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1939/qYf35nBq8Oo.description

@@ -0,0 +1,38 @@
+Mr. Smith Goes to Washington movie clips: http://j.mp/1JaLRWs
+BUY THE MOVIE: http://amzn.to/u7g6YE
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Governor Hubert Hopper (Guy Kibbee) describes the genius of appointing simpleton Jefferson Smith (James Stewart) as a the state's next Senator.
+
+FILM DESCRIPTION:
+Frank Capra's classic comedy-drama established James Stewart as a lead actor in one of his finest (and most archetypal) roles. The film opens as a succession of reporters shout into telephones announcing the death of Senator Samuel Foley. Senator Joseph Paine (Claude Rains), the state's senior senator, puts in a call to Governor Hubert "Happy" Hopper (Guy Kibbee) reporting the news. Hopper then calls powerful media magnate Jim Taylor (Edward Arnold), who controls the state -- along with the lawmakers. Taylor orders Hopper to appoint an interim senator to fill out Foley's term; Taylor has proposed a pork barrel bill to finance an unneeded dam at Willet Creek, so he warns Hopper he wants a senator who "can't ask any questions or talk out of turn." After having a number of his appointees rejected, at the suggestion of his children Hopper nominates local hero Jefferson Smith (James Stewart), leader of the state's Boy Rangers group. Smith is an innocent, wide-eyed idealist who quotes Jefferson and Lincoln and idolizes Paine, who had known his crusading editor father. In Washington, after a humiliating introduction to the press corps, Smith threatens to resign, but Paine encourages him to stay and work on a bill for a national boy's camp. With the help of his cynical secretary Clarissa Sanders (Jean Arthur), Smith prepares to introduce his boy's camp bill to the Senate. But when he proposes to build the camp on the Willets Creek site, Taylor and Paine force him to drop the measure. Smith discovers Taylor and Paine want the Willets Creek site for graft and he attempts to expose them, but Paine deflects Smith's charges by accusing Smith of stealing money from the boy rangers. Defeated, Smith is ready to depart Washington, but Saunders, whose patriotic zeal has been renewed by Smith, exhorts him to stay and fight. Smith returns to the Senate chamber and, while Taylor musters the media forces in his state to destroy him, Smith engages in a climactic filibuster to speak his piece: "I've got a few things I want to say to this body. I tried to say them once before and I got stopped colder than a mackerel. Well, I'd like to get them said this time, sir. And as a matter of fact, I'm not gonna leave this body until I do get them said."
+
+CREDITS:
+TM & © Sony (1939)
+Cast: Edward Arnold, Guy Kibbee, Eugene Pallette, Claude Rains
+Director: Frank Capra
+Producer: Frank Capra
+Screenwriters: Sidney Buchman, Lewis R. Foster, Myles Connolly
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1939/tNuPwipxx94.en.srt

@@ -0,0 +1,385 @@
+1
+00:00:00,030 --> 00:00:04,100
+
+well you have oh nothing for me you
+
+2
+00:00:04,100 --> 00:00:04,110
+well you have oh nothing for me you
+ 
+
+3
+00:00:04,110 --> 00:00:05,180
+well you have oh nothing for me you
+don't have to be afraid of this stuff
+
+4
+00:00:05,180 --> 00:00:05,190
+don't have to be afraid of this stuff
+ 
+
+5
+00:00:05,190 --> 00:00:07,700
+don't have to be afraid of this stuff
+this is a McCoy I drink it myself it
+
+6
+00:00:07,700 --> 00:00:07,710
+this is a McCoy I drink it myself it
+ 
+
+7
+00:00:07,710 --> 00:00:08,810
+this is a McCoy I drink it myself it
+doesn't make any difference I don't like
+
+8
+00:00:08,810 --> 00:00:08,820
+doesn't make any difference I don't like
+ 
+
+9
+00:00:08,820 --> 00:00:10,100
+doesn't make any difference I don't like
+it if you like it well enough to knock
+
+10
+00:00:10,100 --> 00:00:10,110
+it if you like it well enough to knock
+ 
+
+11
+00:00:10,110 --> 00:00:11,450
+it if you like it well enough to knock
+over this boat for a hundred thousand
+
+12
+00:00:11,450 --> 00:00:11,460
+over this boat for a hundred thousand
+ 
+
+13
+00:00:11,460 --> 00:00:13,070
+over this boat for a hundred thousand
+bucks whatever address
+
+14
+00:00:13,070 --> 00:00:13,080
+bucks whatever address
+ 
+
+15
+00:00:13,080 --> 00:00:14,209
+bucks whatever address
+evam doesn't have to wear dresses does
+
+16
+00:00:14,209 --> 00:00:14,219
+evam doesn't have to wear dresses does
+ 
+
+17
+00:00:14,219 --> 00:00:17,029
+evam doesn't have to wear dresses does
+he cuz I have to flip you George
+
+18
+00:00:17,029 --> 00:00:17,039
+he cuz I have to flip you George
+ 
+
+19
+00:00:17,039 --> 00:00:18,769
+he cuz I have to flip you George
+you ain't clipping me you're clipping
+
+20
+00:00:18,769 --> 00:00:18,779
+you ain't clipping me you're clipping
+ 
+
+21
+00:00:18,779 --> 00:00:20,540
+you ain't clipping me you're clipping
+Nick Brown a guy I work for
+
+22
+00:00:20,540 --> 00:00:20,550
+Nick Brown a guy I work for
+ 
+
+23
+00:00:20,550 --> 00:00:23,630
+Nick Brown a guy I work for
+it's gonna be awful sore at you ready to
+
+24
+00:00:23,630 --> 00:00:23,640
+it's gonna be awful sore at you ready to
+ 
+
+25
+00:00:23,640 --> 00:00:24,769
+it's gonna be awful sore at you ready to
+much of a hurry to worry about anybody
+
+26
+00:00:24,769 --> 00:00:24,779
+much of a hurry to worry about anybody
+ 
+
+27
+00:00:24,779 --> 00:00:26,990
+much of a hurry to worry about anybody
+hidden sore at me the main guy
+
+28
+00:00:26,990 --> 00:00:27,000
+hidden sore at me the main guy
+ 
+
+29
+00:00:27,000 --> 00:00:33,770
+hidden sore at me the main guy
+don't take my chances you know I think
+
+30
+00:00:33,770 --> 00:00:33,780
+don't take my chances you know I think
+ 
+
+31
+00:00:33,780 --> 00:00:35,930
+don't take my chances you know I think
+I'd like to take mine with you between
+
+32
+00:00:35,930 --> 00:00:35,940
+I'd like to take mine with you between
+ 
+
+33
+00:00:35,940 --> 00:00:37,160
+I'd like to take mine with you between
+the two of us we ought to do all right
+
+34
+00:00:37,160 --> 00:00:37,170
+the two of us we ought to do all right
+ 
+
+35
+00:00:37,170 --> 00:00:39,650
+the two of us we ought to do all right
+together I'm doing all right now look
+
+36
+00:00:39,650 --> 00:00:39,660
+together I'm doing all right now look
+ 
+
+37
+00:00:39,660 --> 00:00:41,330
+together I'm doing all right now look
+here Eddie it ain't gonna be so easy to
+
+38
+00:00:41,330 --> 00:00:41,340
+here Eddie it ain't gonna be so easy to
+ 
+
+39
+00:00:41,340 --> 00:00:43,459
+here Eddie it ain't gonna be so easy to
+next time Ronnie gonna stand for you
+
+40
+00:00:43,459 --> 00:00:43,469
+next time Ronnie gonna stand for you
+ 
+
+41
+00:00:43,469 --> 00:00:44,990
+next time Ronnie gonna stand for you
+hijacking his boats like this and that
+
+42
+00:00:44,990 --> 00:00:45,000
+hijacking his boats like this and that
+ 
+
+43
+00:00:45,000 --> 00:00:47,330
+hijacking his boats like this and that
+can t be ready for you one fine night a
+
+44
+00:00:47,330 --> 00:00:47,340
+can t be ready for you one fine night a
+ 
+
+45
+00:00:47,340 --> 00:00:49,430
+can t be ready for you one fine night a
+5-inch shell is gonna blow the top of
+
+46
+00:00:49,430 --> 00:00:49,440
+5-inch shell is gonna blow the top of
+ 
+
+47
+00:00:49,440 --> 00:00:51,799
+5-inch shell is gonna blow the top of
+your head right off you can't spend your
+
+48
+00:00:51,799 --> 00:00:51,809
+your head right off you can't spend your
+ 
+
+49
+00:00:51,809 --> 00:00:54,729
+your head right off you can't spend your
+profits in the bottom of the ocean
+
+50
+00:00:54,729 --> 00:00:54,739
+profits in the bottom of the ocean
+ 
+
+51
+00:00:54,739 --> 00:00:59,540
+profits in the bottom of the ocean
+it's like this I got the organization to
+
+52
+00:00:59,540 --> 00:00:59,550
+it's like this I got the organization to
+ 
+
+53
+00:00:59,550 --> 00:01:00,799
+it's like this I got the organization to
+bring the stuff in and I know where to
+
+54
+00:01:00,799 --> 00:01:00,809
+bring the stuff in and I know where to
+ 
+
+55
+00:01:00,809 --> 00:01:01,220
+bring the stuff in and I know where to
+get it
+
+56
+00:01:01,220 --> 00:01:01,230
+get it
+ 
+
+57
+00:01:01,230 --> 00:01:06,730
+get it
+you've got the organization to peddle it
+
+58
+00:01:06,730 --> 00:01:06,740
+
+ 
+
+59
+00:01:06,740 --> 00:01:08,539
+
+why do you mean he's you want to
+
+60
+00:01:08,539 --> 00:01:08,549
+why do you mean he's you want to
+ 
+
+61
+00:01:08,549 --> 00:01:10,969
+why do you mean he's you want to
+double-cross Brown and done before you
+
+62
+00:01:10,969 --> 00:01:10,979
+double-cross Brown and done before you
+ 
+
+63
+00:01:10,979 --> 00:01:15,850
+double-cross Brown and done before you
+know mm-hmm
+
+64
+00:01:15,850 --> 00:01:15,860
+
+ 
+
+65
+00:01:15,860 --> 00:01:18,890
+
+what do you say
+
+66
+00:01:18,890 --> 00:01:18,900
+
+ 
+
+67
+00:01:18,900 --> 00:01:23,990
+
+I don't trust you George you could stand
+
+68
+00:01:23,990 --> 00:01:24,000
+I don't trust you George you could stand
+ 
+
+69
+00:01:24,000 --> 00:01:26,840
+I don't trust you George you could stand
+a little watching yourself mm-hmm
+
+70
+00:01:26,840 --> 00:01:26,850
+a little watching yourself mm-hmm
+ 
+
+71
+00:01:26,850 --> 00:01:28,640
+a little watching yourself mm-hmm
+that sounds like a pretty good basis for
+
+72
+00:01:28,640 --> 00:01:28,650
+that sounds like a pretty good basis for
+ 
+
+73
+00:01:28,650 --> 00:01:31,510
+that sounds like a pretty good basis for
+a partnership you're on it's a deal
+
+74
+00:01:31,510 --> 00:01:31,520
+a partnership you're on it's a deal
+ 
+
+75
+00:01:31,520 --> 00:01:37,340
+a partnership you're on it's a deal
+right
+
+76
+00:01:37,340 --> 00:01:37,350
+
+ 
+
+77
+00:01:37,350 --> 00:01:48,689
+
+[Music]
+

1939/vQLNS3HWfCM.description

@@ -0,0 +1,38 @@
+The Wizard of Oz movie clips: http://j.mp/1L5gtKP
+BUY THE MOVIE: http://bit.ly/2cmiEyC
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Dorothy (Judy Garland) and Toto (Terry) find themselves in a strange and wonderful new place over the rainbow where they meet Glinda (Billie Burke).
+
+FILM DESCRIPTION:
+Not to be confused with the cinematic classic starring Judy Garland that would follow six years later, this animated short film is one of countless other celluloid adaptations of L. Frank Baum's best-loved story, The Wizard of Oz. Directed by Ted Eshbaugh, the Canadian film features no dialogue and tells the story of Dorothy, Toto, Scarecrow, and Tin Man's adventures in Oz with a mix of black & white and color animation.
+
+CREDITS:
+TM & © Warner Bros. (1939)
+Cast: Billie Burke, Judy Garland, Terry
+Directors: George Cukor, Victor Fleming, Mervyn LeRoy, Norman Taurog, King Vidor
+Producers: Mervyn LeRoy, Arthur Freed
+Screenwriters: Noel Langley, Florence Ryerson, Edgar Allan Woolf, L. Frank Baum, Irving Brecher, William H. Cannon, Herbert Fields, Arthur Freed, Jack Haley, E.Y. Harburg, Samuel Hoffenstein, Bert Lahr, John Lee Mahin, Herman J. Mankiewicz, Jack Mintz, Ogden Nash, Robert Pirosh, George Seaton, Sid Silvers
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1939/vQLNS3HWfCM.en.srt

@@ -0,0 +1,16 @@
+1
+00:00:00,420 --> 00:00:01,760
+Toto..
+
+2
+00:00:02,100 --> 00:00:04,500
+I've a feeling we're not in Kansas anymore.
+
+3
+00:00:15,680 --> 00:00:17,680
+We must be over the rainbow!
+
+4
+00:00:46,680 --> 00:00:50,380
+Now, I know we're not in Kansas...
+

1939/yNvuIuWY3Sw.en.srt

@@ -0,0 +1,365 @@
+1
+00:00:02,929 --> 00:00:05,780
+
+please don't go you can't leave me
+
+2
+00:00:05,780 --> 00:00:05,790
+please don't go you can't leave me
+ 
+
+3
+00:00:05,790 --> 00:00:08,540
+please don't go you can't leave me
+please I'll never forgive you I'm not
+
+4
+00:00:08,540 --> 00:00:08,550
+please I'll never forgive you I'm not
+ 
+
+5
+00:00:08,550 --> 00:00:10,370
+please I'll never forgive you I'm not
+asking you to forgive me I'll never
+
+6
+00:00:10,370 --> 00:00:10,380
+asking you to forgive me I'll never
+ 
+
+7
+00:00:10,380 --> 00:00:12,650
+asking you to forgive me I'll never
+understand it forgive myself and if a
+
+8
+00:00:12,650 --> 00:00:12,660
+understand it forgive myself and if a
+ 
+
+9
+00:00:12,660 --> 00:00:14,299
+understand it forgive myself and if a
+bullet gets me so help me I'll laugh at
+
+10
+00:00:14,299 --> 00:00:14,309
+bullet gets me so help me I'll laugh at
+ 
+
+11
+00:00:14,309 --> 00:00:17,420
+bullet gets me so help me I'll laugh at
+myself for being an idiot there's one
+
+12
+00:00:17,420 --> 00:00:17,430
+myself for being an idiot there's one
+ 
+
+13
+00:00:17,430 --> 00:00:19,849
+myself for being an idiot there's one
+thing I do know that is that I love your
+
+14
+00:00:19,849 --> 00:00:19,859
+thing I do know that is that I love your
+ 
+
+15
+00:00:19,859 --> 00:00:22,099
+thing I do know that is that I love your
+skeleton despite of you and me and the
+
+16
+00:00:22,099 --> 00:00:22,109
+skeleton despite of you and me and the
+ 
+
+17
+00:00:22,109 --> 00:00:23,540
+skeleton despite of you and me and the
+whole silly world going to pieces around
+
+18
+00:00:23,540 --> 00:00:23,550
+whole silly world going to pieces around
+ 
+
+19
+00:00:23,550 --> 00:00:26,599
+whole silly world going to pieces around
+us I love you because we're alike bad
+
+20
+00:00:26,599 --> 00:00:26,609
+us I love you because we're alike bad
+ 
+
+21
+00:00:26,609 --> 00:00:30,560
+us I love you because we're alike bad
+lots both of us selfie should shrew but
+
+22
+00:00:30,560 --> 00:00:30,570
+lots both of us selfie should shrew but
+ 
+
+23
+00:00:30,570 --> 00:00:32,120
+lots both of us selfie should shrew but
+able to look things in the eyes and call
+
+24
+00:00:32,120 --> 00:00:32,130
+able to look things in the eyes and call
+ 
+
+25
+00:00:32,130 --> 00:00:34,280
+able to look things in the eyes and call
+him by the right names don't hold me
+
+26
+00:00:34,280 --> 00:00:34,290
+him by the right names don't hold me
+ 
+
+27
+00:00:34,290 --> 00:00:39,680
+him by the right names don't hold me
+like their garlic look at me more than
+
+28
+00:00:39,680 --> 00:00:39,690
+like their garlic look at me more than
+ 
+
+29
+00:00:39,690 --> 00:00:41,810
+like their garlic look at me more than
+I've ever loved any more I've waited
+
+30
+00:00:41,810 --> 00:00:41,820
+I've ever loved any more I've waited
+ 
+
+31
+00:00:41,820 --> 00:00:43,430
+I've ever loved any more I've waited
+longer for you that I've ever waited for
+
+32
+00:00:43,430 --> 00:00:43,440
+longer for you that I've ever waited for
+ 
+
+33
+00:00:43,440 --> 00:00:47,869
+longer for you that I've ever waited for
+any woman let me know is a soldier the
+
+34
+00:00:47,869 --> 00:00:47,879
+any woman let me know is a soldier the
+ 
+
+35
+00:00:47,879 --> 00:00:49,970
+any woman let me know is a soldier the
+south and love you scarlet was to feel
+
+36
+00:00:49,970 --> 00:00:49,980
+south and love you scarlet was to feel
+ 
+
+37
+00:00:49,980 --> 00:00:51,709
+south and love you scarlet was to feel
+your arms about it was to carry the
+
+38
+00:00:51,709 --> 00:00:51,719
+your arms about it was to carry the
+ 
+
+39
+00:00:51,719 --> 00:00:53,119
+your arms about it was to carry the
+memory of your kisses into battle with
+
+40
+00:00:53,119 --> 00:00:53,129
+memory of your kisses into battle with
+ 
+
+41
+00:00:53,129 --> 00:00:56,090
+memory of your kisses into battle with
+it never mind about loving me you're a
+
+42
+00:00:56,090 --> 00:00:56,100
+it never mind about loving me you're a
+ 
+
+43
+00:00:56,100 --> 00:00:57,650
+it never mind about loving me you're a
+woman sending a soldier to his death
+
+44
+00:00:57,650 --> 00:00:57,660
+woman sending a soldier to his death
+ 
+
+45
+00:00:57,660 --> 00:01:00,970
+woman sending a soldier to his death
+with a beautiful memory
+
+46
+00:01:00,970 --> 00:01:00,980
+
+ 
+
+47
+00:01:00,980 --> 00:01:08,940
+
+kiss me kiss me
+
+48
+00:01:08,940 --> 00:01:08,950
+
+ 
+
+49
+00:01:08,950 --> 00:01:12,849
+
+no Dom Conde Naste Finn you never write
+
+50
+00:01:12,849 --> 00:01:12,859
+no Dom Conde Naste Finn you never write
+ 
+
+51
+00:01:12,859 --> 00:01:14,770
+no Dom Conde Naste Finn you never write
+everybody was right you you are a
+
+52
+00:01:14,770 --> 00:01:14,780
+everybody was right you you are a
+ 
+
+53
+00:01:14,780 --> 00:01:22,109
+everybody was right you you are a
+gentleman a minor point is such a moment
+
+54
+00:01:22,109 --> 00:01:22,119
+gentleman a minor point is such a moment
+ 
+
+55
+00:01:22,119 --> 00:01:26,050
+gentleman a minor point is such a moment
+here anyone lays a hand on that neg
+
+56
+00:01:26,050 --> 00:01:26,060
+here anyone lays a hand on that neg
+ 
+
+57
+00:01:26,060 --> 00:01:28,029
+here anyone lays a hand on that neg
+shoot him but don't make a mistake in
+
+58
+00:01:28,029 --> 00:01:28,039
+shoot him but don't make a mistake in
+ 
+
+59
+00:01:28,039 --> 00:01:31,719
+shoot him but don't make a mistake in
+shootin a oh go on I want you to go home
+
+60
+00:01:31,719 --> 00:01:31,729
+shootin a oh go on I want you to go home
+ 
+
+61
+00:01:31,729 --> 00:01:33,730
+shootin a oh go on I want you to go home
+accountable and slap on bottle deployed
+
+62
+00:01:33,730 --> 00:01:33,740
+accountable and slap on bottle deployed
+ 
+
+63
+00:01:33,740 --> 00:01:35,830
+accountable and slap on bottle deployed
+in a million pieces I hide the rest I
+
+64
+00:01:35,830 --> 00:01:35,840
+in a million pieces I hide the rest I
+ 
+
+65
+00:01:35,840 --> 00:01:38,529
+in a million pieces I hide the rest I
+follow your general idea and when I'm
+
+66
+00:01:38,529 --> 00:01:38,539
+follow your general idea and when I'm
+ 
+
+67
+00:01:38,539 --> 00:01:40,389
+follow your general idea and when I'm
+dead on the order of my country I hope
+
+68
+00:01:40,389 --> 00:01:40,399
+dead on the order of my country I hope
+ 
+
+69
+00:01:40,399 --> 00:02:09,760
+dead on the order of my country I hope
+you're conscious urging goodbyes go
+
+70
+00:02:09,760 --> 00:02:09,770
+
+ 
+
+71
+00:02:09,770 --> 00:02:11,480
+
+come on you
+
+72
+00:02:11,480 --> 00:02:11,490
+come on you
+ 
+
+73
+00:02:11,490 --> 00:02:14,870
+come on you
+we're going home
+

1940/e5cg1EeFISo.description

@@ -0,0 +1,38 @@
+His Girl Friday movie clips: http://j.mp/2jVCDXb
+BUY THE MOVIE: http://j.mp/1rTMwXd
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Walter (Cary Grant) hires a poet (Ernest Truex) just to keep him out of the press room.
+
+FILM DESCRIPTION:
+The second screen version of the Ben Hecht/Charles MacArthur play The Front Page, His Girl Friday changed hard-driving newspaper reporter Hildy Johnson from a man to a woman, transforming the story into a scintillating battle of the sexes. Rosalind Russell plays Hildy, about to foresake journalism for marriage to cloddish Bruce Baldwin (Ralph Bellamy). Cary Grant plays Walter Burns, Hildy's editor and ex-husband, who feigns happiness about her impending marriage as a ploy to win her back. The ace up Walter's sleeve is a late-breaking news story concerning the impending execution of anarchist Earl Williams (John Qualen), a blatant example of political chicanery that Hildy can't pass up. The story gets hotter when Williams escapes and is hidden from the cops by Hildy and Walter--right in the prison pressroom. His Girl Friday may well be the fastest comedy of the 1930s, with kaleidoscope action, instantaneous plot twists, and overlapping dialogue. And if you listen closely, you'll hear a couple of "in" jokes, one concerning Cary Grant's real name (Archie Leach), and another poking fun at Ralph Bellamy's patented "poor sap" screen image. Subsequent versions of The Front Page included Billy Wilder's 1974 adaptation, which restored Hildy Johnson's manhood in the form of Jack Lemmon, and 1988's Switching Channels, which cast Burt Reynolds in the Walter Burns role and Kathleen Turner as the Hildy Johnson counterpart.
+
+CREDITS:
+TM & © Public Domain (1940)
+Cast: Cary Grant, Ernest Truex, Rosalind Russell
+Director: Howard Hawks
+Producer: Howard Hawks
+Screenwriters: Ben Hecht, Charles MacArthur, Charles Lederer
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1940/f-vA6GMMKgQ.description

@@ -0,0 +1,38 @@
+The Philadelphia Story movie clips: http://j.mp/1zgE8BD
+BUY THE MOVIE: http://j.mp/12OlLle
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Tracy (Katharine Hepburn) goes through with the wedding, but to her former husband Dexter (Cary Grant).
+
+FILM DESCRIPTION:
+We open on Philadelphia socialite C.K. Dexter Haven (Cary Grant) as he's being tossed out of his palatial home by his wife, Tracy Lord (Katharine Hepburn). Adding insult to injury, Tracy breaks one of C.K.'s precious golf clubs. He gallantly responds by knocking her down on her million-dollar keester. A couple of years after the breakup, Tracy is about to marry George Kittridge (John Howard), a wealthy stuffed shirt whose principal recommendation is that he's not a Philadelphia "mainliner," as C.K. was. Still holding a torch for Tracy, C.K. is galvanized into action when he learns that Sidney Kidd (Henry Daniell), the publisher of Spy Magazine, plans to publish an expos concerning Tracy's philandering father (John Halliday). To keep Kidd from spilling the beans, C.K. agrees to smuggle Spy reporter Macauley Connor (James Stewart) and photographer Elizabeth Imbrie (Ruth Hussey) into the exclusive Lord-Kittridge wedding ceremony. How could C.K. have foreseen that Connor would fall in love with Tracy, thereby nearly lousing up the nuptials? As it turns out, of course, it is C.K. himself who pulls the "louse-up," reclaiming Tracy as his bride. A consistently bright, bubbly, witty delight, The Philadelphia Story could just as well have been titled "The Revenge of Katharine Hepburn." Having been written off as "box-office poison" in 1938, Hepburn returned to Broadway in a vehicle tailor-made for her talents by playwright Philip Barry. That property, of course, was The Philadelphia Story; and when MGM bought the rights to this sure-fire box-office success, it had to take Hepburn along with the package -- and also her veto as to who her producer, director, and co-stars would be. Her strategy paid off: after the film's release, Hepburn was back on top of the Hollywood heap. While she didn't win the Oscar that many thought she richly deserved, the little gold statuette was bestowed upon her co-star Stewart, perhaps as compensation for his non-win for 1939's Mr. Smith Goes to Washington. Donald Ogden Stewart (no relation to Jimmy) also copped an Oscar for Best Adapted Screenplay. The Philadelphia Story was remade in 1956 with a Cole Porter musical score as High Society.
+
+CREDITS:
+TM & © Warner Bros. (1940)
+Cast: Cary Grant, John Halliday, James Stewart, Katharine Hepburn
+Director: George Cukor
+Producer: Joseph L. Mankiewicz
+Screenwriters: Waldo Salt, Donald Ogden Stewart, Philip Barry
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1942/buRR_o85qhQ.description

@@ -0,0 +1,38 @@
+Casablanca movie clips: http://j.mp/1JbaWQQ
+BUY THE MOVIE: http://bit.ly/2cEuSGc
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Rick (Humphrey Bogart) makes plans to flee to Paris with Ilsa (Ingrid Bergman) but she is overcome with sadness and fear.
+
+FILM DESCRIPTION:
+One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII. Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick's cafà (C) has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick's great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick's true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she's renewed her love for Rick, she wants to stay behind in Casablanca. "You must do the thinking for both of us," she says to Rick. He does, and his plan brings the story to its satisfyingly logical, if not entirely happy, conclusion.
+
+CREDITS:
+TM & © Warner Bros. (1942)
+Cast: Humphrey Bogart, Dooley Wilson, Ingrid Bergman
+Director: Michael Curtiz
+Producers: Hal B. Wallis, Jack L. Warner
+Screenwriters: Joan Alison, Julius J. Epstein, Philip G. Epstein, Howard Koch, Casey Robinson
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1942/d9K2p6NtV40.en.srt

@@ -0,0 +1,445 @@
+1
+00:00:02,080 --> 00:00:07,830
+
+[Music]
+
+2
+00:00:07,830 --> 00:00:07,840
+
+ 
+
+3
+00:00:07,840 --> 00:00:10,470
+
+[Music]
+
+4
+00:00:10,470 --> 00:00:10,480
+[Music]
+ 
+
+5
+00:00:10,480 --> 00:00:12,430
+[Music]
+do you believe in
+
+6
+00:00:12,430 --> 00:00:12,440
+do you believe in
+ 
+
+7
+00:00:12,440 --> 00:00:16,390
+do you believe in
+immortality I don't
+
+8
+00:00:16,390 --> 00:00:16,400
+
+ 
+
+9
+00:00:16,400 --> 00:00:19,070
+
+know do you I want to believe that
+
+10
+00:00:19,070 --> 00:00:19,080
+know do you I want to believe that
+ 
+
+11
+00:00:19,080 --> 00:00:20,790
+know do you I want to believe that
+there's a chance for such happiness to
+
+12
+00:00:20,790 --> 00:00:20,800
+there's a chance for such happiness to
+ 
+
+13
+00:00:20,800 --> 00:00:24,189
+there's a chance for such happiness to
+be carried on somehow somewhere are you
+
+14
+00:00:24,189 --> 00:00:24,199
+be carried on somehow somewhere are you
+ 
+
+15
+00:00:24,199 --> 00:00:27,509
+be carried on somehow somewhere are you
+so happy then close to it getting warmer
+
+16
+00:00:27,509 --> 00:00:27,519
+so happy then close to it getting warmer
+ 
+
+17
+00:00:27,519 --> 00:00:29,550
+so happy then close to it getting warmer
+and warmer as we used to say as kids
+
+18
+00:00:29,550 --> 00:00:29,560
+and warmer as we used to say as kids
+ 
+
+19
+00:00:29,560 --> 00:00:30,710
+and warmer as we used to say as kids
+remember
+
+20
+00:00:30,710 --> 00:00:30,720
+remember
+ 
+
+21
+00:00:30,720 --> 00:00:32,510
+remember
+look out you'll get burned we used to
+
+22
+00:00:32,510 --> 00:00:32,520
+look out you'll get burned we used to
+ 
+
+23
+00:00:32,520 --> 00:00:34,950
+look out you'll get burned we used to
+say are you afraid of getting burned if
+
+24
+00:00:34,950 --> 00:00:34,960
+say are you afraid of getting burned if
+ 
+
+25
+00:00:34,960 --> 00:00:37,069
+say are you afraid of getting burned if
+you get too close to happiness mercy no
+
+26
+00:00:37,069 --> 00:00:37,079
+you get too close to happiness mercy no
+ 
+
+27
+00:00:37,079 --> 00:00:38,750
+you get too close to happiness mercy no
+I'm immune to happiness and therefore to
+
+28
+00:00:38,750 --> 00:00:38,760
+I'm immune to happiness and therefore to
+ 
+
+29
+00:00:38,760 --> 00:00:41,110
+I'm immune to happiness and therefore to
+Burns you Wen imun that night on the
+
+30
+00:00:41,110 --> 00:00:41,120
+Burns you Wen imun that night on the
+ 
+
+31
+00:00:41,120 --> 00:00:43,549
+Burns you Wen imun that night on the
+mountain do you call that
+
+32
+00:00:43,549 --> 00:00:43,559
+mountain do you call that
+ 
+
+33
+00:00:43,559 --> 00:00:46,590
+mountain do you call that
+happiness only a small part they're
+
+34
+00:00:46,590 --> 00:00:46,600
+happiness only a small part they're
+ 
+
+35
+00:00:46,600 --> 00:00:47,549
+happiness only a small part they're
+other
+
+36
+00:00:47,549 --> 00:00:47,559
+other
+ 
+
+37
+00:00:47,559 --> 00:00:52,349
+other
+kinds such as having fun together
+
+38
+00:00:52,349 --> 00:00:52,359
+kinds such as having fun together
+ 
+
+39
+00:00:52,359 --> 00:00:53,910
+kinds such as having fun together
+getting a kick out of simple little
+
+40
+00:00:53,910 --> 00:00:53,920
+getting a kick out of simple little
+ 
+
+41
+00:00:53,920 --> 00:00:57,670
+getting a kick out of simple little
+things out of beauty like this sharing
+
+42
+00:00:57,670 --> 00:00:57,680
+things out of beauty like this sharing
+ 
+
+43
+00:00:57,680 --> 00:00:58,910
+things out of beauty like this sharing
+confidences we wouldn't share with
+
+44
+00:00:58,910 --> 00:00:58,920
+confidences we wouldn't share with
+ 
+
+45
+00:00:58,920 --> 00:01:05,030
+confidences we wouldn't share with
+anybody else in all the world
+
+46
+00:01:05,030 --> 00:01:05,040
+
+ 
+
+47
+00:01:05,040 --> 00:01:07,070
+
+Charlotte won't you be honest and tell
+
+48
+00:01:07,070 --> 00:01:07,080
+Charlotte won't you be honest and tell
+ 
+
+49
+00:01:07,080 --> 00:01:09,270
+Charlotte won't you be honest and tell
+me that you are happy too since that
+
+50
+00:01:09,270 --> 00:01:09,280
+me that you are happy too since that
+ 
+
+51
+00:01:09,280 --> 00:01:10,550
+me that you are happy too since that
+night on the boat when you told me about
+
+52
+00:01:10,550 --> 00:01:10,560
+night on the boat when you told me about
+ 
+
+53
+00:01:10,560 --> 00:01:14,230
+night on the boat when you told me about
+your illness I I can't get you out of my
+
+54
+00:01:14,230 --> 00:01:14,240
+your illness I I can't get you out of my
+ 
+
+55
+00:01:14,240 --> 00:01:18,149
+your illness I I can't get you out of my
+mind not out of my heart
+
+56
+00:01:18,149 --> 00:01:18,159
+mind not out of my heart
+ 
+
+57
+00:01:18,159 --> 00:01:20,429
+mind not out of my heart
+either if I were
+
+58
+00:01:20,429 --> 00:01:20,439
+either if I were
+ 
+
+59
+00:01:20,439 --> 00:01:22,510
+either if I were
+free there would be only one thing I
+
+60
+00:01:22,510 --> 00:01:22,520
+free there would be only one thing I
+ 
+
+61
+00:01:22,520 --> 00:01:26,789
+free there would be only one thing I
+want to do prove you're not immune to
+
+62
+00:01:26,789 --> 00:01:26,799
+want to do prove you're not immune to
+ 
+
+63
+00:01:26,799 --> 00:01:28,789
+want to do prove you're not immune to
+happiness would you want me to prove it
+
+64
+00:01:28,789 --> 00:01:28,799
+happiness would you want me to prove it
+ 
+
+65
+00:01:28,799 --> 00:01:30,630
+happiness would you want me to prove it
+charlot
+
+66
+00:01:30,630 --> 00:01:30,640
+charlot
+ 
+
+67
+00:01:30,640 --> 00:01:31,710
+charlot
+tell me you
+
+68
+00:01:31,710 --> 00:01:31,720
+tell me you
+ 
+
+69
+00:01:31,720 --> 00:01:37,469
+tell me you
+would then I'll
+
+70
+00:01:37,469 --> 00:01:37,479
+
+ 
+
+71
+00:01:37,479 --> 00:01:43,469
+
+go my darling you are
+
+72
+00:01:43,469 --> 00:01:43,479
+
+ 
+
+73
+00:01:43,479 --> 00:01:46,270
+
+crying I'm such a
+
+74
+00:01:46,270 --> 00:01:46,280
+crying I'm such a
+ 
+
+75
+00:01:46,280 --> 00:01:50,149
+crying I'm such a
+fool such an old
+
+76
+00:01:50,149 --> 00:01:50,159
+fool such an old
+ 
+
+77
+00:01:50,159 --> 00:01:53,510
+fool such an old
+fool these are only tears of
+
+78
+00:01:53,510 --> 00:01:53,520
+fool these are only tears of
+ 
+
+79
+00:01:53,520 --> 00:01:56,630
+fool these are only tears of
+gratitude an Old Maid's gratitude for
+
+80
+00:01:56,630 --> 00:01:56,640
+gratitude an Old Maid's gratitude for
+ 
+
+81
+00:01:56,640 --> 00:01:59,990
+gratitude an Old Maid's gratitude for
+the crumbs offer don't talk like that
+
+82
+00:01:59,990 --> 00:02:00,000
+the crumbs offer don't talk like that
+ 
+
+83
+00:02:00,000 --> 00:02:04,480
+the crumbs offer don't talk like that
+you see no one ever call me
+
+84
+00:02:04,480 --> 00:02:04,490
+
+ 
+
+85
+00:02:04,490 --> 00:02:07,190
+
+[Music]
+
+86
+00:02:07,190 --> 00:02:07,200
+[Music]
+ 
+
+87
+00:02:07,200 --> 00:02:12,910
+[Music]
+darling let me go
+
+88
+00:02:12,910 --> 00:02:12,920
+
+ 
+
+89
+00:02:12,920 --> 00:02:44,669
+
+[Music]
+

1942/iYetsX9JdIU.en.srt

@@ -0,0 +1,525 @@
+1
+00:00:03,120 --> 00:00:04,710
+
+well it's as I said isn't it just
+
+2
+00:00:04,710 --> 00:00:04,720
+well it's as I said isn't it just
+ 
+
+3
+00:00:04,720 --> 00:00:07,070
+well it's as I said isn't it just
+nonsense she is most seriously
+
+4
+00:00:07,070 --> 00:00:07,080
+nonsense she is most seriously
+ 
+
+5
+00:00:07,080 --> 00:00:11,190
+nonsense she is most seriously
+ill Char it is thanks to you did you say
+
+6
+00:00:11,190 --> 00:00:11,200
+ill Char it is thanks to you did you say
+ 
+
+7
+00:00:11,200 --> 00:00:12,310
+ill Char it is thanks to you did you say
+My Dear Mrs veale if you had
+
+8
+00:00:12,310 --> 00:00:12,320
+My Dear Mrs veale if you had
+ 
+
+9
+00:00:12,320 --> 00:00:13,789
+My Dear Mrs veale if you had
+deliberately and maliciously planned to
+
+10
+00:00:13,789 --> 00:00:13,799
+deliberately and maliciously planned to
+ 
+
+11
+00:00:13,799 --> 00:00:14,950
+deliberately and maliciously planned to
+destroy your daughter's life you
+
+12
+00:00:14,950 --> 00:00:14,960
+destroy your daughter's life you
+ 
+
+13
+00:00:14,960 --> 00:00:16,830
+destroy your daughter's life you
+couldn't have done it more completely
+
+14
+00:00:16,830 --> 00:00:16,840
+couldn't have done it more completely
+ 
+
+15
+00:00:16,840 --> 00:00:18,790
+couldn't have done it more completely
+how are having exercised a mother's
+
+16
+00:00:18,790 --> 00:00:18,800
+how are having exercised a mother's
+ 
+
+17
+00:00:18,800 --> 00:00:21,390
+how are having exercised a mother's
+rights a mother's rights twaddle a child
+
+18
+00:00:21,390 --> 00:00:21,400
+rights a mother's rights twaddle a child
+ 
+
+19
+00:00:21,400 --> 00:00:24,310
+rights a mother's rights twaddle a child
+has rights a person has rights to
+
+20
+00:00:24,310 --> 00:00:24,320
+has rights a person has rights to
+ 
+
+21
+00:00:24,320 --> 00:00:25,589
+has rights a person has rights to
+discover her own mistakes to make her
+
+22
+00:00:25,589 --> 00:00:25,599
+discover her own mistakes to make her
+ 
+
+23
+00:00:25,599 --> 00:00:27,109
+discover her own mistakes to make her
+own way to grow and Blossom in her own
+
+24
+00:00:27,109 --> 00:00:27,119
+own way to grow and Blossom in her own
+ 
+
+25
+00:00:27,119 --> 00:00:29,310
+own way to grow and Blossom in her own
+particular soil are we getting into
+
+26
+00:00:29,310 --> 00:00:29,320
+particular soil are we getting into
+ 
+
+27
+00:00:29,320 --> 00:00:30,630
+particular soil are we getting into
+botany doct
+
+28
+00:00:30,630 --> 00:00:30,640
+botany doct
+ 
+
+29
+00:00:30,640 --> 00:00:32,630
+botany doct
+are we
+
+30
+00:00:32,630 --> 00:00:32,640
+are we
+ 
+
+31
+00:00:32,640 --> 00:00:36,590
+are we
+flowers hello William gloy William good
+
+32
+00:00:36,590 --> 00:00:36,600
+flowers hello William gloy William good
+ 
+
+33
+00:00:36,600 --> 00:00:38,750
+flowers hello William gloy William good
+afternoon you know I've been thinking
+
+34
+00:00:38,750 --> 00:00:38,760
+afternoon you know I've been thinking
+ 
+
+35
+00:00:38,760 --> 00:00:40,750
+afternoon you know I've been thinking
+you should get yourself a top piece one
+
+36
+00:00:40,750 --> 00:00:40,760
+you should get yourself a top piece one
+ 
+
+37
+00:00:40,760 --> 00:00:42,670
+you should get yourself a top piece one
+like Mrs Vincent Adams has put on her
+
+38
+00:00:42,670 --> 00:00:42,680
+like Mrs Vincent Adams has put on her
+ 
+
+39
+00:00:42,680 --> 00:00:45,389
+like Mrs Vincent Adams has put on her
+Charles it's a project worth considering
+
+40
+00:00:45,389 --> 00:00:45,399
+Charles it's a project worth considering
+ 
+
+41
+00:00:45,399 --> 00:00:47,709
+Charles it's a project worth considering
+I myself I've been worried black I think
+
+42
+00:00:47,709 --> 00:00:47,719
+I myself I've been worried black I think
+ 
+
+43
+00:00:47,719 --> 00:00:51,029
+I myself I've been worried black I think
+or uh well maybe red anyway we'll think
+
+44
+00:00:51,029 --> 00:00:51,039
+or uh well maybe red anyway we'll think
+ 
+
+45
+00:00:51,039 --> 00:00:53,069
+or uh well maybe red anyway we'll think
+about it oh hello Aunt
+
+46
+00:00:53,069 --> 00:00:53,079
+about it oh hello Aunt
+ 
+
+47
+00:00:53,079 --> 00:00:55,549
+about it oh hello Aunt
+Charlotte hello June you look ravishing
+
+48
+00:00:55,549 --> 00:00:55,559
+Charlotte hello June you look ravishing
+ 
+
+49
+00:00:55,559 --> 00:00:56,830
+Charlotte hello June you look ravishing
+new
+
+50
+00:00:56,830 --> 00:00:56,840
+new
+ 
+
+51
+00:00:56,840 --> 00:01:00,910
+new
+dress no June well any anyway it's
+
+52
+00:01:00,910 --> 00:01:00,920
+dress no June well any anyway it's
+ 
+
+53
+00:01:00,920 --> 00:01:02,950
+dress no June well any anyway it's
+devastating and Charlotte do you think
+
+54
+00:01:02,950 --> 00:01:02,960
+devastating and Charlotte do you think
+ 
+
+55
+00:01:02,960 --> 00:01:04,229
+devastating and Charlotte do you think
+even at our age we should wear our
+
+56
+00:01:04,229 --> 00:01:04,239
+even at our age we should wear our
+ 
+
+57
+00:01:04,239 --> 00:01:06,550
+even at our age we should wear our
+skirts so short June M your manners
+
+58
+00:01:06,550 --> 00:01:06,560
+skirts so short June M your manners
+ 
+
+59
+00:01:06,560 --> 00:01:08,550
+skirts so short June M your manners
+hello Grandma why you always late I'm
+
+60
+00:01:08,550 --> 00:01:08,560
+hello Grandma why you always late I'm
+ 
+
+61
+00:01:08,560 --> 00:01:10,950
+hello Grandma why you always late I'm
+sorry Charlotte Will you pour tea hello
+
+62
+00:01:10,950 --> 00:01:10,960
+sorry Charlotte Will you pour tea hello
+ 
+
+63
+00:01:10,960 --> 00:01:13,030
+sorry Charlotte Will you pour tea hello
+dear will you have tea with us tea I'm
+
+64
+00:01:13,030 --> 00:01:13,040
+dear will you have tea with us tea I'm
+ 
+
+65
+00:01:13,040 --> 00:01:16,230
+dear will you have tea with us tea I'm
+heading for cocktails later who's this
+
+66
+00:01:16,230 --> 00:01:16,240
+heading for cocktails later who's this
+ 
+
+67
+00:01:16,240 --> 00:01:19,149
+heading for cocktails later who's this
+this is Dr Jack with and I'm June you've
+
+68
+00:01:19,149 --> 00:01:19,159
+this is Dr Jack with and I'm June you've
+ 
+
+69
+00:01:19,159 --> 00:01:21,789
+this is Dr Jack with and I'm June you've
+heard about us June and December my
+
+70
+00:01:21,789 --> 00:01:21,799
+heard about us June and December my
+ 
+
+71
+00:01:21,799 --> 00:01:24,910
+heard about us June and December my
+infant what's
+
+72
+00:01:24,910 --> 00:01:24,920
+infant what's
+ 
+
+73
+00:01:24,920 --> 00:01:27,469
+infant what's
+that don't tell me Charlotte gave it to
+
+74
+00:01:27,469 --> 00:01:27,479
+that don't tell me Charlotte gave it to
+ 
+
+75
+00:01:27,479 --> 00:01:30,510
+that don't tell me Charlotte gave it to
+you June one of her own precious
+
+76
+00:01:30,510 --> 00:01:30,520
+you June one of her own precious
+ 
+
+77
+00:01:30,520 --> 00:01:33,149
+you June one of her own precious
+private why a Charlotte fess up a
+
+78
+00:01:33,149 --> 00:01:33,159
+private why a Charlotte fess up a
+ 
+
+79
+00:01:33,159 --> 00:01:35,030
+private why a Charlotte fess up a
+romance isn't this something to be
+
+80
+00:01:35,030 --> 00:01:35,040
+romance isn't this something to be
+ 
+
+81
+00:01:35,040 --> 00:01:37,270
+romance isn't this something to be
+discussed with the family Jude will you
+
+82
+00:01:37,270 --> 00:01:37,280
+discussed with the family Jude will you
+ 
+
+83
+00:01:37,280 --> 00:01:40,630
+discussed with the family Jude will you
+please what's this a hangover I believe
+
+84
+00:01:40,630 --> 00:01:40,640
+please what's this a hangover I believe
+ 
+
+85
+00:01:40,640 --> 00:01:44,149
+please what's this a hangover I believe
+it is and Charlotte's got the
+
+86
+00:01:44,149 --> 00:01:44,159
+it is and Charlotte's got the
+ 
+
+87
+00:01:44,159 --> 00:01:47,910
+it is and Charlotte's got the
+shakes God do me go on T to me you like
+
+88
+00:01:47,910 --> 00:01:47,920
+shakes God do me go on T to me you like
+ 
+
+89
+00:01:47,920 --> 00:01:49,389
+shakes God do me go on T to me you like
+making fun of me don't you you think
+
+90
+00:01:49,389 --> 00:01:49,399
+making fun of me don't you you think
+ 
+
+91
+00:01:49,399 --> 00:01:53,910
+making fun of me don't you you think
+it's fun making fun of me don't
+
+92
+00:01:53,910 --> 00:01:53,920
+
+ 
+
+93
+00:01:53,920 --> 00:01:57,270
+
+you nice work infant why didn't
+
+94
+00:01:57,270 --> 00:01:57,280
+you nice work infant why didn't
+ 
+
+95
+00:01:57,280 --> 00:02:00,429
+you nice work infant why didn't
+me we've always r that charot
+
+96
+00:02:00,429 --> 00:02:00,439
+me we've always r that charot
+ 
+
+97
+00:02:00,439 --> 00:02:03,469
+me we've always r that charot
+was just a game a nervous breakdown no
+
+98
+00:02:03,469 --> 00:02:03,479
+was just a game a nervous breakdown no
+ 
+
+99
+00:02:03,479 --> 00:02:05,149
+was just a game a nervous breakdown no
+member of the veil family has ever had a
+
+100
+00:02:05,149 --> 00:02:05,159
+member of the veil family has ever had a
+ 
+
+101
+00:02:05,159 --> 00:02:07,350
+member of the veil family has ever had a
+nervous breakdown well there's one
+
+102
+00:02:07,350 --> 00:02:07,360
+nervous breakdown well there's one
+ 
+
+103
+00:02:07,360 --> 00:02:09,909
+nervous breakdown well there's one
+having one now
+
+104
+00:02:09,909 --> 00:02:09,919
+having one now
+ 
+
+105
+00:02:09,919 --> 00:02:41,580
+having one now
+[Music]
+

1942/jDD8IQgUPEU.en.srt

@@ -0,0 +1,515 @@
+1
+00:00:00,160 --> 00:00:02,830
+
+George Amberson Miner the Major's one
+
+2
+00:00:02,830 --> 00:00:02,840
+George Amberson Miner the Major's one
+ 
+
+3
+00:00:02,840 --> 00:00:06,909
+George Amberson Miner the Major's one
+grandchild was a princely terror
+
+4
+00:00:06,909 --> 00:00:06,919
+grandchild was a princely terror
+ 
+
+5
+00:00:06,919 --> 00:00:10,110
+grandchild was a princely terror
+hey goly I guess you think you own this
+
+6
+00:00:10,110 --> 00:00:10,120
+hey goly I guess you think you own this
+ 
+
+7
+00:00:10,120 --> 00:00:13,350
+hey goly I guess you think you own this
+town there were people grown people they
+
+8
+00:00:13,350 --> 00:00:13,360
+town there were people grown people they
+ 
+
+9
+00:00:13,360 --> 00:00:16,150
+town there were people grown people they
+were who expressed themselves
+
+10
+00:00:16,150 --> 00:00:16,160
+were who expressed themselves
+ 
+
+11
+00:00:16,160 --> 00:00:18,790
+were who expressed themselves
+longingly they did hope to live to see
+
+12
+00:00:18,790 --> 00:00:18,800
+longingly they did hope to live to see
+ 
+
+13
+00:00:18,800 --> 00:00:21,390
+longingly they did hope to live to see
+the day they said when that boy would
+
+14
+00:00:21,390 --> 00:00:21,400
+the day they said when that boy would
+ 
+
+15
+00:00:21,400 --> 00:00:24,990
+the day they said when that boy would
+get his comeuppence his what his
+
+16
+00:00:24,990 --> 00:00:25,000
+get his comeuppence his what his
+ 
+
+17
+00:00:25,000 --> 00:00:27,390
+get his comeuppence his what his
+comeuppence something's bound to take
+
+18
+00:00:27,390 --> 00:00:27,400
+comeuppence something's bound to take
+ 
+
+19
+00:00:27,400 --> 00:00:30,790
+comeuppence something's bound to take
+him down someday I only want to be yeah
+
+20
+00:00:30,790 --> 00:00:30,800
+him down someday I only want to be yeah
+ 
+
+21
+00:00:30,800 --> 00:00:33,150
+him down someday I only want to be yeah
+and look at the girly curries look at
+
+22
+00:00:33,150 --> 00:00:33,160
+and look at the girly curries look at
+ 
+
+23
+00:00:33,160 --> 00:00:35,549
+and look at the girly curries look at
+the girly curries say Bob where' you
+
+24
+00:00:35,549 --> 00:00:35,559
+the girly curries say Bob where' you
+ 
+
+25
+00:00:35,559 --> 00:00:37,709
+the girly curries say Bob where' you
+steal your mother's all sash your sister
+
+26
+00:00:37,709 --> 00:00:37,719
+steal your mother's all sash your sister
+ 
+
+27
+00:00:37,719 --> 00:00:40,310
+steal your mother's all sash your sister
+stole it for me she stole it off her old
+
+28
+00:00:40,310 --> 00:00:40,320
+stole it for me she stole it off her old
+ 
+
+29
+00:00:40,320 --> 00:00:42,310
+stole it for me she stole it off her old
+clothes line and gave it to me you going
+
+30
+00:00:42,310 --> 00:00:42,320
+clothes line and gave it to me you going
+ 
+
+31
+00:00:42,320 --> 00:00:44,310
+clothes line and gave it to me you going
+to get your haircut yeah and I haven't
+
+32
+00:00:44,310 --> 00:00:44,320
+to get your haircut yeah and I haven't
+ 
+
+33
+00:00:44,320 --> 00:00:46,389
+to get your haircut yeah and I haven't
+got any sister yeah I know you haven't
+
+34
+00:00:46,389 --> 00:00:46,399
+got any sister yeah I know you haven't
+ 
+
+35
+00:00:46,399 --> 00:00:48,990
+got any sister yeah I know you haven't
+it home I mean the one that's in jail I
+
+36
+00:00:48,990 --> 00:00:49,000
+it home I mean the one that's in jail I
+ 
+
+37
+00:00:49,000 --> 00:00:51,069
+it home I mean the one that's in jail I
+dare you to get out of that Pony
+
+38
+00:00:51,069 --> 00:00:51,079
+dare you to get out of that Pony
+ 
+
+39
+00:00:51,079 --> 00:00:53,709
+dare you to get out of that Pony
+cart I dare you outside that gate dare
+
+40
+00:00:53,709 --> 00:00:53,719
+cart I dare you outside that gate dare
+ 
+
+41
+00:00:53,719 --> 00:00:56,869
+cart I dare you outside that gate dare
+you halfway here I dare you here I come
+
+42
+00:00:56,869 --> 00:00:56,879
+you halfway here I dare you here I come
+ 
+
+43
+00:00:56,879 --> 00:01:07,190
+you halfway here I dare you here I come
+you
+
+44
+00:01:07,190 --> 00:01:07,200
+
+ 
+
+45
+00:01:07,200 --> 00:01:16,830
+
+SC your own you
+
+46
+00:01:16,830 --> 00:01:16,840
+
+ 
+
+47
+00:01:16,840 --> 00:01:20,830
+
+big that'll be enough of that you stop
+
+48
+00:01:20,830 --> 00:01:20,840
+big that'll be enough of that you stop
+ 
+
+49
+00:01:20,840 --> 00:01:22,550
+big that'll be enough of that you stop
+that
+
+50
+00:01:22,550 --> 00:01:22,560
+that
+ 
+
+51
+00:01:22,560 --> 00:01:24,990
+that
+you I guess you don't know who I am yes
+
+52
+00:01:24,990 --> 00:01:25,000
+you I guess you don't know who I am yes
+ 
+
+53
+00:01:25,000 --> 00:01:26,870
+you I guess you don't know who I am yes
+I do and you're a disgrace to your
+
+54
+00:01:26,870 --> 00:01:26,880
+I do and you're a disgrace to your
+ 
+
+55
+00:01:26,880 --> 00:01:29,990
+I do and you're a disgrace to your
+mother you shut up about my mother she
+
+56
+00:01:29,990 --> 00:01:30,000
+mother you shut up about my mother she
+ 
+
+57
+00:01:30,000 --> 00:01:31,510
+mother you shut up about my mother she
+be ashamed that's little bad little boy
+
+58
+00:01:31,510 --> 00:01:31,520
+be ashamed that's little bad little boy
+ 
+
+59
+00:01:31,520 --> 00:01:33,710
+be ashamed that's little bad little boy
+like you pull down your V you Billy go
+
+60
+00:01:33,710 --> 00:01:33,720
+like you pull down your V you Billy go
+ 
+
+61
+00:01:33,720 --> 00:01:36,030
+like you pull down your V you Billy go
+you pull down your vest and wipe up your
+
+62
+00:01:36,030 --> 00:01:36,040
+you pull down your vest and wipe up your
+ 
+
+63
+00:01:36,040 --> 00:01:39,910
+you pull down your vest and wipe up your
+chin and and go what this was heard not
+
+64
+00:01:39,910 --> 00:01:39,920
+chin and and go what this was heard not
+ 
+
+65
+00:01:39,920 --> 00:01:43,069
+chin and and go what this was heard not
+only by myself but by my wife and the
+
+66
+00:01:43,069 --> 00:01:43,079
+only by myself but by my wife and the
+ 
+
+67
+00:01:43,079 --> 00:01:44,910
+only by myself but by my wife and the
+lady who lives next door he's an old
+
+68
+00:01:44,910 --> 00:01:44,920
+lady who lives next door he's an old
+ 
+
+69
+00:01:44,920 --> 00:01:48,030
+lady who lives next door he's an old
+liar Georgy you must say
+
+70
+00:01:48,030 --> 00:01:48,040
+liar Georgy you must say
+ 
+
+71
+00:01:48,040 --> 00:01:52,630
+liar Georgy you must say
+liar dear did you say what he says you
+
+72
+00:01:52,630 --> 00:01:52,640
+liar dear did you say what he says you
+ 
+
+73
+00:01:52,640 --> 00:01:55,910
+liar dear did you say what he says you
+did well Grandpa wouldn't wipe his shoe
+
+74
+00:01:55,910 --> 00:01:55,920
+did well Grandpa wouldn't wipe his shoe
+ 
+
+75
+00:01:55,920 --> 00:01:58,389
+did well Grandpa wouldn't wipe his shoe
+on that old St you must I mean none of
+
+76
+00:01:58,389 --> 00:01:58,399
+on that old St you must I mean none of
+ 
+
+77
+00:01:58,399 --> 00:02:00,310
+on that old St you must I mean none of
+us erson wouldn't have anything to do
+
+78
+00:02:00,310 --> 00:02:00,320
+us erson wouldn't have anything to do
+ 
+
+79
+00:02:00,320 --> 00:02:01,429
+us erson wouldn't have anything to do
+with him that's not what we're talking
+
+80
+00:02:01,429 --> 00:02:01,439
+with him that's not what we're talking
+ 
+
+81
+00:02:01,439 --> 00:02:03,429
+with him that's not what we're talking
+about bet if he wanted to see any of us
+
+82
+00:02:03,429 --> 00:02:03,439
+about bet if he wanted to see any of us
+ 
+
+83
+00:02:03,439 --> 00:02:07,190
+about bet if he wanted to see any of us
+he' have to go around to the side
+
+84
+00:02:07,190 --> 00:02:07,200
+
+ 
+
+85
+00:02:07,200 --> 00:02:09,630
+
+door from his letter he doesn't seem a
+
+86
+00:02:09,630 --> 00:02:09,640
+door from his letter he doesn't seem a
+ 
+
+87
+00:02:09,640 --> 00:02:12,710
+door from his letter he doesn't seem a
+very tactful person but he's just RI you
+
+88
+00:02:12,710 --> 00:02:12,720
+very tactful person but he's just RI you
+ 
+
+89
+00:02:12,720 --> 00:02:14,710
+very tactful person but he's just RI you
+mustn't say
+
+90
+00:02:14,710 --> 00:02:14,720
+mustn't say
+ 
+
+91
+00:02:14,720 --> 00:02:17,270
+mustn't say
+so and you must promise me never to use
+
+92
+00:02:17,270 --> 00:02:17,280
+so and you must promise me never to use
+ 
+
+93
+00:02:17,280 --> 00:02:22,150
+so and you must promise me never to use
+those bad words again I promise not
+
+94
+00:02:22,150 --> 00:02:22,160
+
+ 
+
+95
+00:02:22,160 --> 00:02:25,670
+
+to unless I get mad at
+
+96
+00:02:25,670 --> 00:02:25,680
+to unless I get mad at
+ 
+
+97
+00:02:25,680 --> 00:02:28,350
+to unless I get mad at
+somebody wa till they send him away to
+
+98
+00:02:28,350 --> 00:02:28,360
+somebody wa till they send him away to
+ 
+
+99
+00:02:28,360 --> 00:02:32,470
+somebody wa till they send him away to
+school then he get it they'll knock the
+
+100
+00:02:32,470 --> 00:02:32,480
+school then he get it they'll knock the
+ 
+
+101
+00:02:32,480 --> 00:02:39,180
+school then he get it they'll knock the
+stuffing out of him
+
+102
+00:02:39,180 --> 00:02:39,190
+
+ 
+
+103
+00:02:39,190 --> 00:02:45,120
+
+[Music]
+

1942/k_uINM_XI6I.description

@@ -0,0 +1,38 @@
+Casablanca movie clips: http://j.mp/1JbaWQQ
+BUY THE MOVIE: http://bit.ly/2cEuSGc
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Ilsa (Ingrid Bergman) pulls a gun on Rick (Humphrey Bogart) in an effort to get the travel papers, but ends up confessing her love for him.
+
+FILM DESCRIPTION:
+One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII. Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick's cafà (C) has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick's great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick's true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she's renewed her love for Rick, she wants to stay behind in Casablanca. "You must do the thinking for both of us," she says to Rick. He does, and his plan brings the story to its satisfyingly logical, if not entirely happy, conclusion.
+
+CREDITS:
+TM & © Warner Bros. (1942)
+Cast: Humphrey Bogart, Ingrid Bergman
+Director: Michael Curtiz
+Producers: Hal B. Wallis, Jack L. Warner
+Screenwriters: Joan Alison, Julius J. Epstein, Philip G. Epstein, Howard Koch, Casey Robinson
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
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+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
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+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
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+Tumblr: http://bit.ly/1vUwhH7

1942/k_uINM_XI6I.en.srt

@@ -0,0 +1,325 @@
+1
+00:00:00,080 --> 00:00:01,589
+
+with so much at stake all you can think
+
+2
+00:00:01,589 --> 00:00:01,599
+with so much at stake all you can think
+ 
+
+3
+00:00:01,599 --> 00:00:04,070
+with so much at stake all you can think
+of is your own feeling one woman has
+
+4
+00:00:04,070 --> 00:00:04,080
+of is your own feeling one woman has
+ 
+
+5
+00:00:04,080 --> 00:00:05,390
+of is your own feeling one woman has
+hurt you and you take your avenge on the
+
+6
+00:00:05,390 --> 00:00:05,400
+hurt you and you take your avenge on the
+ 
+
+7
+00:00:05,400 --> 00:00:08,509
+hurt you and you take your avenge on the
+rest of the world you're you're a coward
+
+8
+00:00:08,509 --> 00:00:08,519
+rest of the world you're you're a coward
+ 
+
+9
+00:00:08,519 --> 00:00:12,709
+rest of the world you're you're a coward
+and
+
+10
+00:00:12,709 --> 00:00:12,719
+
+ 
+
+11
+00:00:12,719 --> 00:00:16,750
+
+weakly no no Richard I'm
+
+12
+00:00:16,750 --> 00:00:16,760
+weakly no no Richard I'm
+ 
+
+13
+00:00:16,760 --> 00:00:20,070
+weakly no no Richard I'm
+sorry I'm sorry but but you you are our
+
+14
+00:00:20,070 --> 00:00:20,080
+sorry I'm sorry but but you you are our
+ 
+
+15
+00:00:20,080 --> 00:00:21,870
+sorry I'm sorry but but you you are our
+last hope if you don't help us Victor
+
+16
+00:00:21,870 --> 00:00:21,880
+last hope if you don't help us Victor
+ 
+
+17
+00:00:21,880 --> 00:00:24,830
+last hope if you don't help us Victor
+ller will die in Casablanca what up it
+
+18
+00:00:24,830 --> 00:00:24,840
+ller will die in Casablanca what up it
+ 
+
+19
+00:00:24,840 --> 00:00:26,470
+ller will die in Casablanca what up it
+I'm going to die in C A blankets a good
+
+20
+00:00:26,470 --> 00:00:26,480
+I'm going to die in C A blankets a good
+ 
+
+21
+00:00:26,480 --> 00:00:34,389
+I'm going to die in C A blankets a good
+spot for it
+
+22
+00:00:34,389 --> 00:00:34,399
+
+ 
+
+23
+00:00:34,399 --> 00:00:37,630
+
+now if
+
+24
+00:00:37,630 --> 00:00:37,640
+
+ 
+
+25
+00:00:37,640 --> 00:00:42,389
+
+you all right I tried to reason with you
+
+26
+00:00:42,389 --> 00:00:42,399
+you all right I tried to reason with you
+ 
+
+27
+00:00:42,399 --> 00:00:43,830
+you all right I tried to reason with you
+I tried everything now I want those
+
+28
+00:00:43,830 --> 00:00:43,840
+I tried everything now I want those
+ 
+
+29
+00:00:43,840 --> 00:00:46,790
+I tried everything now I want those
+letters get them for me I don't have to
+
+30
+00:00:46,790 --> 00:00:46,800
+letters get them for me I don't have to
+ 
+
+31
+00:00:46,800 --> 00:00:48,750
+letters get them for me I don't have to
+I got them right
+
+32
+00:00:48,750 --> 00:00:48,760
+I got them right
+ 
+
+33
+00:00:48,760 --> 00:00:52,470
+I got them right
+here put them on the
+
+34
+00:00:52,470 --> 00:00:52,480
+
+ 
+
+35
+00:00:52,480 --> 00:00:54,389
+
+table
+
+36
+00:00:54,389 --> 00:00:54,399
+table
+ 
+
+37
+00:00:54,399 --> 00:00:57,910
+table
+no for the last time put them on the
+
+38
+00:00:57,910 --> 00:00:57,920
+no for the last time put them on the
+ 
+
+39
+00:00:57,920 --> 00:01:00,869
+no for the last time put them on the
+table if llo on the yours mean so much
+
+40
+00:01:00,869 --> 00:01:00,879
+table if llo on the yours mean so much
+ 
+
+41
+00:01:00,879 --> 00:01:03,270
+table if llo on the yours mean so much
+to you you won't stop at
+
+42
+00:01:03,270 --> 00:01:03,280
+to you you won't stop at
+ 
+
+43
+00:01:03,280 --> 00:01:05,509
+to you you won't stop at
+anything all right I'll make it easier
+
+44
+00:01:05,509 --> 00:01:05,519
+anything all right I'll make it easier
+ 
+
+45
+00:01:05,519 --> 00:01:07,749
+anything all right I'll make it easier
+for
+
+46
+00:01:07,749 --> 00:01:07,759
+
+ 
+
+47
+00:01:07,759 --> 00:01:10,550
+
+you go ahead and shoot you'll be doing
+
+48
+00:01:10,550 --> 00:01:10,560
+you go ahead and shoot you'll be doing
+ 
+
+49
+00:01:10,560 --> 00:01:16,350
+you go ahead and shoot you'll be doing
+me a
+
+50
+00:01:16,350 --> 00:01:16,360
+
+ 
+
+51
+00:01:16,360 --> 00:01:18,469
+
+favor
+
+52
+00:01:18,469 --> 00:01:18,479
+favor
+ 
+
+53
+00:01:18,479 --> 00:01:21,030
+favor
+Richard I tried to stay
+
+54
+00:01:21,030 --> 00:01:21,040
+Richard I tried to stay
+ 
+
+55
+00:01:21,040 --> 00:01:24,950
+Richard I tried to stay
+away I thought I would never see you
+
+56
+00:01:24,950 --> 00:01:24,960
+away I thought I would never see you
+ 
+
+57
+00:01:24,960 --> 00:01:48,749
+away I thought I would never see you
+again that you're out of my life
+
+58
+00:01:48,749 --> 00:01:48,759
+
+ 
+
+59
+00:01:48,759 --> 00:01:51,389
+
+the day you left
+
+60
+00:01:51,389 --> 00:01:51,399
+the day you left
+ 
+
+61
+00:01:51,399 --> 00:01:54,709
+the day you left
+Paris if you knew what I went
+
+62
+00:01:54,709 --> 00:01:54,719
+Paris if you knew what I went
+ 
+
+63
+00:01:54,719 --> 00:01:58,550
+Paris if you knew what I went
+through if you knew how much I loved
+
+64
+00:01:58,550 --> 00:01:58,560
+through if you knew how much I loved
+ 
+
+65
+00:01:58,560 --> 00:02:04,079
+through if you knew how much I loved
+you how much I still love you
+

1942/lz98akbX_NE.description

@@ -0,0 +1,36 @@
+Cat People - Pool of Terror: Alice Moore (Jane Randolph) is stalked by an animal while swimming in her apartment building's pool.
+BUY THE MOVIE: https://www.fandangonow.com/details/movie/cat-people-1942/1MV2000ce07418a9cfbd68ee72968567098?cmp=Movieclips_YT_Description
+
+Watch the best Cat People scenes & clips:
+https://www.youtube.com/playlist?list=PLZbXA4lyCtqrGvzfxp1Yqspfn5HS7KVFb
+
+FILM DESCRIPTION:
+Irena Dubrovna (Simone Simon), a New York City--based fashion designer who hails from Serbia, begins a romance with marine engineer Oliver Reed (Kent Smith). After the couple gets married, Oliver becomes concerned about Irena's notion that she is cursed and may transform into a large cat in the heat of passion. Confiding in his beautiful assistant, Alice Moore (Jane Randolph), about his marital issues, Oliver unwittingly triggers Irena's curse, with tragic results.
+
+CREDITS:
+TM & © Warner Bros. (1942)
+Cast: Jane Randolph, Simone Simon
+Director: Jacques Tourneur
+Producer: Val Lewton
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
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+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
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+Twitter: http://bit.ly/1ghOWmt
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+Tumblr: http://bit.ly/1vUwhH7

1942/mK10Ze-mcQo.description

@@ -0,0 +1,38 @@
+Casablanca movie clips: http://j.mp/1JbaWQQ
+BUY THE MOVIE: http://bit.ly/2cEuSGc
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Ilsa (Ingrid Bergman) tries to explain the past to Rick (Humphrey Bogart), but she has secrets to hide and he is still too heartbroken to listen.
+
+FILM DESCRIPTION:
+One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII. Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick's cafà (C) has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick's great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick's true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she's renewed her love for Rick, she wants to stay behind in Casablanca. "You must do the thinking for both of us," she says to Rick. He does, and his plan brings the story to its satisfyingly logical, if not entirely happy, conclusion.
+
+CREDITS:
+TM & © Warner Bros. (1942)
+Cast: Humphrey Bogart, Ingrid Bergman
+Director: Michael Curtiz
+Producers: Hal B. Wallis, Jack L. Warner
+Screenwriters: Joan Alison, Julius J. Epstein, Philip G. Epstein, Howard Koch, Casey Robinson
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
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+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
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+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
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+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1942/mK10Ze-mcQo.en.srt

@@ -0,0 +1,505 @@
+1
+00:00:00,080 --> 00:00:02,709
+
+no Rick not tonight especially
+
+2
+00:00:02,709 --> 00:00:02,719
+no Rick not tonight especially
+ 
+
+3
+00:00:02,719 --> 00:00:04,710
+no Rick not tonight especially
+tonight why did you have to come to
+
+4
+00:00:04,710 --> 00:00:04,720
+tonight why did you have to come to
+ 
+
+5
+00:00:04,720 --> 00:00:07,550
+tonight why did you have to come to
+cassablanca there are other places I
+
+6
+00:00:07,550 --> 00:00:07,560
+cassablanca there are other places I
+ 
+
+7
+00:00:07,560 --> 00:00:08,790
+cassablanca there are other places I
+wouldn't have come if I know that you
+
+8
+00:00:08,790 --> 00:00:08,800
+wouldn't have come if I know that you
+ 
+
+9
+00:00:08,800 --> 00:00:11,789
+wouldn't have come if I know that you
+were here believe me Rick it's true I
+
+10
+00:00:11,789 --> 00:00:11,799
+were here believe me Rick it's true I
+ 
+
+11
+00:00:11,799 --> 00:00:13,390
+were here believe me Rick it's true I
+didn't know it's funny about your voice
+
+12
+00:00:13,390 --> 00:00:13,400
+didn't know it's funny about your voice
+ 
+
+13
+00:00:13,400 --> 00:00:15,350
+didn't know it's funny about your voice
+how it hasn't changed I can still hear
+
+14
+00:00:15,350 --> 00:00:15,360
+how it hasn't changed I can still hear
+ 
+
+15
+00:00:15,360 --> 00:00:18,029
+how it hasn't changed I can still hear
+it Richard dear I'll go with you any
+
+16
+00:00:18,029 --> 00:00:18,039
+it Richard dear I'll go with you any
+ 
+
+17
+00:00:18,039 --> 00:00:20,230
+it Richard dear I'll go with you any
+place we'll get on a train together and
+
+18
+00:00:20,230 --> 00:00:20,240
+place we'll get on a train together and
+ 
+
+19
+00:00:20,240 --> 00:00:21,990
+place we'll get on a train together and
+never stop don't
+
+20
+00:00:21,990 --> 00:00:22,000
+never stop don't
+ 
+
+21
+00:00:22,000 --> 00:00:25,710
+never stop don't
+Rick I can understand how you feel huh
+
+22
+00:00:25,710 --> 00:00:25,720
+Rick I can understand how you feel huh
+ 
+
+23
+00:00:25,720 --> 00:00:27,589
+Rick I can understand how you feel huh
+you understand how I
+
+24
+00:00:27,589 --> 00:00:27,599
+you understand how I
+ 
+
+25
+00:00:27,599 --> 00:00:31,230
+you understand how I
+feel how long was it we had honey
+
+26
+00:00:31,230 --> 00:00:31,240
+feel how long was it we had honey
+ 
+
+27
+00:00:31,240 --> 00:00:34,270
+feel how long was it we had honey
+I didn't count the days well I did every
+
+28
+00:00:34,270 --> 00:00:34,280
+I didn't count the days well I did every
+ 
+
+29
+00:00:34,280 --> 00:00:37,790
+I didn't count the days well I did every
+one of them mostly I remember the last
+
+30
+00:00:37,790 --> 00:00:37,800
+one of them mostly I remember the last
+ 
+
+31
+00:00:37,800 --> 00:00:40,950
+one of them mostly I remember the last
+one a while finish a guy standing on a
+
+32
+00:00:40,950 --> 00:00:40,960
+one a while finish a guy standing on a
+ 
+
+33
+00:00:40,960 --> 00:00:43,029
+one a while finish a guy standing on a
+station platform in the rain with a
+
+34
+00:00:43,029 --> 00:00:43,039
+station platform in the rain with a
+ 
+
+35
+00:00:43,039 --> 00:00:44,750
+station platform in the rain with a
+comical look in his face because his
+
+36
+00:00:44,750 --> 00:00:44,760
+comical look in his face because his
+ 
+
+37
+00:00:44,760 --> 00:00:47,790
+comical look in his face because his
+insides have been kicked
+
+38
+00:00:47,790 --> 00:00:47,800
+insides have been kicked
+ 
+
+39
+00:00:47,800 --> 00:00:51,310
+insides have been kicked
+out can I tell you a story Rick it got a
+
+40
+00:00:51,310 --> 00:00:51,320
+out can I tell you a story Rick it got a
+ 
+
+41
+00:00:51,320 --> 00:00:52,670
+out can I tell you a story Rick it got a
+while
+
+42
+00:00:52,670 --> 00:00:52,680
+while
+ 
+
+43
+00:00:52,680 --> 00:00:56,349
+while
+finish I don't know the finish yet go on
+
+44
+00:00:56,349 --> 00:00:56,359
+finish I don't know the finish yet go on
+ 
+
+45
+00:00:56,359 --> 00:00:57,950
+finish I don't know the finish yet go on
+and tell us maybe when it'll come to you
+
+46
+00:00:57,950 --> 00:00:57,960
+and tell us maybe when it'll come to you
+ 
+
+47
+00:00:57,960 --> 00:01:01,869
+and tell us maybe when it'll come to you
+as you go along
+
+48
+00:01:01,869 --> 00:01:01,879
+
+ 
+
+49
+00:01:01,879 --> 00:01:03,590
+
+it's about a girl who had just come to
+
+50
+00:01:03,590 --> 00:01:03,600
+it's about a girl who had just come to
+ 
+
+51
+00:01:03,600 --> 00:01:06,350
+it's about a girl who had just come to
+Paris from her home in Oso at the house
+
+52
+00:01:06,350 --> 00:01:06,360
+Paris from her home in Oso at the house
+ 
+
+53
+00:01:06,360 --> 00:01:09,070
+Paris from her home in Oso at the house
+of some friends she met a man about whom
+
+54
+00:01:09,070 --> 00:01:09,080
+of some friends she met a man about whom
+ 
+
+55
+00:01:09,080 --> 00:01:11,190
+of some friends she met a man about whom
+she had heard her whole life a very
+
+56
+00:01:11,190 --> 00:01:11,200
+she had heard her whole life a very
+ 
+
+57
+00:01:11,200 --> 00:01:13,350
+she had heard her whole life a very
+great and courageous
+
+58
+00:01:13,350 --> 00:01:13,360
+great and courageous
+ 
+
+59
+00:01:13,360 --> 00:01:15,630
+great and courageous
+man he opened up for her a whole
+
+60
+00:01:15,630 --> 00:01:15,640
+man he opened up for her a whole
+ 
+
+61
+00:01:15,640 --> 00:01:17,830
+man he opened up for her a whole
+beautiful world full of knowledge and
+
+62
+00:01:17,830 --> 00:01:17,840
+beautiful world full of knowledge and
+ 
+
+63
+00:01:17,840 --> 00:01:20,830
+beautiful world full of knowledge and
+thoughts and ideals everything she knew
+
+64
+00:01:20,830 --> 00:01:20,840
+thoughts and ideals everything she knew
+ 
+
+65
+00:01:20,840 --> 00:01:22,950
+thoughts and ideals everything she knew
+or ever became was because of
+
+66
+00:01:22,950 --> 00:01:22,960
+or ever became was because of
+ 
+
+67
+00:01:22,960 --> 00:01:26,069
+or ever became was because of
+him and she looked up to him and
+
+68
+00:01:26,069 --> 00:01:26,079
+him and she looked up to him and
+ 
+
+69
+00:01:26,079 --> 00:01:28,550
+him and she looked up to him and
+worshiped him with a feeling she
+
+70
+00:01:28,550 --> 00:01:28,560
+worshiped him with a feeling she
+ 
+
+71
+00:01:28,560 --> 00:01:30,670
+worshiped him with a feeling she
+supposed was love
+
+72
+00:01:30,670 --> 00:01:30,680
+supposed was love
+ 
+
+73
+00:01:30,680 --> 00:01:33,670
+supposed was love
+yes it's very pretty I heard a story
+
+74
+00:01:33,670 --> 00:01:33,680
+yes it's very pretty I heard a story
+ 
+
+75
+00:01:33,680 --> 00:01:35,030
+yes it's very pretty I heard a story
+once as a matter of fact I've heard a
+
+76
+00:01:35,030 --> 00:01:35,040
+once as a matter of fact I've heard a
+ 
+
+77
+00:01:35,040 --> 00:01:36,749
+once as a matter of fact I've heard a
+lot of stories in my time they went
+
+78
+00:01:36,749 --> 00:01:36,759
+lot of stories in my time they went
+ 
+
+79
+00:01:36,759 --> 00:01:39,429
+lot of stories in my time they went
+along with the sound of a tiny piano
+
+80
+00:01:39,429 --> 00:01:39,439
+along with the sound of a tiny piano
+ 
+
+81
+00:01:39,439 --> 00:01:41,469
+along with the sound of a tiny piano
+playing in The Parlor
+
+82
+00:01:41,469 --> 00:01:41,479
+playing in The Parlor
+ 
+
+83
+00:01:41,479 --> 00:01:44,630
+playing in The Parlor
+downstairs Mr I met a man once when I
+
+84
+00:01:44,630 --> 00:01:44,640
+downstairs Mr I met a man once when I
+ 
+
+85
+00:01:44,640 --> 00:01:46,900
+downstairs Mr I met a man once when I
+was a kid it always
+
+86
+00:01:46,900 --> 00:01:46,910
+was a kid it always
+ 
+
+87
+00:01:46,910 --> 00:01:49,069
+was a kid it always
+[Music]
+
+88
+00:01:49,069 --> 00:01:49,079
+[Music]
+ 
+
+89
+00:01:49,079 --> 00:01:51,630
+[Music]
+begin I guess neither one of our stories
+
+90
+00:01:51,630 --> 00:01:51,640
+begin I guess neither one of our stories
+ 
+
+91
+00:01:51,640 --> 00:01:52,910
+begin I guess neither one of our stories
+is very
+
+92
+00:01:52,910 --> 00:01:52,920
+is very
+ 
+
+93
+00:01:52,920 --> 00:01:54,709
+is very
+funny tell
+
+94
+00:01:54,709 --> 00:01:54,719
+funny tell
+ 
+
+95
+00:01:54,719 --> 00:01:59,029
+funny tell
+me who was it you left me for was it llo
+
+96
+00:01:59,029 --> 00:01:59,039
+me who was it you left me for was it llo
+ 
+
+97
+00:01:59,039 --> 00:02:01,510
+me who was it you left me for was it llo
+or were there others in between or
+
+98
+00:02:01,510 --> 00:02:01,520
+or were there others in between or
+ 
+
+99
+00:02:01,520 --> 00:02:10,779
+or were there others in between or
+aren't you the kind that tells
+
+100
+00:02:10,779 --> 00:02:10,789
+
+ 
+
+101
+00:02:10,789 --> 00:02:44,490
+
+[Music]
+

1942/nDKhoXEpIq8.en.srt

@@ -0,0 +1,465 @@
+1
+00:00:00,240 --> 00:00:03,439
+
+what are you doing in this room I'm
+
+2
+00:00:03,439 --> 00:00:03,449
+what are you doing in this room I'm
+ 
+
+3
+00:00:03,449 --> 00:00:08,960
+what are you doing in this room I'm
+going to sleep here we go yes didn't you
+
+4
+00:00:08,960 --> 00:00:08,970
+going to sleep here we go yes didn't you
+ 
+
+5
+00:00:08,970 --> 00:00:10,850
+going to sleep here we go yes didn't you
+understand I wish someone to sleep on
+
+6
+00:00:10,850 --> 00:00:10,860
+understand I wish someone to sleep on
+ 
+
+7
+00:00:10,860 --> 00:00:13,160
+understand I wish someone to sleep on
+the same floor with me we can get one of
+
+8
+00:00:13,160 --> 00:00:13,170
+the same floor with me we can get one of
+ 
+
+9
+00:00:13,170 --> 00:00:14,990
+the same floor with me we can get one of
+the maids mother perhaps we can get the
+
+10
+00:00:14,990 --> 00:00:15,000
+the maids mother perhaps we can get the
+ 
+
+11
+00:00:15,000 --> 00:00:17,990
+the maids mother perhaps we can get the
+nurse back we so long as I pay the bills
+
+12
+00:00:17,990 --> 00:00:18,000
+nurse back we so long as I pay the bills
+ 
+
+13
+00:00:18,000 --> 00:00:20,390
+nurse back we so long as I pay the bills
+I'm running this house please remember
+
+14
+00:00:20,390 --> 00:00:20,400
+I'm running this house please remember
+ 
+
+15
+00:00:20,400 --> 00:00:23,300
+I'm running this house please remember
+your guest Charlotte well if I am one
+
+16
+00:00:23,300 --> 00:00:23,310
+your guest Charlotte well if I am one
+ 
+
+17
+00:00:23,310 --> 00:00:24,890
+your guest Charlotte well if I am one
+then please treat me like one mother
+
+18
+00:00:24,890 --> 00:00:24,900
+then please treat me like one mother
+ 
+
+19
+00:00:24,900 --> 00:00:27,670
+then please treat me like one mother
+your guest prefers to sleep in this room
+
+20
+00:00:27,670 --> 00:00:27,680
+your guest prefers to sleep in this room
+ 
+
+21
+00:00:27,680 --> 00:00:30,859
+your guest prefers to sleep in this room
+if you don't mind this is no time for
+
+22
+00:00:30,859 --> 00:00:30,869
+if you don't mind this is no time for
+ 
+
+23
+00:00:30,869 --> 00:00:33,709
+if you don't mind this is no time for
+humor it so happens I do mind where did
+
+24
+00:00:33,709 --> 00:00:33,719
+humor it so happens I do mind where did
+ 
+
+25
+00:00:33,719 --> 00:00:36,350
+humor it so happens I do mind where did
+these flowers come from from New York
+
+26
+00:00:36,350 --> 00:00:36,360
+these flowers come from from New York
+ 
+
+27
+00:00:36,360 --> 00:00:39,319
+these flowers come from from New York
+who sent them I forgotten the name of
+
+28
+00:00:39,319 --> 00:00:39,329
+who sent them I forgotten the name of
+ 
+
+29
+00:00:39,329 --> 00:00:42,440
+who sent them I forgotten the name of
+the florist I think it's on the box I've
+
+30
+00:00:42,440 --> 00:00:42,450
+the florist I think it's on the box I've
+ 
+
+31
+00:00:42,450 --> 00:00:44,720
+the florist I think it's on the box I've
+seen it I had the box brought to me
+
+32
+00:00:44,720 --> 00:00:44,730
+seen it I had the box brought to me
+ 
+
+33
+00:00:44,730 --> 00:00:46,520
+seen it I had the box brought to me
+first you know perfectly well what I
+
+34
+00:00:46,520 --> 00:00:46,530
+first you know perfectly well what I
+ 
+
+35
+00:00:46,530 --> 00:00:49,180
+first you know perfectly well what I
+mean what person was sent the flowers
+
+36
+00:00:49,180 --> 00:00:49,190
+mean what person was sent the flowers
+ 
+
+37
+00:00:49,190 --> 00:00:53,060
+mean what person was sent the flowers
+there wasn't any card in other words you
+
+38
+00:00:53,060 --> 00:00:53,070
+there wasn't any card in other words you
+ 
+
+39
+00:00:53,070 --> 00:00:56,869
+there wasn't any card in other words you
+don't intend to tell me mother I don't
+
+40
+00:00:56,869 --> 00:00:56,879
+don't intend to tell me mother I don't
+ 
+
+41
+00:00:56,879 --> 00:01:00,020
+don't intend to tell me mother I don't
+want to be disagreeable or unkind I've
+
+42
+00:01:00,020 --> 00:01:00,030
+want to be disagreeable or unkind I've
+ 
+
+43
+00:01:00,030 --> 00:01:01,729
+want to be disagreeable or unkind I've
+come home to live with you again here in
+
+44
+00:01:01,729 --> 00:01:01,739
+come home to live with you again here in
+ 
+
+45
+00:01:01,739 --> 00:01:04,219
+come home to live with you again here in
+the same house but it can't be in the
+
+46
+00:01:04,219 --> 00:01:04,229
+the same house but it can't be in the
+ 
+
+47
+00:01:04,229 --> 00:01:06,590
+the same house but it can't be in the
+same way I've been living my own life
+
+48
+00:01:06,590 --> 00:01:06,600
+same way I've been living my own life
+ 
+
+49
+00:01:06,600 --> 00:01:09,230
+same way I've been living my own life
+making my own decisions for a long while
+
+50
+00:01:09,230 --> 00:01:09,240
+making my own decisions for a long while
+ 
+
+51
+00:01:09,240 --> 00:01:11,990
+making my own decisions for a long while
+now it's impossible to go back to being
+
+52
+00:01:11,990 --> 00:01:12,000
+now it's impossible to go back to being
+ 
+
+53
+00:01:12,000 --> 00:01:14,810
+now it's impossible to go back to being
+treated like a child again I don't think
+
+54
+00:01:14,810 --> 00:01:14,820
+treated like a child again I don't think
+ 
+
+55
+00:01:14,820 --> 00:01:16,999
+treated like a child again I don't think
+I'll do anything of importance that will
+
+56
+00:01:16,999 --> 00:01:17,009
+I'll do anything of importance that will
+ 
+
+57
+00:01:17,009 --> 00:01:17,990
+I'll do anything of importance that will
+displease you
+
+58
+00:01:17,990 --> 00:01:18,000
+displease you
+ 
+
+59
+00:01:18,000 --> 00:01:20,800
+displease you
+but mother from now on you must give me
+
+60
+00:01:20,800 --> 00:01:20,810
+but mother from now on you must give me
+ 
+
+61
+00:01:20,810 --> 00:01:24,590
+but mother from now on you must give me
+complete freedom including deciding what
+
+62
+00:01:24,590 --> 00:01:24,600
+complete freedom including deciding what
+ 
+
+63
+00:01:24,600 --> 00:01:28,100
+complete freedom including deciding what
+I wear where I sleep what I read where
+
+64
+00:01:28,100 --> 00:01:28,110
+I wear where I sleep what I read where
+ 
+
+65
+00:01:28,110 --> 00:01:30,649
+I wear where I sleep what I read where
+did you get that dress at least and I
+
+66
+00:01:30,649 --> 00:01:30,659
+did you get that dress at least and I
+ 
+
+67
+00:01:30,659 --> 00:01:32,450
+did you get that dress at least and I
+bought it in New York today it's
+
+68
+00:01:32,450 --> 00:01:32,460
+bought it in New York today it's
+ 
+
+69
+00:01:32,460 --> 00:01:34,149
+bought it in New York today it's
+outrageous
+
+70
+00:01:34,149 --> 00:01:34,159
+outrageous
+ 
+
+71
+00:01:34,159 --> 00:01:36,490
+outrageous
+where's the black and white blood I gave
+
+72
+00:01:36,490 --> 00:01:36,500
+where's the black and white blood I gave
+ 
+
+73
+00:01:36,500 --> 00:01:40,410
+where's the black and white blood I gave
+it to mr. till she was so grateful
+
+74
+00:01:40,410 --> 00:01:40,420
+
+ 
+
+75
+00:01:40,420 --> 00:01:45,300
+
+please be fair I don't meet me halfway
+
+76
+00:01:45,300 --> 00:01:45,310
+
+ 
+
+77
+00:01:45,310 --> 00:01:47,620
+
+they told me before you were born that
+
+78
+00:01:47,620 --> 00:01:47,630
+they told me before you were born that
+ 
+
+79
+00:01:47,630 --> 00:01:49,510
+they told me before you were born that
+my recompense for having a late child
+
+80
+00:01:49,510 --> 00:01:49,520
+my recompense for having a late child
+ 
+
+81
+00:01:49,520 --> 00:01:51,280
+my recompense for having a late child
+who's become for the child would be to
+
+82
+00:01:51,280 --> 00:01:51,290
+who's become for the child would be to
+ 
+
+83
+00:01:51,290 --> 00:01:55,210
+who's become for the child would be to
+be my own age especially to travail and
+
+84
+00:01:55,210 --> 00:01:55,220
+be my own age especially to travail and
+ 
+
+85
+00:01:55,220 --> 00:01:57,070
+be my own age especially to travail and
+on your first day home after six months
+
+86
+00:01:57,070 --> 00:01:57,080
+on your first day home after six months
+ 
+
+87
+00:01:57,080 --> 00:02:01,970
+on your first day home after six months
+absence you'll behave like this
+
+88
+00:02:01,970 --> 00:02:01,980
+
+ 
+
+89
+00:02:01,980 --> 00:02:03,830
+
+mother wait for me and I'll go down with
+
+90
+00:02:03,830 --> 00:02:03,840
+mother wait for me and I'll go down with
+ 
+
+91
+00:02:03,840 --> 00:02:10,890
+mother wait for me and I'll go down with
+you
+
+92
+00:02:10,890 --> 00:02:10,900
+
+ 
+
+93
+00:02:10,900 --> 00:02:42,659
+
+[Music]
+

1942/pE0vTejjWuk.description

@@ -0,0 +1,36 @@
+Cat People - Instrument of Death: Irena (Simone Simon) runs into Dr. Judd (Tom Conway) at the zoo.
+BUY THE MOVIE: https://www.fandangonow.com/details/movie/cat-people-1942/1MV2000ce07418a9cfbd68ee72968567098?cmp=Movieclips_YT_Description
+
+Watch the best Cat People scenes & clips:
+https://www.youtube.com/playlist?list=PLZbXA4lyCtqrGvzfxp1Yqspfn5HS7KVFb
+
+FILM DESCRIPTION:
+Irena Dubrovna (Simone Simon), a New York City--based fashion designer who hails from Serbia, begins a romance with marine engineer Oliver Reed (Kent Smith). After the couple gets married, Oliver becomes concerned about Irena's notion that she is cursed and may transform into a large cat in the heat of passion. Confiding in his beautiful assistant, Alice Moore (Jane Randolph), about his marital issues, Oliver unwittingly triggers Irena's curse, with tragic results.
+
+CREDITS:
+TM & © Warner Bros. (1942)
+Cast: Simone Simon, Tom Conway
+Director: Jacques Tourneur
+Producer: Val Lewton
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
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+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1942/pE0vTejjWuk.en.srt

@@ -0,0 +1,245 @@
+1
+00:00:02,210 --> 00:00:28,000
+
+[Music]
+
+2
+00:00:28,000 --> 00:00:28,010
+
+ 
+
+3
+00:00:28,010 --> 00:00:30,800
+
+I'm always forgetting it ain't no worry
+
+4
+00:00:30,800 --> 00:00:30,810
+I'm always forgetting it ain't no worry
+ 
+
+5
+00:00:30,810 --> 00:00:32,630
+I'm always forgetting it ain't no worry
+in it nobody want to steal one of them
+
+6
+00:00:32,630 --> 00:00:32,640
+in it nobody want to steal one of them
+ 
+
+7
+00:00:32,640 --> 00:00:44,139
+in it nobody want to steal one of them
+critters you resist temptation admirably
+
+8
+00:00:44,139 --> 00:00:44,149
+critters you resist temptation admirably
+ 
+
+9
+00:00:44,149 --> 00:00:48,139
+critters you resist temptation admirably
+temptation the year key oh why would I
+
+10
+00:00:48,139 --> 00:00:48,149
+temptation the year key oh why would I
+ 
+
+11
+00:00:48,149 --> 00:00:51,260
+temptation the year key oh why would I
+want it for many reasons there is in
+
+12
+00:00:51,260 --> 00:00:51,270
+want it for many reasons there is in
+ 
+
+13
+00:00:51,270 --> 00:00:54,080
+want it for many reasons there is in
+some cases a psychic need to lose evil
+
+14
+00:00:54,080 --> 00:00:54,090
+some cases a psychic need to lose evil
+ 
+
+15
+00:00:54,090 --> 00:00:56,389
+some cases a psychic need to lose evil
+upon the world and with all of us carry
+
+16
+00:00:56,389 --> 00:00:56,399
+upon the world and with all of us carry
+ 
+
+17
+00:00:56,399 --> 00:00:59,060
+upon the world and with all of us carry
+within us a desire for death you who
+
+18
+00:00:59,060 --> 00:00:59,070
+within us a desire for death you who
+ 
+
+19
+00:00:59,070 --> 00:01:01,520
+within us a desire for death you who
+fear the panther yet you're drawn to him
+
+20
+00:01:01,520 --> 00:01:01,530
+fear the panther yet you're drawn to him
+ 
+
+21
+00:01:01,530 --> 00:01:04,549
+fear the panther yet you're drawn to him
+cannot again couldn't you turn to him as
+
+22
+00:01:04,549 --> 00:01:04,559
+cannot again couldn't you turn to him as
+ 
+
+23
+00:01:04,559 --> 00:01:08,480
+cannot again couldn't you turn to him as
+an instrument of death you didn't come
+
+24
+00:01:08,480 --> 00:01:08,490
+an instrument of death you didn't come
+ 
+
+25
+00:01:08,490 --> 00:01:10,580
+an instrument of death you didn't come
+back to see me Friday I had to come to
+
+26
+00:01:10,580 --> 00:01:10,590
+back to see me Friday I had to come to
+ 
+
+27
+00:01:10,590 --> 00:01:13,250
+back to see me Friday I had to come to
+you how did you know what a fine thing
+
+28
+00:01:13,250 --> 00:01:13,260
+you how did you know what a fine thing
+ 
+
+29
+00:01:13,260 --> 00:01:17,600
+you how did you know what a fine thing
+you told me anything why didn't you come
+
+30
+00:01:17,600 --> 00:01:17,610
+you told me anything why didn't you come
+ 
+
+31
+00:01:17,610 --> 00:01:21,530
+you told me anything why didn't you come
+back don't think you can help me you're
+
+32
+00:01:21,530 --> 00:01:21,540
+back don't think you can help me you're
+ 
+
+33
+00:01:21,540 --> 00:01:24,499
+back don't think you can help me you're
+very wise you know a great deal yet when
+
+34
+00:01:24,499 --> 00:01:24,509
+very wise you know a great deal yet when
+ 
+
+35
+00:01:24,509 --> 00:01:26,480
+very wise you know a great deal yet when
+you speak of the soul you mean the mind
+
+36
+00:01:26,480 --> 00:01:26,490
+you speak of the soul you mean the mind
+ 
+
+37
+00:01:26,490 --> 00:01:30,140
+you speak of the soul you mean the mind
+and it is not my mind that is troubled
+
+38
+00:01:30,140 --> 00:01:30,150
+and it is not my mind that is troubled
+ 
+
+39
+00:01:30,150 --> 00:01:33,230
+and it is not my mind that is troubled
+what a clever girl all the psychologists
+
+40
+00:01:33,230 --> 00:01:33,240
+what a clever girl all the psychologists
+ 
+
+41
+00:01:33,240 --> 00:01:35,060
+what a clever girl all the psychologists
+have tried for years to find that subtle
+
+42
+00:01:35,060 --> 00:01:35,070
+have tried for years to find that subtle
+ 
+
+43
+00:01:35,070 --> 00:01:37,580
+have tried for years to find that subtle
+difference between mind and soul and you
+
+44
+00:01:37,580 --> 00:01:37,590
+difference between mind and soul and you
+ 
+
+45
+00:01:37,590 --> 00:01:40,899
+difference between mind and soul and you
+found it Dustin presume to Sameera
+
+46
+00:01:40,899 --> 00:01:40,909
+found it Dustin presume to Sameera
+ 
+
+47
+00:01:40,909 --> 00:01:44,690
+found it Dustin presume to Sameera
+goodbye doctor
+
+48
+00:01:44,690 --> 00:01:44,700
+
+ 
+
+49
+00:01:44,700 --> 00:01:56,040
+
+[Music]
+

1942/rEWaqUVac3M.description

@@ -0,0 +1,38 @@
+Casablanca movie clips: http://j.mp/1JbaWQQ
+BUY THE MOVIE: http://bit.ly/2cEuSGc
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Rick (Humphrey Bogart) prepares the travel papers for Ilsa (Ingrid Bergman) and Victor instead of himself, and says goodbye.
+
+FILM DESCRIPTION:
+One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII. Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick's cafà (C) has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick's great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick's true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she's renewed her love for Rick, she wants to stay behind in Casablanca. "You must do the thinking for both of us," she says to Rick. He does, and his plan brings the story to its satisfyingly logical, if not entirely happy, conclusion.
+
+CREDITS:
+TM & © Warner Bros. (1942)
+Cast: Humphrey Bogart, Paul Henreid, Claude Rains, Ingrid Bergman
+Director: Michael Curtiz
+Producers: Hal B. Wallis, Jack L. Warner
+Screenwriters: Joan Alison, Julius J. Epstein, Philip G. Epstein, Howard Koch, Casey Robinson
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
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+Tumblr: http://bit.ly/1vUwhH7

1942/rEWaqUVac3M.en.srt

@@ -0,0 +1,485 @@
+1
+00:00:09,240 --> 00:00:10,910
+
+will you have your man go with Mr llo
+
+2
+00:00:10,910 --> 00:00:10,920
+will you have your man go with Mr llo
+ 
+
+3
+00:00:10,920 --> 00:00:12,390
+will you have your man go with Mr llo
+and take care of his luggage certainly
+
+4
+00:00:12,390 --> 00:00:12,400
+and take care of his luggage certainly
+ 
+
+5
+00:00:12,400 --> 00:00:15,110
+and take care of his luggage certainly
+Rick anything you say find Mr laslo's
+
+6
+00:00:15,110 --> 00:00:15,120
+Rick anything you say find Mr laslo's
+ 
+
+7
+00:00:15,120 --> 00:00:17,830
+Rick anything you say find Mr laslo's
+luggage and put it on the plane yes sir
+
+8
+00:00:17,830 --> 00:00:17,840
+luggage and put it on the plane yes sir
+ 
+
+9
+00:00:17,840 --> 00:00:19,710
+luggage and put it on the plane yes sir
+this
+
+10
+00:00:19,710 --> 00:00:19,720
+this
+ 
+
+11
+00:00:19,720 --> 00:00:21,910
+this
+way if you don't mind you fill in the
+
+12
+00:00:21,910 --> 00:00:21,920
+way if you don't mind you fill in the
+ 
+
+13
+00:00:21,920 --> 00:00:23,750
+way if you don't mind you fill in the
+names that'll make it even more official
+
+14
+00:00:23,750 --> 00:00:23,760
+names that'll make it even more official
+ 
+
+15
+00:00:23,760 --> 00:00:26,310
+names that'll make it even more official
+they think of everything don't you and
+
+16
+00:00:26,310 --> 00:00:26,320
+they think of everything don't you and
+ 
+
+17
+00:00:26,320 --> 00:00:30,109
+they think of everything don't you and
+the names are Mr and Mrs Victor llo but
+
+18
+00:00:30,109 --> 00:00:30,119
+the names are Mr and Mrs Victor llo but
+ 
+
+19
+00:00:30,119 --> 00:00:31,550
+the names are Mr and Mrs Victor llo but
+my name Richard because you're getting
+
+20
+00:00:31,550 --> 00:00:31,560
+my name Richard because you're getting
+ 
+
+21
+00:00:31,560 --> 00:00:33,590
+my name Richard because you're getting
+on that plane I don't understand what
+
+22
+00:00:33,590 --> 00:00:33,600
+on that plane I don't understand what
+ 
+
+23
+00:00:33,600 --> 00:00:35,110
+on that plane I don't understand what
+about you I'm staying here with him till
+
+24
+00:00:35,110 --> 00:00:35,120
+about you I'm staying here with him till
+ 
+
+25
+00:00:35,120 --> 00:00:37,069
+about you I'm staying here with him till
+the plane gets safely away no Richard
+
+26
+00:00:37,069 --> 00:00:37,079
+the plane gets safely away no Richard
+ 
+
+27
+00:00:37,079 --> 00:00:38,630
+the plane gets safely away no Richard
+know what has happened to you last night
+
+28
+00:00:38,630 --> 00:00:38,640
+know what has happened to you last night
+ 
+
+29
+00:00:38,640 --> 00:00:40,750
+know what has happened to you last night
+last night we said a great many things
+
+30
+00:00:40,750 --> 00:00:40,760
+last night we said a great many things
+ 
+
+31
+00:00:40,760 --> 00:00:42,150
+last night we said a great many things
+you said I was to do the thinking for
+
+32
+00:00:42,150 --> 00:00:42,160
+you said I was to do the thinking for
+ 
+
+33
+00:00:42,160 --> 00:00:43,510
+you said I was to do the thinking for
+both of us well I've done a lot of it
+
+34
+00:00:43,510 --> 00:00:43,520
+both of us well I've done a lot of it
+ 
+
+35
+00:00:43,520 --> 00:00:45,229
+both of us well I've done a lot of it
+since then it all adds up to one thing
+
+36
+00:00:45,229 --> 00:00:45,239
+since then it all adds up to one thing
+ 
+
+37
+00:00:45,239 --> 00:00:46,630
+since then it all adds up to one thing
+you're getting on that plane with Victor
+
+38
+00:00:46,630 --> 00:00:46,640
+you're getting on that plane with Victor
+ 
+
+39
+00:00:46,640 --> 00:00:48,670
+you're getting on that plane with Victor
+where you belong Richard no I now you've
+
+40
+00:00:48,670 --> 00:00:48,680
+where you belong Richard no I now you've
+ 
+
+41
+00:00:48,680 --> 00:00:51,229
+where you belong Richard no I now you've
+got to listen to me you have any idea
+
+42
+00:00:51,229 --> 00:00:51,239
+got to listen to me you have any idea
+ 
+
+43
+00:00:51,239 --> 00:00:52,389
+got to listen to me you have any idea
+what you'd have to look forward to if
+
+44
+00:00:52,389 --> 00:00:52,399
+what you'd have to look forward to if
+ 
+
+45
+00:00:52,399 --> 00:00:54,470
+what you'd have to look forward to if
+you stayed here nine chances out of 10
+
+46
+00:00:54,470 --> 00:00:54,480
+you stayed here nine chances out of 10
+ 
+
+47
+00:00:54,480 --> 00:00:56,270
+you stayed here nine chances out of 10
+we both wind up at a concentration camp
+
+48
+00:00:56,270 --> 00:00:56,280
+we both wind up at a concentration camp
+ 
+
+49
+00:00:56,280 --> 00:00:57,990
+we both wind up at a concentration camp
+isn't that true Louie I'm afraid major
+
+50
+00:00:57,990 --> 00:00:58,000
+isn't that true Louie I'm afraid major
+ 
+
+51
+00:00:58,000 --> 00:00:59,990
+isn't that true Louie I'm afraid major
+struss I would insist you're saying this
+
+52
+00:00:59,990 --> 00:01:00,000
+struss I would insist you're saying this
+ 
+
+53
+00:01:00,000 --> 00:01:01,549
+struss I would insist you're saying this
+wanted to make me go I'm saying it
+
+54
+00:01:01,549 --> 00:01:01,559
+wanted to make me go I'm saying it
+ 
+
+55
+00:01:01,559 --> 00:01:03,869
+wanted to make me go I'm saying it
+because it's true inside of us we both
+
+56
+00:01:03,869 --> 00:01:03,879
+because it's true inside of us we both
+ 
+
+57
+00:01:03,879 --> 00:01:05,550
+because it's true inside of us we both
+know you belong with Victor you're part
+
+58
+00:01:05,550 --> 00:01:05,560
+know you belong with Victor you're part
+ 
+
+59
+00:01:05,560 --> 00:01:06,910
+know you belong with Victor you're part
+of his work the thing that keeps him
+
+60
+00:01:06,910 --> 00:01:06,920
+of his work the thing that keeps him
+ 
+
+61
+00:01:06,920 --> 00:01:08,910
+of his work the thing that keeps him
+going and that plane leaves the ground
+
+62
+00:01:08,910 --> 00:01:08,920
+going and that plane leaves the ground
+ 
+
+63
+00:01:08,920 --> 00:01:10,910
+going and that plane leaves the ground
+and you're not with him you'll regret it
+
+64
+00:01:10,910 --> 00:01:10,920
+and you're not with him you'll regret it
+ 
+
+65
+00:01:10,920 --> 00:01:12,870
+and you're not with him you'll regret it
+maybe not today maybe not tomorrow but
+
+66
+00:01:12,870 --> 00:01:12,880
+maybe not today maybe not tomorrow but
+ 
+
+67
+00:01:12,880 --> 00:01:15,630
+maybe not today maybe not tomorrow but
+soon and for the rest of your life but
+
+68
+00:01:15,630 --> 00:01:15,640
+soon and for the rest of your life but
+ 
+
+69
+00:01:15,640 --> 00:01:19,310
+soon and for the rest of your life but
+what about us we'll always have Paris we
+
+70
+00:01:19,310 --> 00:01:19,320
+what about us we'll always have Paris we
+ 
+
+71
+00:01:19,320 --> 00:01:21,350
+what about us we'll always have Paris we
+didn't have we we lost it until you came
+
+72
+00:01:21,350 --> 00:01:21,360
+didn't have we we lost it until you came
+ 
+
+73
+00:01:21,360 --> 00:01:24,350
+didn't have we we lost it until you came
+to Casablanca we got it back last
+
+74
+00:01:24,350 --> 00:01:24,360
+to Casablanca we got it back last
+ 
+
+75
+00:01:24,360 --> 00:01:26,910
+to Casablanca we got it back last
+night when I said I would never leave
+
+76
+00:01:26,910 --> 00:01:26,920
+night when I said I would never leave
+ 
+
+77
+00:01:26,920 --> 00:01:30,230
+night when I said I would never leave
+you and you never will I've got a a job
+
+78
+00:01:30,230 --> 00:01:30,240
+you and you never will I've got a a job
+ 
+
+79
+00:01:30,240 --> 00:01:32,350
+you and you never will I've got a a job
+to do too where I'm going you can't
+
+80
+00:01:32,350 --> 00:01:32,360
+to do too where I'm going you can't
+ 
+
+81
+00:01:32,360 --> 00:01:33,870
+to do too where I'm going you can't
+follow what I've got to do you can't be
+
+82
+00:01:33,870 --> 00:01:33,880
+follow what I've got to do you can't be
+ 
+
+83
+00:01:33,880 --> 00:01:36,469
+follow what I've got to do you can't be
+any part of ela I'm no good at being
+
+84
+00:01:36,469 --> 00:01:36,479
+any part of ela I'm no good at being
+ 
+
+85
+00:01:36,479 --> 00:01:38,389
+any part of ela I'm no good at being
+Noble but it doesn't take much to see
+
+86
+00:01:38,389 --> 00:01:38,399
+Noble but it doesn't take much to see
+ 
+
+87
+00:01:38,399 --> 00:01:39,990
+Noble but it doesn't take much to see
+that the problems of three little people
+
+88
+00:01:39,990 --> 00:01:40,000
+that the problems of three little people
+ 
+
+89
+00:01:40,000 --> 00:01:41,710
+that the problems of three little people
+don't amount to a hill of beans in this
+
+90
+00:01:41,710 --> 00:01:41,720
+don't amount to a hill of beans in this
+ 
+
+91
+00:01:41,720 --> 00:01:42,710
+don't amount to a hill of beans in this
+crazy
+
+92
+00:01:42,710 --> 00:01:42,720
+crazy
+ 
+
+93
+00:01:42,720 --> 00:01:46,550
+crazy
+world someday you'll understand
+
+94
+00:01:46,550 --> 00:01:46,560
+world someday you'll understand
+ 
+
+95
+00:01:46,560 --> 00:01:49,950
+world someday you'll understand
+that n
+
+96
+00:01:49,950 --> 00:01:49,960
+
+ 
+
+97
+00:01:49,960 --> 00:01:54,920
+
+no he's looking at you kid
+

1942/vA1fVHBWuBU.en.srt

@@ -0,0 +1,595 @@
+1
+00:00:00,000 --> 00:00:05,660
+
+I missed my best girl we all do
+
+2
+00:00:05,660 --> 00:00:05,670
+I missed my best girl we all do
+ 
+
+3
+00:00:05,670 --> 00:00:07,670
+I missed my best girl we all do
+Lucy's on a visit father she's spending
+
+4
+00:00:07,670 --> 00:00:07,680
+Lucy's on a visit father she's spending
+ 
+
+5
+00:00:07,680 --> 00:00:09,320
+Lucy's on a visit father she's spending
+a week with a school friend she'll be
+
+6
+00:00:09,320 --> 00:00:09,330
+a week with a school friend she'll be
+ 
+
+7
+00:00:09,330 --> 00:00:12,169
+a week with a school friend she'll be
+back Monday George how does it happen
+
+8
+00:00:12,169 --> 00:00:12,179
+back Monday George how does it happen
+ 
+
+9
+00:00:12,179 --> 00:00:15,140
+back Monday George how does it happen
+you didn't tell us before he never said
+
+10
+00:00:15,140 --> 00:00:15,150
+you didn't tell us before he never said
+ 
+
+11
+00:00:15,150 --> 00:00:16,970
+you didn't tell us before he never said
+a word to us about Lucy's going away
+
+12
+00:00:16,970 --> 00:00:16,980
+a word to us about Lucy's going away
+ 
+
+13
+00:00:16,980 --> 00:00:19,730
+a word to us about Lucy's going away
+probably prayed to his note what am i
+
+14
+00:00:19,730 --> 00:00:19,740
+probably prayed to his note what am i
+ 
+
+15
+00:00:19,740 --> 00:00:22,340
+probably prayed to his note what am i
+breakdown cry be tried to speak of it is
+
+16
+00:00:22,340 --> 00:00:22,350
+breakdown cry be tried to speak of it is
+ 
+
+17
+00:00:22,350 --> 00:00:26,689
+breakdown cry be tried to speak of it is
+that so Georgie she was going she told
+
+18
+00:00:26,689 --> 00:00:26,699
+that so Georgie she was going she told
+ 
+
+19
+00:00:26,699 --> 00:00:29,179
+that so Georgie she was going she told
+me at any rate Georgie didn't approve I
+
+20
+00:00:29,179 --> 00:00:29,189
+me at any rate Georgie didn't approve I
+ 
+
+21
+00:00:29,189 --> 00:00:33,590
+me at any rate Georgie didn't approve I
+suppose you two are speaking again Jean
+
+22
+00:00:33,590 --> 00:00:33,600
+suppose you two are speaking again Jean
+ 
+
+23
+00:00:33,600 --> 00:00:35,240
+suppose you two are speaking again Jean
+what's this I hear about someone else
+
+24
+00:00:35,240 --> 00:00:35,250
+what's this I hear about someone else
+ 
+
+25
+00:00:35,250 --> 00:00:36,770
+what's this I hear about someone else
+opening up a horseless carriage shop
+
+26
+00:00:36,770 --> 00:00:36,780
+opening up a horseless carriage shop
+ 
+
+27
+00:00:36,780 --> 00:00:38,840
+opening up a horseless carriage shop
+somewhere out the suburbs I suppose
+
+28
+00:00:38,840 --> 00:00:38,850
+somewhere out the suburbs I suppose
+ 
+
+29
+00:00:38,850 --> 00:00:40,040
+somewhere out the suburbs I suppose
+they'll drive you out of business
+
+30
+00:00:40,040 --> 00:00:40,050
+they'll drive you out of business
+ 
+
+31
+00:00:40,050 --> 00:00:42,170
+they'll drive you out of business
+perhaps the two of you'll get together
+
+32
+00:00:42,170 --> 00:00:42,180
+perhaps the two of you'll get together
+ 
+
+33
+00:00:42,180 --> 00:00:44,389
+perhaps the two of you'll get together
+and drive all the rest others over the
+
+34
+00:00:44,389 --> 00:00:44,399
+and drive all the rest others over the
+ 
+
+35
+00:00:44,399 --> 00:00:46,819
+and drive all the rest others over the
+street well we'll even things up by
+
+36
+00:00:46,819 --> 00:00:46,829
+street well we'll even things up by
+ 
+
+37
+00:00:46,829 --> 00:00:49,100
+street well we'll even things up by
+making the streets bigger automobiles
+
+38
+00:00:49,100 --> 00:00:49,110
+making the streets bigger automobiles
+ 
+
+39
+00:00:49,110 --> 00:00:50,779
+making the streets bigger automobiles
+will carry our streets clear out to the
+
+40
+00:00:50,779 --> 00:00:50,789
+will carry our streets clear out to the
+ 
+
+41
+00:00:50,789 --> 00:00:52,610
+will carry our streets clear out to the
+county line well I hope you're wrong
+
+42
+00:00:52,610 --> 00:00:52,620
+county line well I hope you're wrong
+ 
+
+43
+00:00:52,620 --> 00:00:54,470
+county line well I hope you're wrong
+because if people go to moving that far
+
+44
+00:00:54,470 --> 00:00:54,480
+because if people go to moving that far
+ 
+
+45
+00:00:54,480 --> 00:00:56,270
+because if people go to moving that far
+our real estate values here in the old
+
+46
+00:00:56,270 --> 00:00:56,280
+our real estate values here in the old
+ 
+
+47
+00:00:56,280 --> 00:00:58,670
+our real estate values here in the old
+residence part of town will be stretched
+
+48
+00:00:58,670 --> 00:00:58,680
+residence part of town will be stretched
+ 
+
+49
+00:00:58,680 --> 00:01:00,830
+residence part of town will be stretched
+pretty thin so your devilish machines
+
+50
+00:01:00,830 --> 00:01:00,840
+pretty thin so your devilish machines
+ 
+
+51
+00:01:00,840 --> 00:01:02,450
+pretty thin so your devilish machines
+you're gonna ruin all your old friend
+
+52
+00:01:02,450 --> 00:01:02,460
+you're gonna ruin all your old friend
+ 
+
+53
+00:01:02,460 --> 00:01:04,460
+you're gonna ruin all your old friend
+Leigh Jean do you really think they're
+
+54
+00:01:04,460 --> 00:01:04,470
+Leigh Jean do you really think they're
+ 
+
+55
+00:01:04,470 --> 00:01:06,130
+Leigh Jean do you really think they're
+gonna change the face of the land
+
+56
+00:01:06,130 --> 00:01:06,140
+gonna change the face of the land
+ 
+
+57
+00:01:06,140 --> 00:01:08,240
+gonna change the face of the land
+they're already doing it major and it
+
+58
+00:01:08,240 --> 00:01:08,250
+they're already doing it major and it
+ 
+
+59
+00:01:08,250 --> 00:01:09,310
+they're already doing it major and it
+can't be stopped
+
+60
+00:01:09,310 --> 00:01:09,320
+can't be stopped
+ 
+
+61
+00:01:09,320 --> 00:01:11,539
+can't be stopped
+automobile more bills are a useless
+
+62
+00:01:11,539 --> 00:01:11,549
+automobile more bills are a useless
+ 
+
+63
+00:01:11,549 --> 00:01:17,420
+automobile more bills are a useless
+nuisance what did you say George
+
+64
+00:01:17,420 --> 00:01:17,430
+nuisance what did you say George
+ 
+
+65
+00:01:17,430 --> 00:01:19,580
+nuisance what did you say George
+I said automobiles are a useless
+
+66
+00:01:19,580 --> 00:01:19,590
+I said automobiles are a useless
+ 
+
+67
+00:01:19,590 --> 00:01:21,679
+I said automobiles are a useless
+nuisance never amount to anything but a
+
+68
+00:01:21,679 --> 00:01:21,689
+nuisance never amount to anything but a
+ 
+
+69
+00:01:21,689 --> 00:01:23,270
+nuisance never amount to anything but a
+nuisance they had no business to be
+
+70
+00:01:23,270 --> 00:01:23,280
+nuisance they had no business to be
+ 
+
+71
+00:01:23,280 --> 00:01:23,870
+nuisance they had no business to be
+invented
+
+72
+00:01:23,870 --> 00:01:23,880
+invented
+ 
+
+73
+00:01:23,880 --> 00:01:25,670
+invented
+of course you forget mr. Morgan makes
+
+74
+00:01:25,670 --> 00:01:25,680
+of course you forget mr. Morgan makes
+ 
+
+75
+00:01:25,680 --> 00:01:28,929
+of course you forget mr. Morgan makes
+them also did he Sheeran inventing them
+
+76
+00:01:28,929 --> 00:01:28,939
+them also did he Sheeran inventing them
+ 
+
+77
+00:01:28,939 --> 00:01:31,130
+them also did he Sheeran inventing them
+if you weren't so thoughtless he might
+
+78
+00:01:31,130 --> 00:01:31,140
+if you weren't so thoughtless he might
+ 
+
+79
+00:01:31,140 --> 00:01:36,350
+if you weren't so thoughtless he might
+think you're rather offensive I'm not
+
+80
+00:01:36,350 --> 00:01:36,360
+think you're rather offensive I'm not
+ 
+
+81
+00:01:36,360 --> 00:01:39,730
+think you're rather offensive I'm not
+sure George is wrong about automobiles
+
+82
+00:01:39,730 --> 00:01:39,740
+sure George is wrong about automobiles
+ 
+
+83
+00:01:39,740 --> 00:01:42,679
+sure George is wrong about automobiles
+with all their speed forward they may be
+
+84
+00:01:42,679 --> 00:01:42,689
+with all their speed forward they may be
+ 
+
+85
+00:01:42,689 --> 00:01:47,120
+with all their speed forward they may be
+a step backward in civilization maybe
+
+86
+00:01:47,120 --> 00:01:47,130
+a step backward in civilization maybe
+ 
+
+87
+00:01:47,130 --> 00:01:49,100
+a step backward in civilization maybe
+that they won't add to the beauty of the
+
+88
+00:01:49,100 --> 00:01:49,110
+that they won't add to the beauty of the
+ 
+
+89
+00:01:49,110 --> 00:01:52,249
+that they won't add to the beauty of the
+world or the life of men's souls I'm not
+
+90
+00:01:52,249 --> 00:01:52,259
+world or the life of men's souls I'm not
+ 
+
+91
+00:01:52,259 --> 00:01:57,980
+world or the life of men's souls I'm not
+sure but automobiles have come in almost
+
+92
+00:01:57,980 --> 00:01:57,990
+sure but automobiles have come in almost
+ 
+
+93
+00:01:57,990 --> 00:01:59,660
+sure but automobiles have come in almost
+all output things are going to be
+
+94
+00:01:59,660 --> 00:01:59,670
+all output things are going to be
+ 
+
+95
+00:01:59,670 --> 00:02:02,590
+all output things are going to be
+different because of what they bring
+
+96
+00:02:02,590 --> 00:02:02,600
+different because of what they bring
+ 
+
+97
+00:02:02,600 --> 00:02:05,090
+different because of what they bring
+they're going to alter war and they're
+
+98
+00:02:05,090 --> 00:02:05,100
+they're going to alter war and they're
+ 
+
+99
+00:02:05,100 --> 00:02:08,779
+they're going to alter war and they're
+going to all the piece I think men's
+
+100
+00:02:08,779 --> 00:02:08,789
+going to all the piece I think men's
+ 
+
+101
+00:02:08,789 --> 00:02:10,669
+going to all the piece I think men's
+minds are going to be changed in subtle
+
+102
+00:02:10,669 --> 00:02:10,679
+minds are going to be changed in subtle
+ 
+
+103
+00:02:10,679 --> 00:02:13,809
+minds are going to be changed in subtle
+ways because of automobile
+
+104
+00:02:13,809 --> 00:02:13,819
+ways because of automobile
+ 
+
+105
+00:02:13,819 --> 00:02:18,709
+ways because of automobile
+and it may be the judges right maybe
+
+106
+00:02:18,709 --> 00:02:18,719
+and it may be the judges right maybe
+ 
+
+107
+00:02:18,719 --> 00:02:21,649
+and it may be the judges right maybe
+that in 10 or 20 years from now if we
+
+108
+00:02:21,649 --> 00:02:21,659
+that in 10 or 20 years from now if we
+ 
+
+109
+00:02:21,659 --> 00:02:23,990
+that in 10 or 20 years from now if we
+can see the inward change in men by that
+
+110
+00:02:23,990 --> 00:02:24,000
+can see the inward change in men by that
+ 
+
+111
+00:02:24,000 --> 00:02:27,380
+can see the inward change in men by that
+time I shouldn't be able to defend the
+
+112
+00:02:27,380 --> 00:02:27,390
+time I shouldn't be able to defend the
+ 
+
+113
+00:02:27,390 --> 00:02:28,910
+time I shouldn't be able to defend the
+gasoline engine but would have to agree
+
+114
+00:02:28,910 --> 00:02:28,920
+gasoline engine but would have to agree
+ 
+
+115
+00:02:28,920 --> 00:02:32,390
+gasoline engine but would have to agree
+with George that automobiles had no
+
+116
+00:02:32,390 --> 00:02:32,400
+with George that automobiles had no
+ 
+
+117
+00:02:32,400 --> 00:02:36,570
+with George that automobiles had no
+business to be invented
+
+118
+00:02:36,570 --> 00:02:36,580
+
+ 
+
+119
+00:02:36,580 --> 00:02:47,919
+
+[Music]
+

1942/vf6PZfksmfg.en.srt

@@ -0,0 +1,495 @@
+1
+00:00:00,030 --> 00:00:02,780
+
+why are you lying you love him not like
+
+2
+00:00:02,780 --> 00:00:02,790
+why are you lying you love him not like
+ 
+
+3
+00:00:02,790 --> 00:00:05,990
+why are you lying you love him not like
+we do not like us I thought it might
+
+4
+00:00:05,990 --> 00:00:06,000
+we do not like us I thought it might
+ 
+
+5
+00:00:06,000 --> 00:00:08,560
+we do not like us I thought it might
+grow to be or something like it I
+
+6
+00:00:08,560 --> 00:00:08,570
+grow to be or something like it I
+ 
+
+7
+00:00:08,570 --> 00:00:11,060
+grow to be or something like it I
+thought I was getting over you Jerri I
+
+8
+00:00:11,060 --> 00:00:11,070
+thought I was getting over you Jerri I
+ 
+
+9
+00:00:11,070 --> 00:00:13,520
+thought I was getting over you Jerri I
+didn't think I'd ever see you again we'd
+
+10
+00:00:13,520 --> 00:00:13,530
+didn't think I'd ever see you again we'd
+ 
+
+11
+00:00:13,530 --> 00:00:14,990
+didn't think I'd ever see you again we'd
+made our pact and we were living up to
+
+12
+00:00:14,990 --> 00:00:15,000
+made our pact and we were living up to
+ 
+
+13
+00:00:15,000 --> 00:00:18,260
+made our pact and we were living up to
+us about living sleep what sort of man
+
+14
+00:00:18,260 --> 00:00:18,270
+us about living sleep what sort of man
+ 
+
+15
+00:00:18,270 --> 00:00:20,900
+us about living sleep what sort of man
+is he who like you in many ways oh not
+
+16
+00:00:20,900 --> 00:00:20,910
+is he who like you in many ways oh not
+ 
+
+17
+00:00:20,910 --> 00:00:22,700
+is he who like you in many ways oh not
+your sense of humor I know your your
+
+18
+00:00:22,700 --> 00:00:22,710
+your sense of humor I know your your
+ 
+
+19
+00:00:22,710 --> 00:00:24,620
+your sense of humor I know your your
+sense of beauty no your sense of play
+
+20
+00:00:24,620 --> 00:00:24,630
+sense of beauty no your sense of play
+ 
+
+21
+00:00:24,630 --> 00:00:28,400
+sense of beauty no your sense of play
+but a fine man and the kind of refuge I
+
+22
+00:00:28,400 --> 00:00:28,410
+but a fine man and the kind of refuge I
+ 
+
+23
+00:00:28,410 --> 00:00:31,070
+but a fine man and the kind of refuge I
+thought I could never have we are not
+
+24
+00:00:31,070 --> 00:00:31,080
+thought I could never have we are not
+ 
+
+25
+00:00:31,080 --> 00:00:36,229
+thought I could never have we are not
+angry only with myself I was a CAD to
+
+26
+00:00:36,229 --> 00:00:36,239
+angry only with myself I was a CAD to
+ 
+
+27
+00:00:36,239 --> 00:00:37,819
+angry only with myself I was a CAD to
+make you care for me and then because of
+
+28
+00:00:37,819 --> 00:00:37,829
+make you care for me and then because of
+ 
+
+29
+00:00:37,829 --> 00:00:39,500
+make you care for me and then because of
+some noble sense of duty to Devia to get
+
+30
+00:00:39,500 --> 00:00:39,510
+some noble sense of duty to Devia to get
+ 
+
+31
+00:00:39,510 --> 00:00:42,350
+some noble sense of duty to Devia to get
+over at the best you can and there's the
+
+32
+00:00:42,350 --> 00:00:42,360
+over at the best you can and there's the
+ 
+
+33
+00:00:42,360 --> 00:00:43,790
+over at the best you can and there's the
+thing I can do about it
+
+34
+00:00:43,790 --> 00:00:43,800
+thing I can do about it
+ 
+
+35
+00:00:43,800 --> 00:00:45,770
+thing I can do about it
+Isabelle depends on me more and more
+
+36
+00:00:45,770 --> 00:00:45,780
+Isabelle depends on me more and more
+ 
+
+37
+00:00:45,780 --> 00:00:47,360
+Isabelle depends on me more and more
+she's still anything worse
+
+38
+00:00:47,360 --> 00:00:47,370
+she's still anything worse
+ 
+
+39
+00:00:47,370 --> 00:00:51,020
+she's still anything worse
+there's Tina give me if I could chuck
+
+40
+00:00:51,020 --> 00:00:51,030
+there's Tina give me if I could chuck
+ 
+
+41
+00:00:51,030 --> 00:00:52,490
+there's Tina give me if I could chuck
+everything shut up I wouldn't let you
+
+42
+00:00:52,490 --> 00:00:52,500
+everything shut up I wouldn't let you
+ 
+
+43
+00:00:52,500 --> 00:00:53,950
+everything shut up I wouldn't let you
+Terry
+
+44
+00:00:53,950 --> 00:00:53,960
+Terry
+ 
+
+45
+00:00:53,960 --> 00:00:56,050
+Terry
+Jerry what's the feminine for your wood
+
+46
+00:00:56,050 --> 00:00:56,060
+Jerry what's the feminine for your wood
+ 
+
+47
+00:00:56,060 --> 00:00:59,170
+Jerry what's the feminine for your wood
+that's what I am I knew you were married
+
+48
+00:00:59,170 --> 00:00:59,180
+that's what I am I knew you were married
+ 
+
+49
+00:00:59,180 --> 00:01:00,670
+that's what I am I knew you were married
+and I walk right in with my eyes wide
+
+50
+00:01:00,670 --> 00:01:00,680
+and I walk right in with my eyes wide
+ 
+
+51
+00:01:00,680 --> 00:01:03,190
+and I walk right in with my eyes wide
+open but you said it would make you
+
+52
+00:01:03,190 --> 00:01:03,200
+open but you said it would make you
+ 
+
+53
+00:01:03,200 --> 00:01:06,280
+open but you said it would make you
+happier and it has I've got make my work
+
+54
+00:01:06,280 --> 00:01:06,290
+happier and it has I've got make my work
+ 
+
+55
+00:01:06,290 --> 00:01:09,040
+happier and it has I've got make my work
+let's do to you I'll be hoping you'd say
+
+56
+00:01:09,040 --> 00:01:09,050
+let's do to you I'll be hoping you'd say
+ 
+
+57
+00:01:09,050 --> 00:01:09,520
+let's do to you I'll be hoping you'd say
+that
+
+58
+00:01:09,520 --> 00:01:09,530
+that
+ 
+
+59
+00:01:09,530 --> 00:01:11,920
+that
+I've more understanding for Tina I'm
+
+60
+00:01:11,920 --> 00:01:11,930
+I've more understanding for Tina I'm
+ 
+
+61
+00:01:11,930 --> 00:01:14,350
+I've more understanding for Tina I'm
+even kind of to Isabel so don't blame
+
+62
+00:01:14,350 --> 00:01:14,360
+even kind of to Isabel so don't blame
+ 
+
+63
+00:01:14,360 --> 00:01:17,020
+even kind of to Isabel so don't blame
+yourself then don't you it's different
+
+64
+00:01:17,020 --> 00:01:17,030
+yourself then don't you it's different
+ 
+
+65
+00:01:17,030 --> 00:01:19,399
+yourself then don't you it's different
+it's not
+
+66
+00:01:19,399 --> 00:01:19,409
+it's not
+ 
+
+67
+00:01:19,409 --> 00:01:22,670
+it's not
+shall I tell you what you've given me on
+
+68
+00:01:22,670 --> 00:01:22,680
+shall I tell you what you've given me on
+ 
+
+69
+00:01:22,680 --> 00:01:24,950
+shall I tell you what you've given me on
+that very first day a little bottle of
+
+70
+00:01:24,950 --> 00:01:24,960
+that very first day a little bottle of
+ 
+
+71
+00:01:24,960 --> 00:01:27,800
+that very first day a little bottle of
+perfume made me feel important you're my
+
+72
+00:01:27,800 --> 00:01:27,810
+perfume made me feel important you're my
+ 
+
+73
+00:01:27,810 --> 00:01:30,530
+perfume made me feel important you're my
+first friend and then when you fell in
+
+74
+00:01:30,530 --> 00:01:30,540
+first friend and then when you fell in
+ 
+
+75
+00:01:30,540 --> 00:01:34,550
+first friend and then when you fell in
+love with me I was so proud and when I
+
+76
+00:01:34,550 --> 00:01:34,560
+love with me I was so proud and when I
+ 
+
+77
+00:01:34,560 --> 00:01:36,649
+love with me I was so proud and when I
+came home I needed something to make me
+
+78
+00:01:36,649 --> 00:01:36,659
+came home I needed something to make me
+ 
+
+79
+00:01:36,659 --> 00:01:40,820
+came home I needed something to make me
+feel proud your camellias arrived and I
+
+80
+00:01:40,820 --> 00:01:40,830
+feel proud your camellias arrived and I
+ 
+
+81
+00:01:40,830 --> 00:01:43,609
+feel proud your camellias arrived and I
+knew you were thinking I could have
+
+82
+00:01:43,609 --> 00:01:43,619
+knew you were thinking I could have
+ 
+
+83
+00:01:43,619 --> 00:01:45,440
+knew you were thinking I could have
+walked into a den of lions
+
+84
+00:01:45,440 --> 00:01:45,450
+walked into a den of lions
+ 
+
+85
+00:01:45,450 --> 00:01:47,450
+walked into a den of lions
+it's a matter of fact I did and the
+
+86
+00:01:47,450 --> 00:01:47,460
+it's a matter of fact I did and the
+ 
+
+87
+00:01:47,460 --> 00:01:50,930
+it's a matter of fact I did and the
+Lions didn't hurt me please take back
+
+88
+00:01:50,930 --> 00:01:50,940
+Lions didn't hurt me please take back
+ 
+
+89
+00:01:50,940 --> 00:01:52,950
+Lions didn't hurt me please take back
+what you said
+
+90
+00:01:52,950 --> 00:01:52,960
+what you said
+ 
+
+91
+00:01:52,960 --> 00:01:55,320
+what you said
+if you can marry that man have a full
+
+92
+00:01:55,320 --> 00:01:55,330
+if you can marry that man have a full
+ 
+
+93
+00:01:55,330 --> 00:02:03,990
+if you can marry that man have a full
+and happy life ever
+
+94
+00:02:03,990 --> 00:02:04,000
+
+ 
+
+95
+00:02:04,000 --> 00:02:07,080
+
+I look for you around every corner
+
+96
+00:02:07,080 --> 00:02:07,090
+I look for you around every corner
+ 
+
+97
+00:02:07,090 --> 00:03:04,559
+I look for you around every corner
+goodbye Danny bye da
+
+98
+00:03:04,559 --> 00:03:04,569
+
+ 
+
+99
+00:03:04,569 --> 00:03:06,629
+
+you
+

1942/yiOUEU4KG6s.description

@@ -0,0 +1,36 @@
+Cat People - Leave Us in Peace: While working late one night, Alice (Jane Randolph) and Oliver (Kent Smith) are attacked by a panther.
+BUY THE MOVIE: https://www.fandangonow.com/details/movie/cat-people-1942/1MV2000ce07418a9cfbd68ee72968567098?cmp=Movieclips_YT_Description
+
+Watch the best Cat People scenes & clips:
+https://www.youtube.com/playlist?list=PLZbXA4lyCtqrGvzfxp1Yqspfn5HS7KVFb
+
+FILM DESCRIPTION:
+Irena Dubrovna (Simone Simon), a New York City--based fashion designer who hails from Serbia, begins a romance with marine engineer Oliver Reed (Kent Smith). After the couple gets married, Oliver becomes concerned about Irena's notion that she is cursed and may transform into a large cat in the heat of passion. Confiding in his beautiful assistant, Alice Moore (Jane Randolph), about his marital issues, Oliver unwittingly triggers Irena's curse, with tragic results.
+
+CREDITS:
+TM & © Warner Bros. (1942)
+Cast: Jane Randolph, Kent Smith
+Director: Jacques Tourneur
+Producer: Val Lewton
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/2H7XknY3PMA.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+After being taken to Scotland against her will, Lassie manages to escape her new owners with a little help from Priscilla (Elizabeth Taylor).
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: Nigel Bruce, J. Pat O'Malley, Pal, Elizabeth Taylor
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/2H7XknY3PMA.en.srt

@@ -0,0 +1,345 @@
+1
+00:00:00,640 --> 00:00:02,590
+
+come on come on I suppose you like to
+
+2
+00:00:02,590 --> 00:00:02,600
+come on come on I suppose you like to
+ 
+
+3
+00:00:02,600 --> 00:00:05,749
+come on come on I suppose you like to
+have me late for me te come
+
+4
+00:00:05,749 --> 00:00:05,759
+have me late for me te come
+ 
+
+5
+00:00:05,759 --> 00:00:10,830
+have me late for me te come
+on hurry up will you're always hanging
+
+6
+00:00:10,830 --> 00:00:10,840
+
+ 
+
+7
+00:00:10,840 --> 00:00:12,950
+
+behind come on
+
+8
+00:00:12,950 --> 00:00:12,960
+behind come on
+ 
+
+9
+00:00:12,960 --> 00:00:15,589
+behind come on
+Willam here here what's the matter down
+
+10
+00:00:15,589 --> 00:00:15,599
+Willam here here what's the matter down
+ 
+
+11
+00:00:15,599 --> 00:00:17,830
+Willam here here what's the matter down
+down just I tell you can't you I'll
+
+12
+00:00:17,830 --> 00:00:17,840
+down just I tell you can't you I'll
+ 
+
+13
+00:00:17,840 --> 00:00:19,349
+down just I tell you can't you I'll
+break your nasty neck if you don't be
+
+14
+00:00:19,349 --> 00:00:19,359
+break your nasty neck if you don't be
+ 
+
+15
+00:00:19,359 --> 00:00:23,429
+break your nasty neck if you don't be
+out yourself go
+
+16
+00:00:23,429 --> 00:00:23,439
+
+ 
+
+17
+00:00:23,439 --> 00:00:25,950
+
+on
+
+18
+00:00:25,950 --> 00:00:25,960
+on
+ 
+
+19
+00:00:25,960 --> 00:00:30,310
+on
+miey yeah messy nice girl nice dog don't
+
+20
+00:00:30,310 --> 00:00:30,320
+miey yeah messy nice girl nice dog don't
+ 
+
+21
+00:00:30,320 --> 00:00:33,389
+miey yeah messy nice girl nice dog don't
+you move stay there stay there Bassie
+
+22
+00:00:33,389 --> 00:00:33,399
+you move stay there stay there Bassie
+ 
+
+23
+00:00:33,399 --> 00:00:36,190
+you move stay there stay there Bassie
+here here nice girl stay there now don't
+
+24
+00:00:36,190 --> 00:00:36,200
+here here nice girl stay there now don't
+ 
+
+25
+00:00:36,200 --> 00:00:38,790
+here here nice girl stay there now don't
+you move come on come on Lassie as a
+
+26
+00:00:38,790 --> 00:00:38,800
+you move come on come on Lassie as a
+ 
+
+27
+00:00:38,800 --> 00:00:41,549
+you move come on come on Lassie as a
+nice do
+
+28
+00:00:41,549 --> 00:00:41,559
+nice do
+ 
+
+29
+00:00:41,559 --> 00:00:46,029
+nice do
+here come on
+
+30
+00:00:46,029 --> 00:00:46,039
+
+ 
+
+31
+00:00:46,039 --> 00:00:48,229
+
+here Lassie come
+
+32
+00:00:48,229 --> 00:00:48,239
+here Lassie come
+ 
+
+33
+00:00:48,239 --> 00:00:51,790
+here Lassie come
+here come
+
+34
+00:00:51,790 --> 00:00:51,800
+
+ 
+
+35
+00:00:51,800 --> 00:00:53,549
+
+here come
+
+36
+00:00:53,549 --> 00:00:53,559
+here come
+ 
+
+37
+00:00:53,559 --> 00:00:58,349
+here come
+here come
+
+38
+00:00:58,349 --> 00:00:58,359
+
+ 
+
+39
+00:00:58,359 --> 00:01:00,790
+
+here come here
+
+40
+00:01:00,790 --> 00:01:00,800
+here come here
+ 
+
+41
+00:01:00,800 --> 00:01:02,470
+here come here
+B come
+
+42
+00:01:02,470 --> 00:01:02,480
+B come
+ 
+
+43
+00:01:02,480 --> 00:01:05,070
+B come
+here I ever get me hands on you my lady
+
+44
+00:01:05,070 --> 00:01:05,080
+here I ever get me hands on you my lady
+ 
+
+45
+00:01:05,080 --> 00:01:07,749
+here I ever get me hands on you my lady
+you'll never get away again I'll tell
+
+46
+00:01:07,749 --> 00:01:07,759
+you'll never get away again I'll tell
+ 
+
+47
+00:01:07,759 --> 00:01:10,390
+you'll never get away again I'll tell
+you exercise exercise that's what I get
+
+48
+00:01:10,390 --> 00:01:10,400
+you exercise exercise that's what I get
+ 
+
+49
+00:01:10,400 --> 00:01:12,150
+you exercise exercise that's what I get
+for walking
+
+50
+00:01:12,150 --> 00:01:12,160
+for walking
+ 
+
+51
+00:01:12,160 --> 00:01:18,990
+for walking
+[Music]
+
+52
+00:01:18,990 --> 00:01:19,000
+
+ 
+
+53
+00:01:19,000 --> 00:01:22,670
+
+you close the gate close the gate don't
+
+54
+00:01:22,670 --> 00:01:22,680
+you close the gate close the gate don't
+ 
+
+55
+00:01:22,680 --> 00:01:27,429
+you close the gate close the gate don't
+let it get out close it close
+
+56
+00:01:27,429 --> 00:01:27,439
+
+ 
+
+57
+00:01:27,439 --> 00:01:35,950
+
+again Priscilla
+
+58
+00:01:35,950 --> 00:01:35,960
+
+ 
+
+59
+00:01:35,960 --> 00:01:37,870
+
+you've let her go that's what she's done
+
+60
+00:01:37,870 --> 00:01:37,880
+you've let her go that's what she's done
+ 
+
+61
+00:01:37,880 --> 00:01:40,429
+you've let her go that's what she's done
+she's let her go she's going toward
+
+62
+00:01:40,429 --> 00:01:40,439
+she's let her go she's going toward
+ 
+
+63
+00:01:40,439 --> 00:01:43,670
+she's let her go she's going toward
+south grandfather she's going toward
+
+64
+00:01:43,670 --> 00:01:43,680
+south grandfather she's going toward
+ 
+
+65
+00:01:43,680 --> 00:01:58,830
+south grandfather she's going toward
+Yorkshire Hey Joe tell look you're
+
+66
+00:01:58,830 --> 00:01:58,840
+
+ 
+
+67
+00:01:58,840 --> 00:02:11,690
+
+right
+
+68
+00:02:11,690 --> 00:02:11,700
+
+ 
+
+69
+00:02:11,700 --> 00:02:20,639
+
+[Music]
+

1943/BV1Nyf_u1AA.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Like every morning, Lassie wakes Joe (Roddy McDowall) up and escorts him to school.
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: Donald Crisp, Roddy McDowall, Pal
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/BV1Nyf_u1AA.en.srt

@@ -0,0 +1,275 @@
+1
+00:00:01,510 --> 00:00:13,810
+
+[Music]
+
+2
+00:00:13,810 --> 00:00:13,820
+
+ 
+
+3
+00:00:13,820 --> 00:00:21,269
+
+[Music]
+
+4
+00:00:21,269 --> 00:00:21,279
+[Music]
+ 
+
+5
+00:00:21,279 --> 00:00:25,440
+[Music]
+hello messie
+
+6
+00:00:25,440 --> 00:00:25,450
+
+ 
+
+7
+00:00:25,450 --> 00:00:30,390
+
+[Music]
+
+8
+00:00:30,390 --> 00:00:30,400
+
+ 
+
+9
+00:00:30,400 --> 00:00:32,510
+
+all right
+
+10
+00:00:32,510 --> 00:00:32,520
+all right
+ 
+
+11
+00:00:32,520 --> 00:00:34,270
+all right
+girl
+
+12
+00:00:34,270 --> 00:00:34,280
+girl
+ 
+
+13
+00:00:34,280 --> 00:00:37,630
+girl
+downstairs come on downstairs
+
+14
+00:00:37,630 --> 00:00:37,640
+downstairs come on downstairs
+ 
+
+15
+00:00:37,640 --> 00:00:48,780
+downstairs come on downstairs
+[Music]
+
+16
+00:00:48,780 --> 00:00:48,790
+
+ 
+
+17
+00:00:48,790 --> 00:00:56,600
+
+[Music]
+
+18
+00:00:56,600 --> 00:00:56,610
+
+ 
+
+19
+00:00:56,610 --> 00:01:04,189
+
+[Music]
+
+20
+00:01:04,189 --> 00:01:04,199
+
+ 
+
+21
+00:01:04,199 --> 00:01:09,149
+
+all right I'll get
+
+22
+00:01:09,149 --> 00:01:09,159
+
+ 
+
+23
+00:01:09,159 --> 00:01:13,390
+
+up my
+
+24
+00:01:13,390 --> 00:01:13,400
+
+ 
+
+25
+00:01:13,400 --> 00:01:25,149
+
+father look father look what I've taught
+
+26
+00:01:25,149 --> 00:01:25,159
+
+ 
+
+27
+00:01:25,159 --> 00:01:28,550
+
+Lassie you seem worried father is it
+
+28
+00:01:28,550 --> 00:01:28,560
+Lassie you seem worried father is it
+ 
+
+29
+00:01:28,560 --> 00:01:30,510
+Lassie you seem worried father is it
+about your work
+
+30
+00:01:30,510 --> 00:01:30,520
+about your work
+ 
+
+31
+00:01:30,520 --> 00:01:32,789
+about your work
+oh no no lad it's not
+
+32
+00:01:32,789 --> 00:01:32,799
+oh no no lad it's not
+ 
+
+33
+00:01:32,799 --> 00:01:36,630
+oh no no lad it's not
+that but whatever Trouble Comes remember
+
+34
+00:01:36,630 --> 00:01:36,640
+that but whatever Trouble Comes remember
+ 
+
+35
+00:01:36,640 --> 00:01:38,230
+that but whatever Trouble Comes remember
+we've got to be men
+
+36
+00:01:38,230 --> 00:01:38,240
+we've got to be men
+ 
+
+37
+00:01:38,240 --> 00:01:41,950
+we've got to be men
+together do you see hi
+
+38
+00:01:41,950 --> 00:01:41,960
+together do you see hi
+ 
+
+39
+00:01:41,960 --> 00:01:43,990
+together do you see hi
+Father we'll make haste now you'll be
+
+40
+00:01:43,990 --> 00:01:44,000
+Father we'll make haste now you'll be
+ 
+
+41
+00:01:44,000 --> 00:01:48,700
+Father we'll make haste now you'll be
+late for school come
+
+42
+00:01:48,700 --> 00:01:48,710
+
+ 
+
+43
+00:01:48,710 --> 00:02:18,350
+
+[Music]
+
+44
+00:02:18,350 --> 00:02:18,360
+
+ 
+
+45
+00:02:18,360 --> 00:02:22,710
+
+thank you
+
+46
+00:02:22,710 --> 00:02:22,720
+
+ 
+
+47
+00:02:22,720 --> 00:02:25,589
+
+Lassie what's the matter
+
+48
+00:02:25,589 --> 00:02:25,599
+Lassie what's the matter
+ 
+
+49
+00:02:25,599 --> 00:02:28,550
+Lassie what's the matter
+Lassie don't you want me to go I'll be
+
+50
+00:02:28,550 --> 00:02:28,560
+Lassie don't you want me to go I'll be
+ 
+
+51
+00:02:28,560 --> 00:02:32,430
+Lassie don't you want me to go I'll be
+out for as usual
+
+52
+00:02:32,430 --> 00:02:32,440
+
+ 
+
+53
+00:02:32,440 --> 00:02:40,960
+
+by well Lassie
+
+54
+00:02:40,960 --> 00:02:40,970
+
+ 
+
+55
+00:02:40,970 --> 00:03:10,189
+
+[Music]
+

1943/NBRHljOdrh0.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Tootsie and Lassie risk their lives to save Rowlie (Edmund Gwenn) when two bandits attack from the woods.
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: Alec Craig, Edmund Gwenn, Pal, John Rogers
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/O2VkpNsOM4o.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+After a long journey home full of perils, Lassie is finally reunited with Joe (Roddy McDowall).
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: Roddy McDowall, Pal
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/O2VkpNsOM4o.en.srt

@@ -0,0 +1,145 @@
+1
+00:00:03,380 --> 00:00:18,189
+
+[music]
+
+2
+00:00:18,189 --> 00:00:18,199
+
+ 
+
+3
+00:00:18,199 --> 00:00:22,189
+
+meet so
+
+4
+00:00:22,189 --> 00:00:22,199
+meet so
+ 
+
+5
+00:00:22,199 --> 00:00:30,669
+meet so
+let walked
+
+6
+00:00:30,669 --> 00:00:30,679
+
+ 
+
+7
+00:00:30,679 --> 00:00:34,080
+
+so
+
+8
+00:00:34,080 --> 00:00:34,090
+
+ 
+
+9
+00:00:34,090 --> 00:00:40,389
+
+[music]
+
+10
+00:00:40,389 --> 00:00:40,399
+
+ 
+
+11
+00:00:40,399 --> 00:00:47,060
+
+he a
+
+12
+00:00:47,060 --> 00:00:47,070
+
+ 
+
+13
+00:00:47,070 --> 00:01:00,110
+
+[music]
+
+14
+00:01:00,110 --> 00:01:00,120
+[music]
+ 
+
+15
+00:01:00,120 --> 00:01:01,670
+[music]
+m
+
+16
+00:01:01,670 --> 00:01:01,680
+m
+ 
+
+17
+00:01:01,680 --> 00:01:55,630
+m
+[music]
+
+18
+00:01:55,630 --> 00:01:55,640
+
+ 
+
+19
+00:01:55,640 --> 00:01:56,670
+
+ei
+
+20
+00:01:56,670 --> 00:01:56,680
+ei
+ 
+
+21
+00:01:56,680 --> 00:02:04,910
+ei
+[music]
+
+22
+00:02:04,910 --> 00:02:04,920
+
+ 
+
+23
+00:02:04,920 --> 00:02:06,470
+
+my ly come
+
+24
+00:02:06,470 --> 00:02:06,480
+my ly come
+ 
+
+25
+00:02:06,480 --> 00:02:28,830
+my ly come
+[music]
+
+26
+00:02:28,830 --> 00:02:28,840
+
+ 
+
+27
+00:02:28,840 --> 00:02:33,150
+
+home y
+
+28
+00:02:33,150 --> 00:02:33,160
+
+ 
+
+29
+00:02:33,160 --> 00:02:39,569
+
+[music]
+

1943/P6PLrI4R4x4.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Lassie is almost home when she encounters a couple of determined dog catchers.
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: Pal
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/P7JKRDjM_Vk.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Rowlie (Edmund Gwenn) and his dog Tootsie put on an entertaining show with help from Lassie.
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: Edmund Gwenn, Pal
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/P7JKRDjM_Vk.en.srt

@@ -0,0 +1,325 @@
+1
+00:00:00,120 --> 00:00:06,869
+
+or
+
+2
+00:00:06,869 --> 00:00:06,879
+
+ 
+
+3
+00:00:06,879 --> 00:00:09,950
+
+TOS to you can begin
+
+4
+00:00:09,950 --> 00:00:09,960
+TOS to you can begin
+ 
+
+5
+00:00:09,960 --> 00:00:14,709
+TOS to you can begin
+now why what's the matter eh oh you're
+
+6
+00:00:14,709 --> 00:00:14,719
+now why what's the matter eh oh you're
+ 
+
+7
+00:00:14,719 --> 00:00:16,550
+now why what's the matter eh oh you're
+waiting for someone
+
+8
+00:00:16,550 --> 00:00:16,560
+waiting for someone
+ 
+
+9
+00:00:16,560 --> 00:00:19,349
+waiting for someone
+eh Her Majesty hasn't arrived for
+
+10
+00:00:19,349 --> 00:00:19,359
+eh Her Majesty hasn't arrived for
+ 
+
+11
+00:00:19,359 --> 00:00:22,670
+eh Her Majesty hasn't arrived for
+Command Performance is that it e why
+
+12
+00:00:22,670 --> 00:00:22,680
+Command Performance is that it e why
+ 
+
+13
+00:00:22,680 --> 00:00:25,669
+Command Performance is that it e why
+here she comes
+
+14
+00:00:25,669 --> 00:00:25,679
+here she comes
+ 
+
+15
+00:00:25,679 --> 00:00:31,060
+here she comes
+now now toots go and pick up blue ring
+
+16
+00:00:31,060 --> 00:00:31,070
+now now toots go and pick up blue ring
+ 
+
+17
+00:00:31,070 --> 00:00:35,670
+now now toots go and pick up blue ring
+[Music]
+
+18
+00:00:35,670 --> 00:00:35,680
+
+ 
+
+19
+00:00:35,680 --> 00:00:40,270
+
+come on come on come on come on
+
+20
+00:00:40,270 --> 00:00:40,280
+come on come on come on come on
+ 
+
+21
+00:00:40,280 --> 00:00:43,389
+come on come on come on come on
+there now then not many little dogs
+
+22
+00:00:43,389 --> 00:00:43,399
+there now then not many little dogs
+ 
+
+23
+00:00:43,399 --> 00:00:45,190
+there now then not many little dogs
+could go through this oop but you could
+
+24
+00:00:45,190 --> 00:00:45,200
+could go through this oop but you could
+ 
+
+25
+00:00:45,200 --> 00:00:47,630
+could go through this oop but you could
+couldn't your toots hey come
+
+26
+00:00:47,630 --> 00:00:47,640
+couldn't your toots hey come
+ 
+
+27
+00:00:47,640 --> 00:00:55,630
+couldn't your toots hey come
+on come on then come
+
+28
+00:00:55,630 --> 00:00:55,640
+
+ 
+
+29
+00:00:55,640 --> 00:00:59,310
+
+on now toots how about a nice ride on
+
+30
+00:00:59,310 --> 00:00:59,320
+on now toots how about a nice ride on
+ 
+
+31
+00:00:59,320 --> 00:01:03,240
+on now toots how about a nice ride on
+ball
+
+32
+00:01:03,240 --> 00:01:03,250
+
+ 
+
+33
+00:01:03,250 --> 00:01:20,830
+
+[Music]
+
+34
+00:01:20,830 --> 00:01:20,840
+
+ 
+
+35
+00:01:20,840 --> 00:01:23,990
+
+but doesn't the collie do anything why
+
+36
+00:01:23,990 --> 00:01:24,000
+but doesn't the collie do anything why
+ 
+
+37
+00:01:24,000 --> 00:01:26,350
+but doesn't the collie do anything why
+you wouldn't expect royalty to perform
+
+38
+00:01:26,350 --> 00:01:26,360
+you wouldn't expect royalty to perform
+ 
+
+39
+00:01:26,360 --> 00:01:28,630
+you wouldn't expect royalty to perform
+would
+
+40
+00:01:28,630 --> 00:01:28,640
+
+ 
+
+41
+00:01:28,640 --> 00:01:31,990
+
+you would you like to do some work girl
+
+42
+00:01:31,990 --> 00:01:32,000
+you would you like to do some work girl
+ 
+
+43
+00:01:32,000 --> 00:01:34,910
+you would you like to do some work girl
+would you like to pick up these
+
+44
+00:01:34,910 --> 00:01:34,920
+would you like to pick up these
+ 
+
+45
+00:01:34,920 --> 00:01:37,510
+would you like to pick up these
+things pick up these
+
+46
+00:01:37,510 --> 00:01:37,520
+things pick up these
+ 
+
+47
+00:01:37,520 --> 00:01:39,950
+things pick up these
+[Music]
+
+48
+00:01:39,950 --> 00:01:39,960
+[Music]
+ 
+
+49
+00:01:39,960 --> 00:01:44,270
+[Music]
+things may it please your majesty as a
+
+50
+00:01:44,270 --> 00:01:44,280
+things may it please your majesty as a
+ 
+
+51
+00:01:44,280 --> 00:01:48,550
+things may it please your majesty as a
+favor to me will you please pick up the
+
+52
+00:01:48,550 --> 00:01:48,560
+favor to me will you please pick up the
+ 
+
+53
+00:01:48,560 --> 00:01:52,290
+favor to me will you please pick up the
+things
+
+54
+00:01:52,290 --> 00:01:52,300
+
+ 
+
+55
+00:01:52,300 --> 00:02:09,309
+
+[Music]
+
+56
+00:02:09,309 --> 00:02:09,319
+
+ 
+
+57
+00:02:09,319 --> 00:02:11,430
+
+you see always remember to say please
+
+58
+00:02:11,430 --> 00:02:11,440
+you see always remember to say please
+ 
+
+59
+00:02:11,440 --> 00:02:14,030
+you see always remember to say please
+and you get more in this world well
+
+60
+00:02:14,030 --> 00:02:14,040
+and you get more in this world well
+ 
+
+61
+00:02:14,040 --> 00:02:15,910
+and you get more in this world well
+thank you ladies goodbye one and all
+
+62
+00:02:15,910 --> 00:02:15,920
+thank you ladies goodbye one and all
+ 
+
+63
+00:02:15,920 --> 00:02:24,280
+thank you ladies goodbye one and all
+shows over I'll be back again next year
+
+64
+00:02:24,280 --> 00:02:24,290
+
+ 
+
+65
+00:02:24,290 --> 00:02:53,499
+
+[Music]
+

1943/TvSS_-BohSc.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Lassie is mistaken as a danger when she passes through a herd of sheep on her way home.
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: Pal
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/TvSS_-BohSc.en.srt

@@ -0,0 +1,295 @@
+1
+00:00:03,070 --> 00:00:20,630
+
+[Music]
+
+2
+00:00:20,630 --> 00:00:20,640
+
+ 
+
+3
+00:00:20,640 --> 00:00:22,750
+
+go
+
+4
+00:00:22,750 --> 00:00:22,760
+go
+ 
+
+5
+00:00:22,760 --> 00:00:28,310
+go
+there let him out lad fly lad let
+
+6
+00:00:28,310 --> 00:00:28,320
+
+ 
+
+7
+00:00:28,320 --> 00:00:32,030
+
+fly I can I do it it doesn't look like
+
+8
+00:00:32,030 --> 00:00:32,040
+fly I can I do it it doesn't look like
+ 
+
+9
+00:00:32,040 --> 00:00:34,350
+fly I can I do it it doesn't look like
+one of they Devils to me what a stray
+
+10
+00:00:34,350 --> 00:00:34,360
+one of they Devils to me what a stray
+ 
+
+11
+00:00:34,360 --> 00:00:36,270
+one of they Devils to me what a stray
+you've got a right to shoot well let's
+
+12
+00:00:36,270 --> 00:00:36,280
+you've got a right to shoot well let's
+ 
+
+13
+00:00:36,280 --> 00:00:37,709
+you've got a right to shoot well let's
+see whether it gangs near the sheep
+
+14
+00:00:37,709 --> 00:00:37,719
+see whether it gangs near the sheep
+ 
+
+15
+00:00:37,719 --> 00:00:45,389
+see whether it gangs near the sheep
+first if it does oh shoot
+
+16
+00:00:45,389 --> 00:00:45,399
+
+ 
+
+17
+00:00:45,399 --> 00:00:48,430
+
+it there it's seen
+
+18
+00:00:48,430 --> 00:00:48,440
+it there it's seen
+ 
+
+19
+00:00:48,440 --> 00:00:51,389
+it there it's seen
+us let him
+
+20
+00:00:51,389 --> 00:00:51,399
+us let him
+ 
+
+21
+00:00:51,399 --> 00:00:57,760
+us let him
+h i did yet didn't go go on get sick
+
+22
+00:00:57,760 --> 00:00:57,770
+h i did yet didn't go go on get sick
+ 
+
+23
+00:00:57,770 --> 00:01:00,189
+h i did yet didn't go go on get sick
+[Music]
+
+24
+00:01:00,189 --> 00:01:00,199
+[Music]
+ 
+
+25
+00:01:00,199 --> 00:01:01,340
+[Music]
+a
+
+26
+00:01:01,340 --> 00:01:01,350
+a
+ 
+
+27
+00:01:01,350 --> 00:01:31,660
+a
+[Music]
+
+28
+00:01:31,660 --> 00:01:31,670
+[Music]
+ 
+
+29
+00:01:31,670 --> 00:01:32,190
+[Music]
+[Applause]
+
+30
+00:01:32,190 --> 00:01:32,200
+[Applause]
+ 
+
+31
+00:01:32,200 --> 00:01:51,910
+[Applause]
+[Music]
+
+32
+00:01:51,910 --> 00:01:51,920
+
+ 
+
+33
+00:01:51,920 --> 00:01:55,880
+
+a try shoot no jo he might hit
+
+34
+00:01:55,880 --> 00:01:55,890
+a try shoot no jo he might hit
+ 
+
+35
+00:01:55,890 --> 00:01:58,429
+a try shoot no jo he might hit
+[Music]
+
+36
+00:01:58,429 --> 00:01:58,439
+[Music]
+ 
+
+37
+00:01:58,439 --> 00:02:01,749
+[Music]
+meran unless mistaken Andrew there goes
+
+38
+00:02:01,749 --> 00:02:01,759
+meran unless mistaken Andrew there goes
+ 
+
+39
+00:02:01,759 --> 00:02:06,870
+meran unless mistaken Andrew there goes
+your sat
+
+40
+00:02:06,870 --> 00:02:06,880
+
+ 
+
+41
+00:02:06,880 --> 00:02:11,790
+
+now no CH no
+
+42
+00:02:11,790 --> 00:02:11,800
+
+ 
+
+43
+00:02:11,800 --> 00:02:17,230
+
+[Music]
+
+44
+00:02:17,230 --> 00:02:17,240
+
+ 
+
+45
+00:02:17,240 --> 00:02:20,509
+
+[Music]
+
+46
+00:02:20,509 --> 00:02:20,519
+[Music]
+ 
+
+47
+00:02:20,519 --> 00:02:24,030
+[Music]
+shoot Lush man why did you know shoot
+
+48
+00:02:24,030 --> 00:02:24,040
+shoot Lush man why did you know shoot
+ 
+
+49
+00:02:24,040 --> 00:02:26,630
+shoot Lush man why did you know shoot
+well she were a brave dog and she were
+
+50
+00:02:26,630 --> 00:02:26,640
+well she were a brave dog and she were
+ 
+
+51
+00:02:26,640 --> 00:02:27,949
+well she were a brave dog and she were
+going
+
+52
+00:02:27,949 --> 00:02:27,959
+going
+ 
+
+53
+00:02:27,959 --> 00:02:31,030
+going
+somewhere and besides I couldn't shoot
+
+54
+00:02:31,030 --> 00:02:31,040
+somewhere and besides I couldn't shoot
+ 
+
+55
+00:02:31,040 --> 00:02:33,490
+somewhere and besides I couldn't shoot
+but I forgot to load up
+
+56
+00:02:33,490 --> 00:02:33,500
+but I forgot to load up
+ 
+
+57
+00:02:33,500 --> 00:02:58,830
+but I forgot to load up
+[Music]
+
+58
+00:02:58,830 --> 00:02:58,840
+
+ 
+
+59
+00:02:58,840 --> 00:03:02,879
+
+again ch
+

1943/VRxRsbDfLaw.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+After her first escape, Lassie is returned to the kennel, but she resorts to jumping the fence.
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: J. Pat O'Malley, Pal
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/jVsXMF9sbVQ.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Exhausted after swimming across the river, Lassie is saved by Dan'l (Ben Webster) and Dally Fadden's (Dame May Whitty) kind hospitality.
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: Pal, Ben Webster, Dame May Whitty
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1943/jVsXMF9sbVQ.en.srt

@@ -0,0 +1,195 @@
+1
+00:00:00,000 --> 00:00:43,750
+
+[Music]
+
+2
+00:00:43,750 --> 00:00:43,760
+
+ 
+
+3
+00:00:43,760 --> 00:00:46,310
+
+and don't you hear something huh D with
+
+4
+00:00:46,310 --> 00:00:46,320
+and don't you hear something huh D with
+ 
+
+5
+00:00:46,320 --> 00:00:47,229
+and don't you hear something huh D with
+the
+
+6
+00:00:47,229 --> 00:00:47,239
+the
+ 
+
+7
+00:00:47,239 --> 00:00:50,510
+the
+chickens D the chicken cop's a bit
+
+8
+00:00:50,510 --> 00:00:50,520
+chickens D the chicken cop's a bit
+ 
+
+9
+00:00:50,520 --> 00:00:52,750
+chickens D the chicken cop's a bit
+loose if I weren't so lazy I'd have
+
+10
+00:00:52,750 --> 00:00:52,760
+loose if I weren't so lazy I'd have
+ 
+
+11
+00:00:52,760 --> 00:01:00,349
+loose if I weren't so lazy I'd have
+fixed it long since
+
+12
+00:01:00,349 --> 00:01:00,359
+
+ 
+
+13
+00:01:00,359 --> 00:01:04,030
+
+there again there is something if you
+
+14
+00:01:04,030 --> 00:01:04,040
+there again there is something if you
+ 
+
+15
+00:01:04,040 --> 00:01:05,270
+there again there is something if you
+won't go and see who's after your
+
+16
+00:01:05,270 --> 00:01:05,280
+won't go and see who's after your
+ 
+
+17
+00:01:05,280 --> 00:01:08,390
+won't go and see who's after your
+chickens Daniel F I will no no no sit
+
+18
+00:01:08,390 --> 00:01:08,400
+chickens Daniel F I will no no no sit
+ 
+
+19
+00:01:08,400 --> 00:01:12,590
+chickens Daniel F I will no no no sit
+you down if you want me to go I'll go
+
+20
+00:01:12,590 --> 00:01:12,600
+you down if you want me to go I'll go
+ 
+
+21
+00:01:12,600 --> 00:01:14,950
+you down if you want me to go I'll go
+I'll look around or you won't be
+
+22
+00:01:14,950 --> 00:01:14,960
+I'll look around or you won't be
+ 
+
+23
+00:01:14,960 --> 00:01:26,440
+I'll look around or you won't be
+sleeping tonight
+
+24
+00:01:26,440 --> 00:01:26,450
+
+ 
+
+25
+00:01:26,450 --> 00:01:40,630
+
+[Music]
+
+26
+00:01:40,630 --> 00:01:40,640
+
+ 
+
+27
+00:01:40,640 --> 00:01:46,250
+
+Dy Dy all right there I'm coming
+
+28
+00:01:46,250 --> 00:01:46,260
+Dy Dy all right there I'm coming
+ 
+
+29
+00:01:46,260 --> 00:02:01,069
+Dy Dy all right there I'm coming
+[Music]
+
+30
+00:02:01,069 --> 00:02:01,079
+
+ 
+
+31
+00:02:01,079 --> 00:02:03,190
+
+oh
+
+32
+00:02:03,190 --> 00:02:03,200
+oh
+ 
+
+33
+00:02:03,200 --> 00:02:08,150
+oh
+oh oh oh you poor poor now who left you
+
+34
+00:02:08,150 --> 00:02:08,160
+oh oh oh you poor poor now who left you
+ 
+
+35
+00:02:08,160 --> 00:02:09,630
+oh oh oh you poor poor now who left you
+out tonight like
+
+36
+00:02:09,630 --> 00:02:09,640
+out tonight like
+ 
+
+37
+00:02:09,640 --> 00:02:13,640
+out tonight like
+you I think have
+
+38
+00:02:13,640 --> 00:02:13,650
+you I think have
+ 
+
+39
+00:02:13,650 --> 00:02:42,870
+you I think have
+[Music]
+

1943/voYRf2GVXbc.description

@@ -0,0 +1,38 @@
+Lassie Come Home movie clips: http://j.mp/1B3na9g
+BUY THE MOVIE: http://j.mp/T8fueo
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Lassie escapes her new home just in time to meet Joe (Roddy McDowall) after school.
+
+FILM DESCRIPTION:
+Female dogs tend to shed while in heat; this is why all the collies who've played doggy heroine Lassie in the movies have actually been well-disguised males. A magnificent animal named Pal was the screen's first Lassie in 1943's Lassie Come Home. Set in Yorkshire during the first World War, the film gets under way when the poverty-stricken parents (Donald Crisp, Elsa Lanchester) of young Joe Carraclough (Roddy McDowall) are forced to sell his beloved Lassie. While her new master, the duke of Rudling (Nigel Bruce), is pleasant enough, Lassie prefers the company of Joe and repeatedly escapes. Even when cared for by the duke's affectionate granddaughter, Priscilla (Elizabeth Taylor), Lassie insists upon heading back to her original home. This time, however, the trip is much longer, and Lassie must depend upon the kindness of strangers, notably farmers Dally (Dame May Whitty) and Dan'l Fadden (Ben Webster) and handyman Rowlie (Edmund Gwenn). Based on the novel by Eric Knight (originally serialized in The Saturday Evening Post), Lassie Come Home was released quite some time after Knight's death. Like all the Lassie sequels turned out by MGM between 1943 and 1951, Lassie Come Home was lensed in Technicolor.
+
+CREDITS:
+TM & © Warner Bros. (1943)
+Cast: Roddy McDowall, Pal
+Director: Fred M. Wilcox
+Producers: Samuel Marx, Harry Rapf, Dore Schary
+Screenwriters: Hugo Butler, Eric Knight
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1944/-r_jjQ_idz8.description

@@ -0,0 +1,38 @@
+Double Indemnity movie clips: http://j.mp/1BcRm39
+BUY THE MOVIE: http://amzn.to/ts2Y3g
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Walter (Fred MacMurray) tries to convince Keyes (Edward G. Robinson) to not call the cops and let him escape, but he doesn't have the strength to get out the door.
+
+FILM DESCRIPTION:
+Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making.
+
+CREDITS:
+TM & © Universal (1944)
+Cast: Edward G. Robinson
+Director: Billy Wilder
+Producers: Buddy G. DeSylva, Joseph Sistrom
+Screenwriters: Raymond Chandler, James M. Cain, Billy Wilder
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1944/-r_jjQ_idz8.en.srt

@@ -0,0 +1,455 @@
+1
+00:00:02,080 --> 00:00:05,389
+
+I'm going to call for a
+
+2
+00:00:05,389 --> 00:00:05,399
+
+ 
+
+3
+00:00:05,399 --> 00:00:09,950
+
+doctor what for so they can patch me up
+
+4
+00:00:09,950 --> 00:00:09,960
+doctor what for so they can patch me up
+ 
+
+5
+00:00:09,960 --> 00:00:11,270
+doctor what for so they can patch me up
+so they can nurse me along to I it back
+
+6
+00:00:11,270 --> 00:00:11,280
+so they can nurse me along to I it back
+ 
+
+7
+00:00:11,280 --> 00:00:13,709
+so they can nurse me along to I it back
+in my feet so I can walk into that gas
+
+8
+00:00:13,709 --> 00:00:13,719
+in my feet so I can walk into that gas
+ 
+
+9
+00:00:13,719 --> 00:00:15,189
+in my feet so I can walk into that gas
+chamber of of San Quinton on my own
+
+10
+00:00:15,189 --> 00:00:15,199
+chamber of of San Quinton on my own
+ 
+
+11
+00:00:15,199 --> 00:00:18,550
+chamber of of San Quinton on my own
+power is that it Keys something like
+
+12
+00:00:18,550 --> 00:00:18,560
+power is that it Keys something like
+ 
+
+13
+00:00:18,560 --> 00:00:23,710
+power is that it Keys something like
+that I I got a different idea yeah look
+
+14
+00:00:23,710 --> 00:00:23,720
+that I I got a different idea yeah look
+ 
+
+15
+00:00:23,720 --> 00:00:26,070
+that I I got a different idea yeah look
+Keys suppose you went back to bed and
+
+16
+00:00:26,070 --> 00:00:26,080
+Keys suppose you went back to bed and
+ 
+
+17
+00:00:26,080 --> 00:00:27,150
+Keys suppose you went back to bed and
+didn't find these cylinders till
+
+18
+00:00:27,150 --> 00:00:27,160
+didn't find these cylinders till
+ 
+
+19
+00:00:27,160 --> 00:00:29,550
+didn't find these cylinders till
+tomorrow morning when the office opens
+
+20
+00:00:29,550 --> 00:00:29,560
+tomorrow morning when the office opens
+ 
+
+21
+00:00:29,560 --> 00:00:31,109
+tomorrow morning when the office opens
+after that you can play it anyway you
+
+22
+00:00:31,109 --> 00:00:31,119
+after that you can play it anyway you
+ 
+
+23
+00:00:31,119 --> 00:00:34,150
+after that you can play it anyway you
+like would you do that much for me
+
+24
+00:00:34,150 --> 00:00:34,160
+like would you do that much for me
+ 
+
+25
+00:00:34,160 --> 00:00:37,470
+like would you do that much for me
+Keys give me one good reason I need 4
+
+26
+00:00:37,470 --> 00:00:37,480
+Keys give me one good reason I need 4
+ 
+
+27
+00:00:37,480 --> 00:00:39,430
+Keys give me one good reason I need 4
+hours to get where I'm going you're not
+
+28
+00:00:39,430 --> 00:00:39,440
+hours to get where I'm going you're not
+ 
+
+29
+00:00:39,440 --> 00:00:43,190
+hours to get where I'm going you're not
+going anywhere Walder you bet I am I'm
+
+30
+00:00:43,190 --> 00:00:43,200
+going anywhere Walder you bet I am I'm
+ 
+
+31
+00:00:43,200 --> 00:00:44,790
+going anywhere Walder you bet I am I'm
+going across the border you haven't got
+
+32
+00:00:44,790 --> 00:00:44,800
+going across the border you haven't got
+ 
+
+33
+00:00:44,800 --> 00:00:47,709
+going across the border you haven't got
+a chance Walder good enough to try for
+
+34
+00:00:47,709 --> 00:00:47,719
+a chance Walder good enough to try for
+ 
+
+35
+00:00:47,719 --> 00:00:50,150
+a chance Walder good enough to try for
+you'll never make the Border that's what
+
+36
+00:00:50,150 --> 00:00:50,160
+you'll never make the Border that's what
+ 
+
+37
+00:00:50,160 --> 00:00:50,950
+you'll never make the Border that's what
+you
+
+38
+00:00:50,950 --> 00:00:50,960
+you
+ 
+
+39
+00:00:50,960 --> 00:00:54,389
+you
+think just watch me you'll never even
+
+40
+00:00:54,389 --> 00:00:54,399
+think just watch me you'll never even
+ 
+
+41
+00:00:54,399 --> 00:00:55,310
+think just watch me you'll never even
+make the
+
+42
+00:00:55,310 --> 00:00:55,320
+make the
+ 
+
+43
+00:00:55,320 --> 00:00:58,910
+make the
+elevator so long
+
+44
+00:00:58,910 --> 00:00:58,920
+
+ 
+
+45
+00:00:58,920 --> 00:01:00,790
+
+Keys
+
+46
+00:01:00,790 --> 00:01:00,800
+Keys
+ 
+
+47
+00:01:00,800 --> 00:01:27,590
+Keys
+[Music]
+
+48
+00:01:27,590 --> 00:01:27,600
+
+ 
+
+49
+00:01:27,600 --> 00:01:30,429
+
+hello uh send an ambulance building on
+
+50
+00:01:30,429 --> 00:01:30,439
+hello uh send an ambulance building on
+ 
+
+51
+00:01:30,439 --> 00:01:32,310
+hello uh send an ambulance building on
+Olive
+
+52
+00:01:32,310 --> 00:01:32,320
+Olive
+ 
+
+53
+00:01:32,320 --> 00:01:38,880
+Olive
+Street yeah it's a police
+
+54
+00:01:38,880 --> 00:01:38,890
+
+ 
+
+55
+00:01:38,890 --> 00:01:53,830
+
+[Music]
+
+56
+00:01:53,830 --> 00:01:53,840
+
+ 
+
+57
+00:01:53,840 --> 00:01:56,109
+
+job how you doing
+
+58
+00:01:56,109 --> 00:01:56,119
+job how you doing
+ 
+
+59
+00:01:56,119 --> 00:01:58,830
+job how you doing
+Walder
+
+60
+00:01:58,830 --> 00:01:58,840
+Walder
+ 
+
+61
+00:01:58,840 --> 00:02:01,270
+Walder
+fine somebody moved the elevator a
+
+62
+00:02:01,270 --> 00:02:01,280
+fine somebody moved the elevator a
+ 
+
+63
+00:02:01,280 --> 00:02:02,709
+fine somebody moved the elevator a
+couple of miles
+
+64
+00:02:02,709 --> 00:02:02,719
+couple of miles
+ 
+
+65
+00:02:02,719 --> 00:02:08,790
+couple of miles
+away they're on the
+
+66
+00:02:08,790 --> 00:02:08,800
+
+ 
+
+67
+00:02:08,800 --> 00:02:10,710
+
+way you know why you couldn't figure
+
+68
+00:02:10,710 --> 00:02:10,720
+way you know why you couldn't figure
+ 
+
+69
+00:02:10,720 --> 00:02:11,550
+way you know why you couldn't figure
+this one
+
+70
+00:02:11,550 --> 00:02:11,560
+this one
+ 
+
+71
+00:02:11,560 --> 00:02:13,550
+this one
+keys I'll tell
+
+72
+00:02:13,550 --> 00:02:13,560
+keys I'll tell
+ 
+
+73
+00:02:13,560 --> 00:02:15,790
+keys I'll tell
+you because the guy you were looking for
+
+74
+00:02:15,790 --> 00:02:15,800
+you because the guy you were looking for
+ 
+
+75
+00:02:15,800 --> 00:02:17,270
+you because the guy you were looking for
+was too
+
+76
+00:02:17,270 --> 00:02:17,280
+was too
+ 
+
+77
+00:02:17,280 --> 00:02:19,790
+was too
+close right across the desk from
+
+78
+00:02:19,790 --> 00:02:19,800
+close right across the desk from
+ 
+
+79
+00:02:19,800 --> 00:02:23,000
+close right across the desk from
+you closer than that
+
+80
+00:02:23,000 --> 00:02:23,010
+you closer than that
+ 
+
+81
+00:02:23,010 --> 00:02:25,869
+you closer than that
+[Music]
+
+82
+00:02:25,869 --> 00:02:25,879
+[Music]
+ 
+
+83
+00:02:25,879 --> 00:02:28,750
+[Music]
+Waller I love you
+
+84
+00:02:28,750 --> 00:02:28,760
+Waller I love you
+ 
+
+85
+00:02:28,760 --> 00:02:34,790
+Waller I love you
+too
+
+86
+00:02:34,790 --> 00:02:34,800
+
+ 
+
+87
+00:02:34,800 --> 00:02:58,750
+
+[Music]
+
+88
+00:02:58,750 --> 00:02:58,760
+
+ 
+
+89
+00:02:58,760 --> 00:03:02,950
+
+what
+
+90
+00:03:02,950 --> 00:03:02,960
+
+ 
+
+91
+00:03:02,960 --> 00:03:25,539
+
+[Music]
+

1944/1WRLqzGkzNw.description

@@ -0,0 +1,38 @@
+Double Indemnity movie clips: http://j.mp/1BcRm39
+BUY THE MOVIE: http://amzn.to/ts2Y3g
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Walter (Fred MacMurray) confronts Phyllis (Barbara Stanwyck) about her manipulative ways, but ends up on the wrong side of her gun.
+
+FILM DESCRIPTION:
+Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making.
+
+CREDITS:
+TM & © Universal (1944)
+Cast: Barbara Stanwyck
+Director: Billy Wilder
+Producers: Buddy G. DeSylva, Joseph Sistrom
+Screenwriters: Raymond Chandler, James M. Cain, Billy Wilder
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
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+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1944/1WRLqzGkzNw.en.srt

@@ -0,0 +1,355 @@
+1
+00:00:01,439 --> 00:00:03,830
+
+we're both rten only you're a little
+
+2
+00:00:03,830 --> 00:00:03,840
+we're both rten only you're a little
+ 
+
+3
+00:00:03,840 --> 00:00:05,990
+we're both rten only you're a little
+more Rutten you got me to take care of
+
+4
+00:00:05,990 --> 00:00:06,000
+more Rutten you got me to take care of
+ 
+
+5
+00:00:06,000 --> 00:00:07,429
+more Rutten you got me to take care of
+your husband for you and then you get
+
+6
+00:00:07,429 --> 00:00:07,439
+your husband for you and then you get
+ 
+
+7
+00:00:07,439 --> 00:00:09,110
+your husband for you and then you get
+STI to take care of alola maybe take
+
+8
+00:00:09,110 --> 00:00:09,120
+STI to take care of alola maybe take
+ 
+
+9
+00:00:09,120 --> 00:00:11,350
+STI to take care of alola maybe take
+care of me too then somebody else would
+
+10
+00:00:11,350 --> 00:00:11,360
+care of me too then somebody else would
+ 
+
+11
+00:00:11,360 --> 00:00:12,589
+care of me too then somebody else would
+have come along to take care of zetti
+
+12
+00:00:12,589 --> 00:00:12,599
+have come along to take care of zetti
+ 
+
+13
+00:00:12,599 --> 00:00:14,789
+have come along to take care of zetti
+for you that's the way you operate isn't
+
+14
+00:00:14,789 --> 00:00:14,799
+for you that's the way you operate isn't
+ 
+
+15
+00:00:14,799 --> 00:00:17,109
+for you that's the way you operate isn't
+it baby suppose it is is what you've got
+
+16
+00:00:17,109 --> 00:00:17,119
+it baby suppose it is is what you've got
+ 
+
+17
+00:00:17,119 --> 00:00:19,750
+it baby suppose it is is what you've got
+cooked up for tonight any
+
+18
+00:00:19,750 --> 00:00:19,760
+cooked up for tonight any
+ 
+
+19
+00:00:19,760 --> 00:00:22,429
+cooked up for tonight any
+better I don't like that music
+
+20
+00:00:22,429 --> 00:00:22,439
+better I don't like that music
+ 
+
+21
+00:00:22,439 --> 00:00:28,950
+better I don't like that music
+anymore mind if I close the
+
+22
+00:00:28,950 --> 00:00:28,960
+
+ 
+
+23
+00:00:28,960 --> 00:00:44,790
+
+window
+
+24
+00:00:44,790 --> 00:00:44,800
+
+ 
+
+25
+00:00:44,800 --> 00:00:46,950
+
+you can do better than that can't you
+
+26
+00:00:46,950 --> 00:00:46,960
+you can do better than that can't you
+ 
+
+27
+00:00:46,960 --> 00:00:51,549
+you can do better than that can't you
+baby better try it
+
+28
+00:00:51,549 --> 00:00:51,559
+
+ 
+
+29
+00:00:51,559 --> 00:00:58,910
+
+again maybe if I came a Little
+
+30
+00:00:58,910 --> 00:00:58,920
+
+ 
+
+31
+00:00:58,920 --> 00:01:05,270
+
+Closer
+
+32
+00:01:05,270 --> 00:01:05,280
+
+ 
+
+33
+00:01:05,280 --> 00:01:15,749
+
+how's this think you can do it
+
+34
+00:01:15,749 --> 00:01:15,759
+
+ 
+
+35
+00:01:15,759 --> 00:01:23,990
+
+now why didn't you shoot again
+
+36
+00:01:23,990 --> 00:01:24,000
+
+ 
+
+37
+00:01:24,000 --> 00:01:25,870
+
+baby don't tell me it's because you've
+
+38
+00:01:25,870 --> 00:01:25,880
+baby don't tell me it's because you've
+ 
+
+39
+00:01:25,880 --> 00:01:28,109
+baby don't tell me it's because you've
+been in love with me all this
+
+40
+00:01:28,109 --> 00:01:28,119
+been in love with me all this
+ 
+
+41
+00:01:28,119 --> 00:01:30,710
+been in love with me all this
+time no I never love you Walter not you
+
+42
+00:01:30,710 --> 00:01:30,720
+time no I never love you Walter not you
+ 
+
+43
+00:01:30,720 --> 00:01:33,710
+time no I never love you Walter not you
+or anybody else I'm rotten to the heart
+
+44
+00:01:33,710 --> 00:01:33,720
+or anybody else I'm rotten to the heart
+ 
+
+45
+00:01:33,720 --> 00:01:36,190
+or anybody else I'm rotten to the heart
+I used you just as you said that's all
+
+46
+00:01:36,190 --> 00:01:36,200
+I used you just as you said that's all
+ 
+
+47
+00:01:36,200 --> 00:01:38,630
+I used you just as you said that's all
+you ever meant to
+
+48
+00:01:38,630 --> 00:01:38,640
+you ever meant to
+ 
+
+49
+00:01:38,640 --> 00:01:41,310
+you ever meant to
+me until a minute
+
+50
+00:01:41,310 --> 00:01:41,320
+me until a minute
+ 
+
+51
+00:01:41,320 --> 00:01:45,630
+me until a minute
+ago when I couldn't fire that second
+
+52
+00:01:45,630 --> 00:01:45,640
+ago when I couldn't fire that second
+ 
+
+53
+00:01:45,640 --> 00:01:47,950
+ago when I couldn't fire that second
+shot I never thought that could happen
+
+54
+00:01:47,950 --> 00:01:47,960
+shot I never thought that could happen
+ 
+
+55
+00:01:47,960 --> 00:01:49,389
+shot I never thought that could happen
+to
+
+56
+00:01:49,389 --> 00:01:49,399
+to
+ 
+
+57
+00:01:49,399 --> 00:01:52,310
+to
+me sorry baby I'm not buying I'm not
+
+58
+00:01:52,310 --> 00:01:52,320
+me sorry baby I'm not buying I'm not
+ 
+
+59
+00:01:52,320 --> 00:01:58,830
+me sorry baby I'm not buying I'm not
+asking you to buy just hold me
+
+60
+00:01:58,830 --> 00:01:58,840
+
+ 
+
+61
+00:01:58,840 --> 00:02:01,270
+
+close
+
+62
+00:02:01,270 --> 00:02:01,280
+close
+ 
+
+63
+00:02:01,280 --> 00:02:06,310
+close
+goodbye
+
+64
+00:02:06,310 --> 00:02:06,320
+
+ 
+
+65
+00:02:06,320 --> 00:02:14,630
+
+[Music]
+
+66
+00:02:14,630 --> 00:02:14,640
+
+ 
+
+67
+00:02:14,640 --> 00:02:28,750
+
+[Music]
+
+68
+00:02:28,750 --> 00:02:28,760
+[Music]
+ 
+
+69
+00:02:28,760 --> 00:02:36,920
+[Music]
+baby
+
+70
+00:02:36,920 --> 00:02:36,930
+
+ 
+
+71
+00:02:36,930 --> 00:02:59,509
+
+[Music]
+

1944/6o8Eq0LEpf0.en.srt

@@ -0,0 +1,365 @@
+1
+00:00:02,659 --> 00:00:06,019
+
+all right I don't want to upset you if
+
+2
+00:00:06,019 --> 00:00:06,029
+all right I don't want to upset you if
+ 
+
+3
+00:00:06,029 --> 00:00:07,519
+all right I don't want to upset you if
+you will put things right when I'm not
+
+4
+00:00:07,519 --> 00:00:07,529
+you will put things right when I'm not
+ 
+
+5
+00:00:07,529 --> 00:00:09,129
+you will put things right when I'm not
+looking with us sure we did not happen
+
+6
+00:00:09,129 --> 00:00:09,139
+looking with us sure we did not happen
+ 
+
+7
+00:00:09,139 --> 00:00:13,730
+looking with us sure we did not happen
+what Gregory what oh please don't turn
+
+8
+00:00:13,730 --> 00:00:13,740
+what Gregory what oh please don't turn
+ 
+
+9
+00:00:13,740 --> 00:00:16,779
+what Gregory what oh please don't turn
+your back on me what has happened
+
+10
+00:00:16,779 --> 00:00:16,789
+your back on me what has happened
+ 
+
+11
+00:00:16,789 --> 00:00:38,430
+your back on me what has happened
+you mean you don't know no right look
+
+12
+00:00:38,430 --> 00:00:38,440
+
+ 
+
+13
+00:00:38,440 --> 00:00:41,940
+
+yes
+
+14
+00:00:41,940 --> 00:00:41,950
+
+ 
+
+15
+00:00:41,950 --> 00:00:48,520
+
+little big just been taken down who took
+
+16
+00:00:48,520 --> 00:00:48,530
+little big just been taken down who took
+ 
+
+17
+00:00:48,530 --> 00:00:53,350
+little big just been taken down who took
+it done why has it been taken down why
+
+18
+00:00:53,350 --> 00:00:53,360
+it done why has it been taken down why
+ 
+
+19
+00:00:53,360 --> 00:00:59,830
+it done why has it been taken down why
+indeed why was it taken down before will
+
+20
+00:00:59,830 --> 00:00:59,840
+indeed why was it taken down before will
+ 
+
+21
+00:00:59,840 --> 00:01:01,540
+indeed why was it taken down before will
+you please get it from wherever you've
+
+22
+00:01:01,540 --> 00:01:01,550
+you please get it from wherever you've
+ 
+
+23
+00:01:01,550 --> 00:01:04,890
+you please get it from wherever you've
+hidden it and put it back in its place I
+
+24
+00:01:04,890 --> 00:01:04,900
+hidden it and put it back in its place I
+ 
+
+25
+00:01:04,900 --> 00:01:06,580
+hidden it and put it back in its place I
+swear I haven't
+
+26
+00:01:06,580 --> 00:01:06,590
+swear I haven't
+ 
+
+27
+00:01:06,590 --> 00:01:10,719
+swear I haven't
+why should i I should don't look at me
+
+28
+00:01:10,719 --> 00:01:10,729
+why should i I should don't look at me
+ 
+
+29
+00:01:10,729 --> 00:01:15,900
+why should i I should don't look at me
+like that someone else must have done it
+
+30
+00:01:15,900 --> 00:01:15,910
+like that someone else must have done it
+ 
+
+31
+00:01:15,910 --> 00:01:18,130
+like that someone else must have done it
+no don't bring up please don't drink
+
+32
+00:01:18,130 --> 00:01:18,140
+no don't bring up please don't drink
+ 
+
+33
+00:01:18,140 --> 00:01:21,190
+no don't bring up please don't drink
+your cracker we don't shame me stop
+
+34
+00:01:21,190 --> 00:01:21,200
+your cracker we don't shame me stop
+ 
+
+35
+00:01:21,200 --> 00:01:27,520
+your cracker we don't shame me stop
+being hysterical Oh No sit down and calm
+
+36
+00:01:27,520 --> 00:01:27,530
+being hysterical Oh No sit down and calm
+ 
+
+37
+00:01:27,530 --> 00:01:31,210
+being hysterical Oh No sit down and calm
+yourself before they come you must get
+
+38
+00:01:31,210 --> 00:01:31,220
+yourself before they come you must get
+ 
+
+39
+00:01:31,220 --> 00:01:35,520
+yourself before they come you must get
+to the bottom of this once and for all
+
+40
+00:01:35,520 --> 00:01:35,530
+
+ 
+
+41
+00:01:35,530 --> 00:01:40,870
+
+please come in Elizabeth Elizabeth do
+
+42
+00:01:40,870 --> 00:01:40,880
+please come in Elizabeth Elizabeth do
+ 
+
+43
+00:01:40,880 --> 00:01:42,310
+please come in Elizabeth Elizabeth do
+you notice anything missing from this
+
+44
+00:01:42,310 --> 00:01:42,320
+you notice anything missing from this
+ 
+
+45
+00:01:42,320 --> 00:01:46,960
+you notice anything missing from this
+one missing sir no I don't think so sir
+
+46
+00:01:46,960 --> 00:01:46,970
+one missing sir no I don't think so sir
+ 
+
+47
+00:01:46,970 --> 00:01:52,559
+one missing sir no I don't think so sir
+look carefully around the walls well oh
+
+48
+00:01:52,559 --> 00:01:52,569
+look carefully around the walls well oh
+ 
+
+49
+00:01:52,569 --> 00:01:54,880
+look carefully around the walls well oh
+there's a little picture missing sir
+
+50
+00:01:54,880 --> 00:01:54,890
+there's a little picture missing sir
+ 
+
+51
+00:01:54,890 --> 00:01:56,160
+there's a little picture missing sir
+exactly
+
+52
+00:01:56,160 --> 00:01:56,170
+exactly
+ 
+
+53
+00:01:56,170 --> 00:01:58,930
+exactly
+did you take it away no sir
+
+54
+00:01:58,930 --> 00:01:58,940
+did you take it away no sir
+ 
+
+55
+00:01:58,940 --> 00:02:01,300
+did you take it away no sir
+have you ever taken it down from where
+
+56
+00:02:01,300 --> 00:02:01,310
+have you ever taken it down from where
+ 
+
+57
+00:02:01,310 --> 00:02:01,990
+have you ever taken it down from where
+it belongs
+
+58
+00:02:01,990 --> 00:02:02,000
+it belongs
+ 
+
+59
+00:02:02,000 --> 00:02:10,149
+it belongs
+oh no sir why ever should I why did
+
+60
+00:02:10,149 --> 00:02:10,159
+
+ 
+
+61
+00:02:10,159 --> 00:02:15,349
+
+Elizabeth you go to church don't you to
+
+62
+00:02:15,349 --> 00:02:15,359
+Elizabeth you go to church don't you to
+ 
+
+63
+00:02:15,359 --> 00:02:17,839
+Elizabeth you go to church don't you to
+water Church yes sir
+
+64
+00:02:17,839 --> 00:02:17,849
+water Church yes sir
+ 
+
+65
+00:02:17,849 --> 00:02:21,050
+water Church yes sir
+please kiss this Bible as a solemn oath
+
+66
+00:02:21,050 --> 00:02:21,060
+please kiss this Bible as a solemn oath
+ 
+
+67
+00:02:21,060 --> 00:02:26,860
+please kiss this Bible as a solemn oath
+that you've told the truth
+
+68
+00:02:26,860 --> 00:02:26,870
+
+ 
+
+69
+00:02:26,870 --> 00:02:29,149
+
+Thank You Elizabeth you may go now
+
+70
+00:02:29,149 --> 00:02:29,159
+Thank You Elizabeth you may go now
+ 
+
+71
+00:02:29,159 --> 00:02:31,940
+Thank You Elizabeth you may go now
+and send Nessie in here at once
+
+72
+00:02:31,940 --> 00:02:31,950
+and send Nessie in here at once
+ 
+
+73
+00:02:31,950 --> 00:02:43,289
+and send Nessie in here at once
+[Music]
+

1944/7vZy9ra8kdM.description

@@ -0,0 +1,38 @@
+Double Indemnity movie clips: http://j.mp/1BcRm39
+BUY THE MOVIE: http://amzn.to/ts2Y3g
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Walter (Fred MacMurray) confesses to murder on Keyes' office recorder.
+
+FILM DESCRIPTION:
+Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making.
+
+CREDITS:
+TM & © Universal (1944)
+Cast: Fred MacMurray
+Director: Billy Wilder
+Producers: Buddy G. DeSylva, Joseph Sistrom
+Screenwriters: Raymond Chandler, James M. Cain, Billy Wilder
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1944/7vZy9ra8kdM.en.srt

@@ -0,0 +1,485 @@
+1
+00:00:00,000 --> 00:00:01,709
+
+[Music]
+
+2
+00:00:01,709 --> 00:00:01,719
+[Music]
+ 
+
+3
+00:00:01,719 --> 00:00:03,430
+[Music]
+office
+
+4
+00:00:03,430 --> 00:00:03,440
+office
+ 
+
+5
+00:00:03,440 --> 00:00:07,629
+office
+memorandum W NE to Barton Keys claims
+
+6
+00:00:07,629 --> 00:00:07,639
+memorandum W NE to Barton Keys claims
+ 
+
+7
+00:00:07,639 --> 00:00:11,789
+memorandum W NE to Barton Keys claims
+manager Los Angeles July 16th
+
+8
+00:00:11,789 --> 00:00:11,799
+manager Los Angeles July 16th
+ 
+
+9
+00:00:11,799 --> 00:00:14,829
+manager Los Angeles July 16th
+1938 dear
+
+10
+00:00:14,829 --> 00:00:14,839
+1938 dear
+ 
+
+11
+00:00:14,839 --> 00:00:16,670
+1938 dear
+Keys suppose you'll call this a
+
+12
+00:00:16,670 --> 00:00:16,680
+Keys suppose you'll call this a
+ 
+
+13
+00:00:16,680 --> 00:00:18,029
+Keys suppose you'll call this a
+confession when you hear
+
+14
+00:00:18,029 --> 00:00:18,039
+confession when you hear
+ 
+
+15
+00:00:18,039 --> 00:00:20,710
+confession when you hear
+it well I don't like the word
+
+16
+00:00:20,710 --> 00:00:20,720
+it well I don't like the word
+ 
+
+17
+00:00:20,720 --> 00:00:22,590
+it well I don't like the word
+confession I just want to set you right
+
+18
+00:00:22,590 --> 00:00:22,600
+confession I just want to set you right
+ 
+
+19
+00:00:22,600 --> 00:00:23,670
+confession I just want to set you right
+about something you couldn't see because
+
+20
+00:00:23,670 --> 00:00:23,680
+about something you couldn't see because
+ 
+
+21
+00:00:23,680 --> 00:00:25,630
+about something you couldn't see because
+I was smack up against your
+
+22
+00:00:25,630 --> 00:00:25,640
+I was smack up against your
+ 
+
+23
+00:00:25,640 --> 00:00:27,790
+I was smack up against your
+nose you think you're such a hot potato
+
+24
+00:00:27,790 --> 00:00:27,800
+nose you think you're such a hot potato
+ 
+
+25
+00:00:27,800 --> 00:00:29,470
+nose you think you're such a hot potato
+as a claims manager such a wolf on a
+
+26
+00:00:29,470 --> 00:00:29,480
+as a claims manager such a wolf on a
+ 
+
+27
+00:00:29,480 --> 00:00:30,870
+as a claims manager such a wolf on a
+phony CL
+
+28
+00:00:30,870 --> 00:00:30,880
+phony CL
+ 
+
+29
+00:00:30,880 --> 00:00:32,990
+phony CL
+claim maybe
+
+30
+00:00:32,990 --> 00:00:33,000
+claim maybe
+ 
+
+31
+00:00:33,000 --> 00:00:34,790
+claim maybe
+are but let's take a look at that
+
+32
+00:00:34,790 --> 00:00:34,800
+are but let's take a look at that
+ 
+
+33
+00:00:34,800 --> 00:00:36,229
+are but let's take a look at that
+dedrickson
+
+34
+00:00:36,229 --> 00:00:36,239
+dedrickson
+ 
+
+35
+00:00:36,239 --> 00:00:39,229
+dedrickson
+claim accident in Dublin
+
+36
+00:00:39,229 --> 00:00:39,239
+claim accident in Dublin
+ 
+
+37
+00:00:39,239 --> 00:00:41,229
+claim accident in Dublin
+dity you were pretty good in there for a
+
+38
+00:00:41,229 --> 00:00:41,239
+dity you were pretty good in there for a
+ 
+
+39
+00:00:41,239 --> 00:00:42,389
+dity you were pretty good in there for a
+while
+
+40
+00:00:42,389 --> 00:00:42,399
+while
+ 
+
+41
+00:00:42,399 --> 00:00:45,510
+while
+Keys you said it wasn't an accident
+
+42
+00:00:45,510 --> 00:00:45,520
+Keys you said it wasn't an accident
+ 
+
+43
+00:00:45,520 --> 00:00:48,830
+Keys you said it wasn't an accident
+check he said it wasn't suicide
+
+44
+00:00:48,830 --> 00:00:48,840
+check he said it wasn't suicide
+ 
+
+45
+00:00:48,840 --> 00:00:51,750
+check he said it wasn't suicide
+check he said it was
+
+46
+00:00:51,750 --> 00:00:51,760
+check he said it was
+ 
+
+47
+00:00:51,760 --> 00:00:54,029
+check he said it was
+murder
+
+48
+00:00:54,029 --> 00:00:54,039
+murder
+ 
+
+49
+00:00:54,039 --> 00:00:56,670
+murder
+check you thought you haded coal didn't
+
+50
+00:00:56,670 --> 00:00:56,680
+check you thought you haded coal didn't
+ 
+
+51
+00:00:56,680 --> 00:00:58,910
+check you thought you haded coal didn't
+she all wrapped up in tissue paper with
+
+52
+00:00:58,910 --> 00:00:58,920
+she all wrapped up in tissue paper with
+ 
+
+53
+00:00:58,920 --> 00:01:01,150
+she all wrapped up in tissue paper with
+pink ribbons around it
+
+54
+00:01:01,150 --> 00:01:01,160
+pink ribbons around it
+ 
+
+55
+00:01:01,160 --> 00:01:02,110
+pink ribbons around it
+was
+
+56
+00:01:02,110 --> 00:01:02,120
+was
+ 
+
+57
+00:01:02,120 --> 00:01:04,030
+was
+perfect except it wasn't because you
+
+58
+00:01:04,030 --> 00:01:04,040
+perfect except it wasn't because you
+ 
+
+59
+00:01:04,040 --> 00:01:05,149
+perfect except it wasn't because you
+made one
+
+60
+00:01:05,149 --> 00:01:05,159
+made one
+ 
+
+61
+00:01:05,159 --> 00:01:08,310
+made one
+mistake just one little
+
+62
+00:01:08,310 --> 00:01:08,320
+mistake just one little
+ 
+
+63
+00:01:08,320 --> 00:01:10,149
+mistake just one little
+mistake when it came to picking the
+
+64
+00:01:10,149 --> 00:01:10,159
+mistake when it came to picking the
+ 
+
+65
+00:01:10,159 --> 00:01:13,230
+mistake when it came to picking the
+killer you picked the wrong
+
+66
+00:01:13,230 --> 00:01:13,240
+
+ 
+
+67
+00:01:13,240 --> 00:01:16,590
+
+guy you want to know who killed
+
+68
+00:01:16,590 --> 00:01:16,600
+guy you want to know who killed
+ 
+
+69
+00:01:16,600 --> 00:01:19,190
+guy you want to know who killed
+dedon hold tight to that cheap cigar of
+
+70
+00:01:19,190 --> 00:01:19,200
+dedon hold tight to that cheap cigar of
+ 
+
+71
+00:01:19,200 --> 00:01:21,030
+dedon hold tight to that cheap cigar of
+your
+
+72
+00:01:21,030 --> 00:01:21,040
+your
+ 
+
+73
+00:01:21,040 --> 00:01:25,630
+your
+keys I killed drickson May Walder NE
+
+74
+00:01:25,630 --> 00:01:25,640
+keys I killed drickson May Walder NE
+ 
+
+75
+00:01:25,640 --> 00:01:27,670
+keys I killed drickson May Walder NE
+insurance salesman 35 years old
+
+76
+00:01:27,670 --> 00:01:27,680
+insurance salesman 35 years old
+ 
+
+77
+00:01:27,680 --> 00:01:31,830
+insurance salesman 35 years old
+unmarried no visible scars
+
+78
+00:01:31,830 --> 00:01:31,840
+unmarried no visible scars
+ 
+
+79
+00:01:31,840 --> 00:01:34,550
+unmarried no visible scars
+until a while ago that
+
+80
+00:01:34,550 --> 00:01:34,560
+until a while ago that
+ 
+
+81
+00:01:34,560 --> 00:01:37,749
+until a while ago that
+is yes I killed
+
+82
+00:01:37,749 --> 00:01:37,759
+is yes I killed
+ 
+
+83
+00:01:37,759 --> 00:01:39,870
+is yes I killed
+him I killed him for
+
+84
+00:01:39,870 --> 00:01:39,880
+him I killed him for
+ 
+
+85
+00:01:39,880 --> 00:01:43,190
+him I killed him for
+money and for a
+
+86
+00:01:43,190 --> 00:01:43,200
+money and for a
+ 
+
+87
+00:01:43,200 --> 00:01:46,590
+money and for a
+woman and I didn't get the money
+
+88
+00:01:46,590 --> 00:01:46,600
+woman and I didn't get the money
+ 
+
+89
+00:01:46,600 --> 00:01:49,830
+woman and I didn't get the money
+and I didn't get the
+
+90
+00:01:49,830 --> 00:01:49,840
+and I didn't get the
+ 
+
+91
+00:01:49,840 --> 00:01:58,830
+and I didn't get the
+woman pretty isn't
+
+92
+00:01:58,830 --> 00:01:58,840
+
+ 
+
+93
+00:01:58,840 --> 00:02:01,420
+
+it
+
+94
+00:02:01,420 --> 00:02:01,430
+it
+ 
+
+95
+00:02:01,430 --> 00:02:29,949
+it
+[Music]
+
+96
+00:02:29,949 --> 00:02:29,959
+
+ 
+
+97
+00:02:29,959 --> 00:02:32,640
+
+ch
+

1944/BGyfOMCRBn0.description

@@ -0,0 +1,38 @@
+Arsenic and Old Lace movie clips: http://j.mp/13URcOk
+BUY THE MOVIE: http://j.mp/13URaWM
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Trying to explain to Elaine (Priscilla Lane) why his family's history of insanity should stop them from being married, Mortimer (Cary Grant) falls in love with her again, and then back out.
+
+FILM DESCRIPTION:
+Arsenic and Old Lace is director Frank Capra's spin on the classic Joseph Kesselring stage comedy, which concerns the sweet old Brewster sisters (Josephine Hull, Jean Adair), beloved in their genteel Brooklyn neighborhood for their many charitable acts. One charity which the ladies don't advertise is their ongoing effort to permit lonely bachelors to die with smiles on their faces--by serving said bachelors elderberry wine spiked with arsenic. When the sisters' drama-critic nephew Mortimer (Cary Grant) stumbles onto their secret, he is understandably put out--especially since he has just married the lovely Elaine Harper (Priscilla Lane). Given the homicidal tendencies of his aunts, the sinister activities of his escaped-convict older brother Jonathan (Raymond Massey) and the disruptive behavior of younger brother Teddy (John Alexander)--who is convinced that he's really Theodore Roosevelt, and runs around the house yelling "CHAAAAARGGGE"--Mortimer isn't keen on starting a family with his new bride. "Insanity runs in my family," he explains. "It practically gallops." Further complications ensue when the murderous Jonathan Brewster arrives home, with his snivelling accomplice Dr. Einstein (Peter Lorre) in tow. When Jonathan learns that his darling aunts have killed twelve men, he is incensed--they're challenging his own record of murders. Though the movie rights for Arsenic and Old Lace were set up so that the film could not be released until 1944, director Capra shot the film quickly and inexpensively in 1941, so that his family could subsist on his $100,000 salary while he was serving in World War II.
+
+CREDITS:
+TM & © Warner Bros. (1944)
+Cast: Chester Clute, Cary Grant, Priscilla Lane, John Alexander
+Director: Frank Capra
+Producers: Jack L. Warner, Frank Capra
+Screenwriters: Julius J. Epstein, Philip G. Epstein, Joseph Kesselring
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7

1944/In_UKcRXzHs.en.srt

@@ -0,0 +1,205 @@
+1
+00:00:02,840 --> 00:00:04,789
+
+morer
+
+2
+00:00:04,789 --> 00:00:04,799
+morer
+ 
+
+3
+00:00:04,799 --> 00:00:07,670
+morer
+morer morer it's true it's true I saw
+
+4
+00:00:07,670 --> 00:00:07,680
+morer morer it's true it's true I saw
+ 
+
+5
+00:00:07,680 --> 00:00:09,790
+morer morer it's true it's true I saw
+them it's true it's true I just there
+
+6
+00:00:09,790 --> 00:00:09,800
+them it's true it's true I just there
+ 
+
+7
+00:00:09,800 --> 00:00:14,390
+them it's true it's true I just there
+are 13 buies down there but I saw
+
+8
+00:00:14,390 --> 00:00:14,400
+are 13 buies down there but I saw
+ 
+
+9
+00:00:14,400 --> 00:00:17,830
+are 13 buies down there but I saw
+them what's all the screaming a but I pr
+
+10
+00:00:17,830 --> 00:00:17,840
+them what's all the screaming a but I pr
+ 
+
+11
+00:00:17,840 --> 00:00:20,050
+them what's all the screaming a but I pr
+it's way past her
+
+12
+00:00:20,050 --> 00:00:20,060
+it's way past her
+ 
+
+13
+00:00:20,060 --> 00:00:25,189
+it's way past her
+[Music]
+
+14
+00:00:25,189 --> 00:00:25,199
+[Music]
+ 
+
+15
+00:00:25,199 --> 00:00:32,910
+[Music]
+bedtime good morning goodbye byebye
+
+16
+00:00:32,910 --> 00:00:32,920
+
+ 
+
+17
+00:00:32,920 --> 00:00:35,510
+
+what is all this they're going on their
+
+18
+00:00:35,510 --> 00:00:35,520
+what is all this they're going on their
+ 
+
+19
+00:00:35,520 --> 00:00:40,869
+what is all this they're going on their
+honeymoon well they're off to a Flying
+
+20
+00:00:40,869 --> 00:00:40,879
+
+ 
+
+21
+00:00:40,879 --> 00:00:45,869
+
+Star my gun
+
+22
+00:00:45,869 --> 00:00:45,879
+
+ 
+
+23
+00:00:45,879 --> 00:00:50,670
+
+hey uh you'll own two cabs M you I mean
+
+24
+00:00:50,670 --> 00:00:50,680
+hey uh you'll own two cabs M you I mean
+ 
+
+25
+00:00:50,680 --> 00:01:01,229
+hey uh you'll own two cabs M you I mean
+the meter oh morer
+
+26
+00:01:01,229 --> 00:01:01,239
+
+ 
+
+27
+00:01:01,239 --> 00:01:04,149
+
+oh
+
+28
+00:01:04,149 --> 00:01:04,159
+
+ 
+
+29
+00:01:04,159 --> 00:01:06,550
+
+morer oh we're going to Niagra Falls
+
+30
+00:01:06,550 --> 00:01:06,560
+morer oh we're going to Niagra Falls
+ 
+
+31
+00:01:06,560 --> 00:01:09,270
+morer oh we're going to Niagra Falls
+call me a cab dear yes
+
+32
+00:01:09,270 --> 00:01:09,280
+call me a cab dear yes
+ 
+
+33
+00:01:09,280 --> 00:01:12,789
+call me a cab dear yes
+love but Mr Brewster no no I'm not a
+
+34
+00:01:12,789 --> 00:01:12,799
+love but Mr Brewster no no I'm not a
+ 
+
+35
+00:01:12,799 --> 00:01:18,550
+love but Mr Brewster no no I'm not a
+Brewster I'm a son of a SE
+
+36
+00:01:18,550 --> 00:01:18,560
+
+ 
+
+37
+00:01:18,560 --> 00:01:22,190
+
+cook I'm not a cab driver I'm a coffee
+
+38
+00:01:22,190 --> 00:01:22,200
+cook I'm not a cab driver I'm a coffee
+ 
+
+39
+00:01:22,200 --> 00:01:23,280
+cook I'm not a cab driver I'm a coffee
+pot
+
+40
+00:01:23,280 --> 00:01:23,290
+pot
+ 
+
+41
+00:01:23,290 --> 00:01:57,309
+pot
+[Music]
+

1944/KPAnWhVV5dI.description

@@ -0,0 +1,38 @@
+Arsenic and Old Lace movie clips: http://j.mp/13URcOk
+BUY THE MOVIE: http://j.mp/13URaWM
+Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr
+
+CLIP DESCRIPTION:
+Mortimer (Cary Grant) slowly uncovers that it's his aunts Martha (Jean Adair) and Abby (Josephine Hull) who have provided the dead body in the window seat.
+
+FILM DESCRIPTION:
+Arsenic and Old Lace is director Frank Capra's spin on the classic Joseph Kesselring stage comedy, which concerns the sweet old Brewster sisters (Josephine Hull, Jean Adair), beloved in their genteel Brooklyn neighborhood for their many charitable acts. One charity which the ladies don't advertise is their ongoing effort to permit lonely bachelors to die with smiles on their faces--by serving said bachelors elderberry wine spiked with arsenic. When the sisters' drama-critic nephew Mortimer (Cary Grant) stumbles onto their secret, he is understandably put out--especially since he has just married the lovely Elaine Harper (Priscilla Lane). Given the homicidal tendencies of his aunts, the sinister activities of his escaped-convict older brother Jonathan (Raymond Massey) and the disruptive behavior of younger brother Teddy (John Alexander)--who is convinced that he's really Theodore Roosevelt, and runs around the house yelling "CHAAAAARGGGE"--Mortimer isn't keen on starting a family with his new bride. "Insanity runs in my family," he explains. "It practically gallops." Further complications ensue when the murderous Jonathan Brewster arrives home, with his snivelling accomplice Dr. Einstein (Peter Lorre) in tow. When Jonathan learns that his darling aunts have killed twelve men, he is incensed--they're challenging his own record of murders. Though the movie rights for Arsenic and Old Lace were set up so that the film could not be released until 1944, director Capra shot the film quickly and inexpensively in 1941, so that his family could subsist on his $100,000 salary while he was serving in World War II.
+
+CREDITS:
+TM & © Warner Bros. (1944)
+Cast: Cary Grant, Josephine Hull, Jean Adair
+Director: Frank Capra
+Producers: Jack L. Warner, Frank Capra
+Screenwriters: Julius J. Epstein, Philip G. Epstein, Joseph Kesselring
+
+WHO ARE WE?
+The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans.
+
+SUBSCRIBE TO OUR MOVIE CHANNELS:
+MOVIECLIPS: http://bit.ly/1u2yaWd
+ComingSoon: http://bit.ly/1DVpgtR
+Indie & Film Festivals: http://bit.ly/1wbkfYg
+Hero Central: http://bit.ly/1AMUZwv
+Extras: http://bit.ly/1u431fr
+Classic Trailers: http://bit.ly/1u43jDe
+Pop-Up Trailers: http://bit.ly/1z7EtZR
+Movie News: http://bit.ly/1C3Ncd2
+Movie Games: http://bit.ly/1ygDV13
+Fandango: http://bit.ly/1Bl79ye
+Fandango FrontRunners: http://bit.ly/1CggQfC
+
+HIT US UP:
+Facebook: http://on.fb.me/1y8M8ax
+Twitter: http://bit.ly/1ghOWmt
+Pinterest: http://bit.ly/14wL9De
+Tumblr: http://bit.ly/1vUwhH7