutes 22 seconds - 27 minutes 19 seconds from the start of the film. (No studio logo)

"Reds": The Face of Betrayal

"Reds" is a 1981 film based on the life of John "Jack" Reed (Warren Beatty), an idealist young American journalist caught up in the promise of communism and the beginning of the Communist Revolution of early 1900’s Russia. He is the only American buried beside the Kremlin wall. Louise Bryant (Diane Keaton) is a young journalist who falls in love and marries Jack and has an often frustrating on/off again relationship with the passionate socialist.

This 2 ½ minute clip begins with Jack doing research in a room cramped full of books and Louise busy cooking in the adjacent kitchen. Jack picks up a book, opens it and stops, saying nothing for several seconds. He turns slightly and Louise sees him reading a letter found inside the book. With a concerned look on her face she tells him, "That’s from Gene."

Jack apologizes for reading a personal letter but, seeming bothered, immediately walks away and sits at his desk. Louise quickly walks over to him and explains that Gene gave her the letter last October and she hasn’t seen him since. Jack doesn’t want to hear an explanation and tells her, "Louise, look, I don’t expect you to tell me everything you do. If you tell me something just tell me the truth. (With an angrier tone he gets up, walks across the room and looks through other books.) Don’t tell me that Gene gave you a love poem six or seven months ago but you put it in a book and you haven’t seen him since. I don’t care if you’ve seen him or not. I just care about dishonesty."

Louise is now equally angry and walks over to him. "Oh, I see. You don’t care that I had an affair with another man. You just care about dishonesty. Look who’se being dishonest. You care. You care so much you can’t even talk about it." They continue to argue for a few more seconds. Then Jack turns around and tells her, "Why (probably "the hell" but barely audible even when the sound is raised) should I care that you slept with someone else? Do you think I haven’t? I don’t think we have to report to each other every time we go to bed with somebody. It doesn’t mean anything. Doesn’t mean I love you any less. Do you love me any less because you went to bed with Gene? What difference does it make? I don’t think we should lie about it, that’s all."

As he’s saying all this a well-acted look of anger and betrayal comes across Louise’s face and the camera holds it for several seconds. Louise demands to know who it was but Jack insists it means nothing. Louise turns around and storms up the stairs. Jack thinks to himself for a moment, then follows her up the stairs, calling her name. He finds her packing clothes in a suitcase. End clip after she says, "I don’t want to talk about it."

"Man of the House": Hope Deferred Makes the Heart Sick

"Man of the House" is a 1995 comedy / drama about a lawyer, Jack Sturges (Chevy Chase) who wants to marry a recently divorced single mother Sandy (Farrah Faucett) of an 11 year old boy, Ben (Jonathan Taylor Thomas). Jack knows he must first win Ben's love and trust in order for the new family to succeed.

At the start of this 2 1/2 minute clip, Jack is walking up to Ben who is sitting on the living room sofa looking obviously dejected.

JACK: (His business suit is wet. He raises both hands from his side denoting a helpless feeling.) I'm really sorry I missed the canoe trip, Ben. I had car trouble and just couldn't make it.

BEN: (Dejectedly gets up and starts walking to his room) Don't worry about it.

JACK: I wanted to be there, Ben. I really did. (Ben enters his room and closes the door behind him. Jack, with a defeated expression, sits down on the sofa. Sandy enters the scene with a discouraged expression, hands Jack a towel, and asks him to get up from the sofa because of his wet clothes.)

JACK: (Takes the towel and stands up.) He's really taking this hard.

SANDY: Well, he was really looking forward to this trip. And he was counting on you to be there. (Folds her arms)

JACK: Believe me, what happened was unavoidable.

SANDY: I'm sure it was. But without meaning to you broke a promise to him. Which unfortunately is something his father used to do to him all the time.

JACK: (Thinking for a brief moment) I guess I have to pay for all the mistakes his father made, don't I? SANDY: I'm afraid it goes with the territory. I'll go talk to him.

JACK: No, wait a minute. I'll do it. (He walks toward the room. Scene shifts to Ben sitting in his room somberly playing a computer game. There is a knock, Jack opens the door.) Can I talk to you for a second?

BEN: Yeah, sure, do what you want.

JACK: (Enters the room and says apologetically) Look, Ben, I know you're mad at me and I know there's no reason in the world for you to believe me. But I'm going to make this up to you. I swear. (Ben is still looking at the screen and using the joystick.) Hey, do you know the 4th of July camping trip is coming up?

BEN: (Still focused on the game.) Yeah, what about it?

JACK: (Leaning forward) Well, I give you my word. Nothing is going to interfere with it. We're going to go. And we're going to have the best time we've ever had. Okay? I promise.

BEN: (Focused on screen) Yeah, sure.

JACK: Okay, good. (He turns around and exits the room. Ben looks toward the closed door in a dejected sigh. Jack pauses and reflects for a second after he shuts the door.)