Public Reel

Hearts in Bondage (1936)

No renewal found Free in the US since 1 January 1965, on the registry's reading: registration LP6459 of 1936 by Republic Pictures Corp was not renewed in the volumes searched. Record.

Lew Ayres’s only Hollywood feature as director places divided lovers beside the rival ironclads of the American Civil War.

Hearts in Bondage was the only Hollywood feature that the actor Lew Ayres directed.2 It offers a chance to consider his work from the other side of the camera, without a succession of later films to guide the comparison. Made for Republic Pictures, the drama takes place during the American Civil War.1 James Dunn and Mae Clarke play lovers on opposing sides of the conflict.6 Its military subject is the encounter between the Union’s Monitor and the Confederate Virginia, the former Merrimack.5 The personal division and the naval confrontation give the film two different measures of conflict.

The project’s working title was The Glory Parade.3 The phrase points toward public ceremony. Hearts in Bondage directs attention instead toward private feeling under constraint. A change of title is not, by itself, evidence of a change in the screenplay. The contrast nevertheless names the competing interests within the film’s premise. The credits distinguish Wallace MacDonald’s story from the screenplay by Bernard Schubert and Olive Cooper.4 Karl Brown received a separate credit for adaptation.4 That division of work cautions against treating the film simply as Ayres’s personal statement. Its dramatic construction belongs to writers whose contribution cannot be separated from the director’s by the credits alone.

Dunn and Clarke’s lovers make the war a problem of attachment rather than only allegiance. A romance across opposing sides gives political identity consequences at the scale of a couple. Choosing a cause need not mean ceasing to care for someone beyond it. The title’s “bondage” might describe the hold of affection upon someone whose duty points elsewhere. It might equally describe the restrictions that war imposes upon affection. Neither reading requires the romance to resolve the film’s historical subject. The tension lies in the possibility that intimate feeling and public duty cannot be made to agree.

The ironclads supply a contrasting dramatic subject. Here the opposing sides take material form in two named vessels. Their encounter gives the conflict a focus that divided affections cannot have so neatly. By dramatizing the battle, the film makes the Civil War more than a setting for the lovers.5 A recognisable historical event becomes an anchor for the invented personal stakes. The romance, in turn, proposes an imagined experience of living through that history. To treat the film only as an illustrated account of the battle would be to overlook the different kind of claim that its love story makes upon the past.

Its surviving presentation requires another distinction. The atlas uses the Internet Archive item hearts_in_bondage, comprising 445 shots over 52 minutes.unverified No annotated beats have yet been supplied for this copy.unverified Without them, the available atlas evidence does not support a close, time-coded reading of a performance or action. The catalogued release length is 72 minutes.2 The recorded release date is 15 August 1936.2 The difference in running time is a reason for caution. It does not establish what was removed or how the shorter copy came about. The accessible object and the catalogued feature should not silently be treated as identical. Nor does the supplied research establish a distribution history connecting the lapse of the recorded copyright term to this particular copy’s circulation.

The record: Registration LP6459 by Republic Pictures Corp is dated 10 July 1936. The registry found no renewal in the renewal volumes for 1963 to 1965, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1964 and the film has been free in the US since 1 January 1965. That record does not settle the completeness or provenance of the copy used by the atlas.

Written 6 September 2026 by gpt-6-astra from the registry record, the atlas's own evidence and the sources below, gathered by Qwen/Qwen3.8-Max with web search and questioned by deepseek-ai/DeepSeek-V4-Pro. Numbered notes are the sources; a claim marked unverified has no source yet; times open the atlas at that second. How these are made and checked.

  1. en.wikipedia.org https://en.wikipedia.org/wiki/Hearts_in_Bondage
  2. catalog.afi.com https://catalog.afi.com/Film/4925-HEARTS-INBONDAGE
  3. catalog.afi.com https://catalog.afi.com/Catalog/moviedetails/4925
  4. archive.org https://archive.org/stream/photoplay51chic/photoplay51chic_djvu.txt
  5. en.wikipedia.org https://en.wikipedia.org/wiki/USS_Monitor
  6. americanheritage.com https://www.americanheritage.com/when-hollywood-makes-history

Inside the film

445 shots over 52:38 · 187 beats in 107 sequences · 513 transcript lines · JSON

Lands on the beat covering that second.
107 sequences; each is also a heading below.

Every shot, 445 frames with timestamps and on-screen text

How this page was made

445 shots over 52:38, read from the Internet Archive copy hearts_in_bondage (hearts_in_bondage.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Hearts in Bondage No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 445 shots judged colour), average shot 7.1s long, a frontal face detected in 35% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1936 (Internet Archive). Credited cast, film-level, from archive description: Constance Jordan. A cast credit does not place an actor in any particular beat.

187 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 (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Beats

Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.

Sequence 1 from 0:00

Frame at 0:32, shot 00:32
1 of 1 shots sampled

1. Beat 1

0:00–1:04 Not yet checked

Model synopsis: The beat shows a credit card with production roles and names, while the audio plays a repeated religious chant. No characters or actions are visible or described beyond the text on screen and the sung lyrics.

“Glory, glory, hallelujah! Glory, glory, hallelujah!” 0:31 · “Glory, glory, hallelujah, His truth is marching on. Glory, glory, hallelujah, glory, glory, hallelujah, glory, glory, hallelujah, His truth…” 0:41

Evidence, details and a link to share

Sequence 2 from 1:04

Frame at 1:04, shot 11:04
1 of 1 shots sampled

2. Other

1:04–1:05 Not yet checked

Model synopsis: A single frame at 65 seconds shows a dark, nearly black screen with scattered white specks. No people, objects, or text are visible, and no transcript lines are provided for this beat.

Evidence, details and a link to share

Sequence 3 from 1:05

Frame at 1:14, shot 21:14
1 of 1 shots sampled

3. Beat 3

1:05–1:22 Not yet checked

Model synopsis: The beat displays a dedication card from the film, honoring sailors and ironclad ships. No people, actions, or settings beyond the text are visible.

Evidence, details and a link to share

Sequence 4 from 1:22

Frame at 1:32, shot 31:32
1 of 1 shots sampled

4. Brick wall exterior

1:22–1:41 Not yet checked

Model synopsis: A sign on a brick wall announces recruitment for the Seventh Militia in New York, directing recruits to headquarters at 813 Broadway. No people or actions are visible in the single frame provided.

Evidence, details and a link to share

Sequence 5 from 1:41

Frame at 1:45, shot 41:45
1 of 1 shots sampled

5. Other

1:41–1:49 Not yet checked

Model synopsis: Two men in dark uniforms stand indoors; one holds a drumstick and a drum, the other holds a pipe or whistle to his mouth. A sign reading 'VETERANS' is visible on the wall behind them.

2 people observed.

Evidence, details and a link to share

Frame at 1:58, shot 61:58Frame at 2:03, shot 72:03Frame at 2:15, shot 82:15Frame at 2:31, shot 92:31
4 of 4 shots sampled

7. Street

1:57–2:39 Not yet checked

Model synopsis: Three men in dark uniforms with caps are shown in an outdoor setting at night; one carries a drum. Dialogue references the 7th police and John Brown, suggesting a historical or military context. No names are spoken that can be assigned to visible individuals.

  • A man in uniform speaks to two others while holding a pipe or cigar. [frame:1]
  • The man with the drum stands between two others, all in uniform. [frame:2]
  • Two men in uniform face a third, one smiling, one speaking. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Join the 7th police, you gentlemen. New York's best.” 1:57 · “No luck there, soldier. No, sir. And war with the rebels any day now, sir.” 1:57

Evidence, details and a link to share

Sequence 6 from 2:57

Sequence 7 from 2:58

Frame at 3:06, shot 123:06Frame at 3:15, shot 133:15
2 of 2 shots sampled

10. Other

2:58–3:16 Not yet checked

Model synopsis: A man in uniform stands on a staircase in a brick-walled room; another man in a vest works at a forge. The transcript contains two short lines spoken during this interval.

  • A man in uniform stands on a staircase with hands on hips. [frame:1]
  • A man in a vest works at a forge, raising a tool. [frame:2]

2 people observed.

“I'm going to go.” 3:05 · “Oh” 3:12

Evidence, details and a link to share

Sequence 8 from 3:16

Frame at 3:21, shot 153:21Frame at 3:34, shot 173:34Frame at 3:53, shot 193:53Frame at 4:00, shot 214:00
4 of 7 shots sampled

12. Kitchen

3:19–4:02 Not yet checked

Model synopsis: A man in a vest tends a fire while another man in a uniform enters, greets him warmly, and speaks about a ship called the Merrimack. The uniformed man gestures animatedly as they discuss the ship's qualities before being told to be quiet.

  • An older man tends a fire with bellows. [frame:1]
  • A younger man in uniform embraces the older man. [frame:2]
  • The younger man raises his arm while speaking to the older man. [frame:3]
  • 1 more under Evidence and details.

Named: Uncle John (t:3:28). 2 people observed.

“10 minutes! Roast the fatted calf, Uncle John. I'm home on leave. Don't worry, I roast you plenty. How was the trip? Oh, it was the grand tr…” 3:28 · “So you like the merriman, eh? Why, Uncle, she's the greatest ship afloat.” 3:48

Evidence, details and a link to share

Frame at 4:13, shot 224:13
1 of 1 shots sampled

13. Workshop

4:02–4:25 Not yet checked

Model synopsis: Two men are in a workshop-like interior; one in uniform holds a metal model while the other, in vest and shirt, gestures toward it. A line mentions 'ironclad' and 'Washington,' suggesting a naval design discussion.

  • Two men stand at a table examining a metal model of a ship. [frame:1]

2 people observed.

“Wooden ships. Bah, you talk like one of those empty office admirals in Washington.” 4:07 · “Heh heh.” 4:12

Evidence, details and a link to share

Frame at 4:28, shot 234:28Frame at 4:37, shot 244:37Frame at 4:45, shot 254:45Frame at 4:51, shot 264:51
4 of 4 shots sampled

14. Private office

4:25–4:54 Not yet checked

Model synopsis: Two men in a private office discuss naval matters and personal plans. One man, in a naval uniform, is addressed as 'Commodore' and mentions his sister's brother being on leave.

  • A diagram titled 'SUBMERGED IRON CLAD' is shown. [frame:1]
  • The Commodore and an older man face each other in conversation. [frame:2]
  • The older man speaks to the Commodore with a serious expression. [frame:3]
  • 1 more under Evidence and details.

Named: Commodore (t:4:38). 2 people observed.

“I will explain it like ABCs.” 4:26 · “Here is a cross-section of a submerged... Uncle, we're going to spend a great deal of time together on this leave. But right now... You j…” 4:29

Evidence, details and a link to share

Sequence 9 from 4:54

Sequence 10 from 5:22

Frame at 5:24, shot 295:24Frame at 5:36, shot 315:36Frame at 5:41, shot 325:41Frame at 5:52, shot 345:52
4 of 6 shots sampled

16. Sidewalk

5:22–5:55 Not yet checked

Model synopsis: A man in a top hat and a woman in a patterned coat are seated on a bench outdoors, speaking to each other. The man turns his head toward the woman as she speaks, and she reacts with surprise.

  • The man and woman are seated on a bench facing each other. [frame:1]
  • The woman speaks while looking at the man. [frame:2]
  • The man smiles at the woman. [frame:3]
  • 1 more under Evidence and details.

Named: Connie (t:5:46). 2 people observed.

“What? Orders. Well, he's on leave. And so am I, Tomit. Connie!” 5:46 · “Wait a minute!” 5:54

Evidence, details and a link to share

Sequence 11 from 5:55

Frame at 5:57, shot 355:57
1 of 1 shots sampled

17. Forest

5:55–5:58 Not yet checked

Model synopsis: A person in dark clothing walks through a snowy, wooded area at night. The scene is dimly lit, with tree branches visible in the foreground.

  • A person walks through snow in a wooded area. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 12 from 5:58

Frame at 6:32, shot 386:32Frame at 6:43, shot 406:43Frame at 6:45, shot 416:45Frame at 6:53, shot 436:53
4 of 6 shots sampled

19. Frozen lake

6:29–6:56 Not yet checked

Model synopsis: Two couples are on a frozen lake at night; one couple is seated and embraced, while the other two stand nearby. A man in a top hat announces an engagement, prompting congratulations from another man.

  • A couple is seated on a frozen lake, embracing. [frame:1]
  • Two women stand facing each other, one holding a child. [frame:2]
  • Two men stand facing each other, one in a top hat. [frame:3]
  • 1 more under Evidence and details.

Named: Connie (t:6:31). 4 people observed.

“Darling, you two better get up. You'll have pneumonia.” 6:31 · “Julie, I think that's terrible, eavesdropping like that.” 6:31

Evidence, details and a link to share

Frame at 7:00, shot 447:00Frame at 7:09, shot 467:09Frame at 7:14, shot 477:14Frame at 7:22, shot 497:22
4 of 6 shots sampled

20. Sidewalk

6:56–7:25 Not yet checked

Model synopsis: Two women and two men are shown outdoors in winter coats and hats, conversing. Dialogue reveals a misunderstanding about an engagement, which is then confirmed.

  • The man in the top hat and Connie stand close together, smiling. [frame:4]

Named: Connie (t:6:57), Julie (t:6:57). 4 people observed.

“I don't know how you do it, Connie. I've been falling down all evening, only to find that some folks can get engaged the minute they hit the…” 6:57 · “Julie, I'm just trying to tell you that Connie hasn't accepted me yet. Oh, then you're not engaged.” 6:57

Evidence, details and a link to share

Frame at 7:26, shot 507:26
1 of 1 shots sampled

21. Outdoor park

7:25–7:27 Not yet checked

Model synopsis: A man and two women in period clothing stand outdoors near a bench in a snowy setting. No dialogue or on-screen text is visible in the frame.

3 people observed.

Evidence, details and a link to share

Frame at 7:28, shot 517:28
1 of 1 shots sampled

22. Park

7:27–7:29 Not yet checked

Model synopsis: A man and a woman stand outdoors at night in a park-like setting with benches and steps. The woman gestures with her arm while facing the man.

  • A woman gestures with her right arm while standing next to a man. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 13 from 7:29

Frame at 7:31, shot 527:31Frame at 7:47, shot 547:47Frame at 7:52, shot 557:52Frame at 8:02, shot 578:02
4 of 6 shots sampled

23. Living room

7:29–8:03 Not yet checked

Model synopsis: A man in a tuxedo and another in a cloak speak with a woman in a plaid dress; the man in the cloak then departs. A second woman in a fur coat appears with a man in a cloak, and they speak near a staircase.

  • A man in a tuxedo and a man in a cloak speak with a woman in a plaid dress. [frame:1]
  • The man in the cloak turns and walks away from the group. [frame:2]
  • A woman in a fur coat and a man in a cloak stand near a staircase with the woman in the plaid dress and another man. [frame:3]
  • 1 more under Evidence and details.

Named: Captain Buchanan (t:7:33). 5 people observed.

“Whoa!” 7:32 · “- Father, I want to tell you that I-- - I'm sorry, dear, but Captain Buchanan and I have an urgent call to watch you. - Oh, Daddy, has somet…” 7:33

Evidence, details and a link to share

Sequence 14 from 8:03

Frame at 8:08, shot 588:08Frame at 8:17, shot 598:17
2 of 2 shots sampled

24. Private office

8:03–8:22 Not yet checked

Model synopsis: A man addresses a group in a wood-paneled room; a door plaque identifies the setting as Gideon Welles' office. The transcript mentions delegates forming the Confederate States of America.

  • A door with a plaque reading 'GIDEON WELLES SECRETARY OF THE NAVY' is shown. [frame:1]
  • A man with a white beard addresses seated men in a wood-paneled room. [frame:2]

4 people observed.

“Gentlemen.” 8:12 · “This is serious business.” 8:13

Evidence, details and a link to share

Sequence 15 from 8:22

Frame at 8:27, shot 608:27Frame at 8:35, shot 618:35
2 of 2 shots sampled

25. Private office

8:22–8:38 Not yet checked

Model synopsis: A man in a dark uniform stands before a seated group in a wood-paneled room; transcript lines discuss Virginia's state convention and loyalty in the Navy Department. No names are spoken that identify individuals in the frames.

  • A man in uniform stands and looks off-camera. [frame:1]
  • A group of men sit at a long table while one man stands at the head. [frame:2]

3 people observed.

“Virginia has called a state convention to decide whether or not she will secede.” 8:22 · “Among you gentlemen, there are two native-born Virginians.” 8:28

Evidence, details and a link to share

Sequence 16 from 8:38

Sequence 17 from 9:13

Frame at 9:26, shot 639:26
1 of 1 shots sampled

27. Private office

9:13–9:39 Not yet checked

Model synopsis: A man with a white beard stands at a table addressing seated officers; he announces his resignation from the United States Navy. The Commodore Jordan is addressed by another officer at the end of the beat.

  • A man with a white beard stands at a table and speaks to seated officers. [frame:1]

Named: Commodore Jordan (t:9:38). 5 people observed.

“But I am compelled to tender my resignation.” 9:16 · “From the United States Navy.” 9:19

Evidence, details and a link to share

Sequence 18 from 9:39

Sequence 19 from 10:37

Frame at 10:39, shot 6510:39
1 of 1 shots sampled

29. Street

10:37–10:42 Not yet checked

Model synopsis: A street scene shows people moving near a building entrance with two white horses harnessed to a carriage. A lamppost is in the foreground and a sign is visible on the building wall.

Evidence, details and a link to share

Frame at 10:47, shot 6610:47
1 of 1 shots sampled

30. Street

10:42–10:51 Not yet checked

Model synopsis: A horse-drawn carriage is parked outside a stone building with several people around it. One person sits in the carriage while others stand nearby, including a man in uniform.

3 people observed.

Evidence, details and a link to share

Sequence 20 from 10:51

Frame at 11:05, shot 6811:05Frame at 11:15, shot 6911:15Frame at 11:23, shot 7011:23
3 of 3 shots sampled

32. Other

11:00–11:27 Not yet checked

Model synopsis: A man in uniform speaks to a woman in a feathered hat; another woman joins them. The transcript indicates farewells and a reference to war, with a character named Connie being addressed. A carriage is mentioned as a waiting place.

  • A man in uniform speaks to a woman in a feathered hat. [frame:1]
  • Two women in feathered hats face each other closely. [frame:2]
  • A group, including uniformed men and women in coats, gathers near a doorway. [frame:3]

Named: Connie (t:11:07). 4 people observed.

“Raymond and Julie only have a few minutes left. Goodbye Julie.” 11:02 · “Regardless of what's decided for us, we're still friends, aren't we? Goodbye, dear. Try to remember that wars were made by men, not women.…” 11:07

Evidence, details and a link to share

Frame at 11:35, shot 7111:35Frame at 11:47, shot 7211:47
2 of 2 shots sampled

33. Train

11:27–11:50 Not yet checked

Model synopsis: A man in a uniform and a woman in a feathered hat speak emotionally in what appears to be a station or terminal. The man offers to put her on a train, but she refuses his embrace because of his uniform.

Named: Julie (t:11:28). 2 people observed.

“Julie, I... I reckon you hate me now, don't you? Honey, I couldn't hate you. Because I love you.” 11:28 · “It's best we say goodbye. Here.” 11:38

Evidence, details and a link to share

Frame at 11:54, shot 7311:54Frame at 12:07, shot 7412:07Frame at 12:18, shot 7512:18
3 of 3 shots sampled

34. Street

11:50–12:21 Not yet checked

Model synopsis: A man in a military uniform speaks to a woman in a feathered hat; an older man in a top hat intervenes and escorts the woman away while the uniformed man watches. The dialogue indicates a conflict over loyalty and love, with the woman being led away as the uniformed man says goodbye.

  • The older man escorts the woman away while the uniformed man watches. [frame:3]

3 people observed.

“Once you were proud of my wearing this uniform, I haven't changed. You have. You'll be fighting against my father. You can't love me and a…” 11:52 · “Come, Julie, it's time.” 12:06

Evidence, details and a link to share

Frame at 12:22, shot 7612:22
1 of 1 shots sampled

35. Other

12:21–12:24 Not yet checked

Model synopsis: A man in a dark uniform and cap stands beside a wall with a recruitment poster. The poster calls for volunteers for the Union during the Civil War.

1 person observed.

Evidence, details and a link to share

Sequence 21 from 12:24

Frame at 12:37, shot 7712:37
1 of 1 shots sampled

36. Vehicle interior

12:24–12:50 Not yet checked

Model synopsis: A man in uniform speaks beside a vehicle while a woman sits inside; another uniformed man stands nearby. A voice speaks of emotional conflict and a summons from the Commodore.

  • Three people are visible near a vehicle: two men in uniform and a woman seated inside. [frame:1]

Named: Raymond (t:12:44). 4 people observed.

“Didn't you take her to the train? She wouldn't let me. She wouldn't let me touch her. That's what it means, hate. Hate for those we love…” 12:28 · “We better go, Raymond. The Commodore wants to see us.” 12:44

Evidence, details and a link to share

Sequence 22 from 12:50

Frame at 12:51, shot 7812:51Frame at 13:09, shot 7913:09
2 of 2 shots sampled

37. Private office

12:50–13:26 Not yet checked

Model synopsis: A naval officer resigns from the United States Navy, declaring his loyalty to Virginia, while another officer interrupts a briefing to deliver this news. The scene takes place in a formal office with bookshelves and military decor, as orders are being given and contested.

  • A naval officer sits at a desk, looking down at papers. [frame:1]
  • Three naval officers are in an office; one stands and interrupts another who is seated. [frame:2]

Named: Raymond (t:13:14). 3 people observed.

“All leave has been canceled.” 12:57 · “Forts, arsenals and other government property are being seized in the name of the southern Confederacy.” 13:01

Evidence, details and a link to share

Frame at 13:29, shot 8013:29Frame at 13:34, shot 8113:34Frame at 13:39, shot 8213:39
3 of 3 shots sampled

38. Private office

13:26–13:42 Not yet checked

Model synopsis: Two men in military uniforms are shown in close-up shots during a dialogue about conflicting oaths. One man declares he will renounce his vow to defend the Constitution to fulfill a more sacred duty, prompting the other to note this places them on opposing sides.

2 people observed.

“You have sworn to defend the Constitution of the United States.” 13:27 · “I'll renounce that vow to fulfill a more sacred duty.” 13:32

Evidence, details and a link to share

Frame at 14:20, shot 8514:20Frame at 14:34, shot 8614:34
2 of 2 shots sampled

40. Private office

14:09–14:38 Not yet checked

Model synopsis: Two men in naval uniforms are in a formal office; one gives orders to the other about taking temporary command of a ship. The transcript confirms the assignment is to preserve Union armaments at Gosport Navy Yard.

  • Two men in naval uniforms stand in an office with bookshelves and a portrait. [frame:1]
  • The older officer faces the younger one, both in uniform, in the same office. [frame:2]

2 people observed.

“Report with these to Captain Gilman in command of Gosport Navy Yard, Norfolk.” 14:13 · “You will be placed in temporary command of USS Merrimack.” 14:20

Evidence, details and a link to share

Sequence 23 from 14:38

Sequence 24 from 14:44

Frame at 14:50, shot 8814:50
1 of 1 shots sampled

42. Private office

14:44–14:56 Not yet checked

Model synopsis: A man in a dark military uniform stands behind a desk holding a sword and a pistol. The room contains a framed painting, a potted plant, and desk items including inkwells and papers.

  • A man in uniform holds a sword and a pistol while standing behind a desk. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 25 from 14:56

Sequence 26 from 17:17

Sequence 27 from 17:20

Sequence 28 from 17:55

Sequence 29 from 18:46

Sequence 30 from 18:48

Sequence 31 from 19:46

Sequence 32 from 19:48

Sequence 33 from 19:51

Sequence 34 from 20:17

Sequence 35 from 22:20

Sequence 36 from 23:05

Sequence 37 from 23:38

Sequence 38 from 24:39

Sequence 39 from 24:40

Sequence 40 from 24:46

Sequence 41 from 31:15

Sequence 42 from 31:47

Sequence 43 from 32:02

Sequence 44 from 32:35

Sequence 45 from 33:44

Sequence 46 from 33:46

Sequence 47 from 39:47

Sequence 48 from 39:51

Sequence 49 from 39:55

Sequence 50 from 40:12

Sequence 51 from 41:19

Sequence 52 from 42:05

Sequence 53 from 42:14

Sequence 54 from 42:26

Sequence 55 from 42:30

Sequence 56 from 42:32

Sequence 57 from 42:35

Sequence 58 from 42:40

Sequence 59 from 42:43

Sequence 60 from 42:44

Sequence 61 from 42:47

Sequence 62 from 42:56

Sequence 63 from 43:45

Sequence 64 from 44:03

Sequence 65 from 44:07

Sequence 66 from 44:37

Sequence 67 from 45:25

Sequence 68 from 45:28

Sequence 69 from 45:29

Sequence 70 from 45:31

Sequence 71 from 45:32

Sequence 72 from 45:59

Sequence 73 from 46:03

Sequence 74 from 46:13

Sequence 75 from 46:15

Sequence 76 from 46:20

Sequence 77 from 46:36

Sequence 78 from 46:44

Sequence 79 from 46:46

Sequence 80 from 46:48

Sequence 81 from 46:50

Sequence 82 from 46:52

Sequence 83 from 46:53

Sequence 84 from 46:55

Sequence 85 from 46:57

Sequence 86 from 46:59

Sequence 87 from 47:00

Sequence 88 from 47:05

Sequence 89 from 47:07

Sequence 90 from 47:55

Sequence 91 from 47:57

Sequence 92 from 48:35

Sequence 93 from 48:37

Sequence 94 from 48:40

Sequence 95 from 48:48

Sequence 96 from 48:57

Sequence 97 from 48:58

Sequence 98 from 48:59

Sequence 99 from 49:06

Sequence 100 from 49:14

Sequence 101 from 49:23

Sequence 102 from 49:32

Sequence 103 from 49:33

Sequence 104 from 49:48

Sequence 105 from 50:44

Sequence 106 from 52:23

Sequence 107 from 52:37

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 513 segments kept, 83 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. 0:31 Glory, glory, hallelujah! Glory, glory, hallelujah!
  2. 0:41 Glory, glory, hallelujah, His truth is marching on. Glory, glory, hallelujah, glory, glory, hallelujah, glory, glory, hallelujah, His truth is marching on.
  3. 1:49 Join the 7th police, sir. New York's best.
  4. 1:57 Join the 7th police, you gentlemen. New York's best. No luck there, soldier. No, sir. And war with the rebels any day now, sir. I should suggest a more persuasive tone. Or a more persuasive tone. Why remind the gentlemen that John Brown's molding in the bed? Right you are, lieutenant. He's always right. Come now, something that I've read.
  5. 2:21 That's better.
  6. 2:51 and Julie and Constance. Aye aye, sir. Aye aye.
  7. 3:05 I'm going to go.
  8. 3:12 Oh
  9. 3:21 Go away, I tell you.
  10. 3:23 How many times must...
  11. 3:28 10 minutes! Roast the fatted calf, Uncle John. I'm home on leave. Don't worry, I roast you plenty. How was the trip? Oh, it was the grand trip, sir. The Merrimack's mighty seaworthy. Yeah, so it's Noah's Ark. Yeah, what are you standing there for? Take the bellows. The fire is dying down.
  12. 3:48 So you like the merriman, eh? Why, Uncle, she's the greatest ship afloat.
  13. 3:53 There never was or ever will be a ship of war that can stand up to him. Quiet. We don't talk now.
  14. 3:58 Before.
  15. 4:07 Wooden ships. Bah, you talk like one of those empty office admirals in Washington.
  16. 4:12 Heh heh.
  17. 4:13 Here.
  18. 4:20 Look. A plant of my new ironclad. Simple.
  19. 4:26 I will explain it like ABCs.
  20. 4:29 Here is a cross-section of a submerged... Uncle, we're going to spend a great deal of time together on this leave. But right now... You just came and you want to run away.
493 more segments
  1. 4:38 You got something more important? Well, uh, if you don't mind, the Commodore. I'm not to mind the Commodore, but you mind the Commodore's daughter, eh? Well, her brother's on leave too, and we have something more interesting than ships.
  2. 4:54 Oh.
  3. 4:55 Have a good time.
  4. 4:58 But tomorrow you don't get away so easy.
  5. 5:00 Right.
  6. 5:04 Is my skating so bad? It's far too good.
  7. 5:15 I've been waiting for something romantic to happen. Like? Like you're falling down. Kenneth! Just so that I could hold you in my arms. I'm going to sit comfortably here until Raymond comes along. Raymond will keep on the other direction. Acting under orders? Strictly. I'm a superior officer, you know. And he adores you. That, my dear, is something you should consider. He's talked of nothing but you since he got home. You must have Kenneth tell you this. You must have Kenneth tell you that. That he loves you? No, he didn't say that.
  8. 5:46 What? Orders. Well, he's on leave. And so am I, Tomit. Connie!
  9. 5:54 Wait a minute!
  10. 6:00 Darling!
  11. 6:02 Oh, ha, ha!
  12. 6:03 Well, you did it. You fell down. I'm afraid I did. Well, aren't you going to help me up? No. I'm going to sit comfortably here till Raymond comes along. On the ice? Why not? The thaw won't set in till spring. Well, then I'll...
  13. 6:31 Darling, you two better get up. You'll have pneumonia. Well, all I can say is their lips may be warm, but when they're going to have children and some else again? Julie, I think that's terrible, eavesdropping like that. We weren't eavesdropping, Connie. We were just watching. Well, then I guess I'd better explain. You see... You're engaged. Right here in the middle of the lake. Well, that is... Fire, congratulations, sir. This couldn't fit a better man than you. She had us kind of worried being 23, unhitched,
  14. 6:57 the house. I don't know how you do it, Connie. I've been falling down all evening, only to find that some folks can get engaged the minute they hit the eye. I advise you, sir, to make immediate report to the Commodore. I certainly am excited. This is so thrilling, it's left me speechless, positively speechless. Julie, I'm just trying to tell you that Connie hasn't accepted me yet. Oh, then you're not engaged.
  15. 7:19 Oh, no, you see the... Yes, we are.
  16. 7:24 Oh!
  17. 7:32 Whoa!
  18. 7:33 - Father, I want to tell you that I-- - I'm sorry, dear, but Captain Buchanan and I have an urgent call to watch you. - Oh, Daddy, has something happened? - I haven't time to talk now, honey, but everything's going to be all right. - Raymond, take charge of things here.
  19. 7:52 I wouldn't worry, darling. It may not be anything serious.
  20. 8:12 Gentlemen.
  21. 8:13 This is serious business.
  22. 8:15 Delegates from six cotton states have met in Montgomery, Alabama,
  23. 8:19 and formed the Confederate States of America.
  24. 8:22 Virginia has called a state convention to decide whether or not she will secede.
  25. 8:28 Among you gentlemen, there are two native-born Virginians.
  26. 8:32 It is imperative that the affairs of the Navy Department be undertaken with no division of loyalty.
  27. 8:39 I must therefore ask these two gentlemen
  28. 8:42 to declare their intentions should their native state follow the course of her southern sisters.
  29. 8:49 Captain Buchanan.
  30. 8:56 The question raised by Mr. Secretary...
  31. 8:58 had been weighing heavily upon me.
  32. 9:00 These past few months.
  33. 9:03 I was born in Virginia.
  34. 9:04 The son of Virginia.
  35. 9:07 Burris.
  36. 9:08 has determined my decision.
  37. 9:10 As my state goes,
  38. 9:12 So must I.
  39. 9:14 It is with regret.
  40. 9:16 But I am compelled to tender my resignation.
  41. 9:19 From the United States Navy.
  42. 9:27 Good night, gentlemen.
  43. 9:34 Good.
  44. 9:38 And you, Commodore Jordan?
  45. 9:46 I have seen 47 years' service in the Navy.
  46. 9:50 Until I was assigned to duty in the north,
  47. 9:53 Captain Buchanan was my neighbor.
  48. 9:56 Our children grew up together.
  49. 9:59 I hope he will ever be my friend.
  50. 10:03 I too have a kindred feeling for my home state.
  51. 10:07 Virginia.
  52. 10:10 But...
  53. 10:11 Any section of the land over which old glory waves,
  54. 10:16 is my home.
  55. 10:18 I gather from your word, sir,
  56. 10:21 The sentiments of Stephen Decatur.
  57. 10:24 My country.
  58. 10:25 May she ever be right.
  59. 10:27 but right or wrong.
  60. 10:29 My country.
  61. 10:31 Mr. President?
  62. 10:33 I'm at your service.
  63. 10:53 Julie it won't be long. Mr. Lincoln doesn't want war. I'm afraid you're Mr. Lincoln is practically declared war.
  64. 11:02 Raymond and Julie only have a few minutes left. Goodbye Julie.
  65. 11:07 Regardless of what's decided for us, we're still friends, aren't we? Goodbye, dear. Try to remember that wars were made by men, not women. Nothing can hurt our friendship and our love. Oh, Connie. Excuse me, Charlie. It's mighty close to stop. We'll wait in the carriage.
  66. 11:28 Julie, I... I reckon you hate me now, don't you? Honey, I couldn't hate you. Because I love you.
  67. 11:38 It's best we say goodbye. Here.
  68. 11:42 Aren't you going to let me put you on the train?
  69. 11:46 Julie, what's happened to you? Don't you put your arms around me wearing that uniform.
  70. 11:52 Once you were proud of my wearing this uniform, I haven't changed. You have. You'll be fighting against my father. You can't love me and aim to kill those I love.
  71. 12:06 Come, Julie, it's time.
  72. 12:07 Ha-ha!
  73. 12:09 Now, now, no tears.
  74. 12:14 Goodbye, young man. Goodbye, sir.
  75. 12:28 Didn't you take her to the train? She wouldn't let me. She wouldn't let me touch her. That's what it means, hate. Hate for those we love. She's just a little girl. She doesn't understand. Neither do I.
  76. 12:44 We better go, Raymond. The Commodore wants to see us.
  77. 12:51 As the situation stands, we pray for peace while we prepare for war.
  78. 12:57 All leave has been canceled.
  79. 12:58 You'll return to your ship immediately. Yes, sir.
  80. 13:01 Forts, arsenals and other government property are being seized in the name of the southern Confederacy.
  81. 13:06 We must make every-- - Just a moment, sir.
  82. 13:08 Before divulging further confidential matters, please hear what I have to say. This is a breach of conduct, sir.
  83. 13:12 I'm giving orders.
  84. 13:14 Sorry, sir. I'm not taking them. Raymond! Sir!
  85. 13:17 Because I'm resigning from the United States Navy. Raymond, you don't know what you're doing. I know that everything I hold dear belongs to Virginia.
  86. 13:24 So do I.
  87. 13:25 Come on.
  88. 13:27 You have sworn to defend the Constitution of the United States.
  89. 13:32 I'll renounce that vow to fulfill a more sacred duty.
  90. 13:37 You realize that your decision places us on opposing sides?
  91. 13:42 I regret that deeply, sir.
  92. 13:47 Ken?
  93. 13:48 Thanks for all you've taught me.
  94. 13:50 I hope I'll make a worthy opponent.
  95. 13:56 Bye, Father.
  96. 14:07 Son.
  97. 14:13 Report with these to Captain Gilman in command of Gosport Navy Yard, Norfolk.
  98. 14:17 In the absence of Captain Batterman and Captain Pearson?
  99. 14:20 You will be placed in temporary command of USS Merrimack.
  100. 14:25 Yes, sir.
  101. 14:25 You realize the necessity of preserving for the Union the ship's armament and ammunition stored there? I do, sir.
  102. 14:31 Then I needn't further stress the importance of this assignment.
  103. 14:36 Good luck.
  104. 14:39 Thank you, sir.
  105. 15:05 First Raymond now you Raymond has his duty and so I. Strange idea of duty. I shout and kill. It isn't that. Raymond thinks it's his duty to take up arms against father.
  106. 15:20 And you love me, and yet you think it's your duty to fight against my brother? Connie, there isn't any war yet. And if it happens, it won't last long. There'll be small comfort till the families were destroyed.
  107. 15:32 It's time for me to go now.
  108. 15:35 You won't let me see you cry, will you?
  109. 15:40 Then don't let me see you leave.
  110. 15:43 I'll turn around and talk to you.
  111. 15:45 About the night.
  112. 15:48 The night we were skating and...
  113. 15:50 You placed a rustic bench beneath the leafless tree.
  114. 15:54 And I laughed, skated away, and...
  115. 15:59 Can I still dance?
  116. 16:12 But don't you realize, Captain Buchanan, every moment we delay may prove more costly than we know. That's right. With Norfolk Neighbor Yard in federal hands, our city can be shelled and destroyed in 24 hours.
  117. 16:23 You young men are fired with excitement and eagerness.
  118. 16:26 Fact is war not yet been declared not in so many words.
  119. 16:30 The war is here, sir.
  120. 16:31 It was actually begun when South Carolina fired on Fort Sumter. Well, yes.
  121. 16:36 Yeah, that is wrong. Sure enough. Raymond knows.
  122. 16:40 Virginia State Militia is ready to act. I say let's seize the Navy on.
  123. 16:45 Gentlemen, you must not take violent action at this time. Now is the time for action. We want more delays. We want more delays. The time is not yet here.
  124. 16:53 How can you say that, sir, when you know the North has declared a blockade on Southern Ports? And that means we'll be starved out in six months. You're going to wait for that? No! All right, then.
  125. 17:03 We'll take Norfolk Navy Yard tonight.
  126. 17:06 Are you with us, men?
  127. 17:25 Once more on the deck I stand Of my own swift gliding craft Set sail farewell to the land The gale follows fair of bat Of my own swift gliding craft Set sail farewell to the land The gale follows fair of bat
  128. 17:55 Shoot through the sparkling foam Like an ocean bird set free Like the ocean bird our home Will find far out on the sea
  129. 18:12 Oh, and speaking of love, there's real love, boy. Well, there you are, my young girl. You're no prettier, but you're cleaner.
  130. 18:23 At ease, Patty. This isn't official. Yes, sir. Yes, sir.
  131. 18:26 It's glad we all have to see you back, sir. Thank you. Look at it. Even Molly's making eyes at you.
  132. 18:30 See the spatula. No use, Molly. The lieutenant's engaged.
  133. 18:34 Although I still can't believe it. Why not? I always thought you were in love with a Merrimack. This old job is mighty close to my heart.
  134. 18:54 Oh, go back.
  135. 18:56 Lieutenant Cosgrove, for the dispatch for Captain Dillman. Pass.
  136. 19:04 Are you sure, Cosgrove, there are three regiments? Yes, sir. Fully armed? Yes, sir.
  137. 19:09 Their advance guard will reach here at any moment. Three regiments.
  138. 19:12 We'll never be able to hold out against such a force.
  139. 19:15 Evans!
  140. 19:16 Perfect, Smith. Each of its neck of detail.
  141. 19:18 We must destroy the yard.
  142. 19:20 Captain Gilman, did you say destroy the yard, sir? I did.
  143. 19:23 This Navy Yard isn't valuable to the Union.
  144. 19:25 The loss in arms, equipment and ammunition alone would be tremendous.
  145. 19:28 Is it wise, sir, to destroy it? It is rather than have it fall into Confederate hands.
  146. 19:32 And when I wish for your advice, Lieutenant, I shall ask for it.
  147. 19:36 Now remember, not a single musket must be left to be salvaged by the enemy. Now hurry, hurry!
  148. 19:58 Oh
  149. 20:00 The Merrimack! Double firing! Part!
  150. 20:20 Enemy forces advancing! Forters to destroy the post! Set by to your ship at once! Burn the Merrimack? That's insane! I can take her out of the harbor! Don't be a fool, Lieutenant!
  151. 20:30 train on the city we can keep them off to reinforcements arrive you'll obey captain gilman's orders my orders are to protect government property not destroy it
  152. 20:37 Sound, General Portis!
  153. 20:39 Prepare to get underway, we're taking it to sea. Careful, Reynolds. After all, this is Gilman's responsibility. This ship is my responsibility. Yes, sir.
  154. 20:48 That's open mutiny, sir.
  155. 20:49 Captain Gilman, order that you fire your ship without delay. Have you those orders in writing, sir? There wasn't time for writing. Then as commanding officer of this ship, I refuse to execute such verbal orders.
  156. 21:01 All right, men.
  157. 21:02 Fire that ship!
  158. 21:03 I'm going to sink it. What? We'll at least save our hull and engines from the fire. Stand them off. Yes, sir. The only ones to get by will be dead.
  159. 21:33 I am not going to die.
  160. 22:03 Lieutenant Renz, I call you to accompany your actions. I'll answer to the board of inquiry. In your panic, you had us set afire. I've furthered to save a hull and engine.
  161. 22:33 the enemy.
  162. 22:34 To be raised as good as news.
  163. 22:36 I charge you with conduct on becoming an officer within subordination and mutiny. Place him under arrest.
  164. 22:44 In view of the fact that a state of war did not exist at the time such mutinous acts were committed, sentence is as prescribed in articles for the government of the United States Navy in time of peace.
  165. 22:54 Therefore...
  166. 22:55 It is the sentence of this court-martial
  167. 22:58 Let the defendant be dismissed from the United States Naval Service
  168. 23:02 With a dishonorable...
  169. 23:03 Discharge.
  170. 23:09 - Hello, Miss Adams. - Hello, Miss Jordan.
  171. 23:11 Don't bother to announce me. I'll go right down. If I may say so, Miss, it's like putting your head in the news. Still hard at it, huh?
  172. 23:17 Night and day. They don't sleep, they won't eat.
  173. 23:21 Aren't you a one-off man?
  174. 23:22 Maybe this will tempt them.
  175. 23:24 Good luck. Oh, I'm not frightened.
  176. 23:28 Come on, Vic.
  177. 23:40 Steady, steady. Too late to make mistakes now.
  178. 23:43 Can I work in such a bedroom?
  179. 23:47 Constance.
  180. 23:49 You told me to come today, that it would be finished. And finished it is. Don't you look until she gets her top nut on.
  181. 24:00 Behold the monitor.
  182. 24:02 There it is.
  183. 24:05 I've never seen anything quite like it. You're right.
  184. 24:09 There never has been anything quite like it. Oh, I am happy. Also very hungry. Mmm, wine. I am very happy. Oh, that's to christen the monitor. Fine, you can break it over the bottle and let the wine flow. Better such good wine flows this way.
  185. 24:24 Are you going to take it to Washington? At once.
  186. 24:26 Father says Mr. Bushnell is submitting plans for 9:00, too. Bushnell?
  187. 24:31 He's the biggest ship builder in all the land. But I'm the best. And besides, ships don't grunt land.
  188. 24:37 The Monitor.
  189. 24:47 I will not bother to introduce myself because you all know who I am. Mr. Secretary of the Navy, we have met before.
  190. 24:53 And Senator Pillsbury, I have had the misfortune to deal with.
  191. 24:57 However, we have no time.
  192. 24:59 My model.
  193. 25:00 Wait there, I'm sitting.
  194. 25:02 We've examined your plans, but I fail to see how the guns can be fired from your ship.
  195. 25:08 Why don't you study how to read plans?
  196. 25:10 From the drawings you will find it is from the revolving turret that we do the firing, through the narrow ports.
  197. 25:15 One good shot against that turret and there wouldn't be any pirate. So? So?
  198. 25:20 I show you.
  199. 25:23 No shot can stop it.
  200. 25:25 No matter how hard you hit the turret, it turns.
  201. 25:29 That's quite all right, Captain Eddickson.
  202. 25:31 I'm sure your talent will work.
  203. 25:33 But we've already awarded the contract to Bushnell. You have already awarded? Why, you...
  204. 25:38 The committee has just approved the contract. Then you've made a mistake, a very bad mistake.
  205. 25:43 Possibly.
  206. 25:45 I shall be glad to resubmit your plans to the board.
  207. 25:48 if Mr. Bushnell and his associates should fail us. Don't worry, he will.
  208. 25:52 About warships, he knows even less than your committee.
  209. 26:01 Vader.
  210. 26:09 Good. Another. Another.
  211. 26:12 I know your capacity, Uncle John, but don't you think... What else is there for me to do but drink in a town like this? You keep me here surrounded by politicians and gold-brainers? Why don't we go back to New York where we can work? But the Union needs your monitor, and sooner or later they'll realize it. They realize nothing. I tell you, I won't stay here another day. Not on nothing.
  212. 26:30 Put that down, don't cut.
  213. 26:33 Has everybody in Washington got wooden heads?
  214. 26:37 Come on.
  215. 26:45 Minjuri, please.
  216. 26:48 What did you say sir.
  217. 26:50 I asked for a mint julep, and unless I'm mistaken, you heard me ask for a mint julep. I presume you realize, sir, you asked for a southern drink. I beg your pardon, but my name is Adolf Schultz, vice president of Union Lawyer's League. Pardon me, my name is Commodore David G. Farragut of the United States Navy.
  218. 27:08 Oh, I beg your pardon. Now, granted, if you'll let me stand around a mint julep. Sure, why not? After all, it's the men of the South we're fighting, not their liquor.
  219. 27:22 Would you gentlemen care to join us?
  220. 27:24 Oh!
  221. 27:26 Captain Erickson!
  222. 27:27 I'm right glad to see you, sir.
  223. 27:29 Well, I'm glad somebody's glad to see me.
  224. 27:32 How are you, Commodore?
  225. 27:34 my nephew Kenneth Reynolds oh how do you do sir how do you do
  226. 27:38 I deem it most friendly if you'd join me at the bar.
  227. 27:44 This is a good friend, Mr. Bushnell. I know, Captain.
  228. 27:53 What are you doing in Washington? Nothing. All the great work has already been done. Captain Erickson submitted a model of his monitor to the Navy Department. Oh, the monitor. I sure would like to see it. Would you, sir? It's right up in the room. We can take you up there if you like. This should interest you, Bushnell. It should, but it won't. My monitor's not on exhibitions.
  229. 28:11 This may be the chance... This is final. Nobody sees my monodont.
  230. 28:15 Bartender?
  231. 28:17 Another round of mid-jewelder.
  232. 28:21 Come on.
  233. 28:30 Well...
  234. 28:32 And so you see how without maneuvering around, we keep on firing.
  235. 28:38 Boom.
  236. 28:40 Boom, boom.
  237. 28:42 Genius, my dear friend.
  238. 28:44 sheer genius.
  239. 28:46 You hear that, Kenneth?
  240. 28:47 from the finest shipbuilder in the country.
  241. 28:50 You honor me, sir. Oh, it's I who am honored.
  242. 28:59 Here it is.
  243. 29:01 It just goes to prove what I've always said. Commodore Farragut is an amazing man. Oh, he's a magnificent man.
  244. 29:07 And the mint julips, were they his idea? Naturally.
  245. 29:11 How many did it take?
  246. 29:12 Surprisingly few. Uncle John started the mellow after the seventh. And would you believe... Oh, do sit down.
  247. 29:17 You're getting far too excited. I've reason to be.
  248. 29:20 I've work to do.
  249. 29:21 I'm finally going to be of some use. And what's Mr. Bushnell like?
  250. 29:25 He's a man of great generosity.
  251. 29:27 He willingly sacrificed his plans and took us in on the contract.
  252. 29:30 Oh, I'm so happy. That's the best news of all.
  253. 29:35 And do you start work immediately? Full speed ahead. Oh, there I go. Let me wind.
  254. 29:41 I can't sit still.
  255. 29:43 We'll build the greatest warship that ever fired a salvo.
  256. 29:47 I'll think of it only as building a great ship.
  257. 29:51 *whistling*
  258. 29:54 Let's celebrate.
  259. 29:56 How would you consider dining sumptuously with me at the Brevoit house? I've a new dress that's just aching to see the Brevoit house.
  260. 30:03 Then I'll call for you in a coach in four. Of course, we'll take Uncle John along. And on second thought, the Commodore. Oh, can't we dine alone?
  261. 30:13 You see, darling, we take Uncle John for financial reasons.
  262. 30:17 And father?
  263. 30:18 He has the coach.
  264. 30:19 But only one horse.
  265. 30:24 Yeah.
  266. 30:25 Come on.
  267. 30:30 Hereafter, I'll fire a salute of at least 21 guns before entering a conservatory. Commodore, you're just the man I want to see. Will you bring your coach? Will you bring your horse?
  268. 30:44 You tell them I can't. I'll go home and dress.
  269. 30:58 You'd better get into your Sunday uniform. We're dining out.
  270. 31:06 What's the matter, dear? Oh, nothing. Nothing.
  271. 31:10 I'm a bit tired. Cheer up, darling. We're going out to celebrate Kenneth's children.
  272. 31:16 Kenneth's good fortune.
  273. 31:20 What's disturbing you, dear?
  274. 31:22 Is it bad news?
  275. 31:24 Is it...
  276. 31:25 Raymond?
  277. 31:26 Tell me. Raymond has been appointed third in command aboard the Merrimack.
  278. 31:32 I'm not sure.
  279. 31:34 It's a promotion, isn't it?
  280. 31:36 Going aboard the Merrimack.
  281. 31:41 The ship we have to destroy.
  282. 31:44 With the monitor.
  283. 31:46 Erickson's monitor.
  284. 31:51 All together, men, ram our homes!
  285. 32:05 Worky terriers, work, work, work!
  286. 32:09 Work ye Terriers, work, work, work, all it work all day, no time to play. The Rosenstock and the Rainbots Day, but work ye Terriers, work.
  287. 32:25 Water! Water!
  288. 32:37 I'm afraid Erickson's monitor didn't do so well in the trial.
  289. 32:41 The steering gear jammed, but it's been fixed. You think it will work now? I do, sir. Many of our naval experts, as you know, report the ship unseaworthy and impracticable for combat duty. I don't agree with them, Mr. Secretary. Good.
  290. 32:53 The President, sir.
  291. 32:57 Good morning, gentlemen.
  292. 32:58 - Precedent.
  293. 32:59 Lieutenant Walden?
  294. 33:02 The secretary tells me that you volunteered to command the monitor. Yes, Mr. President. My compliments. Thank you, sir.
  295. 33:09 Although I share your confidence in the monitor.
  296. 33:11 I should never permit it to go out just yet.
  297. 33:14 Were it not that our cause is in desperate straits. I understand, sir.
  298. 33:18 Do not assign a crew.
  299. 33:19 It should be manned solely by volunteers. In view of the many criticisms already heaped upon her,
  300. 33:24 That is very wise, Mr. President.
  301. 33:27 See that each volunteer before signing is warned of the dangers of the adventure.
  302. 33:32 and the odds against it.
  303. 33:33 Yes, sir.
  304. 33:34 Assure them, however,
  305. 33:35 that the government will take care of their families.
  306. 33:37 Should they not survive?
  307. 33:40 Oh.
  308. 33:41 Good luck.
  309. 33:43 And Godspeed.
  310. 33:51 Take these men to Lieutenant Green aboard ship.
  311. 33:54 Well, that gives us nine officers and 37 men. It's been more difficult getting volunteers than we expected. Your appearance hasn't helped us any.
  312. 34:04 Fatty Mac!
  313. 34:05 We got your word, sir. We're reporting for duty. Oh, I knew I could count on you. How have you been? Fine, sir. Except Patty here has never been quite the same since they lost Molly. Oh.
  314. 34:15 Lieutenant Worden, this is McPherson and Callahan. They serve with me on the Merrimack, both good men. Glad to have them aboard.
  315. 34:23 Me no offense, sir.
  316. 34:25 But how does an able-bodied seaman get aboard such a looking object?
  317. 34:29 Use your head, man.
  318. 34:31 The lieutenant here helped build it. He'll know how to get on it.
  319. 34:34 Well, watch him and do likewise.
  320. 34:36 But I'm not going.
  321. 34:37 Oh, then you're not so dast as I thought you were.
  322. 34:40 I'm sorry, sir. We go to sea in a tin can with him.
  323. 34:43 But if he's not gone...
  324. 34:44 Well, we are not going here. But they need you boys.
  325. 34:47 I'd give anything to go, but Patty, you know that's impossible. I'm no longer in the Navy.
  326. 34:51 Oh, so they don't think you're good enough to sail on. Oh, it isn't that.
  327. 34:55 Reynolds, you know the ship pretty well, don't you? I ought to.
  328. 34:57 How would you like to come along with us?
  329. 34:59 How would I like to come along?
  330. 35:01 Thanks very much, Silver. That's impossible.
  331. 35:03 Why?
  332. 35:04 Well, I've been dis...
  333. 35:06 Dismissed.
  334. 35:07 Yes, I know all about that.
  335. 35:08 But I've been given the right to pick a volunteer crew.
  336. 35:12 Pack your bags and report for duty.
  337. 35:15 Aye, aye, sir.
  338. 35:16 Beg your pardon, sir, if you please. Order forward to Lieutenant Green.
  339. 35:21 Sail tonight.
  340. 35:22 After dark.
  341. 35:27 She's relieved I am. You know, I wouldn't like enemy friends to see me and do all that in broad daylight.
  342. 35:36 These plans you should have in your head.
  343. 35:38 I don't really need them.
  344. 35:39 Well, take him along anyway, for reference, maybe.
  345. 35:41 I wish you were coming along too, Captain. But me? You've hit his weakness, Lieutenant Warden.
  346. 35:47 He builds ships, but I don't ride on them. I get seasick.
  347. 35:57 Congratulations Captain Erickson. You've done splendidly. Nothing unusual. What did you expect? We of the committee are here to make a final tour of inspection before the monitor sail.
  348. 36:07 All right, everything is fixed.
  349. 36:09 The monitor is ready and nothing you can say will even make me mad. You better get aboard Reynolds. May I have a moment to say goodbye sir.
  350. 36:16 Goodbye. Oh, yes. Just a moment.
  351. 36:18 Reynolds work on the monitor is finished. What do you know about it? He's reporting for duty sir. On what authority?
  352. 36:26 I was given the right to select a volunteer crew.
  353. 36:28 Reynolds was dishonorably discharged from the Navy. Captain Gilman.
  354. 36:35 I helped build a monitor. I know every rivet and seam in her.
  355. 36:38 Lieutenant Worden needs me, wants me, and has accepted me for duty.
  356. 36:41 I think his achievement in helping to construct the ship in record time should more than outweigh whatever has happened in the past. Absolutely right.
  357. 36:49 If he had carried out my orders at Norfolk,
  358. 36:51 There'd be no Merrimack threatening us today. I agree with Captain Gilman.
  359. 36:55 This ship's mission is too secretive to include among its officers a man guilty of mutiny.
  360. 37:00 Lieutenant Worden is subject to our orders.
  361. 37:02 This is a case for us to decide. For you to decide? No, I, John Erickson, decide.
  362. 37:07 He goes. You forget yourself, sir. I, I forget nothing.
  363. 37:12 I don't forget this ship is not paid for, and until then she is mine.
  364. 37:16 If Reynolds don't go, the monitor stays right here, tied to the dock. And you go fight the Merrimack with your speeches.
  365. 37:23 I think that settles it, gentlemen.
  366. 37:26 Come.
  367. 37:27 We go.
  368. 37:28 Maybe you find something wrong, eh?
  369. 37:31 Then you don't feel so bad.
  370. 37:33 Hm.
  371. 37:37 Darling,
  372. 37:39 Our first victory. I'm going after all. Aren't you glad? Should I be?
  373. 37:44 Well, I thought for my... Why do you insist upon going?
  374. 37:48 Your work on the monitor is completed. They don't even want you. But darling, this is my one chance.
  375. 37:53 I hardly dared hope for it and it's come.
  376. 37:55 Don't you see this is a chance to vindicate myself? No.
  377. 37:59 It was a time when I...
  378. 38:00 Didn't even want you to go on with the work.
  379. 38:02 But then I realized that
  380. 38:04 With or without your help, the monitor would be built. But I've got to see it through.
  381. 38:07 You don't realize how vital it is that the monitor succeeds.
  382. 38:13 Its success will spell failure for you and me.
  383. 38:18 My brother...
  384. 38:19 There's an officer on the Merrimack.
  385. 38:23 Raymond?
  386. 38:25 Raymond.
  387. 38:27 That's why I stood here hoping that those men wouldn't let you go.
  388. 38:30 There's nothing left but to beg you not to.
  389. 38:35 Nothing I can say to you now.
  390. 38:39 will ever make you see this.
  391. 38:41 As I do.
  392. 38:43 Ken there's work to do out on the West Coast.
  393. 38:45 They're building harbors and...
  394. 38:47 Ships.
  395. 38:50 Why do you stand there staring at me? I know that you're going.
  396. 38:55 I can't forgive it.
  397. 38:57 I never will.
  398. 39:01 Don't let me leave you like this.
  399. 39:04 There's no other way. What's that design you having this. Might as well. You never grant us an interview any other place. I've seen some freaks but that boat certainly takes the prize.
  400. 39:28 Crazy Erickson. Remember when those guns exploded and killed six men on the Princeton? Yeah. They say there's a storm coming up. Twenty to one, none of that crew ever come back. There she goes. The Iron Carpenter.
  401. 39:45 A good name for her.
  402. 40:18 Gentlemen.
  403. 40:19 Commodore Buchanan will address you.
  404. 40:26 Our mission is to clear this harbor of enemy craft.
  405. 40:29 of which the Cumberland, the Congress, and the Minnesota now ride before us.
  406. 40:33 That fire cannot hurt us.
  407. 40:35 So disregard it.
  408. 40:36 And remember...
  409. 40:37 What you do today will be the history of tomorrow.
  410. 40:41 Our homes, our wives, our children...
  411. 40:43 Shall be free.
  412. 40:44 If we succeed.
  413. 40:45 That is all. Hooray!
  414. 40:51 Lieutenant, get underway immediately. We'll first attack the company. Aye, aye, sir.
  415. 40:55 Sound general quarters.
  416. 40:58 Stand by!
  417. 41:28 Thank you Yankees. What is our strongest shot? We'll give them a bounce. And bar to ram. Hold on. Rain.
  418. 41:58 Up in! Over the side!
  419. 42:08 The cumberland is sinking. Attack the congress. Aye, aye, sir.
  420. 42:28 Fire!
  421. 42:58 I'm going out.
  422. 43:28 Chance of running aground in this smoke, sir. I hope to attack the Minnesota. Best take no risk. We'll finish the rest tomorrow.
  423. 43:46 Secretary, sir, the Merrimack is sweeping the Union fleet before her.
  424. 43:50 She will receive the northern cities and levy tribute from each of them.
  425. 43:53 Why, even the capital will be at the mercy of the guns of the Merrimack.
  426. 43:56 Part of the Monitor. The Monitor? If she ever does reach Hampton Roads, which I doubt,
  427. 44:01 And Miriamac will blow her out of the water.
  428. 44:14 Gentlemen, you'll be pleased to hear the Commodore Buchanan is doing very nicely.
  429. 44:18 Unfortunately, however, he is unable to be with us today.
  430. 44:21 Lieutenant Jones assumes command.
  431. 44:23 We will complete the mission started yesterday.
  432. 44:25 By nightfall, I'm confident that there will not be a Union vessel left in Hampton Roads. Hooray!
  433. 44:32 We'll first attack the Minnesota. Aye, aye, sir.
  434. 44:36 Down, General Porter.
  435. 44:46 Down, General Quarters.
  436. 45:16 Don't open, Pa. I'm going to ram. Aye, sir. Jordan! Jordan, look!
  437. 45:36 What tarnation is it? I don't know, but...
  438. 45:40 It looks to me like a cheese box on a rack. So that's the monitor.
  439. 45:52 Thank you, little thing. Hey, let's take it aboard and keep it for a pet.
  440. 46:03 Mind your veins. There it is, sir. One gun. Stand ready to fire.
  441. 46:10 Give us a word, sir.
  442. 46:22 There you are, young lady. And if you do a good job, I will learn to like you, too.
  443. 46:28 Fire!
  444. 46:37 Stand by for broadside.
  445. 46:40 - Stay back! The broadside!
  446. 47:10 could stand up higher like that. But you're wrong sir. Look. The very word is badly wounded sir. He ordered you to take man. They charge of the turret. I. I. You're in command of the number two gun. I said. Take over. I. She's dead. And. Valerie. Oh no.
  447. 47:40 - Go to powder, up! - Ready! Ready, sir! Fire!
  448. 47:57 - Keep both guns going! - Aye, aye, sir! - The grave of fall! - Come on, jump! - Jump, you little brothers! - Stack on me!
  449. 48:10 We'll go around on the same bar and be at their mercy. - Pardon, son. - Now it's just a board and party. Long chance. But we can try. - Pull alongside the monitor. - Good luck. If we have to capture her, we'll turn back.
  450. 48:25 We're going away alongside the monitor. Who volunteer? Help me take her. - Aye! - Hey, come on!
  451. 48:40 They're aiming to board us.
  452. 48:49 Watch out.
  453. 49:08 She sees fire.
  454. 49:10 Jackie, turn back!
  455. 49:18 We did it! We've jumped off!
  456. 49:37 Oh!
  457. 49:42 Oh, my God.
  458. 49:45 Come on.
  459. 49:53 Constance.
  460. 49:54 Yeah.
  461. 50:01 Please.
  462. 50:03 I know there isn't much I can say.
  463. 50:06 What is there to say? Raymond died gallantly. You were only doing your duty. There's nothing else. Except to keep on loving you. Long ago I said that all the wars in all the world...
  464. 50:24 It couldn't stop me from doing that.
  465. 50:27 I should hate you, but I can't. There's no hate left in me.
  466. 50:31 No feeling, nothing.
  467. 50:44 Good morning, Mr. Jordan.
  468. 50:47 Why, Mr. Lincoln.
  469. 50:49 I walk here often.
  470. 50:50 It's the trees.
  471. 50:51 They're above the bickering men.
  472. 50:54 Oh, may I? This is Kenneth Reynolds.
  473. 50:58 Kenneth Reynolds of the Monitor,
  474. 51:00 Yes, sir.
  475. 51:03 Tomorrow, a grateful government will publicly acknowledge the wrongs done to you.
  476. 51:09 Mr. President...
  477. 51:12 May I speak plainly?
  478. 51:13 By all means.
  479. 51:15 It isn't honor nor reinstatement I seek.
  480. 51:18 I've seen destruction.
  481. 51:20 Men die.
  482. 51:22 I saw my best friend. I...
  483. 51:26 I see them too.
  484. 51:27 As I walked this path...
  485. 51:30 If I could only remain forever in the dark, away from the rising sun that brings to light their numbers increased by thousands.
  486. 51:38 There's no turning back.
  487. 51:41 We must finish the work we're in, lest those who have already gone...
  488. 51:44 Will have died in vain.
  489. 51:48 You're both young.
  490. 51:49 Yours will be the good fortune to survive.
  491. 51:52 Let's hope that from you will come a generation with vision broad enough to realize the futility of war.
  492. 52:00 I'll never forget this talk, sir. And I...
  493. 52:03 I shall remember you always, Mr. Lincoln. That's uncommon kind of you, ma'am. Thank you.

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