"The Amati Girls", with Cloris Leachman and Paul Sorvino, is about the trials, hopes, and successes of four Italian American sisters and their widowed mother. One of them is separated from Paul, an overly ambitious advertising executive who doesn’t spend much time with his 16 year old daughter.

The one minute clip begins at night in an office where Paul (Jamey Sheridan) and a coworker are each working at their own desks. The coworker stands up and puts on his jacket. Paul tells him, "You’re not leaving?"

"It’s 8:30. I want to put my kid to sleep tonight."

"I’m leaving for Dallas tomorrow."

"Paul, I put more time into this company than anyone except you."

"That’s why I’m so successful."

The coworker puts papers into his briefcase. "If curling up with an ad campaign is your idea of success, I’m real sad for you."

"Sometimes we have to make sacrifices."

"Your whole life is the sacrifice." He walks toward the door. "You don’t even know it." Paul contemplates this for a moment. At the door the coworker turns around and says, "You’ll probably die alone because you live so alone. Find some balance, Paul." Paul is left alone, reflecting. Scene and clip ends.

"Sunrise at Campobello", with Ralph Bellamy and Hume Cronyn, is the story of the life and trials of Franklin Delano Roosevelt before he became President. The film focuses on his family life and his personal battle to overcome his handicap as he pursues his political career.

The two minute clip begins in the lavish living room of the Roosevelt home in New York City in May 1922. Franklin had previously informed his wife Eleanor that he had been practicing crawling so he could escape in case of a fire. He is in his wheelchair holding a model ship. He asks his wife if she likes it and Eleanor agrees. She takes it and displays it on a mantle as Franklin says thoughtfully, "I miss the sea. Eleanor, I must say this. Once. To someone. Those first few days at Campobello when this started (he touches his lap), I had despair. Deep, sick, despair. It was a sense that perhaps I’d never get up again. Like a crab lying on its back. I’d look down at my fingers and exert every thought to get them to move (he stretches out his hands). I’d send down orders to my legs and toes. They didn’t obey."

With an expression of deep sympathy Eleanor bends down, hugs his lame legs, and says, "Darling."

"I turned to my faith, babs. For strength to endure. I feel I must go through this fire for some reason (Eleanor looks up to him). Eleanor, it’s a hard way to learn humility. But I’ve been learning by crawling. I know what’s meant, you must learn to crawl before you can walk." He embraces her. End clip here.

Time: 57 minutes 55 seconds - 59 minutes 45 seconds from the Warner Brothers logo.

"Veggie Tales: Larry Boy and the Rumour Weed": The Temptation To Tell

This 2 minute clip begins with Junior Asparagus and Laura Carrot walking down the street after school. In class Mr. Alfred had told the class that he needed to go home and "recharge my batteries". Junior and Laura’s discussion leads them to the alarming conclusion that Mr. Alfred must be a robot. They decide not to tell anyone, but a "rumour weed" appears from the side of a building. She persists in trying to get the two to reveal their secret. They refuse, but the weed says, "Didn’t your parents ever teach you to share?" She says she’s Mr. Alfred’s friend and "I ask because I care."

Junior and Laura look at each other for a moment, then reveal their belief. The weed says, "No! He looks so natural." Laura asks the weed not to tell anyone. The weed responds, "Your secret stays right here." Scene and clip ends.

"’Night, Mother": The Despair of an Unfulfilled Life

"’Night, Mother", with Anne Bankroft and Sissy Spacek, is based on the Pulitzer Prize-winning play of a woman’s disillusionment with life. Her mother, Thelma Cates, is incredulous as Jessie makes detailed plans to put her affairs in order before she ends her life.

The almost two minute clip begins in the living room of their home where Jessie is expressing her sense of hopelessness with her mother. In a calm, pleading voice Jessie says, "Just let me go, mother."

Thelma anxiously responds, "How can I let you go?"

"You can because you have to. It’s what you’ve always done."

"But you are my child!"

Calm and composed Jessie explains, "I’m what became of your child. I found an old baby picture of me. It was somebody else, not me. It was somebody pink and fat, who never hurt or was sick or lonely. Somebody who cried and got fed. Reached up and got held. Slept whenever she wanted to just by closing her eyes. Somebody who mainly just lay there, laughed at the colors waving around over her head, and chewed on a polka dot whale. And woke up knowing some new treat nearly every day. Rolled over and drooled on the sheet. Felt your hand pull the quilt back up over me. That’s who I started out. And this is who’s left. So that’s what this is about. Somebody I lost, all right. My own self. Who I never was. Who I tried to be. Never got there. Somebody I waited for, and never came. And never will." End clip here.

"Sakharov": No Hope Without Ideals

"Sakharov", with Jason Robards and Glenda Jackson, is the story of Russian physicist, dissident, human rights advocate and Nobel Peace prize winner Andrei Sakharov. The 1 minute 21 seconds clip begins with Sakharov and his wife Yelena Bonner in their Gorky apartment being interviewed by a team of Western journalists. He had lost his job because of his criticisms of Soviet policies and exiled to the industrial city of Gorky. One of the journalists asks Yelena, "Mrs. Sakharov, do you feel this KGB harassment is a way of getting at your husband?"

She tells them that it is and many dissidents are being threatened and intimidated every day. They would be attending the trial of one of them and she is hopeful the journalists would attend as well. Andrei adds that it would be helpful if they did. Another journalist asks Andrei, "Helpful? How? Do you think Western opinion really matters to the regime here?"

"Very much. Not just public opinion, but the expansion of contacts with the West. Economic and technical, cultural, scientific, opens up a whole range of possibilities. Now if we could get the support of our colleagues in the West, they could influence our government in a way that we obviously can’t."

Another journalist asks, "Dr. Sakharov, I know you’re pessimistic that anything much can be done realistically to improve the system in the Soviet Union. Yet, you and your wife, you put yourself in this terrific jeopardy whereby at any minute they could come through the door. And I wonder, why do you do that?"

"Well, there is a need to create ideals, even though one can’t see any route by which to achieve them. Because if there are no ideals, there can be no hope, and then one is completely in the dark, in a hopeless, blind alley." Scene and clip ends.

1 hour 30 minutes 55 seconds - 1 hour 32 minutes 16 seconds from the Home Box Office Presents text.

"Sahara": Adventurers Turn Scrap-Heap Into Sailing Machine

"Sahara" is the visually breath-taking desert adventure of an explorer searching for a lost Civil War battleship in the most unlikeliest of places - The Sahara Desert. It had ventured to a part of the desert 150 years ago that had been under water.

Dirk Pitt (Matthew McConaughey) and his friend Al Giordino are trekking through the desert having just escaped their captors. Suddenly they see a rusted-out shell of a small airplane protruding from the sand. Al Giordino says, "Dirk!"

"Yeah. Yeah. Yeah. I see it."

They make their way toward the plane. Al Giordino comments, "Well, you don't see that every day." Soon they are standing right in front of it. "I don't want to rain on your crazy parade, buddy, but I don't think we can fix this thing."

The camera then pans to numerous tools lying on the sand. Then we see a faraway shot of a strange vehicle speeding through the desert. As the camera zooms in we see that the two men had converted the scrap-heap into a land sailing machine. The wheels are intact and a wing serves to catch the wind and propel them forward. They control the vehicle with ropes as if it were a sailboat. Dirk and Al Giordino yell excitedly as they speed through the desert.

In the same way God can turn a scrap-heap of a life into a life that soars.

DVD Scene 13: We're Home Free Now. 1 hour 28 minutes 42 seconds - 1 hour 30 minutes 20 seconds.

"Jack Frost": Putting Career Over Family or A Father Breaks A Promise

"Jack Frost", with Michael Keaton, is a Christmas fantasy about a busy and negligent father who dies accidently in a car accident. His soul magically inhabits the snowman in the front yard and he gets a second chance to be a good father.

A few days before his death, Jack, a professional musician, had promised his eleven year old son he would make it for his 4:00 PM hockey game. He gets caught up in his band rehearsals and completely loses track of time, missing the entire game. The 3 minute clip begins in the early evening with Jack being dropped off from a car in front of his home. The driver wishes him good luck and Jack says he will need it. He walks into his home and takes off his coat, his mannerisms indicating that he is anticipating the worst. He walks into the kitchen where his wife is making supper.

Immediately, and in a not loud but upset tone, she says, "How many times have I told you, if you’re not going to be there, don’t say you’re going to be there. You know how I knew you promised him? He kept looking at me up in the stands. And after about, I don’t know, the fortieth time, I realized he expected you to be there. Jack, I don’t care if you get too busy or you flake out on me, Well, I care, but you know, I chose it. I married you. I’ll deal with it. He didn’t choose this, Jack. One of these days Charlie is going to score his first goal and you won’t see it. Just like you never saw him with the measles. Or the time he jammed his finger into the slide projector. These things only happen once. And then they’re gone." Jack has been trying to get a word in, but his wife says, "Don’t, Jack. You’ve said enough!" She walks out of the kitchen leaving Jack bewildered.

Next scene Jack enters Charlie’s room. Charlie is under a makeshift tent on his bed fiddling with something. Jack sits down and says in an apologetic tone, "Hey, Charlie. I’m really sorry I didn’t make it. I’m really sorry, man." He tells Charlie about the dream he’s always had to be a great musician. He wants to make a good living for his family, and he is close to his dream. "The tricky part here is, sometimes, if you’re not careful, you can, I don’t know, kind of turn into kind of a ..." Charlie says softly, "Selfish jerk." Jack thinks about this for a second and agrees. End clip here.

"A Dry White Season": Man Realizes the Consequences of his Neglect

"A Dry White Season", with Donald Sutherland and Marlon Brando, is set in 1976 and is the story of a prominent white South African schoolteacher’s battle against the injustices and brutality of the security forces against the local black population. Ben du Toit’s comfortable, unquestioning life is shaken when his black gardener, Gordon Ngubene, asks for his help in seeking justice for his son’s caning and then murder. Ben refuses both times, trusting the authorities. Gordon investigates on his own and is soon tortured and killed by the police. Ben is deeply disturbed and risks everything in exposing the brutality of the security forces.

The 1 ½ minute clip begins with Ben du Toit (Donald Sutherland) in the office of local lawyer Ian McKenzie (Marlon Brando). Ian offers him tea. Ben refuses and says, "I’m here on a matter of justice. Gordon Ngubene. You remember the story of Gordon Ngubene?"

Shaking his head Ian says, "Yes. That dreadful, dreadful, dreadful story."

"I want justice for him. To the full extent of the law."

"You see, justice and law, Mr. du Toit, are often just ... without ... (He is unable to find the words) I suppose they can be described as distant cousins. Here in South Africa they’re simply not on speaking terms at all. And I have familiarized myself with the dossier. (Shaking his head again he says pessimistically...) And I’m afraid that my counsel to you is to just give it up."

Ben is surprised at this and says, "Give it up?"

"Yes."

"Because there is nothing to be done. That’s what I said to his son when his son was caned. And now his son is dead. That’s what I thought about Gordon when he was jailed. And now he is dead because of my neglect. I have known the family for 15 years, Mr. McKenzie. I cannot give it up." End clip here. Ben’s firm commitment to justice alienates him from his family and friends. He loses his job and becomes the target of police retribution.

Time: 40 minutes 50 seconds - 42 minutes 32 seconds from the start of the opening credits.

"Awakenings": Acts of Love Instill Dignity or The Power of a Simple Loving Act

"Awakenings", with Robert Deniro and Robin Williams, is based on a true story of a group of 15 psychiatric patients who had been in a severe catatonic state and living in a hospital for decades. In 1969 they were given an experimental drug and ‘awakened’ for several exciting weeks before all relapsing back into their previous states.

As the effects of the drug starts to wane for Leonard (Robert Deniro), his head and arms continually shake, twitch, and contort in all different directions. At the start of this 3 minute clip, he is in a washroom looking into a mirror trying to comb his hair. He finally does a decent job and is finished.

The scene immediately switches to the hospital cafeteria. He is sitting with Paula, a young woman who visited her father regularly and who he had befriended while he was physically and mentally normal. Paula is telling him about her day yesterday. She had worked, had friends over, and then had gone out dancing. "That’s about it. Not much."

Leonard, constantly twitching and shaking, tells her: "That’s great. I’ve never done any of those things." Paula tells him that he will, but Leonard responds "They’ll never let me out of this place. And they shouldn’t. I mean, I’m still not well, as you can see. I feel well when I see you though." Then he pauses, a painful expression slowly appearing on his face, and he finally forces himself to say "I won’t see you anymore." Paula looks down, both surprised and sad. Leonard stands up and reaches to shake her hand in a final good-bye. His whole body is slightly swaying back and forth. She takes his hand with both her hands and gets up out of her chair. She then places his right hand on her hip, her right hand holding his left, and puts her head beside his.

There had been quiet piano music since the start of the scene. She slowly leads him step by step in a slow dance. Other patients in the cafeteria are staring, some smiling. Inexplicably, Leonard soon stops shaking completely. His body is completely still as he continues to keep pace with her slow steps. There is a slight glimmer of a tear in Paula’s face. Scene and clip ends.

This can illustrate how a simple act can instill dignity to a person feeling degraded and hopeless. The power of love is seen in the surprising (although temporary) physical calmness it brings Leonard. We also see that love requires courage and humility when Paula decides to dance with a physically contorting man who needed a dance.

"The Rosa Parks Story": Rosa Parks Takes A Seat Against Injustice

Angela Basset plays Rosa Parks in "The Rosa Parks Story". The film covers Park's life from childhood to soon after she was arrested in December, 1955 in Montgomery, Alabama for defying segregation laws.

It is evening and Rosa Parks is sitting in her seat on a city bus. A white man asks her for her seat and the unoccupied one next to her. Rosa doesn't move. The bus driver comes to her and says, "Are you going to move?"

Rosa nods "No."

"If you don't give me that seat, I'm going to have you arrested."

"You may do that."

The bus driver leaves the bus and walks to the telephone booth across the street. He dials and talks to the police about the situation. The other passengers are talking among themselves and getting restless.

Rosa then thinks back to a conversation she had with her grandfather when she was a little girl. She tells him, "Grandpa, I think I hate white people."

He responds, "You're as good as anybody else. White, black, or green with stripes. Don't be afraid of what could happen if you fight for what's right. As long as you keep that with you, hate will be a word for other people."

Two police cars come to a stop next to the bus. Three policemen enter the bus. The first one tells the bus driver, "She's sitting in the colored section."

The bus driver takes the 'colored' marker in front of Rosa and attaches it to the seat right behind her. "I needed that seat and she wouldn't move. I want her arrested."

The policeman asks Rosa, "Why won't you stand up?"

"Why do you all push us around?"

"The law is the law. Lady, you're under arrest."

Rosa Parks was arrested for disobeying an Alabama law that required black people to give up their seat to white people when the bus was full. Her arrest led to a 381 day boycott of the Montgomery bus system and to a 1956 Supreme Court decision banning segregation on public transportation.