Public Reel

BLOOD ON THE SUN (1945)

467 shots over 1:33:33, read from the Internet Archive copy BloodontheSun (BloodontheSun.mp4, 640×480, 30.00 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: BLOOD ON THE SUN No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 467 shots judged colour), average shot 12.0s long, a frontal face detected in 40% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1945 (Internet Archive). Credited cast, film-level, from archive description: Iris Hilliard. A cast credit does not place an actor in any particular beat.

Beats

256 beats in sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (not yet), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Frame at 3:34, shot 53:34Frame at 3:50, shot 63:50Frame at 3:54, shot 73:54
3 of 3 shots sampled

4. Beat 4 3:21–3:56 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 3 · shots 5–7 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 5:46, shot 125:46Frame at 6:03, shot 136:03
2 of 2 shots sampled

8. Private office 5:39–6:12 unchecked

A man in a suit stands holding a hat while another man in uniform confronts him; a seated man looks up. The transcript includes accusations of lying and identifies the American press as a traitor.

4 people observed.

“Lies, lies. It is all one big lie. Every word is untrue.” 5:47 · “You must disclose the source of your information.” 5:47

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 6 · shots 12–13 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark uniform with cap, standing visible
  • man in light suit, seated, looking up visible
  • man in dark suit, standing, holding hat visible
  • man in suit, standing behind p3 visible
Seen happening
  • A man in uniform confronts a man in a suit who is holding a hat. [frame:1]
  • A seated man looks up at the standing men. [frame:2]
Also said
“Maurice must hear with this traitor.” 5:47 · “The name of the traitor is the American press.” 5:47
Seen
hat, uniform, suit, chair
Interpretation
Model opinion, not evidence: mood: tense; themes: accusation, confrontation, media as traitor; style notes: static medium shots, high contrast lighting, formal framing
Frame at 8:00, shot 188:00
1 of 1 shots sampled

13. Beat 13 7:40–8:20 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 8 · shots 18–18 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 13:43, shot 4513:43
1 of 1 shots sampled

26. Beat 26 13:21–14:05 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 12 · shots 45–45 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 15:35, shot 4815:35
1 of 1 shots sampled

29. Ship 15:26–15:45 unchecked

A man in a suit confronts uniformed officers at a checkpoint, claiming he is a Thought Control Officer and demanding to see Mr. and Mrs. Miller in State Room 23. The officers question him, and he mentions being tailed by someone named Susie Carter.

Named: Susie Carter (t:15:32). 4 people observed.

“Oh, no. You're too anxious to get rid of me. I'm just going to see a couple of friends of mine off on the boat.” 15:32 · “Your name, please? Name? Well, uh, there's Susie Carter here. He's been tailing me all day.” 15:32

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 15 · shots 48–48 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, interior) evidence: frame:1
People
  • Susie Carter (named at t:15:32): man in suit and fedora, speaking visible, audible
  • man in uniform, facing p1 visible
  • man in uniform, back to camera visible
  • man in uniform with cap, left side visible
Seen happening
  • A man in a suit confronts uniformed officers at a checkpoint. [frame:1]
Also said
“I am Thought Control Officer. Please answer questions.” 15:32 · “I want to see Mr. and Mrs. Miller, State Room 23. Any objections? Ah, yes. Mr. and Mrs. Miller? Not yet arrived.” 15:32
Seen
uniforms, fedora hats, checkpoint barrier
Interpretation
Model opinion, not evidence: mood: tense; themes: authority vs. individual, surveillance, bureaucratic obstruction; style notes: high-contrast black-and-white lighting, medium shot framing, characters in formal attire suggesting authority or official roles
Frame at 15:55, shot 4915:55Frame at 16:10, shot 5016:10
2 of 2 shots sampled

30. Beat 30 15:45–16:15 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 15 · shots 49–50 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 16:19, shot 5116:19
1 of 1 shots sampled

31. Vehicle interior 16:15–16:24 unchecked

A man in a hat stands with another person near a window at night; a round light is visible outside. A voice says 'He's playing.'

2 people observed.

“He's playing.” 16:15

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Evidence and details

Starts here: pause in speech. Sequence 16 · shots 51–51 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
vehicle_interior (vehicle interior, interior) evidence: frame:1
People
  • man wearing a hat, seen from behind visible
  • person partially visible beside p1, wearing dark clothing visible
Seen happening
  • A man in a hat stands beside another person near a window. [frame:1]
Seen
round light source [frame:1], window frame [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: surveillance, nocturnal activity; style notes: high-contrast black-and-white, tight framing on figures near a window, night setting implied by darkness outside
Frame at 17:54, shot 6817:54Frame at 17:59, shot 6917:59Frame at 18:05, shot 7018:05Frame at 18:18, shot 7118:18
4 of 4 shots sampled

41. Private office 17:52–18:29 unchecked

A man in a suit is on the phone at a cluttered desk while another man in a hat and coat is also on the phone in a dimly lit room. The transcript indicates a conversation about urgent trouble and locating the ambassador.

2 people observed.

“Charlie. Charlie. There's trouble. Big trouble.” 17:54 · “Look, I can't tell you about it now. I'm coming right down.” 17:54

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Evidence and details

Starts here: pause in speech. Sequence 21 · shots 68–71 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit and tie, seated at desk, mid-adult visible, audible
  • man wearing fedora and overcoat, standing, mid-adult visible, audible
Seen happening
  • Man in suit picks up telephone receiver at desk. [frame:1]
  • Man in hat and coat holds telephone receiver to ear. [frame:2]
  • Man in suit speaks into telephone receiver while looking off-camera. [frame:3]
  • Man in hat and coat continues speaking on telephone. [frame:4]
Also said
“Did Ollie Miller reach you? Ollie? He's been trying to get in touch with you.” 17:54 · “He said he'd try to get over to your house. Oh, fine, fine. Well, I'll go there then.” 17:54
Seen
telephone, desk with papers and typewriter, fedora hat, overcoat
Interpretation
Model opinion, not evidence: mood: urgent and tense; themes: communication under pressure, bureaucratic urgency, noir-style suspense; style notes: black-and-white, medium close-ups, high-contrast lighting emphasizing faces and phones, static camera
Frame at 18:56, shot 7318:56Frame at 19:06, shot 7419:06
2 of 2 shots sampled

43. Beat 43 18:49–19:09 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 22 · shots 73–74 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 19:18, shot 7519:18
1 of 1 shots sampled

44. Beat 44 19:09–19:28 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 22 · shots 75–75 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 20:44, shot 7920:44
1 of 1 shots sampled

47. Private office 20:06–21:21 unchecked

A man in a suit holds another man's chin while speaking to him in a dimly lit interior. A woman is mentioned but not visible, and a man named William is greeted at the end.

Named: Miss Moody (t:20:30), Nick (t:20:30), William (t:21:00). 5 people observed.

“Hey, Rolly. Rolly, take a sip of this. Here you are. Easy, easy. Up, up, up.” 20:07 · “Alright. Rolly, you want to tell me what happened?” 20:17

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Evidence and details

Starts here: pause in speech. Sequence 24 · shots 79–79 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit, mid-adult, medium build, visible from side visible
  • man lying down, wearing suit, mid-adult, face visible, appears distressed visible
  • Miss Moody (named at t:20:30): woman, not visible mentioned
  • Nick (named at t:20:30): man, not visible mentioned
  • William (named at t:21:00): man, not visible mentioned
Seen happening
  • A man in a suit holds another man's chin while leaning over him. [frame:1]
Also said
“I made a good guess in the paper, Miss Moody. You won't have to guess anymore, Nick. Then I could have planned. I'm glad. I'm glad he'd have gone away okay.” 20:30 · “Hello. Sorry I missed the boat. William. Honey.” 21:00
Seen
suit [frame:1], bed or couch [frame:1]
Interpretation
Model opinion, not evidence: mood: tense and intimate; themes: confrontation, care under duress, unspoken history; style notes: close framing, high contrast lighting, black-and-white film style
Frame at 25:03, shot 10325:03Frame at 25:20, shot 10525:20Frame at 25:27, shot 10625:27Frame at 25:39, shot 10825:39
4 of 6 shots sampled

61. Private office 24:55–25:42 unchecked

A man in uniform reads a document in an office while another man in a suit is shown on the phone and then holding a receiver. The transcript mentions a police report about Nicholas Condon and a complaint about gaiety at his home.

Named: Nicholas Condon (t:25:09). 2 people observed.

“Japanese government would not do that to American condoms, sir. Here is charge.” 24:56 · “his own home. Gaiety intense and far-reaching, causing complaints from neighbors. Complaints ignored, forcing police to make polite request…” 25:09

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Evidence and details

Starts here: pause in speech. Sequence 33 · shots 103–108 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark military-style uniform with epaulets, middle-aged, seated visible
  • Nicholas Condon (named at t:25:09): man in suit and tie, light hair, middle-aged visible
Seen happening
  • A man in uniform reads a document at a desk. [frame:1]
  • The same man in uniform continues reading, looking up briefly. [frame:2]
  • A man in a suit holds a telephone receiver to his ear. [frame:3]
  • The man in the suit lowers the receiver and looks at it. [frame:4]
Mentioned
  • The transcript reports police entering Nicholas Condon’s home at 10:30 p.m. and finding him with two girls. [t:25:09]
  • The transcript states Nicholas Condon was under the influence of sake. [t:25:39]
Also said
“Condon very much under influence sake.” 25:39
Seen
document, telephone receiver, uniform with epaulets, suit and tie, wall scroll with Japanese characters
Interpretation
Model opinion, not evidence: mood: tense and bureaucratic; themes: official inquiry, personal scandal, cultural clash; style notes: static medium shots, high-contrast lighting, formal framing emphasizing authority and isolation
Frame at 26:02, shot 11026:02Frame at 26:10, shot 11126:10Frame at 26:15, shot 11226:15Frame at 26:21, shot 11326:21
4 of 4 shots sampled

63. Private office 25:57–26:27 unchecked

A man in a suit speaks on the phone while another man in uniform sits at a desk; a third man is also on the phone in a different office. The transcript indicates a request to contact an ambassador and bring a camera.

3 people observed.

“Hello, hello. Hello. You've cut me off. Give me the Choco Chronicle again, please. Because holding you in much esteem, man of great pres…” 25:58 · “are angry with protective police, you are free to go. Thanks. Hello, Charlie. Oh, Nick, please. Go home and get a little sleep. He had…” 26:09

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Evidence and details

Starts here: pause in speech. Sequence 33 · shots 110–113 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in suit, tie, pocket square, mid-30s to 40s, average build visible, audible
  • man in military uniform with epaulets, mustache, mid-40s to 50s, stocky build visible
  • man in shirt and tie, seated, mid-30s to 40s, lean build visible, audible
Seen happening
  • A man in a suit speaks on the phone. [frame:1]
  • A man in uniform gestures while seated at a desk. [frame:2]
  • The man in the suit continues speaking on the phone with intensity. [frame:3]
  • A third man is on the phone in a different office setting. [frame:4]
Seen
telephone, desk, military uniform, window blinds, camera, map on wall
Interpretation
Model opinion, not evidence: mood: urgent and tense; themes: diplomatic urgency, media pressure, military authority; style notes: black-and-white, medium close-ups, studio lighting, formal framing
Frame at 26:37, shot 11426:37
1 of 1 shots sampled

64. Beat 64 26:27–26:47 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 33 · shots 114–114 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 28:37, shot 12828:37
1 of 1 shots sampled

72. Private office 28:19–28:55 unchecked

A man in a suit enters a room after being called to the door; the transcript mentions bloodstains being cleaned and identifies him as Mr. Condon. No other people or objects are clearly visible in the single frame.

Named: Mr. Condon (t:28:39). 1 person observed.

“They've even cleaned up the bloodstains. Yeah, very thorough.” 28:21 · “What is it, Nick?” 28:30

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Evidence and details

Starts here: pause in speech. Sequence 38 · shots 128–128 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • Mr. Condon (named at t:28:39): man, middle-aged, wearing a dark suit and patterned tie visible, audible
Seen happening
  • A man in a suit enters a room through a doorway. [frame:1]
Also said
“There's someone at the door. Shall I see who it is? Yeah, see who it is.” 28:33 · “Mr. Condon, please. Come in. Thank you.” 28:39
Seen
suit, doorway, framed portrait on wall
Interpretation
Model opinion, not evidence: mood: tense, formal; themes: intrusion, formality, aftermath; style notes: black-and-white, medium shot, studio lighting, static camera
Frame at 32:39, shot 14932:39Frame at 32:48, shot 15032:48Frame at 32:55, shot 15132:55
3 of 3 shots sampled

81. Living room 32:36–32:58 unchecked

Two men, one in civilian suit and one in military uniform, are present in a room with furniture and decor suggesting a private residence. A transcript line addresses someone as 'Mr. Nicholas Convin' and mentions meeting at home rather than the office, indicating the setting is a private dwelling.

Named: Nicholas Convin (t:32:42). 5 people observed.

“Mr. Nicholas Convin. Please sit down.” 32:42 · “Thank you for coming to my home. It is more agreeable than meeting at the office. Here, we are not bothered with news paper, Ben.” 32:49

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 42 · shots 149–151 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
(living room, interior) evidence: frame:2
People
  • man in dark suit, glasses, balding, medium build visible
  • man in military uniform with medals, glasses, mustache, balding visible
  • man in dark suit, standing, partially visible visible
  • man in dark suit, standing near doorway visible
  • Nicholas Convin (named at t:32:42): man in dark suit, seated, smiling visible
Seen happening
  • Two men stand facing each other in a room with chairs and a table. [frame:1]
  • Several men are gathered in a room with furniture and decor; one man is seated in a chair. [frame:2]
  • Two men are seated in chairs; one is smiling. [frame:3]
Seen
chairs [frame:1], table [frame:2], military uniform with medals [frame:1], suit [frame:1], decorative objects on shelves [frame:3]
Interpretation
Model opinion, not evidence: mood: formal, tense; themes: power dynamics, formal meeting, private vs public space; style notes: static medium shots, high contrast lighting, staged composition
Frame at 34:45, shot 16534:45
1 of 1 shots sampled

86. Beat 86 34:29–35:00 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 43 · shots 165–165 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 38:03, shot 18138:03
1 of 1 shots sampled

95. Private office 37:54–38:12 unchecked

Two men in suits sit at a table in an office, one pointing at a photograph while the other listens. A third man is visible in the background. The speaker requests a specific photo to be published with a story on the front page.

3 people observed.

“Look, there's a one-column cut of me in the files, three-quarter face. Very flattering. Run that with the story, front page.” 37:55

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Evidence and details

Starts here: pause in speech. Sequence 46 · shots 181–181 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
(private office, interior) evidence: frame:1
People
  • man in dark suit and fedora, seated, mid-adult visible
  • man in light suit and tie, seated, mid-adult, pointing at a photo visible, audible
  • man in dark suit, standing in background, back to camera visible
Seen happening
  • A man in a light suit points at a photograph on a table while speaking to another man. [frame:1]
  • A third man stands in the background with his back to the camera. [frame:1]
Seen
photograph [frame:1], table [frame:1], fedora hat [frame:1], glass bottle [frame:1]
Interpretation
Model opinion, not evidence: mood: professional and directive; themes: media, self-promotion, office hierarchy; style notes: medium two-shot, high-contrast black-and-white lighting, studio set with shallow depth of field
Frame at 39:18, shot 18539:18Frame at 39:28, shot 18639:28
2 of 2 shots sampled

98. Beat 98 39:14–39:35 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 47 · shots 185–186 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 39:36, shot 18739:36Frame at 39:38, shot 18839:38Frame at 39:41, shot 18939:41Frame at 39:48, shot 19039:48
4 of 4 shots sampled

99. Bar 39:35–39:55 unchecked

A man in a suit gestures while speaking at a bar table; another man sits listening, and a woman is seated between them. A hand with a ring is shown near a glass, and a man in a tuxedo stands behind the bar.

5 people observed.

“Look here, Condon. You have a reputation for bad manners, but this is going too far.” 39:38 · “It's all right, Mr. Giselle. Perhaps Mr. Condon can explain.” 39:38

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Evidence and details

Starts here: pause in speech. Sequence 47 · shots 187–190 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
bar (bar, interior) evidence: frame:4
People
  • man in suit and tie, mid-adult, medium build, visible in frame:2 and frame:3 visible
  • woman with styled hair, wearing a patterned dress, seated at table, visible in frame:4 visible
  • man in dark suit, balding, seated at table, visible in frame:4 visible
  • man in tuxedo, standing behind bar, visible in frame:4 visible
  • hand with large ring, wearing light-colored sleeve, visible in frame:1 visible
Seen happening
  • A man in a suit gestures with his hands while speaking. [frame:2]
  • A man in a suit sits with a stern expression. [frame:3]
  • Three people sit at a table in a bar; a bartender stands behind them. [frame:4]
  • A hand with a ring rests near a glass. [frame:1]
Also said
“Helpful, Mr. Giselle.” 39:38 · “Excuse me.” 39:38
Seen
ring [frame:1], glass with liquid [frame:1], bar counter and bottles [frame:4], table with bottles and glasses [frame:4]
Interpretation
Model opinion, not evidence: mood: tense; themes: confrontation, social decorum, dialogue-driven scene; style notes: black-and-white, medium close-ups and wide shots, studio lighting, formal attire
Frame at 40:33, shot 19240:33Frame at 40:37, shot 19340:37Frame at 40:41, shot 19440:41Frame at 40:59, shot 19540:59
4 of 4 shots sampled

101. Private office 40:32–41:16 unchecked

A woman with red hair and an elaborate hat speaks to a man in a suit; they are seated at a table in an interior setting. The dialogue includes remarks about her appearance and a comment about leveling soon.

2 people observed.

“I've always liked red hair. I grew it for you. And the ears? Two of those. Isn't that good? More will be vulgar.” 41:00 · “Keep on, keep on. Pretty soon we'll level.” 41:13

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 48 · shots 192–195 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:4
People
  • woman with red hair, wearing an elaborate feathered hat and ornate jacket visible, audible
  • man in dark suit and tie, neatly combed hair visible, audible
Seen happening
  • Woman and man sit at a table, facing each other. [frame:4]
Seen
feathered hat [frame:1], ornate jacket [frame:1], suit and tie [frame:2], table with glass [frame:4]
Interpretation
Model opinion, not evidence: mood: tense yet playful; themes: appearance and identity, social performance, power dynamics in conversation; style notes: close-up framing on faces, high-contrast studio lighting, formal attire suggests period drama
Frame at 41:26, shot 19641:26
1 of 1 shots sampled

102. Private office 41:16–41:36 unchecked

A woman in an ornate jacket speaks to someone off-screen, referencing a meeting arranged by a friend in Shanghai. The dialogue suggests a tense or serious conversation about trust or identity.

Named: Mr. Condon (t:41:18). 2 people observed.

“All right, Mr. Condon. Let's, to use your phrase, level.” 41:18 · “I was told to meet you by a friend. Yes, but whose friend?” 41:25

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Evidence and details

Starts here: pause in speech. Sequence 48 · shots 196–196 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • woman, mid-adult, wearing ornate jacket with embroidery and large feathered hat visible, audible
  • Mr. Condon (named at t:41:18): unseen, referred to as 'Mr. Condon' audible, mentioned
Also said
“yours in Shanghai.” 41:30 · “A very wonderful, almost saintly old man.” 41:33
Seen
ornate jacket with embroidery, large feathered hat
Interpretation
Model opinion, not evidence: mood: tense, interrogative; themes: identity, trust, espionage, personal history; style notes: close-up framing, high-contrast lighting, period costume detail
Frame at 44:15, shot 21344:15
1 of 1 shots sampled

112. Tokyo chronicle building exterior 44:04–44:26 unchecked

The beat shows the exterior of a building with a sign reading 'TOKYO CHRONICLE' and a smaller sign below for 'PAPERS BOOKS'. No people or actions are visible in the single frame provided.

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 54 · shots 213–213 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
Tokyo Chronicle building exterior (other, exterior) evidence: frame:1
Seen
TOKYO CHRONICLE sign, PAPERS BOOKS sign
On screen
TOKYO CHRONICLE PAPERS BOOKS
Interpretation
Model opinion, not evidence: mood: neutral; style notes: static exterior shot, high-contrast black-and-white, medium framing of building facade
Frame at 45:16, shot 21745:16Frame at 45:45, shot 21845:45
2 of 2 shots sampled

114. Private office 44:53–45:51 unchecked

Two men in suits argue in an office about a journalist named Cassell, whose past is being questioned. One man accuses the other of being manipulated by external orders and reveals Cassell's alleged financial misconduct.

2 people observed.

“Say, Nick. Do you know a guy named Cassell?” 44:55 · “Heard of him. Someone... Well, I just got a wire from the States about him. They say he's a good man. I thought I'd try him out in your …” 45:04

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Evidence and details

Starts here: pause in speech. Sequence 55 · shots 217–218 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit, light shirt, tie, holding papers, mid-30s to 40s, average build visible, audible
  • man in lighter suit, white pocket square, tie, mid-30s to 40s, average build visible, audible
Seen happening
  • Two men stand facing each other in an office, one holding papers. [frame:1]
  • One man speaks intently to the other, who listens with a slight smile. [frame:2]
Also said
“From what States? You mean you just got an order from the Japanese foreign office to put him on? Two minutes ago. That's an insult. Nobody dictates to me. No, not even your own conscience.” 45:10 · “a friend of the people. And on the side, he set up a patriotic organization that collected nickels and dimes from the poor Chinese in the States to print anti-Japanese propaganda. What of it? Oh, nothing much. But instead of printing the leaflets, he lost the money in the stock market. Sixty thousand bucks. His partner committed suicide, and Cassell decided on a change of climate.” 45:30
Seen
suit [frame:1], suit [frame:1], papers [frame:1], framed picture [frame:1]
Interpretation
Model opinion, not evidence: mood: tense and confrontational; themes: power struggle, corruption, betrayal, journalistic integrity; style notes: medium close-up shots, high-contrast black-and-white lighting, formal attire, static camera emphasizing dialogue
Frame at 46:04, shot 21946:04
1 of 1 shots sampled

115. Beat 115 45:51–46:16 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 56 · shots 219–219 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 47:49, shot 22947:49
1 of 1 shots sampled

120. Restaurant 47:29–48:08 unchecked

A group of formally dressed people are gathered in a restaurant, with one person speaking about dining at Sato. The scene includes visible interactions among patrons and staff, with dialogue referencing an 'Imperial Secret'.

5 people observed.

“Thanks, Katie.” 47:30 · “We are about to dine at Sato. Oh, excellent restaurant. We thought you'd like it. Nothing too good for the Imperial Secret, please. Than…” 47:50

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Evidence and details

Starts here: pause in speech. Sequence 58 · shots 229–229 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
restaurant (restaurant, interior) evidence: frame:1
People
  • man in formal attire including a top hat and bow tie, visible in frame visible
  • man in formal attire including a top hat, visible in frame visible
  • woman in dark dress and hat, visible in frame visible
  • man in formal attire, partially visible in background visible
  • unspecified speaker audible
Seen
top hats, bow ties, formal dresses, restaurant interior with tables and windows
Interpretation
Model opinion, not evidence: mood: formal and anticipatory; themes: social class, formal dining, implied secrecy; style notes: black-and-white, medium shot, studio-lit interior, period costume
Frame at 48:26, shot 23048:26Frame at 48:49, shot 23148:49
2 of 2 shots sampled

121. Restaurant 48:08–48:54 unchecked

Two people sit at a table in a dimly lit, crowded interior space, conversing. One person, a woman, is visible in profile and frontal shots; the other, a man, is seen from behind or in partial view. The dialogue references Japan and studying Japanese women.

2 people observed.

“You like it, huh? Japan is lovely. But I've seen of it in three days.” 48:23 · “right but some of the inhabitants i object to the higher up you go the lower grade people you meet” 48:30

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Evidence and details

Starts here: pause in speech. Sequence 58 · shots 230–231 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
restaurant (restaurant, interior) evidence: frame:1
People
  • woman, dark hair in a hat, light-colored dress with a high collar, seated visible
  • man, dark suit, seen from behind and in partial profile, seated visible, audible
Seen happening
  • A woman and a man are seated at a table in a restaurant, engaged in conversation. [frame:1]
  • The woman is shown in a closer shot, looking toward the man while seated at the table. [frame:2]
Also said
“then i'm lucky that i don't have to meet any highly placed japanese in my work work of course namely i'm studying the problems of japanese women why a friend in shanghai” 48:35
Seen
table with tablecloth [frame:1], lamp on table [frame:1], chairs [frame:1], hat on woman [frame:2]
Interpretation
Model opinion, not evidence: mood: conversational, slightly tense; themes: cultural observation, social hierarchy, gender roles; style notes: black-and-white, medium close-ups, dim lighting with focused table lamps, shallow depth of field
Frame at 49:01, shot 23349:01Frame at 49:06, shot 23449:06Frame at 49:17, shot 23649:17Frame at 49:26, shot 23749:26
4 of 5 shots sampled

123. Private office 48:59–49:29 unchecked

A woman and a man sit at a table in a dimly lit interior, conversing. The woman speaks about Japanese women not being considered human beings, while the man listens and responds.

2 people observed.

“Nick, you know so much and still you're so ignorant about women.” 49:00 · “Ignorant but awfully willing.” 49:00

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Evidence and details

Starts here: pause in speech. Sequence 58 · shots 233–237 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
(private office, interior) evidence: frame:1
People
  • woman, wearing a dark hat and ornate necklace, mid-adult visible, audible
  • man, wearing a suit and tie, mid-adult visible, audible
Also said
“Do you know anything at all about Japanese women?” 49:00 · “They're not considered human beings. They're not even allowed to think. It's against the law.” 49:00
Seen
table lamp, tea set, ornate necklace
Interpretation
Model opinion, not evidence: mood: tense and confrontational; themes: gender roles, cultural misunderstanding, power dynamics; style notes: close two-shots, low-key lighting, period costume detail
Frame at 50:10, shot 24450:10Frame at 50:16, shot 24550:16
2 of 2 shots sampled

126. Private office 50:07–50:20 unchecked

A man in a suit holds papers while speaking; a woman in formal attire listens. The dialogue references Tanaka and unpublished articles.

2 people observed.

“Is Tanaka planned? What do you know about it? Why don't you tell me? I haven't published any articles on the subject.” 50:10

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Evidence and details

Starts here: pause in speech. Sequence 58 · shots 244–245 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man, middle-aged, wearing dark suit and tie, holding papers visible, audible
  • woman, wearing formal dress with ornate collar and hat, seated visible
Seen happening
  • Man holds papers and speaks to woman [frame:1]
  • Woman listens, head slightly lowered [frame:2]
Seen
papers, ornate necklace/collar, hat with decorative pin
Interpretation
Model opinion, not evidence: mood: tense; themes: interrogation, secrecy, journalism; style notes: medium close-ups, high-contrast lighting, formal attire suggests 1940s studio production
Frame at 53:03, shot 26153:03Frame at 53:19, shot 26253:19Frame at 53:37, shot 26353:37
3 of 3 shots sampled

138. Private office 52:58–53:44 unchecked

A man and a woman are in a dimly lit interior, engaged in a conversation where the woman questions the man's perception of her. The man is dressed formally, and the woman wears a dark dress with a prominent necklace.

Named: Iris Hilliard (t:53:43). 2 people observed.

“through the towns very quickly to sort of get them out of the way i don't think that'll be necessary” 53:00 · “I think I know. And I like it very much.” 53:30

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Evidence and details

Starts here: pause in speech. Sequence 66 · shots 261–263 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man, mid-adult, wearing a dark suit and tie, visible from the back and side visible
  • Iris Hilliard (named at t:53:43): woman, mid-adult, dark hair styled up, wearing a dark dress with a large necklace and earrings visible, audible
Seen happening
  • The woman smiles at the man. [frame:1]
  • The man and woman stand facing each other in a dim room. [frame:2]
  • The woman looks intently at the man while speaking. [frame:3]
Also said
“But I don't believe you really know what you think of me.” 53:35 · “Desirable woman?” 53:43
Seen
necklace, earrings, suit, tie
Interpretation
Model opinion, not evidence: mood: tense and intimate; themes: romantic tension, power dynamics, perception vs reality; style notes: close-up shots, high-contrast black-and-white lighting, formal attire, static camera
Frame at 54:27, shot 26754:27
1 of 1 shots sampled

140. Private office 54:06–54:47 unchecked

A man in a suit is visible in a dimly lit interior, embracing a woman. The transcript includes dialogue about gratitude, a game, and opinions on China and Japan.

2 people observed.

“Thank you, Nick. Stop it. Stop it. I hate gratitude. It's a very debasing emotion. Now, you just keep your mind on the game. That's rule…” 54:07 · “Have you played this game before?” 54:22

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Evidence and details

Starts here: pause in speech. Sequence 66 · shots 267–267 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit, medium build, visible from side visible
  • woman in dark dress, partially obscured, embracing p1 visible
Seen happening
  • A man and woman are embracing in a dim interior. [frame:1]
Also said
“about these people, you might revise your opinions about the Chinese. Maybe, but the farther west I've gone, the more I'm convinced that wisdom and civilization come from the east. That's what I say. China. Japan is east of China. You should do well here, Mr. Cassel. How about this?” 54:30
Seen
suit, dark dress, stone ledge or wall
Interpretation
Model opinion, not evidence: mood: tense and intimate; themes: cultural perception, personal intimacy, power dynamics; style notes: low-key lighting, close framing, black-and-white film grain
Frame at 54:53, shot 26854:53
1 of 1 shots sampled

141. Other 54:47–54:59 unchecked

A newspaper clipping titled 'There’s Money in Treachery' by Nick Condon is shown, discussing Joe Cassell and a China Famine Relief loan. No people or actions are visible in the frame.

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Evidence and details

Starts here: pause in speech. Sequence 67 · shots 268–268 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other) evidence: frame:1
Seen
newspaper clipping [frame:1]
On screen
Editor’s Corner by NICK CONDON There’s Money in Treachery Joe Cassell, the man who smiles with both of his faces at the same time, has reached the pinnacle of success in his long career under the double cross. The proposed CHINA FAMINE RELIEF loan which was being entreated to Cassell by his Chinese friend has been blocked by . . . guess who—Honest Joe Cassell!
Interpretation
Model opinion, not evidence: mood: neutral; themes: corruption, media, political intrigue; style notes: static close-up of printed text; high contrast black-and-white typography; no camera movement or lighting effects.
Frame at 55:59, shot 27455:59
1 of 1 shots sampled

144. Beat 144 55:46–56:12 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 68 · shots 274–274 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 57:22, shot 28257:22
1 of 1 shots sampled

147. Private office 57:07–57:38 unchecked

A man in a suit stands in an interior room with a coat rack and framed picture; dialogue suggests a confrontation about betrayal. No names are spoken that identify the visible person.

1 person observed.

“What else? That's funny. You smear me for selling out China while you're selling out your own country.” 57:10 · “Nick! Nick, what is it? Now that we know each other, start talking. Start talking! Nick, then is she?” 57:30

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Evidence and details

Starts here: pause in speech. Sequence 70 · shots 282–282 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit, medium build, short hair visible
Seen
coat rack [frame:1], framed picture of a dog [frame:1], desk with objects [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: betrayal, confrontation; style notes: medium shot, high contrast lighting, static framing
Frame at 57:42, shot 28357:42Frame at 57:55, shot 28457:55
2 of 2 shots sampled

148. Private office 57:38–58:02 unchecked

A man in a suit and a woman in a patterned dress stand near a desk in an interior setting. The man gestures toward the woman while she looks at him.

2 people observed.

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 71 · shots 283–284 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • woman, dark hair styled up, wearing a patterned dress with a light shawl or overlay visible
  • man, wearing a dark suit, light shirt, and tie, with a handkerchief in his breast pocket visible
Seen happening
  • A man and a woman stand facing each other near a desk. [frame:1]
  • The man gestures with his right hand toward the woman, who looks at him. [frame:2]
Seen
desk [frame:1], chair [frame:1], lamp [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: confrontation, formal interaction; style notes: medium shot, studio lighting, black-and-white film, formal attire suggests 1940s setting
Frame at 59:19, shot 29059:19Frame at 59:34, shot 29159:34
2 of 2 shots sampled

151. Beat 151 59:13–59:42 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 71 · shots 290–291 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:00:36, shot 2921:00:36
1 of 1 shots sampled

152. Beat 152 59:42–1:01:29 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 72 · shots 292–292 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:03:44, shot 3031:03:44
1 of 1 shots sampled

160. Beat 160 1:03:30–1:03:59 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 76 · shots 303–303 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:33:01, shot 4651:33:01
1 of 1 shots sampled

255. Beat 255 1:32:50–1:33:13 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 112 · shots 465–465 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 347 segments kept, 24 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 3:03 But, gentlemen, I know nothing about this article being printed. I was out of town. Then let me read what is printed here in your paper. If Japan wants to control China...
  2. 3:15 We must first crush the United States. Just as in the past, we had to fight in the Russo-Japanese War. But, gentlemen, you know the Chronicle has supported the government for 25 years. Every government. It is late for explanations. This insult to Baran Tanaka and the Japanese people has caused great disturbance. You must know the penalty for disregard censorship. If my managing editor has violated any of the regulations, I'll fire him. Nick?
  3. 3:45 Nick Condon. Somebody dig up Nick Condon. He's out. Something important. Said he wasn't to be disturbed. I don't care if he's interviewing the Emperor. Get him here right away.
  4. 4:01 Get him on the phone, Kinchan. Okay, Mr. Sprague, but he's not going to like it. Get him anyway.
  5. 4:15 Watch the money!
  6. 4:45 I'm sorry.
  7. 5:26 Hello, Oshma. What's on your mind? Nick, I... There's a matter to discuss, if you please. Shoot. It is an official matter of great importance.
  8. 5:36 Oh, great. Come on in. We'll talk it over. Nick, will you please get... Oh, all right, all right. Hand me that towel, will you?
  9. 5:47 Lies, lies. It is all one big lie. Every word is untrue. Oh, now, just a minute. You must disclose the source of your information. Maurice must hear with this traitor. All right, that's fair enough. You have a right to know. The name of the traitor is the American press.
  10. 6:35 You can't do this to me, Nick. My blood pressure won't stand it. Supposing they shut me down. Now, look, when I came here two years ago and took over this rag, it was on one condition. And I run it. I know, Nick, but you can't. Your circulation has doubled. Advertising has gone up 500%. And you're making more money than you ever made in your life. You're not doing so badly yourself. You're making five times the money you made in Shanghai. You tired of the deal? Oh, now, I don't think I don't appreciate what you did for the Chronicle. But printing things like that is... That's what newspapers are for. That's what people buy. Not just Japanese propaganda handouts. But this was just a rumor.
  11. 7:05 Yes, and thousands of American businessmen have a right to know about rumors like that. I know, I know. But, Nick, lots of Japs read English, too. Yeah. There was more to that than just a rumor. To bring those two birds here about it. I'll, uh, I'll have Olly Miller look into it. Look into it? We've got to get out of it. You're going to write the retraction. I'll write a retraction when they prove the story is false. Nick, are you sure that piece was in the New York papers? The Japs would have caught it on the wires and censored it. New Yorkers read it yesterday. Yesterday? Then how could you have read it?
  12. 7:35 Read it. I wrote it. Nick. Nick, for the love of my...
  13. 8:05 And Ollie Miller is not at this bar. He must be sick. See you later. Sure.
  14. 8:23 Oh, there you are, Nick. Meet Joe Cassell. Just pulled in from Shanghai. Ah. Glad to know you. Now sit down. Yeah.
  15. 8:31 Have a drink? Scotch and soda. Me too. Three Scotch and sodas.
  16. 8:35 Joe Cassell, Joe Cassell.
  17. 8:40 Covered the criminal courts for the old telly in New York, then went to Russia and in Peking, and worked for the American Press Association for a while. And I lost track. There's fame for you, Kess. No, that's a good memory. Want a job? Gone home. I left the foreign office this morning. That story of yours had a buzzing-like harness. It was very amusing. Breaks the monotony. Where'd you dig it up? A little here, a little there.
  18. 9:05 Of course, there's not a grain of truth, as you know that. I don't know anything, do you? Quite a bit. Our Chinese cousins are trying desperately to shape public opinion against Japan.
  19. 9:16 What for? To take attention off their own internal disorders. And believe me, disorder is a clean name for it. Having just spent four years there, I know. I lived that six years myself. Four was enough for me. Not that I have a tremendous admiration for the Chinese people.
  20. 9:31 I see. Some of my best friends are Chinese, huh?
327 more segments
  1. 9:35 Well, at last.
  2. 9:40 Hi, fellas. Hiya, Begala. Hey, Johnson, get on that front page of Nick's this morning. Dying on by you, huh? Hey, come on, how about a little drink? Set him up on me. You buying? As many as you can handle. I'll have a double scotch. I'll have a bourbon double. How about you, Begala? I'll have a little soda. You know what I want.
  3. 10:10 Excuse, please. Mr. Miller is here.
  4. 10:15 Oh, yes, sir. I'm quitting. What, again? Ever see these things before? Thank you. Keep it changed. Two tickets for home and the first boat I could get. Leaving tonight. And I got on my road. But where did you get the dough? No invention. Secret machines. Press buttons. Out comes fives, tens, hundreds. Well, in that case, how about the 30 you owe me?
  5. 10:40 Pleasure, a pleasure. And here's the tin that you wouldn't loan me, stinker. Buy around at rake. Excuse me, we'll continue this now next. I'll leave you, Skim, and I'll see you later. So long, Nick.
  6. 10:53 Yes, sir, I'm quitting this job for sake and land. What's it got? Cherry blossoms, but no cherries. What kind of cherries for you, sir?
  7. 11:03 I'll probably settle down Connecticut and write a book. If I don't write a book, I'll...
  8. 11:10 Egg boy, if I'm looking for you all over. Two hundred and twenty. A dead long standing. Great honor to pay. He must have been trading in Shanghai silver.
  9. 11:26 Johnson's just gonna buy a drink.
  10. 11:35 Where'd you get the money?
  11. 11:38 I came into it.
  12. 11:40 Come on, make sense. What's up? I might well take offense at the skepticism in your town. But I prefer to be generous and remember you as my friend and former employer. And attribute to your bitter jealousy of my good fortune.
  13. 11:57 Former employer? I'm leaving. Tonight, me and Edith, and I got her in my room. Where did you get that money? Nick, take a tip from me.
  14. 12:10 States. This place is getting hotter than the inside of Fujiyama. Get out. There was blood on the streets this morning. It'll be flowing like a river before the summer's over. So you're all mixed up in something shady. Me? Ollie Miller? Oh, hey, don't forget. Hey, there. Captain 23, come down in a night and I'll put it full of champagne and tell you how much I love you.
  15. 12:34 Man, best friend, you dog.
  16. 12:38 So long,
  17. 12:40 nice people so I will
  18. 13:00 you know what come by another model that I want
  19. 13:10 I'm going to go.
  20. 13:40 Never been early in my life. What's it all about? Oh, Nick, you've got me. All of a sudden, everything's wonderful. Rags to riches. Well, how does Ollie explain it? Oh, like he does everything else. Excuse me, he dismisses it. Can you say anything? Oh, vague. Very vague. Something about a contract for a book he's going to write. Big literary deal, advanced royalties, scads of money.
  21. 14:01 Fine, fine.
  22. 14:10 care where he got it. Maybe he stole the Emperor's treasures. All I know is we're going home. This place is slowly killing him. And me too. All right, all right. After all, Ollie's private business is still his own. But I didn't want to see either of you get into a jam because of anything irregular. Well, if there's anybody he'd tell what it's all about, it'd be you, Nick.
  23. 14:30 Well, that's what has me worried. He hasn't...
  24. 14:34 You'll be at the boat tonight? Yeah, sure. With a couple of magnums of champagne. That should open his big mouth. He's opened it on less. Yeah. All right, I'll see you there. Nick, in case I don't get a chance to tell you tonight, you're all we're going to miss with this place. I wish you were coming back with us.
  25. 14:57 All right, see you at the boat, beautiful.
  26. 15:02 Oh, my God.
  27. 15:32 Oh, no. You're too anxious to get rid of me. I'm just going to see a couple of friends of mine off on the boat. Your name, please? Name? Well, uh, there's Susie Carter here. He's been tailing me all day. I am Thought Control Officer. Please answer questions. All right. I'll give you an answer. I'm thinking this is a new loan stupidity even for the Imperial Police. I want to see Mr. and Mrs. Miller, State Room 23. Any objections? Ah, yes. Mr. and Mrs. Miller? Not yet arrived.
  28. 16:02 Come on, Jack. Sorry. Not permitted tonight. Excuse me, please. Armstrong. Armstrong, come on, dear.
  29. 16:10 Oi! Oi! Shut the door! Hey!
  30. 16:15 He's playing.
  31. 16:32 Edie.
  32. 17:02 Too bad. You refuse to believe police.
  33. 17:31 Now you know.
  34. 17:32 food has been told. You saw for yourself. Friends have not yet a life.
  35. 17:41 Hey!
  36. 17:45 Hello. Tokyo Chronicle, please.
  37. 17:50 Charlie Sprague.
  38. 17:51 Yeah.
  39. 17:54 Clinical office. Charlie. Charlie. There's trouble. Big trouble. Look, I can't tell you about it now. I'm coming right down. But find out where the ambassador is and get a call through to him right away. Right, Nick. Did Ollie Miller reach you? Ollie? He's been trying to get in touch with you. He said it was urgent. Where is he? He said he'd try to get over to your house. Oh, fine, fine. Well, I'll go there then. Switch the call there. Yeah.
  40. 18:17 Yeah.
  41. 18:47 Oh, my God.
  42. 19:17 Easy.
  43. 19:47 I'm going to go.
  44. 20:07 Hey, Rolly. Rolly, take a sip of this. Here you are. Easy, easy. Up, up, up.
  45. 20:17 Alright. Rolly, you want to tell me what happened?
  46. 20:30 I made a good guess in the paper, Miss Moody. You won't have to guess anymore, Nick. Then I could have planned. I'm glad. I'm glad he'd have gone away okay.
  47. 21:00 Hello. Sorry I missed the boat. William. Honey.
  48. 21:55 What is it? Very sorry to disturb. So am I. Beat it.
  49. 22:00 A desperate criminal escaped police. Maybe he is hiding here. Sorry, we must search. We wish to protect you. There's nobody here and I don't need anybody to protect me. Now get out. Have accidents?
  50. 22:18 Ah, here it's criminal. Don't you mean victim?
  51. 22:28 We must search house, please.
  52. 22:30 I'm going to go.
  53. 23:00 Yes, but you come with us and make report. All right, all right. That's exactly what I ought to do.
  54. 23:09 Now, if you'll just give me a chance to phone my office while... Uh, not permitting, Taraphone.
  55. 23:16 Now, look here, Oshma, I'm getting awfully tired of this. Your chief Yamada is a very good friend of mine. I don't want to have to turn you in. Comprie. All right.
  56. 23:39 Oh, my God.
  57. 24:09 Good morning, Kandong San. Did not expect to meet you here except as a friend.
  58. 24:37 I heard your phone.
  59. 24:40 Hello. Hello, Tokyo Chronicle, please.
  60. 24:44 You've got some explaining to do, Yamada.
  61. 24:47 Hello, hello, give me Charlie Spray.
  62. 24:50 Among other things, my government does not like its national to be thrown into the jug without any charge.
  63. 24:56 Japanese government would not do that to American condoms, sir. Here is charge.
  64. 25:09 his own home. Gaiety intense and far-reaching, causing complaints from neighbors. Complaints ignored, forcing police to make polite requests that gaiety subdue. Request ignored. Police enter home at 10:30 p.m. Find Nicholas Condon with two girls. Two Condon, sir? Mr. Condon,
  65. 25:39 Condon very much under influence sake.
  66. 25:42 Demand police read. Police demand two girls read. Condon attempt to throw police out. Condon overcome by drinks. Friendly police put him to bed in city jail to protect him.
  67. 25:58 Hello, hello. Hello. You've cut me off. Give me the Choco Chronicle again, please. Because holding you in much esteem, man of great prestige,
  68. 26:09 are angry with protective police, you are free to go. Thanks. Hello, Charlie. Oh, Nick, please. Go home and get a little sleep. He had us up all last night. We even woke the ambassador. I don't know how we're going to alibi it to him. Japanese papers are full of what you did. Never mind that. Never mind that. Look, I'm glad you got the ambassador. Get him again and tell him I've got to see him as soon as possible. And then get in your car and pick me up here. Yeah. And bring a camera.
  69. 26:39 Sergeant Oshima, you know our good friend Kandon-san of Tokyo Chronicle? We have met many times. Great honor. It's not mutual. You killed two Americans last night, Oshima. One on the Nagatomaru and the other at my house. A serious charge, Kandon-san. You have proof? Kandon-san and Saki have big fight last night. Saki win. I suppose you weren't at the harbor and you weren't at my house.
  70. 27:09 in moon and I most pleasure of our evening be better you forget bad dreams and go home to good street sayonara condon son and if I may try big joke I say hope I am not to see you here too soon understand you're very strong judo perhaps you honor me with contest sometime certainly only
  71. 28:03 You can put your camera away There's the window that Ollie plowed through last night. They've replaced it
  72. 28:09 Plant number one. Even to the lipstick. Plant number two. Yeah, they don't miss a bit.
  73. 28:21 They've even cleaned up the bloodstains. Yeah, very thorough.
  74. 28:30 What is it, Nick?
  75. 28:33 There's someone at the door. Shall I see who it is? Yeah, see who it is.
  76. 28:39 Mr. Condon, please. Come in. Thank you.
  77. 28:55 This is Mr. Condon. Yes.
  78. 29:02 Thank you. I'm from foreign office. Please permit me to escort you to audience with His Excellency.
  79. 29:09 Premier General Baron Tanaka.
  80. 29:14 Well, uh, I'm going to be busy for a couple of hours. Tell him I'll drop into his office sometime this afternoon. Please. Not to office. His Excellency awaits you at his home.
  81. 29:26 Oh.
  82. 29:28 Hmm.
  83. 29:32 An honor.
  84. 29:34 Well, uh, a few minutes, please.
  85. 29:39 I'm going to go.
  86. 29:42 Here are she.
  87. 29:59 Won't you join us, Miss Gillian? Not now. Thank you, Prince Tufts, if you don't mind. I'm afraid Iris is unhappy these days.
  88. 30:12 distasteful affair. Colonel Tojo advised it.
  89. 30:18 Since when, Baron Tanaka, do you concede to Colonel Tojo's sordid wishes? I did not concede, Prince Tatsuki. I agreed. In the future, I would be less unhappy if I were not called upon to search the effects of a woman so horribly murdered. It will not happen again, my dear. I promise that.
  90. 30:42 An interesting woman. Yes.
  91. 30:50 Mixed parentage? Yes. Her mother was... Chinese.
  92. 30:57 Oh.
  93. 30:59 Baron, you know that I have communicated my fears to the Emperor regarding the road on which you are determined to lead the nation.
  94. 31:13 Your great influence, Baron, could still check to militarists. I am but an old man whose voice no longer carries its authority. But you are among the most highly esteemed in my cabinet. You are highly.
  95. 31:30 Esteemed. Esteemed as a liberal screen. I am the scroll of the poet behind which samurai swords are being sharpened.
  96. 31:42 We will perish. That is my view. Those fuels will lead Japan to disaster. We see the problem differently. That is true. To uphold my beliefs, I would die with Anna. You, Baron Tanaka, will die only to erase your disorder.
  97. 32:12 Mr. Hayashi and Mr. Condon.
  98. 32:30 It is a pleasure to see you again, Mr. Condon. A Colonel Tojo of the Imperial Army? And you know Major Kajioka, Imperial Secret Police?
  99. 32:42 Mr. Nicholas Convin. Please sit down.
  100. 32:49 Thank you for coming to my home. It is more agreeable than meeting at the office. Here, we are not bothered with news paper, Ben.
  101. 33:01 Your front page story yesterday, Mr. Convin, was somewhat embarrassing.
  102. 33:10 Can't please everybody.
  103. 33:12 Of course. We realize you had no way of knowing it was an inopportune moment for such a story.
  104. 33:19 Frankly, Mr. Condon, certain liberal subversive factions within our own country are seeking to create an incident to weaken the present government. They are responsible for the malicious rumor which you have regrettably printed.
  105. 33:33 As I said, Mr. Condon, the story itself is unimportant.
  106. 33:42 are ridiculous. But should this rumor be taken seriously by the wrong people, a blazing fire might be kindled which Japan would find costly to extinguish. Oh, I see. What you're saying is you'd like the Chronicle to put on a fire prevention week campaign. Is that it? No, Mr. Condon. Within the past 24 hours, we've discovered a plot to smuggle this forged document out of Japan. A man
  107. 34:12 to recover the document from him by force if we chose. We would prefer that you persuade him to return it to us. It seems you haven't heard, Your Excellency, no, your secret police, Major, that Mr. and Mrs. Miller were murdered last night. Yes. We read in the papers this morning about your
  108. 34:42 You spoke of this unpleasant fantasy. As we were concerned with the fate of Mr. Miller even more than you, we immediately made inquiries. From the captain of the Nagata Maru, a most trustworthy gentleman.
  109. 35:04 Isn't it clear to you now?
  110. 35:10 Perfectly clear.
  111. 35:12 detail, Mr. Cullen. Murder is an ugly and dishonorable act, and to prove it, someone must be accused. Bodies must be produced. Now, Mr. Cullen, to approach this problem that way would only lead you to many difficulties. But if you send Mr. Miller a radiogram, I am sure he will return the document to us through you.
  112. 35:42 We will all lift the lab at the strange hallucination which you experienced last night.
  113. 35:51 See. Well, you want this forgery returned. Yes. And you're willing to pay plenty for it.
  114. 36:02 All right. Here's my price.
  115. 36:12 embassy is informed that the murderers of Olly Miller and his wife, I mean the real murderers, Oshman Hishikata, not a couple of sacrificial monkeys, are brought to trial and convicted then, and only then...
  116. 36:24 The thing that you're looking for may turn up.
  117. 36:32 Here.
  118. 36:38 All right, sit down. Drink? Whiskey.
  119. 36:45 For the love of Mike, what's this about you're quitting the paper? Trying to give you a break. You want my job, don't you? Oh, come on, don't toy with me. What's up? What happened with Tonika?
  120. 36:54 I can't tell you much. You'll have to be satisfied with the crumbs. After I left Tonica, I went over to the embassy. We had long talk. I don't ask any questions. This much I can tell you. They're sending me back to Washington.
  121. 37:07 Okay. Crumbs, but from cake.
  122. 37:12 I suppose you saw Bright Eyes over there.
  123. 37:18 And he's been tailing me all day. They know you're leaving. They might have other plans for you, Ollie Miller style.
  124. 37:24 the embassy has expressed a very definite interest in my safe departure. Polite, but official. Oh, yeah, and one more for me. After you finish that dream, you're going back to the office. I want a story in tomorrow's paper that says I'm sailing for 10 days, President Wilson. Why, the publicity.
  125. 37:42 My lunch was right, Charlie. The police did not get that document. So it must have been the people who want to get it out of Japan. Now, if they know I'm sailing, they may try to get in touch with me. Oh, don't do it, Nick.
  126. 37:55 Look, there's a one-column cut of me in the files, three-quarter face. Very flattering. Run that with the story, front page.
  127. 38:13 Hey, Katie. Do me a favor, will you? Yes, please. Keep an eye on my friend over there. Yes, yes.
  128. 38:24 I say, Condon, may we join you? It looks as if every table's taken.
  129. 38:38 I arrange it that way. This is Nick Condon, Tokyo Chronicle. Miss Iris Xavier just arrived from Shanghai. I hope you'll enjoy Tokyo. I think I'm going to. Never mind. I do it better. Besides, I'm not crazy. What do you mean, crazy?
  130. 38:54 No man in his right mind would willingly share your company, Miss Hilliard. How is Shanghai these days? Oh, Shanghai is always gay. For everyone but the Chinese.
  131. 39:06 May the waiter interrupt long enough to take your orders. Thank you. Same.
  132. 39:12 How was the trip over? A little on the rough side. I always say it's not the ocean but the Japanese boats.
  133. 39:20 You arrived last night? Yes.
  134. 39:28 I went down to see a couple of friends of mine off on the Naga Tamaru last night.
  135. 39:33 You didn't by any chance come in on that boat, did you?
  136. 39:38 Look here, Condon. You have a reputation for bad manners, but this is going too far. It's all right, Mr. Giselle. Perhaps Mr. Condon can explain. Helpful, Mr. Giselle. Excuse me.
  137. 39:58 I'm sorry. Sorry.
  138. 40:00 I had kind of a rough night last night, and I'm not quite myself today. I read about it in this morning's paper. Well, that story, not true. I didn't think so. Too much fun to be true.
  139. 40:14 May I have a cigarette?
  140. 40:19 I'd like to make a confession.
  141. 40:21 Well, we're alone.
  142. 40:25 You were wrong about Cassell. He isn't crazy.
  143. 40:30 I insisted on coming over here. Why? I wanted to meet you. You certainly know your judo, don't you? You've had me off balance ever since you came in. Good. Right now, what you're saying is that you're making a play for me. Why? Perhaps I like your look. Not with this. There may be things about that I like. Yeah? What?
  144. 41:00 I've always liked red hair. I grew it for you. And the ears? Two of those. Isn't that good? More will be vulgar.
  145. 41:13 Keep on, keep on. Pretty soon we'll level.
  146. 41:18 All right, Mr. Condon. Let's, to use your phrase, level.
  147. 41:25 I was told to meet you by a friend. Yes, but whose friend?
  148. 41:30 yours in Shanghai.
  149. 41:33 A very wonderful, almost saintly old man.
  150. 41:38 Chang Pauling. Yes. Yes, yes, wonderful, wonderful. And he asked you to look me up? Yes.
  151. 41:48 And he certainly hasn't given up me. No, he remembers you very well, as you were then. He hoped you hadn't changed.
  152. 42:00 of me. First, we become better acquainted. It was his desire. His desire became mine five minutes ago. Come on, let's figure a way to go about that. About what? How to get better acquainted in the shortest possible time. You see, I'm leaving in ten days. Well, that's not bad. Well, let's drink to them. To them? Yeah, ten days. The ten days that
  153. 42:49 Iris, my dear. You know Colonel Tojo? Of course. And Major Kezoka?
  154. 43:30 mind this pleasing. Perhaps we can eliminate the sort of details and learn exactly what has occurred thus far. Does this man possess the document? I cannot say for certain. I'm sure he does, Your Excellency. It would appear so. It is Mr. Conrad's ambition to leave Tokyo in good health within one week. He is relying upon his embassy to protect him. That means
  155. 44:00 As far as Mr. Condon is concerned, I have every hope for success. Hope alone will not suffice. Your submission?
  156. 44:30 Hey, Charlie. Charlie. That fellow in the top hat just going out. Isn't he the one from the foreign officers over at my house the other day? Hayashi? Yeah. Why? Oh, nothing. Just checking. Thanks.
  157. 44:55 Say, Nick. Do you know a guy named Cassell?
  158. 45:00 That joke, Cassell?
  159. 45:02 Yeah.
  160. 45:04 Heard of him. Someone... Well, I just got a wire from the States about him. They say he's a good man. I thought I'd try him out in your job after you go. From what States? You mean you just got an order from the Japanese foreign office to put him on? Two minutes ago. That's an insult. Nobody dictates to me. No, not even your own conscience. You promised Charlie Sprague my job, didn't you? Well, I've reconsidered. They say Cassell's got a fine record in journalism. Yeah, great.
  161. 45:30 a friend of the people. And on the side, he set up a patriotic organization that collected nickels and dimes from the poor Chinese in the States to print anti-Japanese propaganda. What of it? Oh, nothing much. But instead of printing the leaflets, he lost the money in the stock market. Sixty thousand bucks. His partner committed suicide, and Cassell decided on a change of climate. I don't suppose you can prove that. All right, if that isn't enough, I'll dig up something that'll make even your stomach crawl. But if you've got
  162. 46:00 Yes, yes. Right now. Okay, okay. I'll give it some more thought.
  163. 46:17 Hey, Nick, where are you going? What did the Japanese say? If the flower is to be beautiful, it must be cultivated.
  164. 46:30 Come on.
  165. 47:00 Do you know what this Chase has done for me? Developed a ravelous appetite. I've developed a few myself. Must we really avoid him? No. Come on, let's eat.
  166. 47:30 Thanks, Katie.
  167. 47:50 We are about to dine at Sato. Oh, excellent restaurant. We thought you'd like it. Nothing too good for the Imperial Secret, please. Thank you. Thank you.
  168. 48:23 You like it, huh? Japan is lovely. But I've seen of it in three days.
  169. 48:30 right but some of the inhabitants i object to the higher up you go the lower grade people you meet
  170. 48:35 then i'm lucky that i don't have to meet any highly placed japanese in my work work of course namely i'm studying the problems of japanese women why a friend in shanghai
  171. 49:00 Nick, you know so much and still you're so ignorant about women. Ignorant but awfully willing. Do you know anything at all about Japanese women? Now what kind of a question is that? Academic or personal? Well, if you won't be serious. Oh, I'll be serious. They're not considered human beings. They're not even allowed to think. It's against the law.
  172. 49:30 Hmm. I imagine they bootleg a thought now and then. Yes, bootleg thinking. That's not good enough. And so you've elected to help them. Why not?
  173. 49:42 I'm a woman.
  174. 49:47 I've been aware of that for some time.
  175. 49:53 The Chinese women are just beginning to learn what it could mean to be free.
  176. 50:00 way. You mean that might stop Tanaka, Tojo, Yamamoto and all the rest? It might help.
  177. 50:10 Is Tanaka planned? What do you know about it? Why don't you tell me? I haven't published any articles on the subject.
  178. 50:30 Why don't I just kill him off?
  179. 50:34 I think I know a less violent solution.
  180. 50:46 Watch.
  181. 51:00 Don't wait up for me, Katie.
  182. 51:30 Very nice.
  183. 51:36 Somebody been expecting us? Help yourself. You? Please. Oh, how about one for Hijikata out there? Let him suffer.
  184. 52:00 Do you understand Chinese? Aye. I'm afraid she's hopelessly romantic. She's not exactly my type, but on the other hand, with a few alterations, you'd be... What sort of alterations?
  185. 52:30 when it begins to get interesting. Rule two, whenever you sit, always sit with your chin tilted up like this.
  186. 52:39 Like this? Mm-hmm. Perfect. When did you leave China, Nick? Oh, there goes rule one.
  187. 52:49 Well, I left China two years ago, left Brooklyn 15 years ago, Cleveland 10 years ago, Kansas City in the summer of 1921.
  188. 53:00 through the towns very quickly to sort of get them out of the way i don't think that'll be necessary well i just wanted to make sure i'd cover everything that you might interrupt with
  189. 53:08 i'm afraid i'll have to interrupt you next yeah
  190. 53:17 why i was just thinking i don't know you were thinking of changing the subject again now uh
  191. 53:30 I think I know. And I like it very much.
  192. 53:35 But I don't believe you really know what you think of me.
  193. 53:40 Maybe I do.
  194. 53:43 Desirable woman?
  195. 53:46 Much more than that.
  196. 53:49 Be sensible, Nick. What I'm trying to tell you is that I'm half Chinese and... Well, I'm half Irish and half Norwegian. It isn't the same thing.
  197. 54:00 What are you trying to do? Run down the Irish?
  198. 54:07 Thank you, Nick. Stop it. Stop it. I hate gratitude. It's a very debasing emotion. Now, you just keep your mind on the game. That's rule one. Rule two.
  199. 54:22 Have you played this game before?
  200. 54:30 about these people, you might revise your opinions about the Chinese. Maybe, but the farther west I've gone, the more I'm convinced that wisdom and civilization come from the east. That's what I say. China. Japan is east of China. You should do well here, Mr. Cassel. How about this?
  201. 55:00 Excuse me, gentlemen. I'll see you later. What is it? What's it all about? Colonel, this is an outrage. I won't tolerate it. You seem to forget my position and influence. Perhaps you do not have them any longer, Mr. Cassel. Have you seen His Excellency Baron Tanaka? If he'd seen me, I wouldn't be here. Be reasonable, Colonel. All you wanted was that the loan of China be killed. It didn't happen the way we planned it, but what's the difference? We are just as much concerned in the manner in which these matters are accomplished.
  202. 55:30 Magical government will have to make it very clear we were never acquainted with you. But where does that leave me? I've lost my friends in China and now... Precisely. Surely you must realize, Mr. Carsell, that he who is not a good friend of China cannot be a good friend of Japan. Most regrettable.
  203. 55:50 Good day. Okay. Okay.
  204. 56:01 Don't get me wrong, Condon. I don't blame you. It was my mistake. I don't know what got into me. The Chinese are great people. I love them. If you'd only come to me before printing the story and stop me, knock some good sense into my head. It isn't brains you're short on, Cassel. I know, but it was like doubling up, letting the money right on the good bet. I couldn't pass it up. Oh, go on. Get out of here. Wait a minute. You're a decent guy, Condon, and I've got an idea it'll work for both of us. You're in a worse spot than I am. They're not going to let you get out of the country alive.
  205. 56:30 But they don't suspect me. You set the price. Half a million, anything you say. Let me take you to China and set myself up again with the right people. You collect the money in America.
  206. 56:40 Take what to China? The Tanika plan. You got it done. Tanika's already made you an offer, but you're holding out for more. I know. Oh, yeah?
  207. 56:50 Well, what else do you know? Plenty. Didn't I frame the introduction for Tanika between you and the Hilliard dame? Don't I know she hasn't had any luck yet because you're playing cagey?
  208. 57:10 What else? That's funny. You smear me for selling out China while you're selling out your own country.
  209. 57:30 Nick! Nick, what is it? Now that we know each other, start talking. Start talking! Nick, then is she?
  210. 58:07 You were on the Nagatomaru that night. What if I was? You were for Tanaka. No. That's a lie.
  211. 58:13 Thought you were going great, didn't you? Had me shooting off my mouth by the wonderful Chinese people. Tied me up with Chan Pauline. You're going to build up a case of espionage against me and have me boxed. I'd give up the Tanaka memorial or else spend the next ten years of my life in a dirty Jap prison. Very cute. But you made one slip. You thought you'd build yourself up with me by spilling that story on Cassell. Well, it didn't work. He talked. Can I say something? Yes, plenty.
  212. 58:33 embassy. You're going to tell them how you killed Edith Miller. I didn't. Well, you know who did, and who killed her husband. You get down into a sewer with a dirty rat like Tanaka, and then come to me with your freedom for women, equal rights for all people, love of humanity. Well, now who killed them? The name, Dogeman, who else? Who would you give for the name? The Tanaka Memorial? It's too late for that kind of deal now. What is your price, then, for the document? That hardly answers
  213. 59:03 give it to you in your own language. It may come as a surprise to you, but these things can't buy everything. There isn't money enough in all Japan to buy that document. And what are you risking your life for? To protect people in China and America you don't even know? To save humanity? Come on, let's get over to the embassy. Are you sure? Are you sure you'd risk your life to protect the Tanaka plan? If you had it? Oh, don't worry.
  214. 59:33 Is this some more of your lies? No, Nick. You wait on the terrace. I'll bring it to you. Um Goy. Where'd you get this? Where did you put it? The portrait of the Emperor held no fears for me. When the police left... Where were you? In your garden. It was an awfully good fight you put up here.
  215. 1:00:00 But when Oshma hit you from behind... Hey, it's awfully hard. Awfully hard.
  216. 1:00:11 So this is it, huh? This is it. Memorial to His Imperial Majesty by Premier Tanaka. Outlining the positive policy of Japan. Tell me, how close did I come in my article the other day? You missed, Nick, by millions of square miles.
  217. 1:00:30 Manchuria is only the beginning. All of China, then America. Oh, now, wait a minute. What do you think we'll be doing when all this is going on? Sleeping. Until the bombs start falling on you. They're counting on that, Nick. That's why it's so important to get this to the outside world. To China, to your country. Now, before the plan goes into full operation.
  218. 1:01:00 to find some means to keep them from squirming out of it. That can be done, too. This document can be authenticated with the signature of someone who was present when the plan was drawn up.
  219. 1:01:12 Are you sure of that?
  220. 1:01:15 I'm sure of that.
  221. 1:01:20 Darling, now, how'd you get mixed up in this? It's my work. Well, I can think of easier ways of making a living.
  222. 1:01:30 Not for me. Big payoff, huh? Yes. Free China.
  223. 1:01:38 That's why I had to be so careful, Nick, about telling you. I had to be sure how you felt about it.
  224. 1:01:44 And about you.
  225. 1:01:51 Nick.
  226. 1:01:53 Nick. The other evening I said I wished we'd met two years ago.
  227. 1:02:00 then. I suddenly became afraid that the thing I wanted most for you to say yes, you take the chance, would come too swiftly. It would end for us before it could begin. I suddenly wanted the moment of your decision pushed back, Mama. Yes. Wait a minute, darling. I'm still
  228. 1:02:30 I don't bear to think of it otherwise.
  229. 1:02:49 Thank you. Sit down.
  230. 1:02:54 You are not displeased that I suddenly baked this cocktail?
  231. 1:03:00 But some rather important matters demand my attention.
  232. 1:03:05 I am concerned about your work. I had hoped you might have completed your mission by now. But that the document we seek might already be in your hands. I shall be very happy when all this is over and forgotten. I'm afraid that politics and intrigue are not my special talents.
  233. 1:03:30 I understand, Iris. I promise, for you there will be no more politics, no more intrigue, no more spite. I shall be very grateful. It is I who am grateful. In the fact, I brought you a little gift in reward.
  234. 1:04:00 I dare say you were expecting more rubies. I haven't forgotten how you love them.
  235. 1:04:13 Oh, no. These are quite lovely.
  236. 1:04:17 A virtuous woman who can find.
  237. 1:04:22 For her price is far above rubies. A quotation.
  238. 1:04:30 From the Christian Bible. It should remind you of something else from the same source.
  239. 1:04:38 The coin.
  240. 1:04:40 Count them.
  241. 1:04:42 Thirty coins.
  242. 1:04:45 Thirty pieces of silver.
  243. 1:04:50 Now, I'm not going to kill you. I'm going to give you a chance to save your life and my honor.
  244. 1:05:00 that you betrayed me was discovered by Colonel Tojo. I managed to save face thus far by informing him that your actions were part of a plan of mine through which I could obtain the name of the traitor within our government with whom you had been working. Now, what is his name?
  245. 1:05:19 Very well. You have two hours in which to make your decision. If at the end of that time I do
  246. 1:05:30 Your fate will be in the hands of Colonel Toyo.
  247. 1:05:34 Weigh carefully the possibilities of such a future.
  248. 1:05:44 Oh, and, uh, do not attempt to leave the hotel or use the telephone as it will be useless.
  249. 1:05:56 I will await your call.
  250. 1:06:14 your chronicum office please sorry only calls to baron tanaka will be accepted from your suite
  251. 1:06:44 You will see that the woman is punished.
  252. 1:06:55 Death that comes quickly is not punishment. There are other forms which are slow, which must be painfully absorbed. Yes, excellent, I'll say. I have planned for our divine emperor, for his rule and power. In the execution of these plans, I have failed.
  253. 1:07:14 For my own stupidity I have been deceived and thus dishonored his imperial majesty.
  254. 1:07:21 To you, Captain Yomoto. To you, Colonel Toyo. I pass the sacred obligation which I have betrayed.
  255. 1:07:31 I charge you a pledge.
  256. 1:07:34 I pledge you never to sheave the sword of the samurai until our victorious armies march as conquerors through the streets of every capital of the world.
  257. 1:07:44 America will be crushed never to rise again. The gods are kind. I will be in the White House when Japan dictates her terms of peace. Meet me before the shrine where we will do what must be done.
  258. 1:08:28 Is everything in red enough? Yes, Your Excellency.
  259. 1:10:14 I have been considering your past services to us.
  260. 1:10:44 value. Thank you, Colonel. I told you. You know I've always been a friend of Japan's. Japan does not forget her friend. That is the way in which you can reestablish yourself. An exclusive news story of the first magnitude. I'll be right over in a half an hour.
  261. 1:11:12 There must be something wrong, Charlie. I've been trying to get her all morning.
  262. 1:11:14 Did was Hillary have any visitors yesterday? Yes. Baron Tanaka. Baron Tanaka? Well, you know where he is now, don't you? With his ancestors. Oh, come on, open up. There's something fishy about that press release. Where did Cassell come off to grab an exclusive? If you ask me, Charlie, the stroke that killed Tanaka had a very sharp edge to it. Hold this here, Art.
  263. 1:12:07 Well?
  264. 1:12:10 They didn't get her. She took a run-out powder.
  265. 1:12:14 They are for the baggage.
  266. 1:12:24 Come right in. There they are.
  267. 1:12:44 Lotte.
  268. 1:13:00 Four-piece luggage. Count check, please. All right, all right. I'll take your word for it. Sorry. Must count.
  269. 1:13:09 All right. One, two, three, four.
  270. 1:13:14 Nicole.
  271. 1:13:24 All right, let's get going.
  272. 1:13:31 Have another drink.
  273. 1:13:44 It's a frame, Nick. Easy, easy. Here she got it around outside somewhere. She's had almost a week to contact you. Why does she wait until three hours before your boat sails? I told you that dame was no good. She's trying to hang a spy wrap on you. Can't you see it? Don't go, Nick, for the love of me.
  274. 1:14:11 Let me see who it is. No, no, no, no. You wait here.
  275. 1:14:18 Johnny Clark from the embassy. I'm certainly relieved to find you here, Nick. Why? Where'd you expect to find me? Frankly, in a Japanese dungeon. I told you. What's the story? You've got a friend somewhere on this island, Nick. We received a phone call from him at the embassy 20 minutes ago. Who was it? Anonymous. A warrant is to be sworn out by your arrest. You're to be held for questioning, suspected of being a Chinese agent. The ambassador sent me over in his car. Official American property can't be violated.
  276. 1:14:44 on the Wilson at once in charge of the captain. Great, you'll be immune, you'll be a diplomatic pouch. It's the only way, Nick. If they once catch you, it's a long legal tangle before we can do anything weeks, maybe months. So long, Nick. Bon voyage. Now get going. Thanks, Johnny. I'll see you at the embassy in about an hour. Nick! We won't be responsible.
  277. 1:16:06 Mrs. Hunt!
  278. 1:16:57 Light up in there. It's all right, Nick.
  279. 1:17:11 One whole week, not a word from you. I couldn't get word to you before this. You could have gotten word to me some way. You still don't trust me.
  280. 1:17:27 I do trust you. I worked that out myself an hour ago.
  281. 1:17:34 I think I can prove to you that it was worth it.
  282. 1:17:40 Come with me.
  283. 1:18:00 Mr. Condon, I'm quite certain you will agree there is very little time to waste on explanations. That's right.
  284. 1:18:11 most effectively if I sign the document in your presence. Naturally, when this is made public, its authenticity will not go unchallenged. My signature will be branded a forgery by our
  285. 1:18:41 including the Emperor. In that event, Your Highness, your voice will give them the lie. The length of relapsed time between the publication of this document and my ability to speak will be very brief. In Japan, a traitor's voice is quickly silenced.
  286. 1:19:11 I pardon this not for your country, but for mine.
  287. 1:19:15 I would rather see Japan defeated than triumphant under the heels of our militarists.
  288. 1:19:59 Come on.
  289. 1:20:06 Lady, would you mind very much if I were to kiss you?
  290. 1:20:14 I don't believe I'd have the strength to move from this spot until you did.
  291. 1:20:27 And now we've got to get out of here.
  292. 1:20:30 Unarranged. In a few minutes, a fishing boat will take us to a freighter out in the lower bay. Us? You're going with me, Nick. They're planning to hold you for questioning. Once they get you... I had an idea. Was you the one at the embassy that was wiring out for me? They want to send me out on a diplomatic immunity. Diplomatic immunity won't stop a bullet or a bomb under a car. I'll find them. Leave with us, Nick. For me.
  293. 1:20:57 For you?
  294. 1:21:00 Are you worth that?
  295. 1:21:02 Mm-hmm.
  296. 1:21:04 Well, honey, why didn't you tell me?
  297. 1:22:00 That's it. Right there. What's wrong?
  298. 1:22:11 Nick, this way.
  299. 1:22:17 Wait, wait.
  300. 1:22:24 Police everywhere. Hurry.
  301. 1:22:30 You'll have to take it out, darling. I'll hold them here until you get a start. No, Nick, they'll kill you.
  302. 1:22:38 Get going. Nick, Nick, they'll kill you. The plan is all they want. Leave it here, Father. Leave it here. We can't do that. I won't leave without you. I won't. Darling.
  303. 1:22:49 We've got jobs to do. Nobody gave them to us, but they've got to be done.
  304. 1:22:53 You're my girl, aren't you? All right. And you're going to do what I want you to do. I know it's tough.
  305. 1:23:00 tougher to go than it is to stay. But you can't hold him, and I think I can. All right, Nick. I'm your girl.
  306. 1:23:22 You better hurry, darling. This neighborhood's getting awfully run down around here.
  307. 1:23:30 Given up strangling, eh, Yoshma? Oh, that's right. You had given it up. You shot Ollie Miller. It was his wife you strangled, wasn't it? Yes. I see your point.
  308. 1:24:00 a man with your bare hands, it's rather risky, isn't it? You're very clever, Mr. Conant, but there's one flaw in your cleverness. It is as easy to kill you with these as with that. In fact, I prefer it that way. Japanese fashion.
  309. 1:24:30 Go!
  310. 1:25:00 Jerry!
  311. 1:25:30 Come on.
  312. 1:26:00 Stop.
  313. 1:26:30 Come on.
  314. 1:27:22 Look it up! Come on back there!
  315. 1:27:30 Ah!
  316. 1:28:00 Come on, come on! Come on! Come on, dear!
  317. 1:29:00 Abbe, check the men.
  318. 1:29:24 Condon has escaped from the Sumida docks.
  319. 1:29:30 he comes here. Driver! Drive past Arca Street. Nannishika. Akamachi Tote. Ia, Ia.
  320. 1:31:30 Look at this.
  321. 1:31:36 So sorry, Mr. Kahneman, to take plan from you. But you see, Japanese very smart. Only half smart, monkey. Only half smart.
  322. 1:31:55 Get out of my way.
  323. 1:32:01 Hello, fella. I said I'd be back in an hour. I'm sorry I'm a few minutes late. Yamada, this is not going to be treated as another of your very regrettable mistakes. Condon is an enemy of Imperial Japan. It must be.
  324. 1:32:18 Extremely sorry this has been the result, Mr. Clark. It is true Condon has been enemy of Japan. But Japanese people are very good, very generous.
  325. 1:32:30 actions of Condon and say no more. You, in turn, will forget this incident? What's the matter, Yamada? Afraid of the penalty for failure? What is much simpler this way, both sides have made mistake, will be very embarrassing for all. The United States government doesn't settle for a deal, Yamada. Condon-san, Condon-san, you have saying, forgive your enemies.
  326. 1:33:00 I am waiting.
  327. 1:33:03 Sure. Forgive your enemies. But first, get even.
The video itself is not here and never will be; only the shot list, one small frame per shot, and text read off the frames by OCR. The status badge is the registry's finding about the copyright record, which is separate from whether this particular Archive copy is the film it says it is.
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THE ENTIRE WORLD WATCHED THE EARLY OF THE GERMAN MEIN KAMPF FEW WERE AWARE OF THE ENCE OF AN ORIENTAL HITLER... BARON TANAKA.
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Time AND MRS. OLIVER MILLER on BOARD BOTH HAGATA MARU IN HEALTH. EXPRESSED CURIOSITY TO INQUIRY. RESPECTFULLY. NAGATA MARU
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by NICK CONDON ty There’s Joe Money in reachery At the the Man ls lon with both of his faces HINA unde the the pinna cle of by RE double cro ari pro ha Whieh Was nt been the that Ho Neat Joe Nese to loa Would take money from
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WILLIAM CAGNEY RELEASED UNITED ARTISTS