Public Reel

Minesweeper (1943)

No renewal found Free in the US since 1 January 1972, on the registry's reading: registration LP12472 of 1943 by Paramount Pictures, Inc was not renewed in the volumes searched. Record.

A deserter returns to the Navy under another name, giving this wartime picture a tension between useful service and unfinished business.

The man who returns to the Navy in Minesweeper has already deserted it once.1 Richard Houston, played by Richard Arlen, responds to the attack on Pearl Harbor by enlisting under the name Jim “Tennessee” Smith.14 His return is therefore another concealment. The service gets a willing sailor without knowing whom it has taken back. This is a more complicated starting point than the straightforward conversion of a civilian into a fighting man: Houston must become dependable while withholding the fact that would give his comrades reason to doubt him.

Released by Paramount in 1943, Minesweeper belonged to a production business built around economical pictures.25 Its producers, William H. Pine and William C. Thomas, made 81 films during their association with Paramount from 1940 to 1957.5 Arlen was part of that business from the beginning. In a 1954 interview, the producers recalled making their first picture, Power Dive, with Arlen for $86,000.9 They put its gross for Paramount at $1,000,000.9 Those figures describe the commercial precedent for putting a recognisable leading actor at the centre of a low-cost production, not the finances of Minesweeper itself. Directed by William A. Berke, Minesweeper had a recorded production period from 3 May to late May 1943.12 That short span fits the compact working method the producers would later describe.

Edward T. Lowe and Maxwell Shane’s screenplay brings the older dramatic machinery of the assumed name into a naval assignment.12 The war supplies Houston with a reason to return without erasing the circumstances of his departure. A change of allegiance would make for a simpler story than a man trying to recover an allegiance he has already betrayed. Even his new name divides the character into the person the crew encounters and the person the audience knows about. The suspense begins with that unequal distribution of knowledge, before any question of whether he can perform his duties. His problem is whether service under a borrowed identity can answer for what he did under his own.

The film’s classification as a comedy-drama suggests a broader register than its title alone promises.2 Naval duty need not make every encounter a step towards an operational objective. Jean Parker plays Mary Smith.4 The assumed identity gives personal acquaintance a particular uncertainty: whatever Houston reveals of himself in company, his name remains a means of withholding the past. The premise makes trust more than a matter of proving useful aboard a ship.

Robert Mitchum is listed as Seaman Chuck Ryan.8 For someone approaching the film through Mitchum, the interest lies in finding him within an ensemble rather than at its centre. The film’s present circulation includes a streaming listing on Amazon Prime Video.14 That commercial availability should not be mistaken for evidence of an exclusive claim to the underlying film. Nor does availability alone explain how a particular copy reached viewers. The surviving registration and renewal evidence bears on the film’s term of protection, not on the route by which it entered a streaming catalogue. The sources supplied here do not establish which later distributors, if any, relied on that term’s expiry.

The record: Registration LP12472 by Paramount Pictures, Inc is dated 10 November 1943. The registry found no renewal in the renewal volumes for 1970 to 1972, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1971 and the film has been free in the US since 1 January 1972. That record does not settle the rights in material added to later editions. It also leaves open the film’s status outside the United States.

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/Minesweeper_(film)
  2. catalog.afi.com https://catalog.afi.com/Film/567-MINESWEEPER?cxt=filmography
  3. catalog.afi.com https://catalog.afi.com/Search?searchField=All&searchText=Jim%20Smith%2C%20previously%2...
  4. imdb.com https://www.imdb.com/title/tt0036161/fullcredits/
  5. en.wikipedia.org https://en.wikipedia.org/wiki/Pine-Thomas_Productions
  6. catalog.afi.com https://catalog.afi.com/Catalog/PersonDetails/30292
  7. tvguide.com https://www.tvguide.com/movies/minesweeper/cast/2030282066/
  8. watch.plex.tv https://watch.plex.tv/movie/minesweeper?context.unit=H
  9. nytimes.com https://www.nytimes.com/1954/02/25/archives/its-been-14-years-and-films-change-so-pinet...
  10. archive.org https://archive.org/stream/filmdailyyearboo00film_14/filmdailyyearboo00film_14_djvu.txt
  11. archive.org https://archive.org/download/variety152-1943-10/variety152-1943-10.pdf
  12. filmsonsuper8.com https://www.filmsonsuper8.com/censorship/mpaa-film-numbers-52000.html
  13. rottentomatoes.com https://www.rottentomatoes.com/m/minesweeper
  14. primevideo.com https://www.primevideo.com/detail/0IQWGOQH51PLI0H4BTXPJZ4Y38?tr=mp&jic=8%7CEgRzdm9k&ref...

Inside the film

608 shots over 1:05:43 · 269 beats in 149 sequences · 605 transcript lines · JSON

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

Every shot, 608 frames with timestamps and on-screen text

How this page was made

608 shots over 1:05:43, read from the Internet Archive copy Minesweeper_1943 (minesweeper.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: Minesweeper No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 608 shots judged colour), average shot 6.5s long, a frontal face detected in 25% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1943 (Internet Archive).

269 beats in 149 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. 269 of 269 beats annotated, 264 passed the checks, 5 flagged.

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 0:04, shot 00:04Frame at 0:12, shot 10:12
2 of 2 shots sampled

1. Other

0:00–0:16 Machine checks passed

Model synopsis: The beat displays opening credits on wooden signs against a water background, listing actors including Richard Arlen, Jean Parker, and Russell Hayden. No people, actions, or dialogue are visible or audible in this segment.

Evidence, details and a link to share

Sequence 2 from 0:16

Frame at 0:20, shot 20:20Frame at 0:29, shot 30:29
2 of 2 shots sampled

2. Shipyard

0:16–0:33 Machine checks passed

Model synopsis: Two frames from the opening credits of a 1943 film show text on wooden planks listing crew roles and names, with a blurred shipyard or dock background. No people, dialogue, or actions are visible or audible in this beat.

Evidence, details and a link to share

Sequence 3 from 0:33

Frame at 0:37, shot 40:37Frame at 0:42, shot 50:42Frame at 0:43, shot 60:43
3 of 3 shots sampled

3. Other

0:33–0:44 Machine checks passed

Model synopsis: The beat shows title cards for a Pine-Thomas production and director William Berke, followed by a dark, indistinct frame. No people, dialogue, or actions are visible or audible.

Evidence, details and a link to share

Sequence 4 from 0:44

Frame at 0:48, shot 70:48Frame at 0:57, shot 80:57Frame at 1:03, shot 91:03Frame at 1:13, shot 101:13
4 of 4 shots sampled

4. Other

0:44–1:21 Machine checks passed (partial)

Model synopsis: The beat displays on-screen text thanking the Navy Department and Commander Louis H. Gwinn for assistance with filming. The final frame shows a dark, indistinct outdoor scene with no visible action.

  • On-screen text begins thanking the Navy Department and Commander Louis H. Gwinn. [frame:1]
  • The screen cuts to a dark, indistinct outdoor scene. [frame:4]

“I'm.” 1:00

Evidence, details and a link to share

Sequence 5 from 1:21

Frame at 1:28, shot 121:28
1 of 1 shots sampled

6. Other

1:26–1:31 Machine checks passed

Model synopsis: A man in dark clothing and a cap is visible in a dimly lit interior. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 1:57, shot 151:57Frame at 2:04, shot 162:04Frame at 2:11, shot 172:11
3 of 3 shots sampled

8. Other

1:53–2:15 Machine checks passed (partial)

Model synopsis: Three men are present in a dimly lit interior space; one stands holding a gun while another sits and a third stands nearby. A line is spoken calling out 'Sheriff!' at 2:14.

  • A man in a dark suit stands holding a gun toward another man who is seated. [frame:1]
  • The standing man with the gun gestures while the seated man looks up. [frame:2]
  • The man with the gun extends his hand holding the gun toward the seated man. [frame:3]

3 people observed.

“Against what? The sticker.” 2:00 · “Go ahead. Go ahead.” 2:06

Evidence, details and a link to share

Frame at 2:28, shot 182:28Frame at 2:45, shot 192:45
2 of 2 shots sampled

9. Other

2:15–2:50 Machine checks passed (partial)

Model synopsis: Two men are in a dimly lit interior; one stands while the other bends over a table. A man in a hat reads a newspaper aloud, quoting a government announcement about conscription and defense work.

  • A man in a hat stands while another bends over a table. [frame:1]
  • A man in a hat reads a newspaper aloud. [frame:2]

2 people observed.

“You got those things trained. If they were, I wouldn't be here.” 2:15 · “Get a load of this.” 2:33

Evidence, details and a link to share

Frame at 2:53, shot 202:53Frame at 3:01, shot 213:01Frame at 3:09, shot 223:09Frame at 3:16, shot 233:16
4 of 4 shots sampled

10. Bar

2:50–3:20 Machine checks passed (partial)

Model synopsis: Two men argue in a dimly lit interior space; one, wearing a hat and dark coat, holds a cup while the other, in a light shirt and cap, confronts him. The dialogue references Pearl Harbor and conscription, with one man refusing to enlist.

  • A man in a hat holds a cup while looking off-camera. [frame:1]
  • A man in a cap speaks emphatically. [frame:2]
  • Two men stand facing each other in a dim room with a third seated man visible in the background. [frame:3]
  • 1 more under Evidence and details.

Named: Madigan (t:2:51). 2 people observed.

“Why don't you get wise to yourself, Madigan?” 2:51 · “The Japs attacked Pearl Harbor last week. We're at war.” 2:53

Evidence, details and a link to share

Sequence 6 from 3:20

Frame at 3:22, shot 243:22
1 of 1 shots sampled

11. Field

3:20–3:23 Machine checks passed (partial)

Model synopsis: A dark, indistinct figure moves through tall grass or brush in a low-contrast, grainy black-and-white frame. No dialogue or on-screen text is present, and the setting is not clearly identifiable beyond being outdoors.

  • A dark figure moves through tall grass or brush. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 7 from 3:23

Frame at 3:25, shot 253:25
1 of 1 shots sampled

12. Road

3:23–3:27 Machine checks passed (partial)

Model synopsis: A person lies motionless on a dirt road. No dialogue or on-screen text is present in this beat.

  • A person lies motionless on a dirt road. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 8 from 3:27

Frame at 3:28, shot 263:28
1 of 1 shots sampled

13. Other

3:27–3:29 Machine checks passed

Model synopsis: A single frame shows a blurry, grainy, grayscale image of an indistinct outdoor surface with no identifiable objects or people. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Frame at 3:30, shot 273:30
1 of 1 shots sampled

14. Road

3:29–3:30 Machine checks passed (partial)

Model synopsis: A vehicle is seen from a low angle on a dirt road, casting a long shadow. No people or dialogue are visible or audible in this beat.

  • A vehicle moves along a dirt road, seen from a low angle. [frame:1]

Evidence, details and a link to share

Sequence 9 from 3:30

Sequence 10 from 3:34

Frame at 3:35, shot 293:35
1 of 1 shots sampled

16. Road

3:34–3:36 Machine checks passed

Model synopsis: A dark, indistinct object lies on a dirt road beside a grassy embankment. No people or vehicles are visible in the single frame provided.

Evidence, details and a link to share

Sequence 11 from 3:36

Frame at 3:40, shot 303:40
1 of 1 shots sampled

17. Road

3:36–3:43 Machine checks passed (partial)

Model synopsis: A vintage truck drives on a paved road with trees and hills in the background. No people are visible, and no dialogue or on-screen text appears in this beat.

  • A truck is driving on a road. [frame:1]

Evidence, details and a link to share

Sequence 12 from 3:43

Frame at 3:48, shot 313:48Frame at 3:58, shot 323:58
2 of 2 shots sampled

18. Field

3:43–4:03 Machine checks passed (partial)

Model synopsis: Two men are shown in an outdoor setting, one holding the other's arm; a vehicle is visible nearby. One man speaks to the other, questioning his condition and stating he is 'out'.

  • One man holds another man's arm in an outdoor field. [frame:1]
  • A man walks away from a vehicle while another man is seated nearby. [frame:2]

2 people observed.

“Hey what happened to you young fellow I guess you're out all right. I don't mean you're all right I just get you're out. If I have to pick.” 3:45

Evidence, details and a link to share

Sequence 13 from 4:03

Frame at 4:07, shot 334:07Frame at 4:16, shot 344:16
2 of 2 shots sampled

19. Vehicle interior

4:03–4:20 Machine checks passed

Model synopsis: Two men are in a vehicle; one is driving and the other is in the passenger seat. The transcript reveals they are discussing names, with both men sharing the name Jim Smith.

  • Two men are seated in a vehicle, one driving, one passenger. [frame:1]
  • The passenger looks toward the driver while speaking. [frame:2]

Named: Jim Smith (t:4:07), Jim Smith (t:4:07). 2 people observed.

“Couple of hobos running down our country. It's a fine howdy-you-do.” 4:07 · “Mate Jake told me your name. Smith. It's plain Jim Smith.” 4:07

Evidence, details and a link to share

Frame at 4:24, shot 354:24Frame at 4:46, shot 394:46Frame at 5:10, shot 435:10Frame at 5:20, shot 475:20
4 of 13 shots sampled

20. Vehicle interior

4:20–5:21 Machine checks passed

Model synopsis: Two men are in a vehicle, speaking about family names and naval service. One identifies as Tennessee Smith and mentions his family's Navy background and a past ship, the Sinclair.

Named: Tennessee Smith (t:4:44). 2 people observed.

“Arkansas. Buck-eye, I think it was. Yep, Buck-eye it was. Because my uncle used to always call him Buck. You know, Buck left home when he wa…” 4:22 · “It couldn't be me. I'm no April Fool, baby. And besides, I'm one of the Tennessee Smiths. How do you do, Tennessee Smith? Glad to know you.” 4:44

Evidence, details and a link to share

Frame at 5:27, shot 495:27Frame at 5:35, shot 505:35Frame at 5:43, shot 515:43Frame at 5:52, shot 525:52
4 of 4 shots sampled

22. Vehicle interior

5:23–5:56 Machine checks passed

Model synopsis: Two men are in a vehicle, one driving and one in the passenger seat, discussing past work and future plans. One man mentions being a deep sea diver and the other suggests he could be a Gunner's mate in the Navy.

2 people observed.

“He's commander of the section base of San Pedro now. A mighty tough Joe to shave, but you'd never want to meet a greater little guy.” 5:26 · “No, not exactly. Until a couple of months ago, I was knocking around the South Pacific.” 5:40

Evidence, details and a link to share

Frame at 5:58, shot 535:58Frame at 6:09, shot 556:09Frame at 6:11, shot 566:11Frame at 6:16, shot 586:16
4 of 6 shots sampled

23. Vehicle interior

5:56–6:18 Machine checks passed (partial)

Model synopsis: A man in uniform drives a vehicle while another man sits beside him; a newspaper headline reports a naval officer missing. The vehicle's windshield displays the name 'SMITH' and 'P. SMITH'.

  • A man in a dark jacket sits in the passenger seat of a vehicle. [frame:2]
  • Two men are visible inside a vehicle, with 'P. SMITH' written on the windshield. [frame:3]
  • A newspaper headline reads 'Naval Officer Missing' and identifies the officer as Lieutenant Richard Houston. [frame:4]

Named: Lieutenant Richard Houston (frame:4). 3 people observed.

“Sure, I will.” 6:13

Evidence, details and a link to share

Sequence 14 from 6:18

Frame at 6:19, shot 596:19
1 of 1 shots sampled

24. Other

6:18–6:20 Machine checks flagged: name not grounded

Model synopsis: A newspaper clipping shows a missing naval officer, Lieutenant Richard Houston, with a photo and text indicating he is sought by naval authorities. No spoken dialogue or additional context is provided in this beat.

Named: Richard Houston (frame:1). 1 person observed.

Flagged: name not grounded (Richard Houston)

Evidence, details and a link to share

Sequence 15 from 6:20

Frame at 6:24, shot 606:24
1 of 1 shots sampled

25. Private office

6:20–6:28 Machine checks passed (partial)

Model synopsis: A man in dark clothing sits at a desk, writing on paper. The setting appears to be an interior office or study with wooden furniture and shelves in the background.

  • A man writes on paper at a desk. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 16 from 6:28

Frame at 6:32, shot 616:32
1 of 1 shots sampled

26. Other

6:28–6:36 Machine checks passed

Model synopsis: A close-up of a Western Union telegram form is shown, filled out with handwritten details including names and addresses. No people are visible or audible in this beat.

Evidence, details and a link to share

Frame at 6:39, shot 626:39
1 of 1 shots sampled

27. Private office

6:36–6:42 Machine checks passed

Model synopsis: A close-up of a Western Union telegram form from the Recorder's Office in Buckeye, Arkansas, filled out with handwritten details including a birth certificate request for James Smith. No people or spoken dialogue are visible or audible in this beat.

Evidence, details and a link to share

Sequence 17 from 6:42

Frame at 6:58, shot 636:58Frame at 7:19, shot 647:19
2 of 2 shots sampled

28. Kitchen

6:42–7:24 Machine checks passed (partial)

Model synopsis: Two men stand outside a house; one enters a kitchen where another man stirs a pot. Dialogue includes greetings and mentions of food and family.

  • Two men stand outside a house talking. [frame:1]
  • A man stirs a pot in a kitchen. [frame:2]

Named: Marlin (t:7:08). 3 people observed.

“I'll fix it all, pal. It really makes us cousins.” 6:42 · “Hey, Mom, it's me, Vicky.” 7:03

Evidence, details and a link to share

Frame at 7:28, shot 657:28Frame at 7:36, shot 667:36Frame at 7:47, shot 677:47
3 of 3 shots sampled

29. Kitchen

7:24–7:54 Machine checks passed (partial)

Model synopsis: Two men in suits talk in a kitchen; one holds a paper. A line mentions 'Vincent's Market' and 'put the potatoes on the boil,' suggesting domestic preparation. Another line refers to 'liberty' and 'Elliot's,' indicating a military or service context.

  • Two men stand in a kitchen, one holding a paper and speaking to the other. [frame:1]
  • The man on the left gestures while speaking; the man on the right looks at the paper. [frame:2]
  • The man on the left leans forward slightly, continuing to speak. [frame:3]

2 people observed.

“I'm going after this Vincent's Market. If you get home first, put the potatoes on the boil. Elliot, telephones.” 7:29 · “We'll have this 40 hours and be here next week.” 7:34

Evidence, details and a link to share

Frame at 8:01, shot 688:01Frame at 8:19, shot 698:19Frame at 8:38, shot 708:38
3 of 3 shots sampled

30. Living room

7:54–8:44 Machine checks passed (partial)

Model synopsis: Two men in suits are in a room; one speaks while the other moves toward a doorway. The transcript includes dialogue about a bedroom, a brother named Jacks, and a trip to Spence's to pick up Mom.

  • A man stands in a room with another man facing him. [frame:1]
  • Two men stand close, one holding a coat. [frame:2]
  • One man stands in the room while the other walks through a doorway. [frame:3]

Named: Jacks (t:8:07). 2 people observed.

“Come on, let me down, will you?” 7:55 · “Team 2 and throw out your anchors. Now, wait a minute. I'm not going to take your bedroom away from you. Who says it's my room?” 8:01

Evidence, details and a link to share

Sequence 18 from 8:44

Frame at 8:45, shot 718:45
1 of 1 shots sampled

31. Beat 31

8:44–8:47 Machine checks passed

Model synopsis: A close-up of a woman with styled hair and a smile, looking upward. No dialogue or environmental context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 19 from 8:47

Frame at 8:49, shot 728:49Frame at 8:57, shot 738:57
2 of 2 shots sampled

32. Private office

8:47–9:03 Machine checks passed (partial)

Model synopsis: A man in a dark room reacts with alarm, looking at a framed portrait and then turning toward a doorway. The transcript shows him repeating 'Oh, my God' during this interval.

  • man looks at a framed portrait on a desk [frame:1]
  • man turns away from the desk toward a doorway [frame:2]

1 person observed.

“Oh, my God.” 8:50 · “Oh, my God.” 8:51

Evidence, details and a link to share

Sequence 20 from 9:03

Sequence 21 from 9:08

Sequence 22 from 9:12

Frame at 9:16, shot 769:16Frame at 9:28, shot 779:28
2 of 2 shots sampled

35. Private office

9:12–9:35 Machine checks passed (partial)

Model synopsis: A close-up shows an engraved medal from the U.S. Naval Academy dated June 1932. A man in a dark suit is visible in a dimly lit room, leaning over a desk with a lamp.

  • A close-up of a medal engraved with 'TO ENSIGN RICHARD HOUSTON' and 'JUNE 1932'. [frame:1]
  • A man in a dark suit leans over a desk in a dimly lit room. [frame:2]

1 person observed.

“I'm” 9:16 · “Put your hands.” 9:33

Evidence, details and a link to share

Sequence 23 from 9:35

Frame at 9:36, shot 789:36
1 of 1 shots sampled

36. Private office

9:35–9:37 Machine checks passed

Model synopsis: A man stands in a dimly lit room holding a coat while a woman in a dark coat stands in a doorway. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 10:07, shot 8710:07Frame at 10:11, shot 8810:11Frame at 10:19, shot 8910:19
3 of 3 shots sampled

38. Living room

10:05–10:26 Machine checks passed (partial)

Model synopsis: A man introduces himself as Jim Smith while holding an object; a woman responds and then fires a gun, after which she and the man move toward a doorway. The setting is an interior room with wall sconces and framed pictures.

  • The woman responds and holds a pistol. [frame:2]
  • The man and woman move toward a doorway. [frame:3]

Named: Jim Smith (t:10:06). 2 people observed.

“Oh, didn't I tell you? I'm Jim Smith, one of the Tennessee Smiths.” 10:06 · “You see, Fixit told me that I--” 10:10

Evidence, details and a link to share

Frame at 10:28, shot 9010:28Frame at 10:32, shot 9110:32Frame at 10:38, shot 9210:38Frame at 10:49, shot 9310:49
4 of 4 shots sampled

39. Living room

10:26–10:56 Machine checks passed (partial)

Model synopsis: A man carries an unconscious woman through a room while another woman and a man observe; dialogue introduces 'Tennessee Smith' and 'moms' and suggests leaving 'Mary' behind. The setting is an interior room with furniture and a doorway.

  • A man enters a room carrying a woman over his shoulder. [frame:1]
  • The man holds the woman close, her head resting on his shoulder. [frame:2]
  • The man stands with the woman in his arms while two other people look on. [frame:3]
  • 1 more under Evidence and details.

Named: Tennessee Smith (t:10:35), Mary (t:10:35), moms (t:10:35). 4 people observed.

“No, she painted. She thought I was the burger. Can you imagine that?” 10:27 · “Oh, hey, moms, this is Tennessee Smith I was telling you about. Tennessee, this is moms. Ain't she cute? How do you do? I've heard of you. W…” 10:35

Evidence, details and a link to share

Sequence 24 from 10:56

Frame at 11:00, shot 9411:00
1 of 1 shots sampled

40. Ship

10:56–11:04 Machine checks passed

Model synopsis: A silhouette of a naval vessel with crew visible on deck and gun mounts, viewed from a low angle. The scene is shot in high-contrast black and white with no visible dialogue or on-screen text.

Evidence, details and a link to share

Frame at 11:06, shot 9511:06
1 of 1 shots sampled

41. Harbor

11:04–11:09 Machine checks passed

Model synopsis: A black-and-white shot shows several boats moored in a harbor, with no people visible. The scene is static and depicts maritime vessels in a docked state.

Evidence, details and a link to share

Sequence 25 from 11:09

Frame at 11:11, shot 9611:11
1 of 1 shots sampled

42. Ship

11:09–11:13 Machine checks passed

Model synopsis: A dark vessel is visible on choppy water, with a larger ship and cranes in the background. No people are clearly visible, and no dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 26 from 11:13

Frame at 11:18, shot 9711:18
1 of 1 shots sampled

43. Pier

11:13–11:22 Machine checks passed

Model synopsis: A long pier extends into water with snow-covered trees on the left and a stone structure on the right. No people or spoken dialogue are visible or audible in this beat.

Evidence, details and a link to share

Sequence 27 from 11:22

Frame at 11:24, shot 9811:24
1 of 1 shots sampled

44. Other

11:22–11:25 Machine checks passed

Model synopsis: A recruiting poster for the U.S. Naval Reserve is displayed behind a chain-link fence next to sandbags. A sign reading 'RECRUITING' is visible to the left.

Evidence, details and a link to share

Sequence 28 from 11:25

Frame at 11:32, shot 9911:32Frame at 11:40, shot 10011:40Frame at 11:54, shot 10211:54Frame at 12:02, shot 10312:02
4 of 5 shots sampled

45. Ship

11:25–12:06 Machine checks passed (partial)

Model synopsis: Two men in civilian clothes interact with a group of sailors on a ship deck; one man is greeted by name. A voice-over discusses promotion requirements for sailors.

  • Two men in civilian clothes walk toward a group of sailors on a ship deck. [frame:1]
  • A man in a naval uniform addresses a group of sailors holding papers. [frame:2]
  • A man in a suit greets another man in a naval uniform; sailors look on. [frame:3]
  • 1 more under Evidence and details.

Named: Smith (t:11:46), Freshwater Hines (t:11:46). 6 people observed.

“Your ship offered you the same opportunity for promotion whether you've graduated from the trade school or not. But to be promoted you must …” 11:36 · “Fix it Smith! Freshwater Hines! How have you been? Great! Glad to see you! Glad to see you! Oh boy, I bet we get that off of you in a hurry.…” 11:46

Evidence, details and a link to share

Sequence 29 from 12:06

Frame at 12:08, shot 10412:08
1 of 1 shots sampled

46. Road

12:06–12:11 Machine checks passed (partial)

Model synopsis: A large group of uniformed men marches in formation along a paved road, with trees and a low wall visible in the background. The scene is shot in black and white with strong shadows, suggesting bright daylight.

  • A column of uniformed men marches along a paved road. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 30 from 12:11

Frame at 12:13, shot 10512:13
1 of 1 shots sampled

47. Field

12:11–12:15 Machine checks passed

Model synopsis: A wide shot shows a large group of uniformed men standing in formation on a paved area, with a cannon barrel visible in the foreground. The background includes distant trees and open land under a bright sky.

1 person observed.

Evidence, details and a link to share

Sequence 31 from 12:15

Frame at 12:22, shot 10612:22
1 of 1 shots sampled

48. Beat 48

12:15–12:30 Machine checks passed

Model synopsis: A single frame from a 1943 film shows a chaotic, high-contrast black-and-white image of indistinct figures in motion. No dialogue, names, or clear setting are visible or audible in this beat.

Evidence, details and a link to share

Sequence 32 from 12:30

Frame at 12:34, shot 10712:34
1 of 1 shots sampled

49. Field

12:30–12:38 Machine checks passed (partial)

Model synopsis: A military parade is shown in formation on a paved area, with soldiers marching and carrying flags. A voice says 'I'm' at 12:30, but no further context is provided in the transcript or frames.

  • Soldiers march in formation carrying flags. [frame:1]

1 person observed.

“I'm” 12:30

Evidence, details and a link to share

Sequence 33 from 12:38

Frame at 12:39, shot 10812:39
1 of 1 shots sampled

50. Dock

12:38–12:41 Machine checks passed

Model synopsis: Two men in naval uniforms stand side by side on a dock with a ship and sandbags visible behind them. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 34 from 12:41

Frame at 12:48, shot 10912:48
1 of 1 shots sampled

51. Other

12:41–12:55 Machine checks passed

Model synopsis: A dimly lit interior scene shows a person moving near a draped structure while two figures in uniform stand in the foreground. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 35 from 12:55

Frame at 13:00, shot 11013:00Frame at 13:08, shot 11113:08Frame at 13:19, shot 11313:19Frame at 13:21, shot 11413:21
4 of 5 shots sampled

52. Private office

12:55–13:22 Machine checks passed (partial)

Model synopsis: Two men in uniform speak in an office while a third man enters; one is addressed as Frickson and is offered a mine sweeper. The setting is an interior office with blinds and framed pictures.

  • A man in a suit enters the office and is addressed as Gilman. [frame:2]
  • The man in the suit is shown in close-up, looking serious. [frame:3]
  • The man in uniform is shown in close-up, looking directly at camera. [frame:4]

Named: Frickson (t:13:10), Gilman (t:13:08). 3 people observed.

“We're hoping for some old timers for the mine disposal unit, sir.” 12:56 · “Pardon me, Gilman.” 13:08

Evidence, details and a link to share

Frame at 13:25, shot 11513:25Frame at 13:30, shot 11613:30Frame at 13:40, shot 11813:40Frame at 13:46, shot 11913:46
4 of 5 shots sampled

53. Private office

13:22–13:47 Machine checks passed (partial)

Model synopsis: Two men converse in an office; one, in uniform, speaks to another in civilian clothes. A third man is briefly visible in the background. The dialogue references medical shots and a character named Jim Smith.

  • A man in uniform turns away from the camera toward a counter. [frame:2]
  • The two men face each other again in conversation. [frame:3]
  • The man in the suit looks toward the camera with a serious expression. [frame:4]

Named: Ichabod Ferdinand Smith (t:13:24), Jim Smith (t:13:41). 3 people observed.

“Ichabod Ferdinand Smith.” 13:24 · “And Mr. Harley will take care of you.” 13:30

Evidence, details and a link to share

Frame at 13:49, shot 12013:49Frame at 14:04, shot 12214:04Frame at 14:12, shot 12314:12Frame at 14:29, shot 12514:29
4 of 6 shots sampled

54. Private office

13:47–14:33 Machine checks passed (partial)

Model synopsis: A man in a naval uniform speaks with two civilians in a room with blinds; one civilian is later shown in a tight shirt with a large emblem on the chest. The dialogue reveals the civilian's name is Smith and that he is a deep-sea diver, with a brief mention of past locations like Hawaii and Florida.

  • A man in a naval uniform stands holding a hat. [frame:1]
  • The naval officer and two civilians stand facing each other. [frame:2]
  • One civilian looks toward the officer while the other looks away. [frame:3]
  • 1 more under Evidence and details.

Named: Smith (t:13:56). 4 people observed.

“Did you say your name was Smith?” 13:56 · “Afraid not, sir, unless it was down in Florida in the salvage business or in the South Sea.” 14:05

Evidence, details and a link to share

Frame at 14:37, shot 12614:37
1 of 1 shots sampled

55. Private office

14:33–14:41 Machine checks passed

Model synopsis: A shirtless man faces another man in a dark suit in an interior room; no dialogue is present in this beat. The setting appears to be a private space with a window and a coat hanging on the wall.

2 people observed.

Evidence, details and a link to share

Sequence 36 from 14:50

Sequence 37 from 14:58

Frame at 14:59, shot 12914:59
1 of 1 shots sampled

58. Kitchen

14:58–15:00 Machine checks passed

Model synopsis: A group of men in white shirts and aprons stand in a line at a counter, one man looking down at bottles. The setting appears to be a kitchen or mess hall with bright overhead lighting.

5 people observed.

Evidence, details and a link to share

Sequence 38 from 15:00

Frame at 15:04, shot 13015:04Frame at 15:09, shot 13115:09Frame at 15:13, shot 13215:13Frame at 15:20, shot 13315:20
4 of 4 shots sampled

59. Other

15:00–15:24 Machine checks passed

Model synopsis: A group of men in white undershirts are gathered indoors; one speaks about playing 'Nipponese poker' while others react. The scene includes dialogue about returning to an activity and a joke involving two jabs to open.

4 people observed.

“I'm going to go to paint and put me on that car over there and when they get busy again not slip out.” 15:03 · “Oh, this never bothers me. Laugh at all, I always say. Say, Doc, did you ever play Nipponese poker? Go ahead, ask me what's Nipponese pok…” 15:09

Evidence, details and a link to share

Frame at 15:29, shot 13415:29Frame at 15:38, shot 13515:38Frame at 15:48, shot 13615:48
3 of 3 shots sampled

60. Other

15:24–15:53 Machine checks passed

Model synopsis: A group of men in a dimly lit interior space interact; one man in a white undershirt speaks while others listen or respond. The transcript includes dialogue about feeling unwell and receiving a 'blue plate special'.

4 people observed.

“Thank you, boys. So you're in again, huh? You said it. You said it.” 15:24 · “Hey, you don't look for good. I'm feeling all right now look no go pulling any more those phony things. Oh me Is if I can't take it?” 15:31

Evidence, details and a link to share

Sequence 39 from 15:53

Sequence 40 from 15:56

Frame at 16:04, shot 13816:04Frame at 16:21, shot 13916:21Frame at 16:34, shot 14016:34Frame at 16:40, shot 14116:40
4 of 4 shots sampled

62. Living room

15:56–16:41 Machine checks passed (partial)

Model synopsis: A woman named Mary receives a birthday gift from two men in a room with a staircase and furniture. One man is addressed as 'Fix-It' and another is referred to as her uncle.

  • A man in a cap enters a room and greets a woman. [frame:1]
  • The woman and two men stand near a staircase in a room. [frame:2]
  • The woman opens a gift box while the two men watch. [frame:3]
  • 1 more under Evidence and details.

Named: Mary Smith (t:16:09), Fix-It (t:16:13), uncle (t:16:18). 3 people observed.

“Miss Mary Smith?” 16:09 · “Happy birthday, Mary, and many of them. Thank you, Fix-It.” 16:13

Evidence, details and a link to share

Frame at 16:43, shot 14216:43Frame at 16:49, shot 14316:49Frame at 16:56, shot 14416:56
3 of 3 shots sampled

63. Living room

16:41–16:59 Machine checks passed (partial)

Model synopsis: A woman receives a gift from a man in uniform while another man in uniform enters the room; a note reads 'Happy Birthday to Blue Eyes'. The scene takes place indoors with three people present and a fourth person visible in the background.

  • A gift box with a note reading 'Happy Birthday to Blue Eyes' is shown. [frame:1]
  • A woman accepts a gift from a man in uniform while another man in uniform stands nearby. [frame:2]
  • The woman bends over the gift box as the second man in uniform enters and greets the group. [frame:3]

Named: Blue Eyes (t:16:48), Mr. Elliot (t:16:56). 4 people observed.

“It's beautiful.” 16:43 · “Really, it's too nice, I shouldn't accept it.” 16:46

Evidence, details and a link to share

Frame at 17:07, shot 14517:07Frame at 17:19, shot 14617:19Frame at 17:26, shot 14717:26Frame at 17:34, shot 14817:34
4 of 4 shots sampled

64. Living room

16:59–17:38 Machine checks passed (partial)

Model synopsis: A man greets Mary, presents her with a birthday gift, and introduces two other men, one of whom is identified as Tennessee Smith. The group is in a room with furniture and a ship's wheel on the wall, and they discuss converting fishing boats to minesweepers before leaving to do something.

  • The man presents Mary with a birthday gift. [frame:2]

Named: Mary (t:17:01), Tennessee Smith (t:17:19). 4 people observed.

“Hello Mary. I'm late had a lot of important things talk over the end. I'm” 17:01 · “Hope you like the present, Mary.” 17:11

Evidence, details and a link to share

Frame at 17:39, shot 14917:39Frame at 17:44, shot 15017:44Frame at 17:52, shot 15117:52
3 of 3 shots sampled

65. Living room

17:38–17:55 Machine checks passed (partial)

Model synopsis: A woman laughs while two men stand nearby in a room with patterned curtains; one man is addressed as 'Blue Eyes' and another enters holding a cake. The scene includes a close-up of packaged hairbrushes with a logo.

  • Close-up of packaged hairbrushes with a logo visible in a box. [frame:1]
  • A woman laughs while standing between two men in a room with curtains. [frame:2]
  • A fourth man enters holding a cake, approaching the group. [frame:3]

Named: Blue Eyes (t:17:43). 4 people observed.

“Happy birthday to Blue Eyes from Tennessee Smith.” 17:43 · “Blue eyes, huh?” 17:47

Evidence, details and a link to share

Sequence 41 from 17:55

Frame at 17:56, shot 15217:56
1 of 1 shots sampled

66. Beat 66

17:55–17:57 Machine checks passed

Model synopsis: The frame is entirely black with no visible content. No events, people, or objects can be identified from the provided visual or textual material.

Evidence, details and a link to share

Sequence 42 from 17:57

Frame at 17:58, shot 15317:58
1 of 1 shots sampled

67. Theatre

17:57–17:59 Machine checks passed

Model synopsis: A person stands at a podium facing a seated audience in a dimly lit room. No dialogue or on-screen text is visible in the single frame.

2 people observed.

Evidence, details and a link to share

Frame at 18:02, shot 15418:02Frame at 18:07, shot 15518:07Frame at 18:12, shot 15618:12
3 of 3 shots sampled

68. Classroom

17:59–18:16 Machine checks passed (partial)

Model synopsis: A man in uniform stands before seated sailors in a classroom, reading from a manual while others react. The transcript includes remarks about humor in the Navy and a reference to 'Sambo' and the Blue Jackets manual.

  • A man in uniform stands before seated sailors in a classroom. [frame:1]
  • The man smiles while addressing the class. [frame:2]
  • The man reads from a book while a sailor looks up at him. [frame:3]

Named: Welsh (t:18:15). 3 people observed.

“I didn't know there was anything that funny in the Blue Jackets manual.” 18:04 · “Sambo his jokes and funny things.” 18:11

Evidence, details and a link to share

Frame at 18:21, shot 15718:21Frame at 18:29, shot 15818:29Frame at 18:37, shot 15918:37Frame at 18:46, shot 16018:46
4 of 4 shots sampled

69. Classroom

18:16–18:50 Machine checks passed (partial)

Model synopsis: Two men are in a room with a blackboard; one seated, one standing with arms crossed. The standing man is prompted to tell a joke, which he does, followed by a command to write on the blackboard.

  • A man stands with arms crossed in front of a blackboard while another man sits and looks up at him. [frame:1]

Named: Mr. Bones (t:18:36). 2 people observed.

“Say something funny.” 18:18 · “Read me one of those jokes and if it makes us laugh we'll forget the whole thing.” 18:23

Evidence, details and a link to share

Frame at 18:54, shot 16118:54Frame at 19:04, shot 16219:04
2 of 2 shots sampled

70. Private office

18:50–19:10 Machine checks passed (partial)

Model synopsis: A man in uniform stands with arms crossed while another sits in a room; later, a group of men in uniform marches outdoors. The transcript includes commands for drill and a comment about someone being funny.

  • A man in uniform stands with arms crossed while another sits in a room. [frame:1]
  • A group of men in uniform marches outdoors. [frame:2]

3 people observed.

“Corny Welch is as funny as a crutch. And write it 500 times.” 18:50 · “Yes, sir.” 18:54

Evidence, details and a link to share

Frame at 19:16, shot 16319:16Frame at 19:24, shot 16419:24Frame at 19:37, shot 16619:37Frame at 19:42, shot 16719:42
4 of 5 shots sampled

71. Street

19:10–19:44 Machine checks passed (partial)

Model synopsis: A group of sailors in uniform stand at attention outdoors while an officer addresses them; one sailor speaks about shoulder pain. A close-up shows an officer in uniform, followed by a shot of sailors holding rifles.

  • Sailors stand at attention while an officer addresses them. [frame:1]
  • Sailors hold rifles at attention. [frame:2]
  • Officer in uniform is shown in close-up. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Right shoulder hurt!” 19:34 · “Left shoulder hurt!” 19:38

Evidence, details and a link to share

Frame at 19:48, shot 16819:48Frame at 19:56, shot 16919:56Frame at 20:01, shot 17020:01Frame at 20:05, shot 17120:05
4 of 4 shots sampled

72. Ship

19:44–20:08 Machine checks passed (partial)

Model synopsis: A group of sailors in uniform are shown handling ropes and equipment on a ship's deck, with one man in civilian clothes observing. The scene includes a loud explosion sound effect at 20:00, followed by sailors reacting and looking toward the horizon.

  • Sailors turn their heads toward the horizon after the explosion. [frame:3]
  • Sailors on deck react to the explosion, some holding binoculars. [frame:4]

4 people observed.

“*BOOM*” 20:00

Evidence, details and a link to share

Frame at 20:09, shot 17220:09Frame at 20:11, shot 17320:11Frame at 20:22, shot 17520:22Frame at 20:27, shot 17620:27
4 of 5 shots sampled

73. Ship

20:08–20:28 Machine checks passed (partial)

Model synopsis: A target with concentric rings and numbers is shown, followed by a scene with sailors in uniform on what appears to be a ship deck. One sailor faces the camera while another stands with arms crossed in the background. The target reappears at the end.

  • A target with concentric rings and numbers is shown. [frame:1]
  • Two sailors in uniform are seen on a ship deck, one facing the camera. [frame:2]
  • A sailor in uniform faces the camera while another stands with arms crossed in the background. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

Evidence, details and a link to share

Frame at 20:31, shot 17720:31
1 of 1 shots sampled

74. Ship

20:28–20:33 Machine checks passed

Model synopsis: Two men in naval uniforms converse closely on a ship deck; other sailors are visible in the background. The scene is shot in black and white with high-contrast lighting.

3 people observed.

Evidence, details and a link to share

Sequence 43 from 20:33

Frame at 20:37, shot 17820:37
1 of 1 shots sampled

75. Rifle range

20:33–20:41 Machine checks passed

Model synopsis: A man in a military uniform stands beside a sign labeled 'RIFLE RANGE' with rules listed. The setting appears to be an outdoor shooting range with a structure visible in the background.

1 person observed.

Evidence, details and a link to share

Sequence 44 from 20:41

Frame at 20:43, shot 17920:43
1 of 1 shots sampled

76. Other

20:41–20:45 Machine checks passed

Model synopsis: A group of sailors in white hats is gathered outdoors near a brick wall, with one crouching in the foreground. The scene is shot in high-contrast black and white with strong backlighting.

3 people observed.

Evidence, details and a link to share

Sequence 45 from 20:45

Frame at 20:46, shot 18020:46
1 of 1 shots sampled

77. Field

20:45–20:47 Machine checks passed

Model synopsis: A group of sailors in uniform are gathered around a mounted telescope on grass. One sailor kneels at the telescope while others stand or crouch nearby.

3 people observed.

Evidence, details and a link to share

Sequence 46 from 20:47

Frame at 20:49, shot 18120:49
1 of 1 shots sampled

78. Ship

20:47–20:51 Machine checks passed

Model synopsis: A group of men in dark uniforms and white hats are gathered closely, one looking down. No dialogue or on-screen text is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 47 from 20:51

Frame at 20:55, shot 18220:55Frame at 21:01, shot 18321:01Frame at 21:07, shot 18421:07
3 of 3 shots sampled

79. Ship

20:51–21:11 Machine checks passed (partial)

Model synopsis: A naval officer reports a plan to a superior while standing with other officers on a ship's deck. The transcript identifies one officer as Smith, number five, during the exchange.

  • An officer in a light uniform speaks to a superior officer. [frame:2]
  • The officer in the light uniform continues speaking while others listen. [frame:3]

Named: Smith (t:21:05). 4 people observed.

“I'm going to make out with this plan pretty good sir.” 21:01 · “Five three sevens, four three eights, and one four zero, sir. Who's the four zero? Smith, sir, number five.” 21:05

Evidence, details and a link to share

Frame at 21:12, shot 18521:12Frame at 21:17, shot 18621:17Frame at 21:26, shot 18821:26Frame at 21:29, shot 18921:29
4 of 5 shots sampled

80. Ship

21:11–21:30 Machine checks passed

Model synopsis: A sailor named Smith is addressed by officers who commend his adaptation to Navy routine and his aspiration to become a gunner. The scene shows sailors and officers in uniform, with dialogue indicating encouragement and ambition.

Named: Tennessee Smith (t:21:13). 4 people observed.

“Mr. Tennessee Smith? Yes, sir.” 21:13 · “I never saw a rookie take to Navy a routine like Smith does, sir.” 21:13

Evidence, details and a link to share

Frame at 21:35, shot 19021:35Frame at 21:41, shot 19121:41Frame at 21:53, shot 19321:53Frame at 22:00, shot 19422:00
4 of 5 shots sampled

81. Naval briefing room

21:30–22:04 Machine checks passed (partial)

Model synopsis: A naval officer addresses a group of sailors in uniform, standing in formation indoors. The speech emphasizes the critical, though sometimes monotonous, duty of minesweeping and its importance to naval operations.

  • Sailors stand at attention while being addressed. [frame:1]
  • Officers stand together, facing the sailors. [frame:3]

4 people observed.

“Most of you will be assigned to duty on minesweepers.” 21:30 · “to work difficult, trying, and at times dangerous. The continual sweeping of the channels may appear dull and monotonous.” 21:35

Evidence, details and a link to share

Sequence 48 from 22:04

Frame at 22:05, shot 19522:05
1 of 1 shots sampled

82. Other

22:04–22:06 Machine checks passed

Model synopsis: Two men in sailor uniforms stand side by side in a dimly lit interior space; one looks off-camera while the other faces forward. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 49 from 22:06

Sequence 50 from 22:10

Frame at 22:13, shot 19722:13
1 of 1 shots sampled

84. Ship

22:10–22:15 Machine checks passed

Model synopsis: Three men stand on a ship deck; one in civilian clothes holds a large horn-like object, another in uniform wears binoculars, and a third in dark clothing adjusts his headgear. The setting is a ship deck during daylight, with no visible landmarks or time indicators.

3 people observed.

Evidence, details and a link to share

Sequence 51 from 22:15

Frame at 22:16, shot 19822:16
1 of 1 shots sampled

85. Sea

22:15–22:17 Machine checks passed

Model synopsis: A small white object is visible on the surface of a dark, choppy sea under an overexposed sky. No people, vehicles, or structures are clearly identifiable in the frame.

Evidence, details and a link to share

Sequence 52 from 22:17

Frame at 22:18, shot 19922:18
1 of 1 shots sampled

86. Ship

22:17–22:18 Machine checks passed (partial)

Model synopsis: Three men stand on a ship's deck; one aims a rifle through a gunport, another in uniform observes, and a third holds a rifle upright. The setting is a ship during daylight, as indicated by the open sky and deck structure.

  • man in light uniform aims rifle through gunport [frame:1]
  • man in officer's uniform stands observing [frame:1]
  • man in dark uniform holds rifle upright [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 53 from 22:18

Frame at 22:21, shot 20022:21
1 of 1 shots sampled

87. Sea

22:18–22:24 Machine checks passed (partial)

Model synopsis: A large plume of water and smoke erupts from the sea surface, suggesting an explosion or impact. No people, objects, or text are visible in the frame.

  • A large column of water and smoke erupts from the sea surface. [frame:1]

Evidence, details and a link to share

Sequence 54 from 22:24

Frame at 22:32, shot 20122:32Frame at 22:44, shot 20222:44
2 of 2 shots sampled

88. Ship

22:24–22:49 Machine checks passed

Model synopsis: Two sailors are on a ship deck; one holds a rifle while they speak. The dialogue suggests one is a rookie receiving praise from a more experienced sailor.

2 people observed.

“Good work probably more where that came from Mr. Wells undoubtedly we'll get them.” 22:25 · “You know for a rookie you're a little short of terrific. That coming from you is a real compliment. It took me a year to get where you got i…” 22:30

Evidence, details and a link to share

Frame at 22:52, shot 20322:52Frame at 23:03, shot 20423:03
2 of 2 shots sampled

89. Ship

22:49–23:10 Machine checks passed (partial)

Model synopsis: A sailor in uniform stands on a ship's deck holding a rifle, while another man in a cap adjusts his belt nearby. The transcript includes dialogue about Navy food and an invitation to dinner.

  • A sailor stands holding a rifle on a ship's deck. [frame:1]
  • A man adjusts his belt while standing on the ship. [frame:2]

2 people observed.

“There is around that way you're going to have to throw that belt away. I got your right.” 23:04 · “clean mom's cooking in that Navy chow. They're about to play near with my streamlined figures. Yeah they sure are. Mom's having corned beef …” 23:08

Evidence, details and a link to share

Sequence 55 from 23:29

Frame at 23:33, shot 20723:33
1 of 1 shots sampled

91. Ship

23:29–23:37 Machine checks passed

Model synopsis: A group of sailors in uniform are seated around a table in a dimly lit interior, engaged in conversation. One man speaks while others listen or react, with dialogue indicating they are learning something quickly.

  • Sailors sit around a table in a ship's interior, conversing. [frame:1]

4 people observed.

“Oh, you guys wouldn't know it.” 23:30 · “Choke with a hard one.” 23:32

Evidence, details and a link to share

Frame at 23:39, shot 20823:39Frame at 23:44, shot 20923:44Frame at 23:53, shot 21023:53Frame at 23:59, shot 21123:59
4 of 4 shots sampled

92. Ship

23:37–24:00 Machine checks passed

Model synopsis: A group of men in military-style uniforms are seated at a table in a dimly lit interior, conversing. One man is addressed by name, and another mentions a meal and an invitation, which is accepted.

Named: Tennessee (t:23:38), Fixin (t:23:51). 5 people observed.

“Speaking of corn, that reminds me, Tennessee.” 23:38 · “Mom's having her favorite dish tonight, corned beef and cabbage. Did she raise it with a knife and fork? Oh, I'm sharp as a marble. Got a…” 23:40

Evidence, details and a link to share

Frame at 24:03, shot 21224:03Frame at 24:10, shot 21424:10Frame at 24:13, shot 21524:13Frame at 24:23, shot 21724:23
4 of 6 shots sampled

93. Ship

24:00–24:27 Machine checks passed (partial)

Model synopsis: A group of sailors is gathered around a table in a ship's interior, followed by a close-up of an engine order telegraph, then a sailor on deck, and finally a view of the ship's bridge with crew at stations. No names are spoken, and no time of day or period is established.

  • A group of sailors are seated around a table in a ship's interior. [frame:1]
  • A close-up of an engine order telegraph is shown. [frame:2]
  • A sailor stands on the deck of the ship. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“I'm going to fall in our color.” 24:01

Evidence, details and a link to share

Sequence 56 from 24:27

Frame at 24:28, shot 21824:28
1 of 1 shots sampled

94. Ship

24:27–24:30 Machine checks passed

Model synopsis: A group of sailors in uniform stand together on a ship's deck, looking off-camera. The scene is shot in black and white with studio lighting.

4 people observed.

Evidence, details and a link to share

Sequence 57 from 24:30

Frame at 24:31, shot 21924:31Frame at 24:36, shot 22024:36Frame at 24:46, shot 22124:46
3 of 3 shots sampled

95. Ship

24:30–24:52 Machine checks passed (partial)

Model synopsis: A naval vessel is shown on the water with crew members in uniform on deck; one uses binoculars while another speaks about drifting and mines. The transcript includes dialogue about engine failure and a potential mine threat.

  • A ship is seen on open water with a mine or object floating nearby. [frame:1]
  • Two naval officers converse on deck, one facing the other. [frame:2]
  • One officer uses binoculars while another stands beside him. [frame:3]

4 people observed.

“Edwin sir engine stops we right drifting back along our sweep line for the mind I had one third come left to your car I said” 24:31 · “That could have course for that little number would make a great show with it one way ticket to Davy Jones” 24:46

Evidence, details and a link to share

Sequence 58 from 24:52

Frame at 24:53, shot 22224:53
1 of 1 shots sampled

96. Ship

24:52–24:55 Machine checks passed

Model synopsis: A group of sailors in uniform is shown in a medium shot. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Frame at 24:59, shot 22324:59Frame at 25:04, shot 22425:04Frame at 25:07, shot 22525:07Frame at 25:10, shot 22625:10
4 of 4 shots sampled

97. Ship

24:55–25:11 Machine checks passed (partial)

Model synopsis: Two officers on a ship's deck give orders about preparing boats and gear; crew members are visible on deck and at stations. The setting is a naval vessel at sea, with equipment and rigging visible.

  • The first officer raises binoculars to his eyes. [frame:2]
  • Crew members stand on deck, some facing away. [frame:4]

4 people observed.

“out a detail in boats to unfile the gear.” 25:01 · “Aye, sir.” 25:01

Evidence, details and a link to share

Frame at 25:14, shot 22725:14
1 of 1 shots sampled

98. Ship

25:11–25:18 Machine checks passed

Model synopsis: A group of sailors is visible on the deck of a ship, handling equipment. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 59 from 25:18

Frame at 25:20, shot 22825:20
1 of 1 shots sampled

99. Open water

25:18–25:23 Machine checks passed (partial)

Model synopsis: Two small boats are on open water; one appears to be a motorized vessel moving away while the other is stationary or slower. No people are clearly identifiable, and no dialogue or on-screen text is present.

  • Two small boats are visible on open water, one moving and one relatively stationary. [frame:1]

Evidence, details and a link to share

Sequence 60 from 25:23

Frame at 25:24, shot 22925:24
1 of 1 shots sampled

100. Open water

25:23–25:26 Machine checks passed

Model synopsis: Two men in naval uniforms are seated in a small boat on open water. One man gestures while speaking to the other, who faces away from the camera.

2 people observed.

Evidence, details and a link to share

Frame at 25:27, shot 23025:27
1 of 1 shots sampled

101. Open water

25:26–25:29 Machine checks passed

Model synopsis: Two sailors are seated in a small boat on open water, one holding an oar. The scene is shot in black and white with no visible text or spoken dialogue.

2 people observed.

Evidence, details and a link to share

Sequence 61 from 25:29

Frame at 25:32, shot 23125:32Frame at 25:38, shot 23225:38Frame at 25:47, shot 23325:47
3 of 3 shots sampled

102. Ocean

25:29–25:53 Machine checks passed (partial)

Model synopsis: Two sailors in a small boat on open water approach a floating object; one sailor reacts to its condition. The scene is shot from multiple angles, including a close-up of a sailor holding a net.

  • Two sailors in a small boat approach a floating object in the ocean. [frame:1]
  • The floating object is shown closer, partially submerged. [frame:2]
  • A sailor in the boat holds a net and looks toward the camera. [frame:3]

2 people observed.

“Boy, is that thing foul.” 25:31

Evidence, details and a link to share

Sequence 62 from 25:57

Frame at 25:59, shot 23525:59
1 of 1 shots sampled

104. Sea

25:57–26:00 Machine checks passed (partial)

Model synopsis: Two men are in a small boat on open water, with another boat visible nearby. The scene is shot from a distance, showing the boats on a choppy sea under overcast skies.

  • Two men are in a small boat on choppy water. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 63 from 26:00

Frame at 26:02, shot 23626:02Frame at 26:05, shot 23726:05Frame at 26:09, shot 23826:09Frame at 26:13, shot 23926:13
4 of 4 shots sampled

105. Ship

26:00–26:16 Machine checks passed (partial)

Model synopsis: Two sailors are in a small boat on open water; one speaks about taking a horn back to the skipper. Two other sailors on a ship use binoculars to observe.

  • Two sailors are seated in a small boat on water. [frame:1]
  • One sailor in the small boat turns toward the camera. [frame:2]
  • Two sailors on a ship's deck use binoculars. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Watch yourself, Corny.” 26:01 · “Ah, don't worry about me.” 26:04

Evidence, details and a link to share

Sequence 64 from 26:16

Frame at 26:18, shot 24026:18
1 of 1 shots sampled

106. Open water

26:16–26:21 Machine checks passed (partial)

Model synopsis: A small boat with several people is on open water. The scene is shot in black and white with no visible land or structures.

  • Several people are in a small boat on open water. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 65 from 26:21

Frame at 26:23, shot 24126:23Frame at 26:32, shot 24226:32Frame at 26:48, shot 24426:48Frame at 26:55, shot 24526:55
4 of 5 shots sampled

107. Sea

26:21–26:59 Machine checks passed (partial)

Model synopsis: A group of sailors in a small boat on the sea interact with each other, while two officers on a larger vessel observe through binoculars. One sailor gestures toward a horn-like object while another appears to be removing it, prompting dialogue about the action.

  • Sailors in a small boat interact near a horn-like object. [frame:1]
  • One sailor reaches toward the object while others watch. [frame:2]
  • Two officers observe the scene through binoculars from a larger vessel. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“What are you colors for? I want to get one of those horns. Help yourself.” 26:24 · “What are those fellows doing? What's as if Smith's removing a horn?” 26:31

Evidence, details and a link to share

Frame at 27:02, shot 24627:02Frame at 27:10, shot 24727:10Frame at 27:18, shot 24827:18
3 of 3 shots sampled

108. Open water

26:59–27:22 Machine checks passed (partial)

Model synopsis: A group of sailors in a small boat on open water are shown in three frames; one sailor hands an object to another while a third looks on. A voice instructs to return the object to the skipper and says 'Cut it. Easy.'

  • A sailor hands an object to another sailor in a small boat. [frame:1]
  • The sailor receiving the object turns toward the camera. [frame:2]
  • The sailor who handed the object turns away, looking out over the water. [frame:3]

4 people observed.

“Yeah. That's what everyone does. Yeah. Get that back to the skip right away. That's all. Cut it. Easy.” 27:01

Evidence, details and a link to share

Sequence 66 from 27:22

Frame at 27:24, shot 24927:24
1 of 1 shots sampled

109. Open water

27:22–27:26 Machine checks passed (partial)

Model synopsis: Two small boats are visible on open water, one with a person visible at the helm. The scene is shot in black and white with no on-screen text or dialogue.

  • Two small boats are on open water, one with a person visible at the helm. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 67 from 27:26

Frame at 27:27, shot 25027:27
1 of 1 shots sampled

110. Sea

27:26–27:29 Machine checks passed (partial)

Model synopsis: Two men in naval uniforms are in a small boat on open water; one reaches toward the other. No dialogue or on-screen text is present in this beat.

  • A man in a dark uniform reaches toward another man holding an oar in a small boat. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 27:31, shot 25127:31Frame at 27:37, shot 25427:37Frame at 27:49, shot 25727:49Frame at 28:00, shot 26028:00
4 of 10 shots sampled

111. Ocean

27:29–28:04 Machine checks passed (partial)

Model synopsis: A man in a sailor's uniform is shown rowing a small boat on open water. A close-up shows hands manipulating a mechanical device on a surface, possibly a ship's deck or interior.

  • A man in a sailor's uniform sits in a small boat on the water. [frame:1]
  • The man leans forward, gripping oars in the boat. [frame:2]
  • The man continues to row, looking down at the oars. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“I'm. What is the. What is. What. What. What. What. What. What. What. What. What. What.” 27:31

Evidence, details and a link to share

Sequence 68 from 28:04

Frame at 28:17, shot 26228:17Frame at 28:26, shot 26328:26Frame at 28:38, shot 26528:38Frame at 28:41, shot 26628:41
4 of 5 shots sampled

113. Private office

28:13–28:42 Machine checks passed (partial)

Model synopsis: A group of men in military uniforms discuss a new type of mine in an indoor setting. One man, identified as Smith, explains his reasoning for believing the mine is a new design based on its shape and detonation characteristics.

  • A group of men in uniform stand around a table discussing mines. [frame:1]
  • Smith and another man face each other while speaking. [frame:2]

Named: Nash (t:28:20), Smith (t:28:23). 4 people observed.

“Well at least we have something to work on to prevent any larger tragedies as a result of these new Jap mines.” 28:14 · “What led you to believe this was a new design, Nash?” 28:20

Evidence, details and a link to share

Frame at 28:48, shot 26728:48
1 of 1 shots sampled

114. Private office

28:42–28:53 Machine checks passed

Model synopsis: Two men stand facing an off-screen authority figure who assigns them to a mine disposal unit and recommends mine school. One man thanks the authority; the other repeats the thanks.

Named: Lieutenant Gilpin (t:28:43). 3 people observed.

“I'm turning you over to Lieutenant Gilpin.” 28:43 · “You will both be transferred at once to his mine disposal unit.” 28:46

Evidence, details and a link to share

Sequence 69 from 28:53

Frame at 28:57, shot 26828:57Frame at 29:07, shot 26929:07Frame at 29:17, shot 27029:17Frame at 29:21, shot 27129:21
4 of 4 shots sampled

115. Naval aid station

28:53–29:22 Machine checks passed (partial)

Model synopsis: A scene in a naval aid station shows sailors and a nurse interacting near a counter; one sailor speaks about trying to get someone to quit. The setting includes visible signage and naval insignia.

  • Sailors and a nurse are gathered in a naval aid station. [frame:1]
  • A sailor and a nurse stand close together, appearing to converse. [frame:2]
  • Three sailors stand near a counter, one holding an object. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“I think that. Oh never happened to me before. Yeah I tried to get him to quit but he's an awful.” 28:55

Evidence, details and a link to share

Frame at 29:26, shot 27229:26Frame at 29:43, shot 27429:43Frame at 29:50, shot 27529:50Frame at 30:01, shot 27730:01
4 of 6 shots sampled

116. Private office

29:22–30:03 Machine checks passed (partial)

Model synopsis: Two men in naval uniforms are in a dimly lit interior, one holding an object while speaking; the scene ends in near darkness. No names are spoken, and no external environment is visible.

  • Man p1 holds a small object and looks at p2. [frame:1]
  • Man p2 turns toward p1 while speaking. [frame:2]
  • Man p1 responds while holding the object. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“I think you give me one of those. I'm stuck.” 29:29 · “No I don't you come up the house the mom. My apologies when you make good. They are. What's that. You're going to be your time. Not a strugg…” 29:32

Evidence, details and a link to share

Sequence 70 from 30:03

Sequence 71 from 30:05

Frame at 30:09, shot 27930:09Frame at 30:15, shot 28030:15Frame at 30:21, shot 28130:21Frame at 30:28, shot 28230:28
4 of 4 shots sampled

118. Naval facility

30:05–30:31 Machine checks passed (partial)

Model synopsis: Two men in naval uniforms converse in a dimly lit interior space; one appears to be persuading or confronting the other. The setting includes a wall-mounted light and a poster, suggesting a naval facility.

  • Two men in naval uniforms stand close, facing each other in conversation. [frame:1]
  • The man in the dark uniform gestures toward Jim while speaking. [frame:2]
  • Jim touches his face while listening to the other man. [frame:3]
  • 1 more under Evidence and details.

Named: Jim (t:30:06). 4 people observed.

“Hey, sir. Well, do me a favor, will you? I'll get the bird, Jim. It's not that. It's something else, Jim. It's something else, Jim.” 30:06 · “Come here. Oh, Andy. You like dancing? Naturally. Not me, Andy. Good as friends as my. A sailor out here, they're just down to death. He rea…” 30:12

Evidence, details and a link to share

Frame at 30:33, shot 28330:33Frame at 30:39, shot 28430:39Frame at 30:46, shot 28530:46
3 of 3 shots sampled

119. Hospital

30:31–30:50 Machine checks passed (partial)

Model synopsis: Two people converse in a dimly lit interior; one wears a nurse's cap. The transcript includes remarks about someone's timidity and romantic behavior, and a character named Mary is addressed.

  • Two people stand facing each other in conversation. [frame:1]
  • The person in the nurse's cap speaks while the other listens. [frame:2]

Named: Mary (t:30:43). 2 people observed.

“Can't get up his nerves. Isn't he as cool as he's? Oh, he's kind of bad. He's kind of timid-like.” 30:35 · “He's right out there to sell him with a girl.” 30:41

Evidence, details and a link to share

Sequence 72 from 30:50

Frame at 31:08, shot 29131:08
1 of 1 shots sampled

121. Other

31:06–31:09 Machine checks passed

Model synopsis: A dark, low-visibility interior scene shows two or more silhouetted figures in close proximity. No dialogue or on-screen text is present in the beat.

2 people observed.

Evidence, details and a link to share

Frame at 31:11, shot 29231:11
1 of 1 shots sampled

122. Other

31:09–31:13 Machine checks passed

Model synopsis: A dimly lit interior scene shows three indistinct figures in shadow. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Frame at 31:14, shot 29331:14
1 of 1 shots sampled

123. Other

31:13–31:15 Machine checks passed

Model synopsis: A single figure is visible in silhouette against a dark interior background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 73 from 31:15

Frame at 31:19, shot 29431:19
1 of 1 shots sampled

124. Private office

31:15–31:23 Machine checks passed

Model synopsis: A group of people are gathered in a room with a sign reading 'AUXILIARY' on the wall; one man gestures while speaking to a woman. No dialogue is provided for this segment.

4 people observed.

Evidence, details and a link to share

Sequence 74 from 31:23

Frame at 31:27, shot 29531:27
1 of 1 shots sampled

125. Private office

31:23–31:31 Machine checks passed

Model synopsis: A man in dark clothing stands near a beaded curtain while another figure is partially visible to the left. The scene is dimly lit with a wall-mounted lantern providing illumination.

2 people observed.

Evidence, details and a link to share

Sequence 75 from 31:31

Sequence 76 from 31:33

Frame at 31:33, shot 29731:33Frame at 31:37, shot 30031:37Frame at 31:44, shot 30331:44Frame at 31:52, shot 30631:52
4 of 10 shots sampled

127. Private office

31:33–31:54 Machine checks passed (partial)

Model synopsis: A dimly lit interior scene shows two figures in conversation, one of whom is addressed as Jim. The dialogue includes denials and references to someone named Angie, with one speaker commenting on beauty.

  • A man is seen in silhouette in a dark room. [frame:1]
  • A second man turns his head toward the first. [frame:2]
  • The two men face each other in conversation. [frame:3]
  • 1 more under Evidence and details.

Named: Jim (t:31:35). 2 people observed.

“Jim.” 31:35 · “- Angie. - Angie?” 31:41

Evidence, details and a link to share

Frame at 32:24, shot 31132:24
1 of 1 shots sampled

129. Other

32:23–32:25 Machine checks passed

Model synopsis: A single person is visible in a dimly lit, dark interior space. No dialogue, text, or clear objects are visible in the frame.

1 person observed.

Evidence, details and a link to share

Frame at 32:28, shot 31232:28Frame at 32:31, shot 31332:31Frame at 32:34, shot 31532:34Frame at 32:35, shot 31632:35
4 of 5 shots sampled

130. Private office

32:25–32:36 Machine checks passed

Model synopsis: A man is visible in a dim interior, speaking about someone being set to marry Elliot. The scene remains dark across multiple frames, with minimal visible detail.

  • A man stands near a patterned window in a dark room. [frame:1]

Named: Elliot (t:32:31). 1 person observed.

“Oh, no, no, no.” 32:28 · “Until I popped out of nowhere, you were all set to marry Elliot, weren't you?” 32:31

Evidence, details and a link to share

Frame at 32:36, shot 31732:36Frame at 32:42, shot 32132:42Frame at 32:48, shot 32432:48Frame at 32:54, shot 32832:54
4 of 12 shots sampled

131. Other

32:36–32:54 Machine checks passed (partial)

Model synopsis: Two people are in a dimly lit interior, speaking in a tense exchange. One person asks if a person can change, and the other responds with a confused, fragmented statement about dancing and horses.

  • Two silhouetted figures stand facing each other in a dark room. [frame:1]
  • The figures remain in place, with minimal movement. [frame:2]

Named: James (t:32:37), Jim Smith (t:32:47). 2 people observed.

“I don't know, James.” 32:37 · “I know what I'd like to say.” 32:41

Evidence, details and a link to share

Sequence 77 from 32:54

Frame at 32:59, shot 32932:59Frame at 33:14, shot 33033:14Frame at 33:25, shot 33133:25
3 of 3 shots sampled

132. Private office

32:54–33:27 Machine checks passed (partial)

Model synopsis: A scene in a dimly lit interior shows a woman and a man interacting near a doorway, followed by a group of men in uniform gathered around a table with one man pointing. A sign reading 'AID AUXILIARY' is visible. The transcript mentions a Nazi secret weapon.

  • A woman and a man stand near a doorway, the man holding the woman's arm. [frame:1]
  • The woman and man are closer, another woman watches from behind. [frame:2]
  • A man in uniform points while standing over seated men in uniform. [frame:3]

5 people observed.

“Gendon.” 33:15 · “This illustrates but one variant of the Nazi's much-vaunted secret weapon which was supposed to bring England to her knees.” 33:21

Evidence, details and a link to share

Frame at 33:31, shot 33233:31Frame at 33:39, shot 33333:39Frame at 33:48, shot 33433:48Frame at 33:56, shot 33533:56
4 of 4 shots sampled

133. Private office

33:27–34:00 Machine checks passed (partial)

Model synopsis: A man in a military uniform addresses two seated sailors in a dimly lit interior, gesturing toward a device. The transcript mentions Lieutenant Commander Overy, the English Channel, and Japanese mines, indicating a wartime briefing.

  • A man in uniform gestures toward a device while addressing two sailors. [frame:1]
  • The man in uniform bows slightly while speaking. [frame:4]

Named: Lieutenant Commander Overy (t:33:29). 3 people observed.

“But through the extraordinary heroism of Lieutenant Commander Overy of His Majesty's Ship Vernon” 33:29 · “The English Channel was opened again and England was able to receive her necessary war supplies.” 33:38

Evidence, details and a link to share

Sequence 78 from 34:20

Frame at 34:28, shot 33934:28
1 of 1 shots sampled

135. Ship

34:20–34:36 Machine checks passed

Model synopsis: A group of sailors in white hats and dark uniforms are on a gangplank leading to a ship; one is using a megaphone. The scene is outdoors on water, with no visible land or sky details.

3 people observed.

Evidence, details and a link to share

Frame at 34:38, shot 34034:38Frame at 34:43, shot 34134:43Frame at 34:50, shot 34234:50
3 of 3 shots sampled

136. Ship

34:36–34:54 Machine checks passed

Model synopsis: A group of sailors is shown on a small boat near a larger ship, with some handling equipment and others standing or crouching. The setting is on water, with no visible land or time-of-day indicators.

3 people observed.

Evidence, details and a link to share

Frame at 34:57, shot 34334:57Frame at 35:03, shot 34435:03Frame at 35:07, shot 34535:07Frame at 35:13, shot 34635:13
4 of 4 shots sampled

137. Ship

34:54–35:17 Machine checks passed

Model synopsis: A small motorboat with several crew members is shown moving across open water. The crew is visible on deck, with one man standing at the stern and others seated or standing near equipment.

4 people observed.

Evidence, details and a link to share

Sequence 79 from 35:17

Frame at 35:21, shot 34735:21Frame at 35:29, shot 34835:29Frame at 35:33, shot 34935:33
3 of 3 shots sampled

138. Ship

35:17–35:35 Machine checks passed (partial)

Model synopsis: A group of sailors in uniform are gathered on a ship's deck; one is being held up by others while another tends to his foot. The scene is shot in black and white with high-contrast lighting, focusing on the physical interaction among the crew.

  • Sailors gather around a fellow crew member who is being held up. [frame:1]
  • One sailor adjusts the position of the injured man while others assist. [frame:2]
  • A sailor examines or treats the foot of the man being held. [frame:3]

4 people observed.

Evidence, details and a link to share

Frame at 35:38, shot 35035:38Frame at 35:42, shot 35135:42Frame at 35:47, shot 35235:47Frame at 35:53, shot 35335:53
4 of 4 shots sampled

139. Ship

35:35–35:56 Machine checks passed (partial)

Model synopsis: A group of sailors in uniform are gathered on a ship's deck; one is being assisted with a life vest while others stand nearby. The scene is shot in black and white with high-contrast lighting, focusing on the interaction among the crew.

  • A sailor is being helped with a life vest by another sailor. [frame:2]
  • Sailors stand on deck, some holding rifles. [frame:3]
  • A sailor adjusts his headgear while facing away from the camera. [frame:4]

4 people observed.

Evidence, details and a link to share

Frame at 36:00, shot 35436:00Frame at 36:08, shot 35536:08
2 of 2 shots sampled

140. Ship

35:56–36:12 Machine checks passed

Model synopsis: A group of sailors in uniform are gathered on a ship's deck, handling equipment near a mounted gun. The scene is shot in black and white with high-contrast lighting, showing a clear sky and open sea in the background.

4 people observed.

Evidence, details and a link to share

Frame at 36:17, shot 35636:17Frame at 36:25, shot 35736:25
2 of 2 shots sampled

141. Ship

36:12–36:29 Machine checks passed

Model synopsis: A group of men in naval uniforms assist two individuals in heavy diving suits on a ship deck. The scene shows physical handling of equipment and personnel, with no dialogue or on-screen text visible.

6 people observed.

Evidence, details and a link to share

Sequence 80 from 36:29

Frame at 36:40, shot 35836:40
1 of 1 shots sampled

142. Ship

36:29–36:50 Machine checks passed

Model synopsis: A person in a helmet is partially submerged in dark water, with a blurred background suggesting a vessel or dock. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 81 from 36:50

Frame at 36:53, shot 35936:53Frame at 36:59, shot 36036:59
2 of 2 shots sampled

143. Ship

36:50–37:04 Machine checks passed (partial)

Model synopsis: Two frames show men on a ship's deck assisting a person in heavy gear; another frame shows a group on deck with one man standing apart. No dialogue or on-screen text is present.

  • Men assist a person in heavy gear on a ship's deck. [frame:1]
  • Group of men on ship's deck; one stands apart while others gather near equipment. [frame:2]

5 people observed.

Evidence, details and a link to share

Frame at 37:07, shot 36137:07Frame at 37:13, shot 36237:13Frame at 37:20, shot 36337:20
3 of 3 shots sampled

144. Ship

37:04–37:23 Machine checks passed (partial)

Model synopsis: A group of sailors is on a small boat on open water; one man is in the water near the boat. The scene is shot in black and white with no visible on-screen text or identifiable names.

  • Sailors are on a small boat on water. [frame:1]
  • One man is in the water near the boat. [frame:3]

4 people observed.

Evidence, details and a link to share

Frame at 37:23, shot 36437:23
1 of 1 shots sampled

145. Ship

37:23–37:24 Machine checks passed

Model synopsis: Four figures in dark uniforms and white hats stand on a small boat on water. The scene is shot in black and white with high contrast, showing no visible land or sky.

4 people observed.

Evidence, details and a link to share

Sequence 82 from 37:24

Frame at 37:25, shot 36537:25
1 of 1 shots sampled

146. Ship

37:24–37:25 Machine checks passed

Model synopsis: The frame shows turbulent water with a dark vertical object partially submerged, suggesting a disturbance near a vessel or structure. No people, objects, or text are clearly identifiable beyond the water and the object.

Evidence, details and a link to share

Frame at 37:26, shot 36637:26Frame at 37:27, shot 36737:27Frame at 37:29, shot 36837:29Frame at 37:30, shot 36937:30
4 of 4 shots sampled

147. Water

37:25–37:30 Machine checks passed (partial)

Model synopsis: The water surface is disturbed by an object striking it, creating expanding ripples and splashes across four frames. No people, objects beyond the water and a pole, or on-screen text are visible.

  • An object strikes the water surface, creating a splash and ripples. [frame:1]
  • The splash expands and the water churns violently. [frame:2]
  • Ripples continue to spread outward from the impact point. [frame:3]
  • 1 more under Evidence and details.

Evidence, details and a link to share

Frame at 37:31, shot 37037:31
1 of 1 shots sampled

148. Water

37:30–37:31 Machine checks passed

Model synopsis: A single frame shows a dark, disturbed water surface with a vertical pole or mast visible on the left. No people, objects, or text are identifiable beyond the water and the pole.

Evidence, details and a link to share

Sequence 83 from 37:31

Sequence 84 from 37:38

Frame at 37:39, shot 37237:39Frame at 37:45, shot 37337:45Frame at 37:51, shot 37437:51
3 of 3 shots sampled

150. Sea

37:38–37:53 Machine checks passed

Model synopsis: A group of sailors is on a small boat at sea; one is underwater in diving gear, and another sits in the boat with a medical kit. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Frame at 37:56, shot 37537:56Frame at 38:03, shot 37638:03Frame at 38:09, shot 37738:09
3 of 3 shots sampled

151. Vehicle interior

37:53–38:12 Machine checks passed

Model synopsis: A dark, indistinct scene transitions to a group of men on a small boat at water level, with one man bent over near the edge. No dialogue or on-screen text is present.

  • men are visible on a small boat at water level [frame:3]

3 people observed.

Evidence, details and a link to share

Frame at 38:15, shot 37838:15Frame at 38:21, shot 37938:21
2 of 2 shots sampled

152. Beat 152

38:12–38:23 Machine checks passed

Model synopsis: Two dark frames show indistinct shapes and faint lights against a black background. No people, objects, or text are clearly visible, and no events can be described from the visuals alone.

Evidence, details and a link to share

Frame at 38:52, shot 38538:52Frame at 39:10, shot 38739:10Frame at 39:11, shot 38839:11Frame at 39:17, shot 39039:17
4 of 6 shots sampled

154. Ship

38:43–39:21 Machine checks passed (partial)

Model synopsis: A sailor on a boat deck tends to a diver in distress, with dialogue indicating the diver is entangled and running out of air. The scene includes dark underwater shots with faint lights, suggesting a rescue operation is underway.

  • Sailor kneels on deck beside diving equipment. [frame:1]
  • Underwater shot shows faint lights, suggesting diver's position. [frame:2]
  • Underwater shot remains dark with minimal light sources. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Sam.” 38:45 · “Listening. This had an accident. Mine's falling in the net. He isn't getting any air. Just a minute.” 38:46

Evidence, details and a link to share

Frame at 39:28, shot 39139:28
1 of 1 shots sampled

155. Beat 155

39:21–39:34 Machine checks passed

Model synopsis: The frame shows a dark, low-visibility scene with a single bright light source on the left and a faint, indistinct shape in the center. No people, objects, or text are clearly identifiable, and no events are visible or mentioned.

Evidence, details and a link to share

Frame at 39:35, shot 39239:35
1 of 1 shots sampled

156. Other

39:34–39:35 Machine checks passed

Model synopsis: The frame shows a dark, indistinct scene with a few small light sources visible. No people, objects, or text can be clearly identified, and no events are depicted.

Evidence, details and a link to share

Frame at 39:36, shot 39339:36
1 of 1 shots sampled

157. Beat 157

39:35–39:36 Machine checks passed

Model synopsis: A single dark frame with scattered points of light is shown. No people, objects, or text are identifiable, and no transcript is provided for this beat.

Evidence, details and a link to share

Frame at 39:37, shot 39439:37
1 of 1 shots sampled

158. Beat 158

39:36–39:38 Machine checks passed

Model synopsis: A single dark frame shows minimal visible detail, with a faint light source in the upper left. No people, objects, or text are clearly identifiable.

Evidence, details and a link to share

Frame at 39:43, shot 39739:43
1 of 1 shots sampled

160. Other

39:41–39:44 Machine checks passed

Model synopsis: The frame shows a dark, indistinct scene with a few distant lights and a faint, blurry shape in the center. No people, objects, or text are clearly visible, and no events or dialogue are recorded in this beat.

Evidence, details and a link to share

Frame at 39:45, shot 39839:45
1 of 1 shots sampled

161. Other

39:44–39:46 Machine checks passed

Model synopsis: A dark scene with faint lights is shown; no people, objects, or events can be identified from the frame. No transcript is provided for this beat.

Evidence, details and a link to share

Frame at 39:47, shot 39939:47
1 of 1 shots sampled

162. Other

39:46–39:48 Machine checks passed

Model synopsis: The frame shows a dark scene with two bright lights against a black background. No people, objects, or text are clearly visible, and no events are described in the transcript.

Evidence, details and a link to share

Frame at 39:52, shot 40039:52Frame at 39:57, shot 40139:57
2 of 2 shots sampled

163. Ship

39:48–39:59 Machine checks passed (partial)

Model synopsis: A man in a naval uniform is visible on a vessel at sea during daylight; a second frame shows a dark, indistinct scene with distant lights. A voice says someone cannot last much longer and that they are going with that.

  • A man in naval uniform sits on a vessel with a Red Cross sign visible. [frame:1]
  • A dark scene with scattered distant lights is shown. [frame:2]

1 person observed.

“Thanks. How's it coming. He can't last much longer. I'm going with that.” 39:49

Evidence, details and a link to share

Frame at 40:02, shot 40240:02Frame at 40:09, shot 40440:09Frame at 40:11, shot 40540:11Frame at 40:17, shot 40740:17
4 of 6 shots sampled

164. Ship

39:59–40:22 Machine checks passed (partial)

Model synopsis: A sailor is visible on a small boat at sea, with a red cross symbol on the side, while other figures are seen on a larger vessel nearby. The transcript contains repeated affirmations and an instruction to pull someone up, suggesting a rescue or recovery operation.

  • A sailor is seated on a small boat with a red cross symbol, looking out over the water. [frame:1]
  • Several figures are visible on a larger vessel, one of whom appears to be in uniform. [frame:2]
  • The scene is dark, with distant lights visible, suggesting nighttime or low visibility. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Yeah. Yeah. Yeah. Pull him up there.” 40:00

Evidence, details and a link to share

Frame at 40:24, shot 40940:24
1 of 1 shots sampled

166. Underwater

40:24–40:25 Machine checks passed (partial)

Model synopsis: A dark, underwater scene shows a figure moving with bubbles rising nearby. No dialogue or on-screen text is present in this beat.

  • a figure moves underwater as bubbles rise [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 85 from 40:25

Frame at 40:27, shot 41040:27
1 of 1 shots sampled

167. Ship

40:25–40:29 Machine checks passed

Model synopsis: A man in a naval uniform is seated on a ship, looking down at something in his hands. The sea is visible behind him, and parts of two other people are visible at the edges of the frame.

3 people observed.

Evidence, details and a link to share

Sequence 86 from 40:29

Frame at 40:30, shot 41140:30
1 of 1 shots sampled

168. Other

40:29–40:31 Machine checks passed

Model synopsis: The frame is almost entirely black, with only two small, bright points visible in the upper right. No identifiable place, people, or objects can be determined from this single frame.

Evidence, details and a link to share

Sequence 87 from 40:31

Frame at 40:40, shot 41240:40Frame at 40:53, shot 41340:53
2 of 2 shots sampled

169. Private office

40:31–40:56 Machine checks passed (partial)

Model synopsis: A man in uniform speaks with another man seated at a desk in an office; the seated man is later shown holding a hat and a roll of paper. The dialogue references a decompressant and someone named Smith.

  • Gelford stands in front of Smith’s desk in an office. [frame:1]
  • Smith holds a hat and a roll of paper, looking down. [frame:2]

Named: Gelford (t:40:32), Smith (t:40:48). 2 people observed.

“Mr. Gelford?” 40:32 · “Doc said you want to see me.” 40:33

Evidence, details and a link to share

Sequence 88 from 41:01

Sequence 89 from 41:04

Frame at 41:06, shot 41641:06
1 of 1 shots sampled

172. Other

41:04–41:07 Machine checks passed

Model synopsis: A close-up shows an engraved inscription inside a circular object, dedicated to Ensign Richard Houston on his graduation from the United States Naval Academy in June 1932. No people, dialogue, or other actions are visible in this beat.

Evidence, details and a link to share

Sequence 90 from 41:07

Sequence 91 from 41:10

Sequence 92 from 41:11

Frame at 41:18, shot 41941:18Frame at 41:28, shot 42041:28
2 of 2 shots sampled

175. Private office

41:11–41:32 Machine checks passed (partial)

Model synopsis: Two men in military uniforms are in an office; one stands near a map while the other sits at a desk. The seated man gives orders about minesweeper duty and reporting back.

  • A man in uniform stands near a map while another sits at a desk. [frame:1]

2 people observed.

“You write Leopardy at 1430, is that right?” 41:18 · “When you get back, you're going on minesweeper duty for a few days. They're shorthanded up there, but report to me first.” 41:22

Evidence, details and a link to share

Sequence 93 from 41:32

Frame at 41:41, shot 42141:41Frame at 41:50, shot 42241:50
2 of 2 shots sampled

176. Private office

41:32–41:51 Machine checks flagged: name not grounded

Model synopsis: A man in uniform is seated at a desk in an office, speaking into a telephone. A newspaper clipping with a portrait and the name 'RICHARD HOUSTON' is shown.

  • A man in uniform is seated at a desk holding a telephone receiver to his ear. [frame:1]
  • A newspaper clipping shows a portrait labeled 'RICHARD HOUSTON'. [frame:2]

Named: RICHARD HOUSTON (frame:2). 2 people observed.

“I'm.” 41:34 · “I'm.” 41:45

Flagged: name not grounded (RICHARD HOUSTON)

Evidence, details and a link to share

Sequence 94 from 41:51

Frame at 42:05, shot 42342:05
1 of 1 shots sampled

177. Private office

41:51–42:19 Machine checks passed

Model synopsis: A man in uniform sits at a desk in an office, facing away from the camera. No names are spoken, and no events are described beyond his presence at the desk.

1 person observed.

Evidence, details and a link to share

Sequence 95 from 42:19

Frame at 42:22, shot 42442:22
1 of 1 shots sampled

178. Other

42:19–42:26 Machine checks passed

Model synopsis: A close-up of a typed document is shown. The document contains official-looking text including a name, a place, and instructions regarding personal information.

Evidence, details and a link to share

Sequence 96 from 42:26

Frame at 42:48, shot 42542:48
1 of 1 shots sampled

179. Ship

42:26–43:11 Machine checks passed (partial)

Model synopsis: Two sailors in uniform talk in a ship's interior; one asks to borrow money to buy a ring for his girlfriend, and the other agrees after some hesitation. The conversation includes references to liberty, a canteen, and a jewelry store.

  • Two sailors stand facing each other in a ship's interior and talk. [frame:1]

2 people observed.

“Well, I got a deposit up on a ring down at Sloan Jewelry Store. And you want me to pick it up? Yeah, so I can give it to Mars tomorrow. You …” 42:59 · “A deal. OK. There's your chance. There's 20.” 43:06

Evidence, details and a link to share

Frame at 43:16, shot 42643:16Frame at 43:27, shot 42743:27
2 of 2 shots sampled

180. Ship

43:11–43:35 Machine checks passed (partial)

Model synopsis: Two sailors in uniform exchange money in a ship's interior. One sailor gives five dollars to another to buy red roses for someone named Margie.

  • Sailor p1 hands money to sailor p2. [frame:1]
  • Sailor p2 holds money while speaking to p1. [frame:2]

Named: Jim (t:43:25), Savvy (t:43:22). 2 people observed.

“Hey, Savvy. Yeah.” 43:22 · “No flowers for Margie? Gosh, I never even thought of that, Jim. Yeah, yeah. Here's five dollars. Get Margie one of them great big bucks …” 43:25

Evidence, details and a link to share

Frame at 43:40, shot 42843:40Frame at 43:57, shot 43043:57Frame at 44:30, shot 43344:30Frame at 44:49, shot 43544:49
4 of 8 shots sampled

181. Other

43:35–44:55 Machine checks passed (partial)

Model synopsis: Three sailors in uniform talk in a corridor; one is leaving on leave to see his family and a woman named Mary, while the others speculate he may propose. One sailor declines to accompany him, citing errands in town.

  • Three sailors stand in a corridor talking. [frame:1]
  • The officer speaks to the younger sailor while the third looks on. [frame:2]
  • The officer and younger sailor face each other in close conversation. [frame:3]
  • 1 more under Evidence and details.

Named: Bob (t:43:56), Jim (t:44:08). 3 people observed.

“Yeah, tomorrow I got 48 hours and boy, I'm on the equal way right through. You fellas are coming up to the house, ain't you? I got a date wi…” 43:47 · “What makes you think so? Well, the way he's talking about seeing his folks.” 44:12

Evidence, details and a link to share

Sequence 97 from 44:55

Frame at 45:36, shot 44045:36Frame at 45:49, shot 44145:49
2 of 2 shots sampled

184. Shop

45:28–45:53 Machine checks passed (partial)

Model synopsis: A sailor and a man in a suit discuss buying a ring in a shop; the man in the suit holds a ring and mentions the name Smith. The sailor is present and engaged in the conversation.

  • A man in a suit holds a ring and speaks to a sailor. [frame:1]
  • The man in the suit continues to hold the ring while talking. [frame:2]

2 people observed.

“Why don't you buy her one like Gordon? That's a nice ring, too. No, no. This has got to be the real thing.” 45:30 · “Tell you what you do. Hold that for Gordon and put this one away for me. All right.” 45:37

Evidence, details and a link to share

Sequence 98 from 45:53

Frame at 46:33, shot 44346:33Frame at 46:45, shot 44446:45Frame at 47:01, shot 44547:01
3 of 3 shots sampled

186. Living room

46:29–47:09 Machine checks passed (partial)

Model synopsis: A woman answers a phone call, receives a wrong-number message, and expresses concern about a missing person while a sailor smokes nearby. A man in the background reads a document as another woman sits in a chair.

  • A sailor is seen smoking a cigarette. [frame:3]

4 people observed.

“Hello?” 46:33 · “No, I'm sorry. You have the wrong number.” 46:36

Evidence, details and a link to share

Sequence 99 from 47:09

Frame at 47:11, shot 44647:11
1 of 1 shots sampled

187. Other

47:09–47:12 Machine checks passed

Model synopsis: A person is shown with a large clock superimposed over their head. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 100 from 47:12

Frame at 47:13, shot 44747:13
1 of 1 shots sampled

188. Other

47:12–47:14 Machine checks passed

Model synopsis: A man in a cap and light shirt is visible in a dimly lit interior, holding a small object near his mouth. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 101 from 47:14

Frame at 47:17, shot 44847:17
1 of 1 shots sampled

189. Other

47:14–47:20 Machine checks passed

Model synopsis: A close-up shows a large clock face with Roman numerals and playing cards superimposed over it, with a man's face partially visible behind. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 102 from 47:20

Frame at 47:26, shot 44947:26
1 of 1 shots sampled

190. Private office

47:20–47:32 Machine checks passed (partial)

Model synopsis: Two men are seated at a table playing cards in a dimly lit room; one speaks to the other, urging him to quit gambling before losing more money. The speaker is not named in the dialogue, and no other identifying information is visible or spoken.

  • Two men are playing cards at a table. [frame:1]

Named: Salah (t:47:25). 2 people observed.

“You're almost even, Salah. Why don't you quit before you go broke?” 47:25 · “You won't get me anywhere, mister. You'll call.” 47:25

Evidence, details and a link to share

Frame at 47:36, shot 45047:36Frame at 47:46, shot 45147:46Frame at 48:34, shot 45348:34Frame at 48:54, shot 45448:54
4 of 5 shots sampled

191. Kitchen

47:32–48:58 Machine checks passed (partial)

Model synopsis: A man speaks with his mother at home, then reports to a military office about a missing comrade. The mother mentions curtains and expresses concern, while the man insists on covering for his friend who is ill.

  • A man sits at a table while a woman stands beside him, holding a teapot. [frame:1]
  • The woman leans over the man, speaking to him closely. [frame:2]
  • The man in the white shirt speaks animatedly to a woman in the background. [frame:3]
  • 1 more under Evidence and details.

Named: Jim Smith (t:48:43). 4 people observed.

“Mom, if I could ever find a girl that could cook like you...” 47:36 · “Something must have happened to her.” 48:03

Evidence, details and a link to share

Frame at 49:02, shot 45549:02Frame at 49:12, shot 45649:12
2 of 2 shots sampled

192. Private office

48:58–49:17 Machine checks passed

Model synopsis: Two men in naval uniforms converse indoors; one reports on behalf of another named Smith. The dialogue references Lieutenant Wells and a minesweeper, indicating a naval setting and duty transfer.

Named: Lieutenant Wells (t:48:58). 2 people observed.

“That leaves the minesweep a shorter hand. No, sir. I rate Liberty, but I saw Lieutenant Wells, and he said it'd be all right for me to tak…” 48:58 · “Giving up your time for a buddy, huh?” 49:06

Evidence, details and a link to share

Sequence 103 from 49:17

Frame at 49:19, shot 45749:19
1 of 1 shots sampled

193. Sea

49:17–49:20 Machine checks passed

Model synopsis: Two ships are visible on a choppy sea under an overcast sky. No people, dialogue, or on-screen text are present in the frame.

Evidence, details and a link to share

Frame at 49:21, shot 45849:21
1 of 1 shots sampled

194. Sea

49:20–49:21 Machine checks passed

Model synopsis: A black-and-white shot shows several ships on a choppy sea under an overcast sky. No people, dialogue, or on-screen text are visible in this single frame.

Evidence, details and a link to share

Sequence 104 from 49:21

Frame at 49:23, shot 45949:23
1 of 1 shots sampled

195. Open sea

49:21–49:25 Machine checks passed (partial)

Model synopsis: Two naval vessels are seen underway on open water, with a distant landmass visible on the horizon. No people, dialogue, or on-screen text are present in the frames.

  • Two ships are moving across the water. [frame:1]

Evidence, details and a link to share

Sequence 105 from 49:25

Frame at 49:34, shot 46049:34
1 of 1 shots sampled

196. Ship

49:25–49:42 Machine checks passed (partial)

Model synopsis: Two men in naval uniforms are on a ship's deck; one looks through binoculars while the other speaks. The dialogue mentions army planes in southern waters and a desire to engage them.

  • One man holds binoculars to his eyes while another stands beside him. [frame:1]

2 people observed.

“Looks like we ain't gonna have no mine business today, Mr. Wells.” 49:32 · “Army planes reported a southern these waters. They're not hanging around for fun.” 49:35

Evidence, details and a link to share

Frame at 49:44, shot 46149:44Frame at 49:47, shot 46249:47Frame at 49:50, shot 46349:50Frame at 49:56, shot 46449:56
4 of 4 shots sampled

197. Ship

49:42–49:59 Machine checks passed (partial)

Model synopsis: A naval officer on a ship reports the channel is clear of mines. Two officers are seen on deck, one using binoculars, while a minesweeper vessel is shown underway on the water.

  • A naval officer stands on deck holding binoculars. [frame:1]
  • A minesweeper vessel is shown moving through water. [frame:2]
  • The screen is black. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“and the quarter looks as if we can report the channel free of mine for today yes” 49:43

Evidence, details and a link to share

Frame at 50:01, shot 46550:01
1 of 1 shots sampled

198. Ship

49:59–50:03 Machine checks passed

Model synopsis: A small naval vessel moves across open water. No people are clearly visible, and no dialogue or on-screen text is present.

  • A small naval vessel moves across open water. [frame:1]

Evidence, details and a link to share

Sequence 106 from 50:03

Frame at 50:04, shot 46650:04Frame at 50:06, shot 46750:06
2 of 2 shots sampled

199. Other

50:03–50:07 Machine checks passed

Model synopsis: Two dark, low-visibility frames show an indistinct outdoor scene at night with scattered debris or objects on the ground. No people, text, or clear events are visible.

Evidence, details and a link to share

Sequence 107 from 50:07

Frame at 50:11, shot 46850:11
1 of 1 shots sampled

200. Ship

50:07–50:15 Machine checks passed

Model synopsis: A man in a uniform stands on a ship's deck, looking out over water. The scene is shot in black and white with bright lighting and includes large pipes or funnels.

1 person observed.

Evidence, details and a link to share

Sequence 108 from 50:15

Frame at 50:16, shot 46950:16
1 of 1 shots sampled

201. Open sea

50:15–50:17 Machine checks passed (partial)

Model synopsis: A small naval vessel moves across open water, leaving a wake. No people are clearly identifiable, and no dialogue or on-screen text is present.

  • A small naval vessel is moving across open water. [frame:1]

Evidence, details and a link to share

Sequence 109 from 50:17

Frame at 50:19, shot 47050:19
1 of 1 shots sampled

202. Beat 202

50:17–50:21 Machine checks passed

Model synopsis: The frame is entirely black with no visible content. No events, people, or objects can be identified from the provided visual or transcript data.

Evidence, details and a link to share

Sequence 110 from 50:21

Frame at 50:22, shot 47150:22
1 of 1 shots sampled

203. Ship

50:21–50:24 Machine checks passed (partial)

Model synopsis: A small naval vessel moves across open water with crew visible on deck. No dialogue or on-screen text is present in this beat.

  • a naval vessel moves across water with wake visible [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 111 from 50:24

Sequence 112 from 50:28

Sequence 113 from 50:38

Frame at 50:49, shot 47450:49
1 of 1 shots sampled

206. Living room

50:38–50:59 Machine checks passed

Model synopsis: A woman in a patterned dress stands at a doorway speaking to someone off-screen; the transcript indicates she is addressing her mother and mentions Mary. No names are assigned to visible people because none are spoken in the supplied lines.

3 people observed.

“Ahoy, Mom. There. The rosings are to you.” 50:47 · “Start up an apology for not showing up last night.” 50:52

Evidence, details and a link to share

Sequence 114 from 50:59

Frame at 51:09, shot 47551:09Frame at 51:24, shot 47651:24Frame at 51:33, shot 47751:33
3 of 3 shots sampled

207. Living room

50:59–51:37 Machine checks passed (partial)

Model synopsis: A man in uniform speaks to a seated woman in a room with furniture and a staircase; he presents her with an object, and she reacts with surprise. The dialogue indicates he is confessing feelings and proposing with a ring.

  • A man in uniform stands near a woman in a room with a staircase and furniture. [frame:1]
  • The man leans toward the seated woman, holding a small object. [frame:2]
  • The man extends his hand toward the woman, offering her the object. [frame:3]

Named: Eric (t:51:03), Mary (t:51:25). 2 people observed.

“Oh I'm Eric. Now before you say anything you listen to me.” 51:03 · “You're the only girl I ever really cared for and...” 51:26

Evidence, details and a link to share

Frame at 51:37, shot 47851:37Frame at 51:42, shot 47951:42
2 of 2 shots sampled

208. Private office

51:37–51:46 Machine checks passed (partial)

Model synopsis: A woman in a striped blouse speaks to a man in a naval uniform inside a room with curtains and a lamp. The transcript suggests she is asking if he knows about 'Sixers' and his promotion.

  • Woman holds man's hand while speaking to him [frame:1]
  • Woman looks at man with a serious expression [frame:2]

2 people observed.

“Then you don't know about Sixers. Get his promotion?” 51:38

Evidence, details and a link to share

Frame at 51:47, shot 48051:47Frame at 51:52, shot 48151:52Frame at 52:00, shot 48252:00Frame at 52:05, shot 48352:05
4 of 4 shots sampled

209. Private office

51:46–52:06 Machine checks passed

Model synopsis: A woman and a man in a sailor uniform are shown in close-up, conversing indoors. The transcript indicates they are discussing the death of someone named Hicks and that another person, Flixton, reported for duty in place of someone who was thought to be sick.

Named: Mary (t:51:54). 2 people observed.

“Hicks is dead.” 51:47 · “Flixton?” 51:51

Evidence, details and a link to share

Frame at 52:48, shot 49152:48Frame at 52:55, shot 49252:55Frame at 53:08, shot 49453:08Frame at 53:14, shot 49553:14
4 of 5 shots sampled

212. Private office

52:44–53:20 Machine checks passed (partial)

Model synopsis: A man in a naval uniform confesses to a woman that his name is Richard Houston, not Jim Smith, and admits to gambling and borrowing money from fellow officers. The scene takes place indoors, with both characters visible and engaged in a serious conversation.

  • The woman reacts with concern as the man continues his confession. [frame:2]
  • The man turns to face the woman directly while speaking. [frame:3]
  • The man stands with hands clasped as the woman looks away, appearing distressed. [frame:4]

Named: Richard Houston (t:53:04), Mary (t:52:45). 2 people observed.

“He knew where I was. He knew I wasn't sick. He knew I was gambling. He'd get the dough to buy that ring so I'd make an impression on you. I'…” 52:45 · “everything about me a lot. Don't talk like that. My name is a lie.” 52:55

Evidence, details and a link to share

Frame at 53:24, shot 49653:24Frame at 53:32, shot 49753:32Frame at 53:41, shot 49853:41
3 of 3 shots sampled

213. Private office

53:20–53:45 Machine checks passed

Model synopsis: A man in a dark shirt speaks to a woman with curly hair in an interior setting; he confesses to deserting the Navy and trying to rebuild his life. The frames show no change in setting or characters across the three shots.

2 people observed.

“When I couldn't pay my debts, I did the lowest thing a Navy officer could do. I deserted.” 53:20 · “I wandered around for a while trying to forget, but I couldn't. Maybe it was in my blood.” 53:26

Evidence, details and a link to share

Frame at 53:54, shot 49953:54Frame at 54:08, shot 50054:08
2 of 2 shots sampled

214. Living room

53:45–54:14 Machine checks passed (partial)

Model synopsis: A man and a woman stand in a dimly lit room; the man speaks about past identities and their exclusion from society and the Navy. The woman listens as he looks down, appearing distressed.

  • The man and woman stand facing each other in a room. [frame:1]
  • The man looks down while the woman watches him. [frame:2]

Named: Dick Houston (t:53:54). 2 people observed.

“I lost my friend's life for it.” 53:46 · “Oh, forget about me, Mary.” 53:51

Evidence, details and a link to share

Sequence 115 from 54:14

Frame at 54:15, shot 50154:15
1 of 1 shots sampled

215. Private office

54:14–54:16 Machine checks passed (partial)

Model synopsis: A silhouetted figure stands before a paneled door in a dimly lit interior. No dialogue or on-screen text is present in this beat.

  • A silhouetted figure stands motionless before a paneled door. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 116 from 54:16

Sequence 117 from 54:25

Frame at 54:28, shot 50354:28Frame at 54:33, shot 50454:33Frame at 54:42, shot 50554:42
3 of 3 shots sampled

217. Naval base interior

54:25–54:49 Machine checks passed (partial)

Model synopsis: A sailor in uniform speaks to a civilian man at a counter while an announcement cancels leave for the San Pedro section. A bell rings as the civilian handles a box.

  • A sailor stands at a counter facing a civilian man. [frame:1]
  • The sailor leans against a wall near a wall-mounted device. [frame:2]
  • The civilian man opens a box while the sailor watches. [frame:3]

2 people observed.

“All leave and ensure liberty canceled for men attached to the San Pedro section.” 54:30 · “Attention, attention. All leave and shore liberty canceled for men attached to the San Pedro section.” 54:37

Evidence, details and a link to share

Frame at 54:55, shot 50654:55Frame at 55:04, shot 50755:04Frame at 55:12, shot 50855:12Frame at 55:21, shot 50955:21
4 of 4 shots sampled

218. Private office

54:49–55:25 Machine checks passed (partial)

Model synopsis: Two naval officers in uniform discuss a time-sensitive transport mission in an office, referencing a mine threat and a convoy. One officer questions the effectiveness of a prior channel sweep while the other suggests proceeding despite the risk.

  • Four naval officers stand in an office, discussing a transport mission. [frame:1]
  • The officers continue their discussion; two more officers are visible. [frame:2]
  • The officers remain in discussion, one gesturing slightly. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“We can't wait much longer.” 54:55 · “We've got to get the transport out in time to meet her convoy.” 54:56

Evidence, details and a link to share

Frame at 55:27, shot 51055:27Frame at 55:34, shot 51155:34Frame at 55:42, shot 51255:42
3 of 3 shots sampled

219. Private office

55:25–55:46 Machine checks passed (partial)

Model synopsis: Two men in naval uniforms speak in an office; one reports for duty late, citing illness. A map and American flag are visible in the background.

  • Two naval officers stand facing each other in an office. [frame:1]
  • A man in uniform stands beside a desk while another sits at it. [frame:2]
  • The standing man continues to address the seated man. [frame:3]

4 people observed.

“We don't know yet. Hold the men in readiness.” 55:28 · “Reporting for duty, sir.” 55:33

Evidence, details and a link to share

Frame at 55:47, shot 51355:47Frame at 55:52, shot 51555:52Frame at 55:59, shot 51655:59Frame at 56:09, shot 51856:09
4 of 6 shots sampled

220. Private office

55:46–56:10 Machine checks flagged: quote not verbatim

Model synopsis: Two men in naval uniforms discuss locating unmoored mines in a channel; one is on the phone while the other stands nearby. The conversation reveals they have three divers available, though one is noted to be a prisoner at large.

  • A man in uniform stands beside a desk while another talks on the phone. [frame:1]
  • The seated man continues speaking on the phone. [frame:2]
  • The seated man remains on the phone, expression serious. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“You've been speaking. There must be mines on the floor of the channel.” 55:47 · “We've got to locate one so we can find out what makes them tick.” 55:52

Flagged: quote not verbatim (You've been speaking. There must be mines on the floor of the channel.)

Evidence, details and a link to share

Frame at 56:14, shot 51956:14Frame at 56:22, shot 52056:22Frame at 56:30, shot 52156:30Frame at 56:35, shot 52256:35
4 of 4 shots sampled

221. Private office

56:10–56:37 Machine checks passed (partial)

Model synopsis: A naval officer gives orders over the phone to search a channel for mines, while another officer reports that a man named Smith is unavailable and is then ordered to report to the chief master at arms as a prisoner at large. The setting is an office with maps and naval equipment.

  • An officer is seen holding a telephone receiver to his ear. [frame:1]
  • Two officers are in an office; one stands while the other sits at a desk. [frame:2]
  • The standing officer gestures toward the seated officer. [frame:3]
  • 1 more under Evidence and details.

Named: Smith (t:56:30). 4 people observed.

“Have them search the floor of the channel, starting 1,000 feet beyond the harbor gate.” 56:11 · “There's a transport here that's got to be out in less than three hours.” 56:15

Evidence, details and a link to share

Sequence 118 from 56:37

Frame at 56:40, shot 52356:40Frame at 56:49, shot 52456:49
2 of 2 shots sampled

222. Private office

56:37–56:54 Machine checks passed (partial)

Model synopsis: A man in a dark sweater is shown in two frames inside a room with framed pictures on the wall. The transcript contains fragmented dialogue referencing 'circumstances,' 'leave,' and 'Houston,' with no clear event or named character established.

  • A man is visible in a room. [frame:1]
  • The man remains visible in the same room. [frame:2]

1 person observed.

“You only knew the...” 56:38 · “Circumstances, sir, I...” 56:39

Evidence, details and a link to share

Sequence 119 from 56:54

Frame at 56:58, shot 52556:58Frame at 57:06, shot 52657:06Frame at 57:13, shot 52757:13
3 of 3 shots sampled

223. Private office

56:54–57:14 Machine checks passed (partial)

Model synopsis: Two men are in an office; one stands and gestures while the other sits at a desk. The standing man is told to go to a diving launch and report back, while the seated man remains at the desk.

  • A man in dark uniform stands and gestures toward a seated man. [frame:1]
  • The standing man continues to speak while the seated man listens. [frame:2]
  • The standing man turns and walks away from the desk. [frame:3]

2 people observed.

“You open it.” 56:56 · “Don't you think I'd be a lot more used to the Navy if I were out there with the men?” 56:59

Evidence, details and a link to share

Sequence 120 from 57:14

Frame at 57:19, shot 52857:19
1 of 1 shots sampled

224. Other

57:14–57:23 Machine checks passed

Model synopsis: A newspaper headline reading "WESTERN UNION" is shown, with text mentioning a naval officer's disappearance. No people, actions, or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Frame at 57:24, shot 52957:24
1 of 1 shots sampled

225. Other

57:23–57:26 Machine checks passed

Model synopsis: A newspaper headline from the Western Union dated June 8, 1942, reports on a naval officer's disappearance. The paper lists names and ranks, including Lieutenant Ralph Gilpin and Commander John L. Noble.

Evidence, details and a link to share

Sequence 121 from 57:26

Sequence 122 from 57:41

Frame at 57:43, shot 53157:43
1 of 1 shots sampled

227. Ship

57:41–57:45 Machine checks passed

Model synopsis: Three people are in a small boat on water near a large ship. One person is seated and appears to be receiving attention from the other two standing figures.

3 people observed.

Evidence, details and a link to share

Sequence 123 from 57:45

Frame at 57:49, shot 53257:49
1 of 1 shots sampled

228. Ship

57:45–57:53 Machine checks passed

Model synopsis: A group of sailors is visible on the deck of a small boat at sea. One sailor stands near the stern while others are seated or lying down around equipment.

4 people observed.

Evidence, details and a link to share

Frame at 57:58, shot 53357:58
1 of 1 shots sampled

229. Water

57:53–58:02 Machine checks passed (partial)

Model synopsis: A small motorboat with several people aboard is moving away from a dock on open water. The scene is shot in black and white with no visible dialogue or on-screen text.

  • A motorboat departs from a dock, leaving a wake. [frame:1]

3 people observed.

Evidence, details and a link to share

Frame at 58:03, shot 53458:03
1 of 1 shots sampled

230. Sea

58:02–58:04 Machine checks passed (partial)

Model synopsis: A small motorboat with several people aboard moves across open water, leaving a wake. The scene is shot from a higher vantage point, likely from another vessel.

  • A small motorboat with several people aboard moves across open water, creating a wake. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 58:07, shot 53558:07
1 of 1 shots sampled

231. Ship

58:04–58:09 Machine checks passed (partial)

Model synopsis: A group of men in uniform are aboard a small boat on open water. The scene is shot in black and white with high contrast, showing the boat from a low angle.

  • Several men in uniform are aboard a small boat on water. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 124 from 58:09

Frame at 58:12, shot 53658:12
1 of 1 shots sampled

232. Ship

58:09–58:15 Machine checks passed

Model synopsis: Four men in naval uniforms are on a ship's deck; one is seated and adjusting gear while others stand or bend nearby. The sea is visible in the background.

4 people observed.

Evidence, details and a link to share

Sequence 125 from 58:15

Sequence 126 from 58:31

Frame at 58:36, shot 53858:36
1 of 1 shots sampled

234. Other

58:31–58:41 Machine checks passed

Model synopsis: A single dark frame shows an indistinct, shadowy scene with no visible people, objects, or text. No events or dialogue are recorded for this beat.

Evidence, details and a link to share

Sequence 127 from 58:41

Frame at 58:43, shot 53958:43
1 of 1 shots sampled

235. Ship

58:41–58:45 Machine checks passed

Model synopsis: Two men in naval uniforms sit on a ship's deck with the sea behind them. One man is in officer's attire with a peaked cap; the other wears a sailor's cap and appears to be listening.

2 people observed.

Evidence, details and a link to share

Sequence 128 from 58:45

Frame at 58:49, shot 54058:49
1 of 1 shots sampled

236. Vehicle interior

58:45–58:52 Machine checks passed

Model synopsis: A dark, low-lit interior scene shows a person in silhouette near a bright light source. No dialogue or clear objects are visible in the single frame provided.

1 person observed.

Evidence, details and a link to share

Frame at 58:57, shot 54158:57Frame at 59:16, shot 54259:16
2 of 2 shots sampled

237. Beat 237

58:52–59:29 Machine checks passed

Model synopsis: The beat consists of two dark, low-visibility frames showing indistinct shapes and a faint circular light, with no clear place, people, or objects identifiable. A single spoken word 'I'm' is heard at 59:01, but no further context is provided.

“I'm” 59:01

Evidence, details and a link to share

Frame at 59:36, shot 54359:36Frame at 59:47, shot 54459:47
2 of 2 shots sampled

238. Vehicle interior

59:29–59:51 Machine checks passed

Model synopsis: A man in a naval uniform holds a circular object with horns while speaking. Another person off-screen asks what it looks like, and the man describes it as resembling an inverted flower vase.

  • Nash holds a circular object with horns and describes it as resembling an inverted flower vase. [frame:2]

Named: Nash (t:59:31). 2 people observed.

“Yes that means. I want her. What's it look like Nash.” 59:31 · “It's circular with a flat bottom. Something like an inverted flower vase. It has numerous long horns on the globular body. Hold it Nash, pla…” 59:44

Evidence, details and a link to share

Frame at 59:55, shot 54559:55Frame at 1:00:01, shot 5461:00:01Frame at 1:00:15, shot 5481:00:15Frame at 1:00:22, shot 5491:00:22
4 of 5 shots sampled

239. Ship

59:51–1:00:26 Machine checks passed (partial)

Model synopsis: A man in a naval uniform is shown on a ship's deck, speaking about an idea to explode something. An airplane is seen flying over water in a separate shot.

  • An airplane is visible flying over water. [frame:2]

1 person observed.

“I'm going to find me to my start right. Yeah. Me an idea. I think I've got the answer way to explode them all. That come up now.” 60:00

Evidence, details and a link to share

Frame at 1:00:26, shot 5501:00:26Frame at 1:00:28, shot 5511:00:28Frame at 1:00:34, shot 5521:00:34Frame at 1:00:41, shot 5531:00:41
4 of 4 shots sampled

240. Ship

1:00:26–1:00:45 Machine checks passed (partial)

Model synopsis: A man in a naval uniform is shown on a ship's deck, looking at equipment while dialogue discusses a potentially dangerous gadget and sending someone named Smith up. The scene is dark and appears to be at night or in low light, with one frame showing a bright light source.

  • A dark scene with a bright light source is visible. [frame:1]
  • A naval officer is shown on deck looking at equipment. [frame:3]

Named: Smith (t:60:30), Nash (t:60:30). 3 people observed.

“There's a gadget of some sort fastened to the side. If I'd taken a port down here, we should have the whole storage, sir. It might be dange…” 60:30 · “That's a Smith bring you up.” 60:41

Evidence, details and a link to share

Frame at 1:00:47, shot 5541:00:47Frame at 1:00:52, shot 5551:00:52
2 of 2 shots sampled

241. Ship

1:00:45–1:00:56 Machine checks passed (partial)

Model synopsis: A man in uniform is shown on a ship deck, with another person visible in the background; the transcript includes dialogue about someone named Nash and Bobby.

  • A man in uniform stands on a ship deck. [frame:1]
  • A man in uniform looks down at something in his hands. [frame:2]

Named: Nash (t:60:48), Bobby (t:60:48). 4 people observed.

“Go ahead Nash. Bobby's caught me consecutively so I can get the whole picture.” 60:48 · “And take it easy.” 60:55

Evidence, details and a link to share

Sequence 129 from 1:00:56

Frame at 1:01:04, shot 5561:01:04
1 of 1 shots sampled

242. Other

1:00:56–1:01:13 Machine checks passed

Model synopsis: A single frame shows a dark, indistinct scene with a few small, bright points of light. No people, objects, or text are clearly visible, and no events are depicted or mentioned.

Evidence, details and a link to share

Sequence 130 from 1:01:13

Frame at 1:01:15, shot 5571:01:15
1 of 1 shots sampled

243. Underwater

1:01:13–1:01:18 Machine checks passed

Model synopsis: A diver in a heavy, dark diving suit is shown in a close-up underwater. The scene is dimly lit and the diver's face is obscured by the helmet.

1 person observed.

Evidence, details and a link to share

Sequence 131 from 1:01:18

Frame at 1:01:23, shot 5581:01:23Frame at 1:01:30, shot 5591:01:30Frame at 1:01:43, shot 5611:01:43Frame at 1:01:48, shot 5621:01:48
4 of 5 shots sampled

244. Ship

1:01:18–1:01:51 Machine checks flagged: visible event not seen

Model synopsis: Two men in naval uniforms are on a ship's deck, one operating equipment while the other observes. One man is later seen alone, focused on the equipment, before both reappear together as one speaks urgently.

  • Two men in naval uniforms are on a ship's deck, one operating equipment while the other observes. [frame:1]
  • The officer continues to operate the equipment while the sailor looks on. [frame:2]
  • The officer is alone, focused on the equipment. [frame:3]
  • 1 more under Evidence and details.

Named: Nash (t:61:32). 2 people observed.

“After that.” 61:22 · “- They're getting up in one. - What's the matter? I don't know. I think his lines are found.” 61:23

Flagged: visible event not seen (The officer is alone, focused on the equipment.)

Evidence, details and a link to share

Frame at 1:01:54, shot 5631:01:54
1 of 1 shots sampled

245. Ship

1:01:51–1:01:57 Machine checks passed

Model synopsis: A sailor in a white hat sits on a ship's deck with the sea behind him; another sailor stands behind. No dialogue or on-screen text is present.

2 people observed.

Evidence, details and a link to share

Sequence 132 from 1:01:57

Frame at 1:02:01, shot 5641:02:01
1 of 1 shots sampled

246. Other

1:01:57–1:02:05 Machine checks passed

Model synopsis: The frame shows a dark, indistinct scene with scattered bright spots, possibly water reflections or distant lights. No people, objects, or text are identifiable, and no events are visible or mentioned.

Evidence, details and a link to share

Frame at 1:02:06, shot 5651:02:06
1 of 1 shots sampled

247. Underwater

1:02:05–1:02:07 Machine checks passed

Model synopsis: A single frame shows a dark, underwater scene with a vertical trail of bubbles rising. No people, objects, or text are clearly identifiable, and no events are depicted beyond the movement of the bubbles.

Evidence, details and a link to share

Sequence 133 from 1:02:07

Sequence 134 from 1:02:15

Frame at 1:02:17, shot 5671:02:17
1 of 1 shots sampled

249. Vehicle interior

1:02:15–1:02:19 Machine checks passed

Model synopsis: A dark, low-contrast frame shows a dimly lit interior with a bright, round object on the left and indistinct shapes in the center and right. No people, dialogue, or on-screen text are visible.

Evidence, details and a link to share

Sequence 135 from 1:02:19

Frame at 1:02:22, shot 5681:02:22
1 of 1 shots sampled

250. Ship

1:02:19–1:02:26 Machine checks passed (partial)

Model synopsis: A man in a naval uniform stands on a ship's deck, holding a helmet and looking down. The transcript contains a fragmented line that does not clearly identify the person or event.

  • A man in uniform looks down while holding a helmet. [frame:1]

1 person observed.

“You're a ring. It isn't down.” 62:23

Evidence, details and a link to share

Frame at 1:02:28, shot 5691:02:28
1 of 1 shots sampled

251. Vehicle interior

1:02:26–1:02:30 Machine checks passed

Model synopsis: A man in a naval officer's uniform is visible in a single frame, holding a device against a bright, overexposed background. No spoken dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 136 from 1:02:30

Frame at 1:02:36, shot 5701:02:36
1 of 1 shots sampled

252. Boat

1:02:30–1:02:42 Machine checks passed

Model synopsis: A man in a uniform sits on a boat, adjusting something in his lap. The water is visible behind him, indicating the scene takes place on a vessel at sea.

1 person observed.

Evidence, details and a link to share

Sequence 137 from 1:02:42

Frame at 1:02:49, shot 5711:02:49
1 of 1 shots sampled

253. Ship

1:02:42–1:02:55 Machine checks passed

Model synopsis: Three men are visible on the deck of a vessel, handling equipment near the water. The scene is shot in black and white with high contrast lighting, showing no on-screen text or spoken dialogue.

3 people observed.

Evidence, details and a link to share

Sequence 138 from 1:02:55

Frame at 1:02:58, shot 5721:02:58
1 of 1 shots sampled

254. Other

1:02:55–1:03:01 Machine checks passed

Model synopsis: A pair of hands holds a circular metal object with bolt holes against a dark background. No people, dialogue, or identifiable location are visible in the frame.

1 person observed.

Evidence, details and a link to share

Sequence 139 from 1:03:01

Frame at 1:03:04, shot 5731:03:04Frame at 1:03:08, shot 5741:03:08Frame at 1:03:13, shot 5751:03:13Frame at 1:03:17, shot 5761:03:17
4 of 4 shots sampled

255. Ship

1:03:01–1:03:19 Machine checks passed (partial)

Model synopsis: A man in a naval uniform examines a device near water while being warned not to touch it due to a potential booby trap. The scene is shot outdoors with a dark, indistinct background and studio lighting.

  • A man in uniform inspects a device with his hands. [frame:1]
  • A hand manipulates a dark, curved object with a tool. [frame:2]
  • The man in uniform looks down at the device with a focused expression. [frame:3]
  • 1 more under Evidence and details.

Named: Smith (t:63:13). 1 person observed.

“Gasket on the rain. I have been held by steel ring.” 63:04 · “Diaphragm held by steel ring. That's enough, Smith. The booby trap could be right behind the diaphragm. Don't touch it.” 63:13

Evidence, details and a link to share

Sequence 140 from 1:03:19

Frame at 1:03:20, shot 5771:03:20
1 of 1 shots sampled

256. Other

1:03:19–1:03:20 Machine checks passed

Model synopsis: A dark, indistinct scene with a single bright light source and faint shapes is shown. No people, objects, or text are clearly visible, and no dialogue or events are recorded in this beat.

Evidence, details and a link to share

Sequence 141 from 1:03:20

Frame at 1:03:29, shot 5791:03:29
1 of 1 shots sampled

258. Ship

1:03:25–1:03:33 Machine checks passed

Model synopsis: Three men in naval uniforms are on a ship's deck with the sea visible behind them. One man sits in a chair while two others stand nearby, one seated on a railing.

3 people observed.

Evidence, details and a link to share

Frame at 1:03:38, shot 5801:03:38Frame at 1:03:43, shot 5811:03:43
2 of 2 shots sampled

259. Ship

1:03:33–1:03:44 Machine checks passed (partial)

Model synopsis: On a ship deck, sailors and officers are present as one man is seated and others stand or bend near him; orders are given to pull up a line and contact the base. The sea is visible behind them, and the scene is lit by bright daylight.

  • A sailor bends over near the seated man. [frame:2]

6 people observed.

“Pull up the line, sir.” 63:34 · “Pull him up.” 63:36

Evidence, details and a link to share

Frame at 1:03:46, shot 5821:03:46Frame at 1:03:53, shot 5831:03:53Frame at 1:03:59, shot 5841:03:59
3 of 3 shots sampled

260. Ship

1:03:44–1:04:00 Machine checks passed

Model synopsis: A naval officer reports his location and suggests a tactic to surface mines using low-flying planes and rifle fire; another officer praises him as 'Gilpin'. The scene shifts from an exterior ship deck to an interior command room with multiple officers.

  • A naval officer reports his location over a device. [frame:1]
  • The officers in the command room acknowledge the plan. [frame:3]

Named: Gilpin (t:63:57). 4 people observed.

“I'm located, sir.” 63:47 · “By the action, I would suggest trying to bring the rest of them to the surface by flying planes low over the water, and we can detonate them…” 63:49

Evidence, details and a link to share

Frame at 1:04:02, shot 5851:04:02
1 of 1 shots sampled

261. Ship

1:04:00–1:04:03 Machine checks passed

Model synopsis: A man in a naval uniform is visible on a ship deck with ocean in the background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 142 from 1:04:03

Frame at 1:04:08, shot 5861:04:08Frame at 1:04:16, shot 5871:04:16Frame at 1:04:24, shot 5881:04:24Frame at 1:04:31, shot 5891:04:31
4 of 4 shots sampled

262. Field

1:04:03–1:04:33 Machine checks passed (partial)

Model synopsis: A man in a diving suit is assisted by several uniformed personnel in an outdoor setting. One man in a light uniform speaks while others observe or assist with the gear.

  • A man in a diving suit is being assisted by two uniformed men. [frame:1]
  • The man in the diving suit looks forward while being adjusted. [frame:2]
  • A man in a light uniform stands and speaks while others assist the diver. [frame:3]
  • 1 more under Evidence and details.

Named: Jim Smith (t:64:14). 4 people observed.

“You know the day.” 64:11 · “That's why he sent me up.” 64:12

Evidence, details and a link to share

Sequence 143 from 1:04:33

Frame at 1:04:35, shot 5901:04:35
1 of 1 shots sampled

263. Ship

1:04:33–1:04:37 Machine checks passed

Model synopsis: A minesweeper vessel is shown underway on open water. No people are clearly visible, and no dialogue or on-screen text is present in this beat.

  • A minesweeper is moving through the water, creating a wake. [frame:1]

Evidence, details and a link to share

Sequence 144 from 1:04:37

Frame at 1:04:39, shot 5911:04:39
1 of 1 shots sampled

264. Sky

1:04:37–1:04:41 Machine checks passed

Model synopsis: A military aircraft with star insignia is shown in flight against a plain sky. No people, dialogue, or location context is visible.

  • A military aircraft is flying. [frame:1]

Evidence, details and a link to share

Sequence 145 from 1:04:41

Frame at 1:04:42, shot 5921:04:42
1 of 1 shots sampled

265. Ship

1:04:41–1:04:43 Machine checks passed

Model synopsis: A sailor stands on a ship's deck near a covered structure while another looks through binoculars; the sea and horizon are visible. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 146 from 1:04:43

Frame at 1:04:45, shot 5931:04:45Frame at 1:04:48, shot 5941:04:48Frame at 1:04:51, shot 5951:04:51Frame at 1:04:55, shot 5961:04:55
4 of 4 shots sampled

266. Sea

1:04:43–1:04:57 Machine checks passed (partial)

Model synopsis: A sequence of four frames shows a body of water with ripples, followed by a large water plume from an explosion, then a military aircraft in flight, and finally the water surface again with a small object visible. No people, dialogue, or on-screen text are present in these frames.

  • Ripples are visible on the surface of a body of water. [frame:1]
  • A large plume of water erupts from the sea, suggesting an explosion. [frame:2]
  • A military aircraft is seen flying against a bright sky. [frame:3]
  • 1 more under Evidence and details.

Evidence, details and a link to share

Sequence 147 from 1:04:57

Frame at 1:05:00, shot 5971:05:00
1 of 1 shots sampled

267. Sea

1:04:57–1:05:02 Machine checks passed (partial)

Model synopsis: An explosion erupts from the sea surface, sending a plume of water and smoke into the air. No people, objects, or text are visible in the frame.

  • An explosion occurs on the sea surface. [frame:1]

Evidence, details and a link to share

Sequence 148 from 1:05:02

Frame at 1:05:02, shot 5981:05:02Frame at 1:05:10, shot 5991:05:10Frame at 1:05:21, shot 6001:05:21
3 of 3 shots sampled

268. Ship

1:05:02–1:05:23 Machine checks flagged: quote not verbatim

Model synopsis: A naval officer is seen on a ship's deck while a document is displayed awarding a posthumous Navy and Marine Corps Medal to James Smith. The document is issued by the Secretary of the Navy and references service in the United States Naval Reserve.

  • A naval officer stands on a ship's deck with another officer behind him. [frame:1]
  • A document is displayed awarding a posthumous Navy and Marine Corps Medal to James Smith. [frame:2]
  • The document remains on screen, identifying James Smith as Gunner's Mate First Class, United States Naval Reserve. [frame:3]

2 people observed.

“Ah!” 65:02 · “The President of the United States presents posthumously the NAVY AND MARINE CORPS MEDAL to” 65:02

Flagged: quote not verbatim (The President of the United States presents posthumously the NAVY AND MARINE CORPS MEDAL to); quote not verbatim (JAMES SMITH, GUNNER'S MATE FIRST CLASS UNITED STATES NAVAL RESERVE); quote not verbatim (for service as set forth in the)

Evidence, details and a link to share

Sequence 149 from 1:05:23

Frame at 1:05:25, shot 6011:05:25Frame at 1:05:30, shot 6031:05:30Frame at 1:05:37, shot 6051:05:37Frame at 1:05:42, shot 6071:05:42
4 of 7 shots sampled

269. Harbor

1:05:23–1:05:43 Machine checks passed (partial)

Model synopsis: A man in a sailor uniform and a woman stand on a pier, looking out at a harbor with ships. The film ends with a title card reading 'The END'.

  • A woman and a man in a sailor uniform stand side by side on a pier, looking out at the water. [frame:1]
  • The film displays a title card reading 'The END'. [frame:3]

2 people observed.

Evidence, details and a link to share

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 605 segments kept, 113 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. 1:00 I'm.
  2. 1:31 Last of my. Got a cigarette.
  3. 1:38 Likewise the last. Thanks. I'm delighted for you old boy.
  4. 1:45 You don't like our company you know what you can do. I'm mad again I wouldn't think it's such a thing. Relational accommodation. Intellectual companionship and something cooking on the stove.
  5. 1:57 They are rolling up to some of that. Well.
  6. 2:00 Against what? The sticker.
  7. 2:06 Go ahead. Go ahead.
  8. 2:08 Boy. Good old Patriots. Here we go. Come on.
  9. 2:14 Sheriff!
  10. 2:15 You got those things trained. If they were, I wouldn't be here.
  11. 2:33 Get a load of this.
  12. 2:35 By this time next year...
  13. 2:37 It is expected that every able-bodied man between the ages of 21 and 45
  14. 2:42 will be either in the armed service
  15. 2:44 or working in a defense plant.
  16. 2:46 How do you like that?
  17. 2:48 Bet the next thing you know they'll be forcing us to go to work.
  18. 2:51 Why don't you get wise to yourself, Madigan?
  19. 2:53 The Japs attacked Pearl Harbor last week. We're at war.
  20. 2:56 And every able-bodied man has a job to do.
585 more segments
  1. 2:58 So what?
  2. 3:00 What your politicians ain't gonna wave no flag in my face and put me in no uniform.
  3. 3:04 I don't owe this country a thing. Huh?
  4. 3:06 Listen, Madigan.
  5. 3:09 I don't like the way you talk. Ain't that too bad. You think this is a swell country don't you. I think it's a great country. Then get out and see more of it.
  6. 3:45 Hey what happened to you young fellow I guess you're out all right. I don't mean you're all right I just get you're out. If I have to pick.
  7. 4:07 Couple of hobos running down our country. It's a fine howdy-you-do. Mate Jake told me your name. Smith. It's plain Jim Smith. No kidding. Same as mine? I used to have a cousin by the name of Jim Smith.
  8. 4:22 Arkansas. Buck-eye, I think it was. Yep, Buck-eye it was. Because my uncle used to always call him Buck. You know, Buck left home when he was a kid. Ain't been heard of since. You couldn't be him, could you? When was he born? April the 1st, 1909. I'll always remember that because my mom used to call him my April Fool's cousin.
  9. 4:44 It couldn't be me. I'm no April Fool, baby. And besides, I'm one of the Tennessee Smiths. How do you do, Tennessee Smith? Glad to know you.
  10. 4:51 Same to you, Texan. I bet you were kind to each other somewhere along the line. Why you heading? Los Angeles. I'm going right through there on the way home to Enlist. Army? No. My whole family's Navy. Twenty years for me. Why I have to wash my blood once a week or else I salt up like a mackerel?
  11. 5:10 Joining up again, huh? Wait till I walk into the commander lane. He's my skipper on the old Sinclair. Try her, wasn't she?
  12. 5:18 Yeah, how'd you know?
  13. 5:24 Give me a ship's clock when we bust it up.
  14. 5:26 He's commander of the section base of San Pedro now. A mighty tough Joe to shave, but you'd never want to meet a greater little guy. What are you going to do when you hit L.A.? Oh, I'll probably tie up with a shipyard. That's your business?
  15. 5:40 No, not exactly. Until a couple of months ago, I was knocking around the South Pacific.
  16. 5:45 When I hit the states, I joined up with a salvage outfit as a deep sea dive.
  17. 5:49 Well, I'll be doggone.
  18. 5:52 You've got all the fixings for Gunner's mate.
  19. 5:54 Me? The Navy? Sure, you bet. Gunner's mate. You're in charge of ordinance? Having equipment? Tennessee, you're a sage. Maybe you got an idea. Yeah, I think maybe you have fixed it. Hey, stop the next time, will you? I want to send a telegram.
  20. 6:13 Sure, I will.
  21. 6:42 I'll fix it all, pal. It really makes us cousins.
  22. 6:58 You'll say you should have dropped me in town. What's the matter? We got the measles or something?
  23. 7:02 You're staying with us.
  24. 7:03 Hey, Mom, it's me, Vicky.
  25. 7:05 Vicki.
  26. 7:06 Dickie Bod.
  27. 7:08 Hey, Marlin, you home?
  28. 7:10 Well, "Apere vu," as they say in French.
  29. 7:13 Corned beef and cabbage.
  30. 7:16 Who?
  31. 7:21 Boy, that smells good, doesn't it? And some of Mom's cookies. Oh.
  32. 7:24 Think you're teasing one of them.
  33. 7:27 They're married.
  34. 7:28 Married my niece.
  35. 7:29 I'm going after this Vincent's Market. If you get home first, put the potatoes on the boil. Elliot, telephones.
  36. 7:34 We'll have this 40 hours and be here next week.
  37. 7:37 Forty hours means you'll be on liberty.
  38. 7:39 Elliot's are both. Not mom's, Mary's.
  39. 7:42 When you see her,
  40. 7:43 I can't beat anybody in these duds.
  41. 7:45 I told you I'd fixed it, didn't I? Yeah, but...
  42. 7:48 As you ask for it.
  43. 7:50 - What, we'll cut it off, will ya? Hey, drop it.
  44. 7:55 Come on, let me down, will you?
  45. 7:57 Come on, cut off it.
  46. 7:59 Just a further notice.
  47. 8:01 Team 2 and throw out your anchors. Now, wait a minute. I'm not going to take your bedroom away from you. Who says it's my room?
  48. 8:07 My brother, Jacks.
  49. 8:08 He's in Honolulu, ship spinner, first class.
  50. 8:14 His wrinkle just about fits you.
  51. 8:16 So get yourself ship shape while I drive over to Spence's and pick up Mom.
  52. 8:20 More stuff in here in case you need them.
  53. 8:22 Cut this out.
  54. 8:24 Hey, fix it. Yeah, I'm...
  55. 8:27 A lot of words I could say, but...
  56. 8:29 Well, if I put them all together, they'd
  57. 8:32 - Let's spell fangs. - Ah, shucks.
  58. 8:39 Amen.
  59. 8:50 Oh, my God.
  60. 8:51 Oh, my God.
  61. 8:56 Oh, my God.
  62. 9:06 I'm sorry.
  63. 9:16 I'm
  64. 9:33 Put your hands.
  65. 9:38 What are you... what are you doing here?
  66. 9:42 I was just taking off my coat.
  67. 9:44 Those are my father's clothes.
  68. 9:48 Harry Smith.
  69. 9:49 You know...
  70. 9:50 All right.
  71. 9:51 That used to sound like just an ordinary name to me.
  72. 9:54 Now it sounds beautiful.
  73. 9:56 Mary Smith.
  74. 9:58 I like it.
  75. 9:59 What are you doing here?
  76. 10:01 Incidentally that picture doesn't flatter you.
  77. 10:04 Who are you?
  78. 10:06 Oh, didn't I tell you? I'm Jim Smith, one of the Tennessee Smiths.
  79. 10:10 You see, Fixit told me that I--
  80. 10:12 Fix it.
  81. 10:13 Yeah.
  82. 10:15 Then you want to fix it, friend. That I am. I'm sorry.
  83. 10:19 *BANG*
  84. 10:21 Ah!
  85. 10:27 No, she painted. She thought I was the burger. Can you imagine that?
  86. 10:35 Oh, hey, moms, this is Tennessee Smith I was telling you about. Tennessee, this is moms. Ain't she cute? How do you do? I've heard of you. Well, no, aren't you? How do you do? We got things to do. Let's get going. Oh, yeah. Yeah. Don't you think you'd better leave Mary here, Mr. Smith? Oh, yeah. Sorry.
  87. 10:53 Well...
  88. 11:36 Your ship offered you the same opportunity for promotion whether you've graduated from the trade school or not. But to be promoted you must work and study.
  89. 11:44 Where's who?
  90. 11:46 Fix it Smith! Freshwater Hines! How have you been? Great! Glad to see you! Glad to see you! Oh boy, I bet we get that off of you in a hurry. Yeah, couple of looks at that face and yours will follow. A tip or a board? Open your ears and feast your eyes.
  91. 12:00 Base inspection parade. See you later. Okay, Victor.
  92. 12:30 I'm
  93. 12:56 We're hoping for some old timers for the mine disposal unit, sir.
  94. 12:59 Yes everybody's yelling for old timers.
  95. 13:01 These new boys will be old-timers before we're through with them.
  96. 13:04 *knock knock*
  97. 13:05 I
  98. 13:07 Look who's here, sir.
  99. 13:08 Pardon me, Gilman.
  100. 13:10 Well, I was wondering when you'd appear on deck, Frickson. Yes, sir.
  101. 13:14 We got a nice new mine sweeper for me. I think it can be arranged.
  102. 13:18 Did you bring your service record right here, sir?
  103. 13:20 Ship safe.
  104. 13:24 Ichabod Ferdinand Smith.
  105. 13:27 Chief Gunner's mate.
  106. 13:30 And Mr. Harley will take care of you.
  107. 13:32 As soon as you've had your shots, you're in.
  108. 13:34 Do I have to go through all that torture again, sir? Same medical rules as when you left, Mixit. But I've been through it four times, sir.
  109. 13:41 All right, I almost forgot this is a particular friend of mine, Mr. Tennessee. I mean Jim Smith.
  110. 13:47 What's it mean to commander?
  111. 13:50 - Mr. Smith? - How do you do, sir?
  112. 13:52 He's an expert salvage man in deep sea diner. Pardon me, Commander.
  113. 13:56 Did you say your name was Smith?
  114. 13:58 Yes, sir.
  115. 13:59 Haven't we met somewhere?
  116. 14:01 Hawaii.
  117. 14:02 San Diego was an awful...
  118. 14:05 Afraid not, sir, unless it was down in Florida in the salvage business or in the South Sea.
  119. 14:10 I guess I was mistaken. Good luck. Thank you, sir.
  120. 14:12 Well, sir.
  121. 14:14 Oh Jim's just a little bit worried sir. You know where to get in or not. Hmm deep sea diver. Right.
  122. 14:20 Yes, sir.
  123. 14:21 Think he'd make a gunner's mate. Yes sir.
  124. 14:24 What did I tell you, son?
  125. 14:26 You're in the Navy.
  126. 15:03 I'm going to go to paint and put me on that car over there and when they get busy again not slip out.
  127. 15:09 Oh, this never bothers me. Laugh at all, I always say. Say, Doc, did you ever play Nipponese poker? Go ahead, ask me what's Nipponese poker. This will kill you. You've got to have two jabs to open.
  128. 15:24 Thank you, boys. So you're in again, huh? You said it. You said it.
  129. 15:31 Hey, you don't look for good. I'm feeling all right now look no go pulling any more those phony things. Oh me Is if I can't take it?
  130. 15:42 -Hm.
  131. 15:43 Oh, they gave me a blue plate special.
  132. 16:05 Hello.
  133. 16:09 Miss Mary Smith?
  134. 16:11 Yes. Ha!
  135. 16:13 Happy birthday, Mary, and many of them. Thank you, Fix-It.
  136. 16:16 Yeah.
  137. 16:18 Happy birthday. Six, it's my uncle.
  138. 16:21 Oh that's right so he is. Yeah that's what you get to bail and uncle.
  139. 16:26 Happy birthday anyway.
  140. 16:28 What is it?
  141. 16:29 Open and find out.
  142. 16:31 Don't mind if I do.
  143. 16:34 So he did.
  144. 16:36 Please help.
  145. 16:37 Mm.
  146. 16:40 Oh, dear.
  147. 16:43 It's beautiful.
  148. 16:44 I'm glad you like it.
  149. 16:46 Really, it's too nice, I shouldn't accept it.
  150. 16:48 You know any other blue-eyed girl I could give it to?
  151. 16:51 Just you try. Hello, boys. Sounds like someone's knocking at the door.
  152. 16:56 Oh, Mr. Elliot.
  153. 17:01 Hello Mary. I'm late had a lot of important things talk over the end. I'm
  154. 17:07 I'll fix it I'm glad you made a very birthday when method.
  155. 17:11 Hope you like the present, Mary.
  156. 17:12 I'll know when you give it to me.
  157. 17:13 Oh, I'm sorry. Here it is. Happy birthday. Thank you. Hey, you fellas ain't been introduced.
  158. 17:19 This is Tennessee Smith Jim. This is that night. He's in my disposal
  159. 17:23 Glad to know you. Hiya, fella.
  160. 17:24 And he gave his fishing boats to the Navy to be converted into minesweepers.
  161. 17:27 But it gets big fish little and have trouble over there. Come on we got something to do.
  162. 17:32 It's lovely. Looks like you like it. I love it.
  163. 17:36 That's what I needed.
  164. 17:40 *laughs*
  165. 17:43 Happy birthday to Blue Eyes from Tennessee Smith.
  166. 17:47 Blue eyes, huh?
  167. 17:48 Say, this smacks him sabotage. He too, you lover. Chosen. Chosen.
  168. 17:53 Come and get it.
  169. 18:01 Well...
  170. 18:03 Yes, sir.
  171. 18:04 I didn't know there was anything that funny in the Blue Jackets manual.
  172. 18:10 Hmm.
  173. 18:11 Sambo his jokes and funny things.
  174. 18:15 We need some humor in the Navy, Welsh.
  175. 18:18 Say something funny.
  176. 18:19 I'm sorry sir. No go ahead. Go ahead.
  177. 18:23 Read me one of those jokes and if it makes us laugh we'll forget the whole thing.
  178. 18:29 Anyone? Yeah, anyone.
  179. 18:32 What's the best way to raise corned beef and cabbage?
  180. 18:36 Go ahead, Mr. Bones.
  181. 18:38 What's the best way to raise corn beef and cabbage?
  182. 18:42 With a knife and fork.
  183. 18:46 Now I'll tell you a good joke, Welch.
  184. 18:48 Go to the blackboard and write.
  185. 18:50 Corny Welch is as funny as a crutch. And write it 500 times.
  186. 18:54 Yes, sir.
  187. 18:54 Now go ahead, stick your knife and fork in that one.
  188. 18:57 Press you men out for drill.
  189. 19:04 Oh, B, U, R, S, T. Forward, push. Come on, press it up. Pull that elbow. Left shoulder, push. Left shoulder, push. Present, push.
  190. 19:34 Right shoulder hurt!
  191. 19:38 Left shoulder hurt!
  192. 19:41 I. Well. I.
  193. 20:00 *BOOM*
  194. 21:01 I'm going to make out with this plan pretty good sir.
  195. 21:05 Five three sevens, four three eights, and one four zero, sir. Who's the four zero? Smith, sir, number five.
  196. 21:13 Mr. Tennessee Smith? Yes, sir. I never saw a rookie take to Navy a routine like Smith does, sir. Just like an old timer. He's going for gunners, mate, sir. I hope you make it, Smith. Thank you, sir. I'm going to try. That's the spirit.
  197. 21:30 Most of you will be assigned to duty on minesweepers.
  198. 21:35 to work difficult, trying, and at times dangerous. The continual sweeping of the channels may appear dull and monotonous. At times you may wish that you were serving at sea in a more colorful and active branch of the Navy. But remember this. The lives of the ships and the men who go out through these harbors to battle our enemies depend on you. You are the men who keep them sailing. Good luck.
  199. 22:25 Good work probably more where that came from Mr. Wells undoubtedly we'll get them.
  200. 22:30 You know for a rookie you're a little short of terrific. That coming from you is a real compliment. It took me a year to get where you got in a month. You're referring to the Navy or. Oh I'm not taking a back seat for anybody. Well I'm sort of a handy lad myself. Sure it's guys like you that make it tough for guys like me.
  201. 23:04 There is around that way you're going to have to throw that belt away. I got your right.
  202. 23:08 clean mom's cooking in that Navy chow. They're about to play near with my streamlined figures. Yeah they sure are. Mom's having corned beef and cabbage tonight if you can't drop around.
  203. 23:18 Yeah, I don't think so, I...
  204. 23:21 Oh, by the way, Mary was asking about you.
  205. 23:23 She was?
  206. 23:25 Tell Mama I'll be on deck then.
  207. 23:27 That's what I thought.
  208. 23:30 Oh, you guys wouldn't know it.
  209. 23:32 Choke with a hard one.
  210. 23:33 No, Mr. Corn, but we're learning.
  211. 23:35 Learning very fast.
  212. 23:38 Speaking of corn, that reminds me, Tennessee.
  213. 23:40 Mom's having her favorite dish tonight, corned beef and cabbage. Did she raise it with a knife and fork? Oh, I'm sharp as a marble. Got an announcement or an invitation? An invitation, how about it?
  214. 23:51 I don't know, Fixin. I, uh... Mary is asking about you. Oh, she was? Sure.
  215. 23:56 You tell mom I'll be on deck tonight then. I figured that. I already told her.
  216. 24:01 I'm going to fall in our color.
  217. 24:31 Edwin sir engine stops we right drifting back along our sweep line for the mind I had one third come left to your car I said
  218. 24:46 That could have course for that little number would make a great show with it one way ticket to Davy Jones
  219. 25:01 out a detail in boats to unfile the gear. Aye, sir. For the boat, check out a detail to unfile the gear. Aye, aye, sir.
  220. 25:31 Boy, is that thing foul.
  221. 26:01 Watch yourself, Corny.
  222. 26:04 Ah, don't worry about me.
  223. 26:08 They're doing all right.
  224. 26:11 Those horns look different than the others. I want to take one back to the skipper.
  225. 26:24 What are you colors for? I want to get one of those horns. Help yourself.
  226. 26:31 What are those fellows doing? What's as if Smith's removing a horn?
  227. 26:53 All right, take it the rest away. If you caught this thing, don't go off. It was scared of fish.
  228. 27:01 Yeah. That's what everyone does. Yeah. Get that back to the skip right away. That's all. Cut it. Easy.
  229. 27:31 I'm. What is the. What is. What. What. What. What. What. What. What. What. What. What.
  230. 28:06 Sorry about those two men, Wells.
  231. 28:09 Welch and Ryan, two good boys.
  232. 28:11 We're gonna miss them.
  233. 28:14 Well at least we have something to work on to prevent any larger tragedies as a result of these new Jap mines.
  234. 28:20 What led you to believe this was a new design, Nash?
  235. 28:23 Smith had recognized it, sir.
  236. 28:25 Is that so, Smith? Yes, sir.
  237. 28:28 More hunch than anything definite.
  238. 28:30 The shape of the horn looks strong enough for safe handling aboard ship.
  239. 28:33 I figured it would detonate more easily than the others on contact.
  240. 28:37 You seem to have quite a knowledge of mine's.
  241. 28:40 I've been making a study of them, sir.
  242. 28:43 I'm turning you over to Lieutenant Gilpin.
  243. 28:46 You will both be transferred at once to his mine disposal unit.
  244. 28:49 The recommendation that you be sent to mine school for further instructions.
  245. 28:52 Thank you, sir.
  246. 28:53 Thank you, sir.
  247. 28:55 I think that. Oh never happened to me before. Yeah I tried to get him to quit but he's an awful.
  248. 29:29 I think you give me one of those. I'm stuck.
  249. 29:32 No I don't you come up the house the mom. My apologies when you make good. They are. What's that. You're going to be your time. Not a struggle. Right. Later.
  250. 30:06 Hey, sir. Well, do me a favor, will you? I'll get the bird, Jim. It's not that. It's something else, Jim. It's something else, Jim.
  251. 30:12 Come here. Oh, Andy. You like dancing? Naturally. Not me, Andy. Good as friends as my. A sailor out here, they're just down to death. He really can't get up his nerve down.
  252. 30:35 Can't get up his nerves. Isn't he as cool as he's? Oh, he's kind of bad. He's kind of timid-like.
  253. 30:41 He's right out there to sell him with a girl.
  254. 30:43 Oh, they're romantic. I hope he can see the bug. I'm getting a higher rating, Mary.
  255. 30:55 I know it, Elliot. I think it's swell.
  256. 30:57 Well, what I was about to say was that
  257. 30:59 I don't see any reason to celebrate just for getting another stripe. I thought maybe you and I could figure out some...
  258. 31:34 Yes, sir.
  259. 31:35 Jim.
  260. 31:38 Did you have anything to do with that?
  261. 31:41 - Angie. - Angie?
  262. 31:44 I never heard of her.
  263. 31:45 I had to see him already explained about not coming up now.
  264. 31:49 We've probably had something more important.
  265. 31:53 Isn't it how beautiful?
  266. 31:55 So quiet and peaceful. Full of deceit.
  267. 31:59 To see.
  268. 32:01 Yeah, like a lot of things, it seemed all right on the set.
  269. 32:05 You're in a strange mood, Jim.
  270. 32:07 yeah I'm all mixed up
  271. 32:15 Thank you very much.
  272. 32:28 Oh, no, no, no.
  273. 32:31 Until I popped out of nowhere, you were all set to marry Elliot, weren't you?
  274. 32:37 I don't know, James.
  275. 32:39 What are you trying to say?
  276. 32:41 I know what I'd like to say.
  277. 32:42 Do you suppose a person could change, that is, if they were different?
  278. 32:47 What I mean is... Jim Smith? Why didn't you tell me you wanted to dance with me? I'd be to excuse that. After all, the morality of our horses... Boy, I see all the crystals in Gendon. Sure it is.
  279. 33:15 Gendon.
  280. 33:21 This illustrates but one variant of the Nazi's much-vaunted secret weapon which was supposed to bring England to her knees.
  281. 33:27 But it didn't work.
  282. 33:29 But through the extraordinary heroism of Lieutenant Commander Overy of His Majesty's Ship Vernon
  283. 33:34 The secret mechanism of this mine was discovered.
  284. 33:38 The English Channel was opened again and England was able to receive her necessary war supplies.
  285. 33:43 Blockade was broken.
  286. 33:46 Any questions?
  287. 33:47 The Japs laid any new type mines off our coast.
  288. 33:50 Most of them are the ordinary contact type.
  289. 33:53 As far as we know, they...
  290. 33:57 Jokin speaking.
  291. 33:59 Oh, yes, sir.
  292. 34:02 I see.
  293. 34:03 Yes, sir, I'll send the men at once.
  294. 34:05 Nash, Smith...
  295. 34:07 Here's a real opportunity to get some practical diving experience.
  296. 34:10 Attendant report a break in the nets in the outer harbor.
  297. 34:13 You two will report to the diving launch at once to handle repairs.
  298. 37:04 and the
  299. 38:45 Sam.
  300. 38:46 Listening. This had an accident. Mine's falling in the net. He isn't getting any air. Just a minute.
  301. 38:52 There aren't any bubbles. Get him untangled as fast as you can. Afraid I can't? I'll have to cut him loose with a torch. I'll have to cut him loose with a torch.
  302. 38:58 make it snappy he still got three or four minutes there left in that suit my eyes when you get him all clear let me know we'll pull him up best rushing to the recompression chamber right
  303. 39:49 Thanks. How's it coming. He can't last much longer. I'm going with that.
  304. 40:00 Yeah. Yeah. Yeah. Pull him up there.
  305. 40:32 Mr. Gelford?
  306. 40:33 Doc said you want to see me.
  307. 40:35 Oh yes, shut the door, please.
  308. 40:40 Well, how do you feel? Much better.
  309. 40:42 Thanks for the decompressant.
  310. 40:45 Quite an experience.
  311. 40:48 Here you are close, Smith.
  312. 40:49 Greg brought them in from the lodge for you.
  313. 40:57 On your watch and your money I'd put in here for safekeeping.
  314. 41:13 Is that all, sir? That's all.
  315. 41:17 What's left?
  316. 41:18 You write Leopardy at 1430, is that right?
  317. 41:21 Till tomorrow.
  318. 41:22 When you get back, you're going on minesweeper duty for a few days. They're shorthanded up there, but report to me first.
  319. 41:26 Yep.
  320. 41:34 I'm.
  321. 41:45 I'm.
  322. 42:00 the
  323. 42:30 - Hey, Debbie. - What do you say, boy?
  324. 42:32 Hey, Scotty. Yeah.
  325. 42:35 I know. Dad, Garrett, you got liberty? You want to borrow five bucks? You're wrong, Sam.
  326. 42:40 I can't do it, Jim. Good night. You know what Captain said about cooperation?
  327. 42:44 Yeah, but that don't mean I got to be loaning your money all the time. You got to cooperate.
  328. 42:48 All right, will you do a favor when you go in town? Sure.
  329. 42:51 Well my girl and her mama's coming in from Alabama tomorrow. Yeah?
  330. 42:54 And I got the mission to meet him over here at the canteen.
  331. 42:56 Oh.
  332. 42:57 You want to count a bag, will you?
  333. 42:59 Well, I got a deposit up on a ring down at Sloan Jewelry Store. And you want me to pick it up? Yeah, so I can give it to Mars tomorrow. You let me have? The ten bucks.
  334. 43:06 A deal. OK. There's your chance. There's 20.
  335. 43:10 OK.
  336. 43:13 Let me start a table.
  337. 43:14 I had to leave me five dollars, Stig, marching to Mommy after Dylan.
  338. 43:18 Every time I think that much, I just get the goose pimples.
  339. 43:22 Hey, Savvy. Yeah.
  340. 43:25 No flowers for Margie? Gosh, I never even thought of that, Jim. Yeah, yeah. Here's five dollars. Get Margie one of them great big bucks of them red roses.
  341. 43:42 You can say that again. Look, I don't mind the medals, Admiral, but don't kiss me on both cheeks.
  342. 43:46 Got your liberty?
  343. 43:47 Yeah, tomorrow I got 48 hours and boy, I'm on the equal way right through. You fellas are coming up to the house, ain't you? I got a date with Mary. Have a good time, boys. I'm going down to San Diego to see my folks.
  344. 43:56 Oh, I get it. It's gonna make the coast care for a better man, huh? Say, if I thought you were a better man, I wouldn't even go to San Diego. Tell Mary I'm seeing her tomorrow. I'm saving 20 out of my 40 hours leave just for her. Take care of yourself, Bob.
  345. 44:07 So long.
  346. 44:08 Hey, Jim.
  347. 44:09 I think he's getting ready to propose.
  348. 44:12 What makes you think so? Well, the way he's talking about seeing his folks.
  349. 44:15 I think he's gonna go down there and tell them about her, then come back up here and pop the $64 question. Maybe you're right.
  350. 44:21 Sure.
  351. 44:22 I bet she comes back tomorrow with a ring.
  352. 44:24 Now listen, Jim...
  353. 44:26 You want some advice?
  354. 44:27 If you're serious about Mary,
  355. 44:29 You'd better get in there first.
  356. 44:31 I wish I was in a position to. Well, all you got to do is ask her. Come on.
  357. 44:34 Ah, you go ahead, fix it.
  358. 44:36 I got a stop in town. What for? Oh, I got a couple of things to do.
  359. 44:39 You're not gonna get in the game and lose your shirt like you did last week. Ah, no, I'm off that stuff. That's what you said week before last.
  360. 44:46 You sure you don't want a chaperone?
  361. 44:48 I'll lay off when you fix it.
  362. 44:49 Okay, okay. See you dinner.
  363. 44:55 There it is.
  364. 44:57 Debbie Gordon, balance $75. That's the one. All right.
  365. 45:01 I'll put it in a nice little box for you.
  366. 45:06 How much is that one?
  367. 45:08 This one here? Yeah. Oh, no, you got something there, sailor.
  368. 45:11 Almost a carrot. Blue-white.
  369. 45:14 Isn't that beautiful?
  370. 45:15 Take a look at that.
  371. 45:18 How much?
  372. 45:19 Now, wait a minute. Let me see.
  373. 45:22 I can let you have that for $425.
  374. 45:25 Holy smokes, that's a lot of dope for a sailor. Oh, you got a girl too, huh? Yeah. You ought to buy her a ring.
  375. 45:30 Why don't you buy her one like Gordon? That's a nice ring, too. No, no. This has got to be the real thing.
  376. 45:37 Tell you what you do. Hold that for Gordon and put this one away for me. All right.
  377. 45:40 It's ten bucks on the parlor.
  378. 45:42 $10? That's not much of a bother for a ring like this.
  379. 45:45 Oh, don't worry. I'll be back in a flash with the cash. Well, I hope you can get it. There's more than one way.
  380. 45:50 Just hang on to that ring, the name is Smith.
  381. 46:05 I bet five. - Five.
  382. 46:07 They got to care. Oh good. We can't have a
  383. 46:12 I'm not going to come back in.
  384. 46:17 Thanks. Table six.
  385. 46:20 The 80s.
  386. 46:21 Here you go.
  387. 46:29 *sad music*
  388. 46:33 Hello?
  389. 46:36 No, I'm sorry. You have the wrong number.
  390. 46:39 I
  391. 46:43 Oh.
  392. 46:44 What on earth could have happened to him? Well, maybe he met up with some of his old friends or something.
  393. 46:50 Hey, Mom, how's about putting on the chow? I'm so hungry I could eat an anchor change. Let's wait a little longer.
  394. 47:25 You're almost even, Salah. Why don't you quit before you go broke? You won't get me anywhere, mister. You'll call.
  395. 47:36 Mom, if I could ever find a girl that could cook like you...
  396. 47:41 I guess you know what I do. Yes, you need her out of house and home.
  397. 47:45 Stop that. You're a big boy now. I got the material for the curtains, darling.
  398. 47:51 Not exactly what you want, but we can't get mentioned stores these days.
  399. 47:54 Do you hear anything?
  400. 47:56 I called the base.
  401. 47:57 Nobody's seen him there either.
  402. 47:59 And his liberty's up in half hours.
  403. 48:01 That's just what I was thinking.
  404. 48:03 Something must have happened to her.
  405. 48:05 Well, he's not going to be AOL, see?
  406. 48:08 I'll go down and report for him. Yeah, but when do you kill them?
  407. 48:11 Could be sick, you know.
  408. 48:13 That's it, it might be.
  409. 48:16 Well, don't you worry, Mary. I'll fix it.
  410. 48:19 Well, goodbye, Mom.
  411. 48:21 And if Jim shows up,
  412. 48:24 Tell him not to get his stories mixed up.
  413. 48:26 He's fixed, eh?
  414. 48:27 But wait a minute. Come on.
  415. 48:29 You've got a whole day of your liberty left. Do you think you ought to do this?
  416. 48:33 Mom, Jim's my pal.
  417. 48:34 If I was in his spot, he'd do it for me, wouldn't he?
  418. 48:38 - Oh.
  419. 48:41 *thud*
  420. 48:43 Thank you for your pardon sir, but I came to tell you about Jim Smith.
  421. 48:46 Where is Smith? Six, sir, at my house.
  422. 48:49 Had to relax in that beating you took yesterday.
  423. 48:51 That's too bad.
  424. 48:52 Running a fever. The doc said it might be dangerous for him to get up now.
  425. 48:55 It might develop into something.
  426. 48:57 I see.
  427. 48:58 That leaves the minesweep a shorter hand. No, sir. I rate Liberty, but I saw Lieutenant Wells, and he said it'd be all right for me to take over for Smith.
  428. 49:06 Giving up your time for a buddy, huh?
  429. 49:08 Real Navy spirit. Thank you.
  430. 49:10 Report from Janet Wells, then.
  431. 49:12 Aye, aye, sir. I just thought you'd like to know about Smith.
  432. 49:29 Oh.
  433. 49:29 Yeah.
  434. 49:30 No.
  435. 49:32 Looks like we ain't gonna have no mine business today, Mr. Wells.
  436. 49:35 Army planes reported a southern these waters. They're not hanging around for fun.
  437. 49:39 I'd sure like to get a shot at one of their minds, sir.
  438. 49:43 and the quarter looks as if we can report the channel free of mine for today yes
  439. 50:33 Oh, my God.
  440. 50:47 Ahoy, Mom. There. The rosings are to you.
  441. 50:52 Start up an apology for not showing up last night.
  442. 50:54 Hey, where's Mary? You shouldn't have come here.
  443. 50:57 Oh, Mom, you're not going to be sorry for me because I'm a day late, are you?
  444. 51:01 You know that old adage, better late than never.
  445. 51:03 Oh I'm Eric. Now before you say anything you listen to me.
  446. 51:09 I've been rehearsing this thing for the last hour, and if you interrupt me, I'm going to have to blow the whole thing.
  447. 51:13 And you sit right down there.
  448. 51:15 Have you been to the base?
  449. 51:17 Hold on. I'll get there, all right. Look.
  450. 51:20 I've been wanting to say this to you for a long time.
  451. 51:22 I was afraid you might turn me down, but...
  452. 51:25 Look, Mary.
  453. 51:26 You're the only girl I ever really cared for and...
  454. 51:29 What?
  455. 51:30 Holy mackerel, what I'm trying to say is...
  456. 51:32 This is for you, will you? Will you wear it?
  457. 51:35 Oh, Jim...
  458. 51:38 Then you don't know about Sixers. Get his promotion?
  459. 51:47 Hicks is dead.
  460. 51:51 Flixton?
  461. 51:54 Mary. How?
  462. 51:57 and
  463. 51:58 You were AOL. We didn't know what happened. We thought you might be sick. He was worried and reported for duty in your place.
  464. 52:07 Pick your watch on the mine sweeper.
  465. 52:10 There's a gap, Mike.
  466. 52:13 Fix it.
  467. 52:16 And I had the nerve to come here and ask you to marry me.
  468. 52:19 It should have been me, not him.
  469. 52:21 could have happened to anybody. No, not anybody. I killed him just as if I had laid that mine out there myself.
  470. 52:27 Jim, I don't blame you.
  471. 52:31 I'm not going to let this come between us.
  472. 52:33 I know. This is clean, fine, honest. Everything I'm not, everything I ever touched, I spoiled.
  473. 52:42 I tell you, it was an accident. Accident?
  474. 52:45 He knew where I was. He knew I wasn't sick. He knew I was gambling. He'd get the dough to buy that ring so I'd make an impression on you. I'm not what you'd think I am, Mary.
  475. 52:55 everything about me a lot. Don't talk like that. My name is a lie.
  476. 53:04 My name isn't Jim Smith.
  477. 53:05 It's Richard Houston. I graduated from Annapolis. I got a commission, but that wasn't good enough. No, I had to be a big shot and I had to have money. So I gambled and I lost.
  478. 53:16 and I borrowed money from my fellow officers to pay back what I had lost.
  479. 53:20 When I couldn't pay my debts, I did the lowest thing a Navy officer could do. I deserted.
  480. 53:26 I wandered around for a while trying to forget, but I couldn't. Maybe it was in my blood.
  481. 53:31 And when the war broke, I...
  482. 53:35 meant to fix it. Thought I could pay my debt by joining up.
  483. 53:38 I met you and I thought I could make a new life to myself.
  484. 53:44 No, the same thing happened.
  485. 53:46 I lost my friend's life for it.
  486. 53:49 - I do.
  487. 53:51 Oh, forget about me, Mary.
  488. 53:54 Dick Houston walked out years ago.
  489. 53:56 Jim Smith never existed.
  490. 54:00 There isn't a place for either one of them in a decent society. Or in the Navy.
  491. 54:23 I'll be twenty seven dollars and sixty cents.
  492. 54:28 Attention.
  493. 54:29 Attention.
  494. 54:30 All leave and ensure liberty canceled for men attached to the San Pedro section.
  495. 54:35 Return to the base at once. Emergency, huh?
  496. 54:37 Attention, attention. All leave and shore liberty canceled for men attached to the San Pedro section.
  497. 54:46 Hey, you want this stuff or don't you?
  498. 54:49 *Bell rings*
  499. 54:55 We can't wait much longer.
  500. 54:56 We've got to get the transport out in time to meet her convoy.
  501. 54:59 But the panel is undoubtedly been mine my men are needed for a vital action in the South Pacific.
  502. 55:04 If we don't get out today, the convoy will have to proceed without us.
  503. 55:07 So I can't sweep the channel again I doubt if it would do any good.
  504. 55:10 What's your suggestion? We swept the channel and found no mines.
  505. 55:14 If one of our ships was blown up.
  506. 55:17 Evidently the Japs have developed some new device.
  507. 55:19 Mm-hmm.
  508. 55:20 Where did that leave it?
  509. 55:22 We take the transport out, you'll probably be blowing the kingdom come.
  510. 55:26 We don't.
  511. 55:28 We don't know yet. Hold the men in readiness.
  512. 55:33 Reporting for duty, sir.
  513. 55:34 Little late, aren't you?
  514. 55:36 I know I should have been here yesterday, but...
  515. 55:38 See, I was a little under the weather.
  516. 55:40 I see.
  517. 55:41 The minute I heard the alert over the radio, I reported immediately.
  518. 55:47 - You've been speaking. - There must be mines on the floor of the channel.
  519. 55:50 and of the unmoored type.
  520. 55:52 We've got to locate one so we can find out what makes them tick.
  521. 55:55 On the floor of the channel, sir?
  522. 55:57 It's like looking for a needle in a haystack.
  523. 55:59 Well, then we've got to find that needle.
  524. 56:01 How many divers have you got?
  525. 56:03 Three divers, sir.
  526. 56:05 Why, yes, sir. We have four attached, but...
  527. 56:08 One of them is a prisoner at large.
  528. 56:11 Have them search the floor of the channel, starting 1,000 feet beyond the harbor gate.
  529. 56:15 There's a transport here that's got to be out in less than three hours.
  530. 56:18 Understood, sir. I'll put the diver to work at once.
  531. 56:22 Yes, sir.
  532. 56:23 Ready both diving launchers and prepare all men for diving.
  533. 56:26 Aye, aye, sir.
  534. 56:27 We're going to comb the floor of the channel and see if we can locate one of those mines.
  535. 56:30 What about Smith?
  536. 56:32 He's not available.
  537. 56:33 I...
  538. 56:34 Report to the chief master at arms. You're a prisoner at large.
  539. 56:38 You only knew the...
  540. 56:39 Circumstances, sir, I...
  541. 56:42 I wasn't exactly over leave.
  542. 56:45 That was only one of the things I was referring to Houston.
  543. 56:49 No use of thing anymore. That's all?
  544. 56:54 I
  545. 56:56 You open it.
  546. 56:59 Don't you think I'd be a lot more used to the Navy if I were out there with the men?
  547. 57:03 instead of in the brick.
  548. 57:05 All right, Houston, get to your diving launch, but...
  549. 57:07 Report back to me as soon as the job's finished. Aye, sir.
  550. 57:10 Come on.
  551. 57:29 I'm ready. I'm.
  552. 58:27 We were yet not yet but if they're out there they'll find them.
  553. 59:01 I'm
  554. 59:31 Yes that means. I want her. What's it look like Nash.
  555. 59:44 It's circular with a flat bottom. Something like an inverted flower vase. It has numerous long horns on the globular body. Hold it Nash, plane over there.
  556. 1:00:00 I'm going to find me to my start right. Yeah. Me an idea. I think I've got the answer way to explode them all. That come up now.
  557. 1:00:30 There's a gadget of some sort fastened to the side. If I'd taken a port down here, we should have the whole storage, sir. It might be dangerous, Nash. Maybe a booby trap. Let's send Smith up first.
  558. 1:00:41 That's a Smith bring you up.
  559. 1:00:48 Go ahead Nash. Bobby's caught me consecutively so I can get the whole picture.
  560. 1:00:55 And take it easy.
  561. 1:01:22 After that.
  562. 1:01:23 - They're getting up in one. - What's the matter? I don't know. I think his lines are found.
  563. 1:01:27 Shield over all of a sudden.
  564. 1:01:29 I'll try to contact him.
  565. 1:01:31 Mash!
  566. 1:01:32 What's the matter, Nash?
  567. 1:01:34 That's a. That's a. That's a. Right away. I go ahead. Take me to that down and bring
  568. 1:02:11 Give it to me carefully and watch it.
  569. 1:02:23 You're a ring. It isn't down.
  570. 1:03:04 Gasket on the rain. I have been held by steel ring.
  571. 1:03:13 Diaphragm held by steel ring. That's enough, Smith. The booby trap could be right behind the diaphragm. Don't touch it.
  572. 1:03:24 Smith! Smith!
  573. 1:03:34 Pull up the line, sir.
  574. 1:03:36 Pull him up.
  575. 1:03:38 The base and the radio at once.
  576. 1:03:47 I'm located, sir.
  577. 1:03:49 By the action, I would suggest trying to bring the rest of them to the surface by flying planes low over the water, and we can detonate them by rifle fire.
  578. 1:03:57 Good work, Gilpin.
  579. 1:03:59 All right.
  580. 1:04:11 You know the day.
  581. 1:04:12 That's why he sent me up.
  582. 1:04:14 Jim Smith would save you through and through.
  583. 1:04:19 Certainly was
  584. 1:04:25 I'm not sure.
  585. 1:05:02 Ah!

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