Here we are, still together We are one... So much time, wasted, Playing games with love
So many tears I've cried So much pain inside But baby it ain't over 'til it's over So many years we've tried To keep our love alive But baby it ain't over 'til it's over
How many times Did we give up But we always worked things out And all my doubts and fears Kept me wondering, yeahhh If I'd always, always be in love
So many tears I've cried So much pain inside But baby it ain't over 'til it's over
So many years we've tried And kept our love alive 'Cause baby it ain't over 'til it's over
So many tears I've cried So much pain inside Baby it ain't over 'til it's over
So many years we've tried And kept our love alive 'Cause baby it ain't over 'til it's over
So many tears I've cried So much pain inside Baby it ain't over 'til it's over
So many years we've tried to kept our love alive 'Cause baby it ain't over 'til it's over (over, over)
So many tears I've cried So much pain inside Baby it ain't over 'til it's over
So many years we've tried And kept our love alive 'Cause baby it ain't over 'til it's over (over, over, over)
So many tears I've cried So much pain inside Baby it ain't over 'til it's over
Da Da Da Da The smell of your skin lingers on me now You're probably on your flight back to your home town I need some shelter of my own protection baby To be with myself and center, clarity Peace, Serenity
I hope you know, I hope you know That this has nothing to do with you It's personal, myself and I We've got some straightenin' out to do And I'm gonna miss you like a child misses their blanket But I've got to get a move on with my life It's time to be a big girl now And big girls don't cry Don't cry Don't cry Don't cry
The path that I'm walking I must go alone I must take the baby steps 'til I'm full grown, full grown Fairytales don't always have a happy ending, do they? And I foresee the dark ahead if I stay
Like the little school mate in the school yard We'll play jacks and uno cards I'll be your best friend and you'll be my Valentine Yes you can hold my hand if you want to 'Cause I want to hold yours too We'll be playmates and lovers and share our secret worlds But it's time for me to go home It's getting late, dark outside I need to be with myself and center, clarity Peace, Serenity
You're only just a dreamboat Sailing in my head You swim my secret oceans Of coral blue and red Your smell is incense burning Your touch is silken yet It reaches through my skin And moving from within It clutches at my breast
But it's only when I sleep See you in my dreams You got me spinning round and round Turning upside-down But I only hear you breathe
Somewhere in my sleep Got me spinning round and round Turning upside-down But its only when I sleep
And when I wake from slumber Your shadow's disappear Your breath is just a sea mist Surrounding my body I'm workin' through the daytime But when it's time to rest I'm lying in my bed Listening to my breath Falling from the edge
But it's only when I sleep See you in my dreams, (dreams) You got me spinning round and round Turning upside-down But I only hear you breathe Somewhere in my sleep, (in my sleep) Got me spinning round and round Turning upside-down But its only when I sleep It's only when I sleep
Up to the sky Where angels fly I'll never die Hawaiian High In bed I lie No need to cry My sleeping cry Hawaiian High
It's reaching through my skin Movin' from within And clutches at my breasts
But it's only when I sleep See you in my dreams, (dreams) You got me spinning round and round Turning upside-down But I only hear you breathe
In bed I lie No need to cry My sleeping cry Hawaiian High
But it's only when I sleep Got me spinning round and round (Turning upside-down)
Up to the sky Where angels fly I'll never die Hawaiian High But it's only when I sleep...
Do you hear me I'm talking to you Across the water across the deep blue ocean Under the open sky, oh my, baby I'm trying Boy I hear you in my dreams I feel your whisper across the sea I keep you with me in my heart You make it easier when life gets hard
I'm lucky I'm in love with my best friend Lucky to have been where I have been Lucky to be coming home again Ooohh ooooh oooh oooh ooh ooh ooh ooh
They don't know how long it takes Waiting for a love like this Every time we say goodbye I wish we had one more kiss I'll wait for you I promise you, I will
I'm lucky I'm in love with my best friend Lucky to have been where I have been Lucky to be coming home again Lucky we're in love in every way Lucky to have stayed where we have stayed Lucky to be coming home someday
And so I'm sailing through the sea To an island where we'll meet You'll hear the music fill the air I'll put a flower in your hair Though the breezes through trees Move so pretty you're all I see As the world keeps spinning round You hold me right here right now
I'm lucky I'm in love with my best friend Lucky to have been where I have been Lucky to be coming home again I'm lucky we're in love in every way Lucky to have stayed where we have stayed Lucky to be coming home someday
Angin Lalu Nyanyi Lagu Rindu Rasa Dikalbu Kian Syahdu Air Wajahmu Gambaran Sejuta Pilu
Abadikan Cinta Abadikan Segala Rasa Yang Tercurah Sesama Kita Jangan Bimbang Jangan Sekali Kau Ragu
Kerana Cinta Cintanya Kerana Rasa Imannya Selama Menyala Cinta Dalam Jiwa Semua Ayyi Zaman Ayyi Makaan Kau Tetap Dalam Ingatan Ayyi Zaman Ayyi Makaan Jiwa Dalam KeRinduan
Kerana Cinta Cintanya Kerana Rasa Imannya Selama Menyala Cinta Dalam Jiwa Semua Sang Bayu Nyanyi Lagu Rindu Abadikan Segala Rasa Yang Tersemat Dikalbu
Kerana Cinta Cintanya Kerana Rasa Imannya Selama Menyala Cinta Dalam Jiwa Semua Ayyi Zaman Ayyi Makaan Kau Tetap Dalam Ingatan Ayyi Zaman Ayyi Makaan Jiwa Dalam KeRinduan Ayyi Zaman Ayyi Makaan Kau Tetap Dalam Ingatan Ayyi Zaman Ayyi Makaan Jiwa Dalam KeRinduan
Angin Lalu Nyanyi Lagu Rindu Rasa Dikalbu Kian Syahdu Air Wajahmu Gambaran Sejuta Pilu Abadikan Cinta Abadikan Segala Rasa Yang Tercurah Sesama Kita Jangan Bimbang Jangan Sekali Kau Ragu
Kerana Cinta Cintanya Kerana Rasa Imannya Selama Menyala Cinta Dalam Jiwa Semua Ayyi Zaman Ayyi Makaan Kau Tetap Dalam Ingatan Ayyi Zaman Ayyi Makaan Jiwa Dalam KeRinduan Ayyi Zaman Ayyi Makaan Kau Tetap Dalam Ingatan Ayyi Zaman Ayyi Makaan Jiwa Dalam KeRinduan Ohoh
Aku yang kehilangan Dalam diri sendiri Terkurung dalam bayangan mu Gelak ketawa engkau Bagai bertahun dulu Mengheret ku ke syurga kita
Itu mimpi yang terkenang Membuat aku terbuang Tika memapah semangat yang masih ada
Cerita silam ini menjadi racun bisa Dan kini aku pun melara Terlemas di dataran Dilambung ombak hidup pun aku masih menanti mu Akan tersingkapkah cinta Yang telah sekian lama Kita dodoikan bersama di mimpi ngeri
Biarpun masih tergagah Menjulang cinta yang patah Sebenarnya pun kesepian Dan aku pun masih cinta Diri ini penuh luka Yang tidak akan tertutup Meskipun ada pengganti Seiras wajah
Ada Yang Tertinggal Setelah Terbenam Mentari Ada Yang Tertinggal Setelah Kering Air Di Kali
Alam Telah Menyakinkan Kau Mesti Pergi Kau Mesti Alam Telah Menyakinkan Kau Mesti Kembali Bagai Yang Telah Dijanjikan Illahi Ada Yang Tertinggal Setelah Musnah Semua Mimpi
Kekal Selamanya Cintaku Dengan Cahaya Mu Kekal Selamanya Tetap Dalam Ingatanku
Lemas Dalam Rindu Tenggelam Dalam Tangisan Engkau Telah Pergi Tapi Masih Ada
Yang Kau Tinggalkan Dalam Kalbuku Yang Tinggal Aku
This time, I wonder what it feels like To find the one in this life, the one we all dream of But dreams just aren't enough So I'll be waiting for the real thing, I'll know it by the feeling The moment when we're meeting, will play out like a scene Straight off the silver screen So I'll be holding my own breath, right up 'til the end Until that moment when, I find the one that I'll spend forever with
Cause nobody wants to be the last one there Cause everyone wants to feel like someone cares Someone to love with my life in their hands There's gotta be somebody for me like that Cause nobody wants to do it all on their own And everyone wants to know the night alone There's somebody else that feels the same somewhere There's gotta be somebody for me out there
Tonight, out on the street, out in the moonlight And dammit this means too right, it's just like deja vu Me standing here with you So I'll be holding my own breath, could this be the end Is it that moment when, I find the one that I'll spend forever with
Cause nobody wants to be the last one there Cause everyone wants to feel like someone cares Someone to love with my life in their hands There's gotta be somebody for me like that Cause nobody wants to do it all on their own And everyone wants to know the night alone There's somebody else that feels the same somewhere There's gotta be somebody for me out there
You can't give up, looking for a (diamond did erupts?) The wind shows up, make sure you're holding on Cause it could be the one, the one you're waiting on Cause nobody wants to be the last one there And everyone wants to feel like someone cares Someone to love with my life in their hands There's gotta be somebody for me, oh
Nobody wants to do it all on their own And everyone wants to know the night alone There's somebody else that feels the same somewhere There's gotta be somebody for me out there Nobody wants to be the last one there Cause everyone wants to feel like someone cares There's somebody else that feels the same somewhere There's gotta be somebody for me out there
To Catch A Thief (La main Au Collet-1955) is a Hitchcock-directed, entertaining comedy / thriller concerning jewel heists by "The Cat" on the French Riviera.
John Robie (Cary Grant) is a notorious but retired jewel thief or "cat burglar" nicknamed "The Cat", who now tends to his vineyards in the South of France. A series of robberies that closely resemble his style leads the police to believe that the Cat is up to his old tricks again.
The American expatriate hero has to catch the real cat burglar (a 'she-cat') during a rash of robberies before he is caught himself, while the heroine (Grace Kelly) is on a quest to 'catch' him - first as the burglar, and then as a husband.
Frances: (She sits alluringly on the couch, displaying both her necklace and bare decolletage.) Give up, John. Admit who you are. Even in this light, I can tell where your eyes are looking. (He sits down.) Look, John. Hold them. Diamonds. The only thing in the world you can't resist. Then tell me you don't know what I'm talking about. (She kisses his fingers, one by one.) (She puts her necklace in the palm of his hand.) Ever had a better offer in your whole life? One with everything?
John: I've never had a crazier one.
Frances: Just as long as you're satisfied.
John: You know as well as I do. This necklace is imitation.
Frances: Well, I'm not. (They kiss. The white-hot peak of the colorful fireworks exhibition bursts in a vibrant closeup.)
Sometimes, it's hard To make things clear Or know when to face the truth And I know that the moment is here
I'll open my heart And show you inside My love has no pride I feel with you I've got nothing to hide
So open your eyes And see who I am And not who you want for me to be I am only myself, myself
I don't wanna lose you now We're gonna get through somehow Don't wanna lose you now Or ever Baby, I've fin'lly found The courage to stand my ground But if you want me, I'll be around Forever
We all make mistakes We all lose our way But we've stood the test of time And I hope that's the way it will stay
It's all up to you To tell me to go 'Cause it won't be me to walk away When you're all that I know And I know...
That I don't wanna lose you now We're gonna get through somehow I don't wanna lose you now Or ever, never Baby, I've fin'lly found The courage to stand my ground But if you want me, I'll be around Forever, forever, yeah, yeah
It cuts both ways Our love is like knife That cuts both ways It's driven deep into my heart each time That I realize How it cuts both ways Can't be together Cannot live apart We're heading straight into a broken heart But I can't stop
'Cause I feel too much to let you go I'm hurting you and it's hard I know To stay and fight for what we've got Knowing it'll never be good enough 'Cause you and I are dangerous We want too much and life ain't that way Don't ask for more Don't be a fool Haven't we already broken every rule
It cuts both ways, we're in too deep for sorry alibis Can't have regrets or even question why We can't say goodbye Because it cuts both ways No more illusions of the love we make No sacrifice would ever be too great If you would just stay
Cuts both ways Our love is like a knife that cuts both ways It's drivin' deep into my heart each time I see we livin' the lie And it cuts both ways It cuts both ways, mmm Cuts both ways Cuts both ways
As time passes after more emptied cups of coffee, she becomes weaker and weaker, barely able to punctually keep a rendezvous with Devlin in Rio at a park bench. During what she believes is their last meeting, she is exceptionally distant. He suspects that she is ill and "all mashed up," while she defiantly excuses her condition as another hangover from drinking [her thirsting for love turns to a thirsting for alcohol to escape the "dull" life he has commissioned her to have].
Devlin: It gets a bit lonely squatting on a bench all day. Alicia: Yes, Rio can be a very dull town. Devlin: What's new? Alicia: Nothing. What's new with you? Devlin: Nothing. Any domestic troubles about the other night? Alicia: No. Devlin: Any footprints in that sand yet? Alicia: No, nothing yet. Devlin: Just a social visit, huh? Alicia: A little fresh air helps. Devlin: You don't look so hot...Sick? Alicia: No. Hangover. Devlin: That's news! Back to the bottle again, huh? Alicia: It sort of lightens my chores. Devlin: Big party? Alicia: Just the family circle. Devlin: Sounds quite jolly. Alicia: It helps life in a dull town. Devlin: You ought to take it easy on that liquor. Alicia: Don't you find Rio a little hard to take too? Devlin: Not a bad town. You look all mashed up. It must have been quite an evening. Alicia: It was. Devlin: OK, if you want to play that way, go on and have fun. No reason why you shouldn't. Alicia: That's right, Dev.
They each disguise their true feelings and concerns for each other, as Devlin pursues another official line of questioning. Despondent about his departure, she tries to get Devlin to express his bottled-up emotions, but he cannot see anything but an unrepentant alcoholic lush before him. She is annoyed when he doesn't mention his leaving, so she returns the midriff scarf he lent her when they first met in Miami. He quips: "Cleaning house, hmm?" Although still wobbly and "tight," she says "goodbye" (with an air of finality) to go "back home."
In the racetrack crowd, Devlin finds Alicia (he has previously arranged to see her) and speaks to her in whispered tones. She gives him the names of Alex's dinner guests and describes the incident with the wine bottle with Emil - and the fact that she hasn't seen Emil since. Then, she admits to Devlin "for the record" that she has conquered Alexander by using her experienced sexuality to convince him of her trustworthiness. Uncomfortable with her revelations, Devlin turns icy, punishing and sarcastic. He is not willing to painfully admit that he cruelly and passively let her go to engage in the dangerous espionage plot. Now more infuriated and jealous of her association with Sebastian, and experiencing intensely-wounded pride, he spitefully denies ever having loved her in a lethal torrent of bickering words:
Alicia: You can add Sebastian's name to my list of playmates. Devlin (stunned and amazed, almost bitter): Pretty fast work. Alicia: That's what you wanted, wasn't it? Devlin: Skip it!..I've been recalling some of your remarks about being a new woman. Daisies and buttercups, wasn't it? Alicia: You idiot. What are you sore about? You knew very well what I was doing. Devlin: Did I? Alicia: You could have stopped me. Just one word. But no, you wouldn't. You threw me at him. Devlin: I threw you at nobody. Alicia: Didn't you tell me to go ahead? Devlin: A man doesn't tell a woman what to do. She tells herself. You almost had me believing in that little hokey-pokey miracle of yours. If a woman like you could ever change her spots. Alicia: Oh, you're rotten. Devlin: That's why I didn't try to stop you. And the answer had to come from you. Alicia: I see. Some kind of love test. Devlin: That's right. Alicia: Well, you never believed in me anyways so what's the difference. Devlin: Lucky for both of us I didn't. It wouldn't have been pretty if I believed in you. If I'd figured: 'She'll never be able to go through with this. She's been made over by love.' Alicia: (She hides her pain, anguish and tears in her eyes from him by viewing the race through a pair of binoculars.) If you only once had said that you loved me. Oh, Dev. Devlin: Listen. You chalked up another boyfriend. That's all. No harm done. Alicia: I hate you. Devlin: There's no occasion to. You're doing good work. Number 10's out in front. It looks as if Sebastian knows how to pick 'em. Alicia: Is that all you have to say to me? Devlin: Dry your eyes baby. It's out of character. Keep on your toes. There's a tough job around. Snap out of it. Here comes dreamboat.
To avoid dealing with the fact that her father was convicted of treason for aiding Germany during World War II, Alicia Huberman (Ingrid Bergman) loses herself in a wild life of alcohol, parties, and irresponsibility. The daughter of an American mother, Alicia views her father’s betrayal as a matter of personal shame. One day when she least expects it, a handsome American secret agent, TR Devlin (Cary Grant), comes into her life and coerces Alicia into spying on war criminals living in Brazil.
Alicia agrees to the assignment as an attempt to clear the Huberman name from its earlier infamy. Unfortunately, she must work closely with dangerous German refugees hiding out in Rio de Janeiro. She especially dreads spying on Alexander Sebastian (Claude Rains), her father’s close friend who is suspected of many war crimes. This detestable older man (and cowardly momma’s boy) has always been attracted to Alicia, thereby presenting a double danger to her.
The closer she gets to Alexander to obtain information, the more jealous and possessive he becomes toward her. The situation becomes even more complicated when Devlin and Alicia develop feelings for one another. Add an evil and conniving mother (Leopoldine Konstantin) to the mix, and Alicia faces an increasing amount of physical and emotional danger that could possibly end her life – or at least her life as she knows it.
Devlin conceals his reaction to her memories and his growing interest in her. Instead, he informs her of their arrival in Rio. In an outdoor cafe while waiting for her assignment and orders to begin, Alicia asks about the particulars of her assignment and her living situation. She also demands a cook. She refuses another drink: "No thank you, I've had enough...I'm practically on the wagon. That's quite a change." Although Devlin compliments her sobriety, he dismisses it as only a "phase" - he is wary of the former playgirl's lurid reputation. Their conversation turns amorous, as she teases and berates the cool, indifferent, distant, and sometimes nasty Devlin about his unflappable, repressed romantic emotions. Alicia is tremulously hopeful that his faith in her will be renewed, now that she is changing into a new woman and becoming transformed from her former image.
The film is known for having at the time of its production 'the longest kiss in film history.' [Director Alfred Hitchcock circumvented the Hollywood code limiting a kiss to three seconds by interrupting the kiss every three seconds, but they never once break their embrace.] The famous marathon kissing scene between Devlin and Alicia in her apartment lasts almost three minutes, beginning on a scenic Rio balcony, entirely shot in a tight closeup of their faces. They rapidly alternate passionate, clinging kisses and whispered endearments, first on the balcony over the beach, and then continuing with nibbling bites and nuzzling hugs as they walk from the balcony to the telephone and then to the front door. All the while during the sexual seduction, they discuss dinner, hold on to each other, and carry on a conversation:
Alicia: It's nice out here. Let's not go out to dinner. Let's stay here. Devlin: We have to eat. Alicia: We can eat here. I'll cook. Devlin: I thought you didn't like to cook. Alicia: No I don't like to cook, but I have a chicken in the icebox and you're eating it. Devlin: What about all the washing up afterwards? Alicia: We'll eat it with our fingers. Devlin: Don't we need any plates? Alicia: Yes, one for you and one for me. Devlin: You mind if I have dinner with you tonight? Alicia: I'd be delighted. Where are you going? Devlin: If you're going to stay in, I have to telephone the hotel, see if there are any messages. Alicia: Do I have to? Devlin: I have to. (They walk inside to the telephone where he dials the hotel for messages.) Alicia: This is a very strange love affair. Devlin: Why? (she kisses him) Alicia: Maybe the fact that you don't love me. Devlin: (He kisses her) ...When I don't love you, I'll let you know. Alicia: You haven't said anything. Devlin (kissing her): Actions speak louder than words.
Angin Lalu Nyanyi Lagu Rindu