Public Reel

Three Came Home (1950)

No renewal found Free in the US since 1 January 1979, on the registry's reading: registration LP24 of 1950 by Twentieth Century~Fox Film Corp was not renewed in the volumes searched. Record.

Claudette Colbert plays a captive writer whose standing with a Japanese commandant offers recognition, but no dependable protection.

A prison commandant’s admiration for a writer does nothing to make her free. That uncomfortable distinction runs through Three Came Home, in which Agnes Newton Keith, played by Claudette Colbert, discovers that Colonel Suga knows her work.1 Their acquaintance does not suspend the camp’s violence. Instead, it makes captivity harder to understand in simple terms: recognition of another person’s intelligence can coexist with the power to deny her ordinary choices. The film keeps testing the distance between being heard and being protected.

Keith’s memoir, published in 1947, supplied the story.4 It recounts her imprisonment in Japanese prisoner-of-war and civilian internment camps in North Borneo and Sarawak.3 Nunnally Johnson adapted the book for the screen.1 He also produced the film.5 Jean Negulesco directed.5 The film’s war story is organised around a mother’s efforts to keep her child alive, rather than around military campaigns. Maintaining contact with her husband gives those efforts a purpose beyond the camp’s boundaries. Keeping that small unit imaginable during separation supplies the drama.

The camp divides people into categories that cut across their closest attachments. Agnes and her son George are separated from her husband Harry, played by Patric Knowles.1 Marriage becomes a relationship conducted under rules neither spouse has chosen. The plot repeatedly turns on permission to cross the boundaries of confinement. Even delivering a message depends on access that cannot be taken for granted. Such concerns bring the machinery of imprisonment down to the scale of daily life. The film does not give Agnes a substitute military mission. Her work is to preserve enough of a household for survival to remain something more than an individual undertaking. Florence Desmond’s Betty belongs to that practical world of companionship among the confined women.1

Sessue Hayakawa plays Suga.1 His respect for Agnes’s authorship gives them a language outside the formal exchanges between guard and prisoner. It is a language available on unequal terms. She must continue to reckon with his power whether he is courteous or threatening. The distinction matters to the film’s treatment of brutality: an officer’s capacity for personal feeling is not evidence that the institution he serves has become humane. Nor does Agnes’s ability to speak to him make her responsible for reaching some reconciliation. The story keeps returning to needs more immediate than mutual understanding, especially the safety of her child.

The New York Times review appeared on 21 February 1950 under the headline “Moving Story of War Against Japan.”5 That wording offers a contrast with the title itself, which counts survivors rather than announcing a conflict. The title locates the measure of the war in a household. Its promise of return gives the separations within the camp their particular weight.

The later documentary trail supplied here is modest. A poster-image catalogue describes the film as free of copyright restrictions.8 The same page points to a Japanese DVD listing.8 Neither establishes the legal basis of a particular edition. Nor does the existence of a release show that a lapse in protection caused its distribution. The atlas’s viewing copy and the registry’s rights inquiry therefore answer different questions. The copy provides access to the film as an object of close observation. The inquiry concerns the evidence for its American copyright term.

The record: Registration LP24 by Twentieth Century~Fox Film Corp is dated 21 February 1950. The registry found no renewal in the renewal volumes for 1977 to 1979, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1978 and the film has been free in the US since 1 January 1979. This is the registry’s reading, not a conclusion independently confirmed by primary copyright records in the gathered sources. Rights in Keith’s underlying memoir remain outside this finding. The record does not establish the status of a particular later edition. Its territorial scope is 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/Three_Came_Home
  2. catalog.afi.com https://catalog.afi.com/Film/26524-THREE-CAME-HOME?cxt=filmography
  3. en.wikipedia.org https://en.wikipedia.org/wiki/Agnes_Newton_Keith
  4. amazon.com https://www.amazon.com/Three-came-reading-program-special/dp/0809436078
  5. nytimes.com https://www.nytimes.com/1950/02/21/archives/the-screen-in-review-moving-story-of-war-ag...
  6. commons.wikimedia.org https://commons.wikimedia.org/wiki/File:3camehome.jpg
  7. inlibra.com https://www.inlibra.com/10.5771/9781461674078.pdf
  8. commons.wikimedia.org https://commons.wikimedia.org/wiki/File:ThreeCameHome-poster2.jpg

Inside the film

446 shots over 1:40:14 · 232 beats in 159 sequences · 1009 transcript lines · JSON

Lands on the beat covering that second.
159 sequences; each is also a heading below.
Check before citing the shot count. A 7:24 shot at 35:59 (shot 141): either a static hold or a run of missed cuts. Treat it as unverified.

Every shot, 446 frames with timestamps and on-screen text

How this page was made

446 shots over 1:40:14, read from the Internet Archive copy ThreeCameHomeClaudetteColbertHankrip (ThreeCameHomeClaudetteColbertHankrip.mp4, 640×480, 25.00 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Three Came Home No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 446 shots judged colour), average shot 13.5s long, a frontal face detected in 44% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1950 (Internet Archive).

232 beats in sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Beats

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

Sequence 1 from 0:00

Frame at 1:09, shot 01:09
1 of 1 shots sampled

1. Sandakan

0:00–2:19 Not yet checked

Model synopsis: The beat introduces Agnes Keith, an American woman in Sandakan, British North Borneo in 1941, who narrates her personal history and the looming threat of Japanese invasion. The film states it is a true story and was photographed in locales associated with Mrs. Keith.

  • Text on screen states the film is a true story and scenes were photographed in locales associated with Mrs. Keith. [frame:1]

Named: Agnes Keith (t:1:32). 1 person observed.

“Six degrees north of the equator, in the heart of the East Indies, lies Sandakon.” 1:15 · “the tiny capital of British North Borneo. In Sandaken in 1941, there were 15,000 Asiatics, 79 Europeans, and one American. I was the Americ…” 1:20

Evidence, details and a link to share

Sequence 2 from 2:19

Frame at 2:29, shot 12:29Frame at 2:42, shot 22:42
2 of 2 shots sampled

2. Garden

2:19–2:44 Not yet checked

Model synopsis: A man in a white suit and hat stands near a parked car while speaking with a woman in a white shirt and dark pants; the transcript indicates they are discussing someone teasing an ape, which the woman corrects as friendship.

  • A man and a woman stand facing each other in a garden near a parked car. [frame:1, frame:2]

2 people observed.

“Good, Dad.” 2:37 · “Jack, Jack.” 2:38

Evidence, details and a link to share

Frame at 2:45, shot 32:45Frame at 2:52, shot 52:52Frame at 2:58, shot 72:58Frame at 3:07, shot 93:07
4 of 7 shots sampled

3. Garden

2:44–3:09 Not yet checked

Model synopsis: A man in a white suit and pith helmet speaks with a young boy outdoors, then walks with him toward a porch. A woman is present but mostly seen from behind. The dialogue reveals the man is a doctor and the boy is named Georgie.

  • The man bends down to speak to the boy. [frame:3]
  • The man and boy walk together toward a porch. [frame:4]

Named: Dr. Vanley (t:2:50), Georgie (t:2:53). 3 people observed.

“Hi, Dr. Vanley. Had any fight yet?” 2:50 · “Yes, sir. That's a good lad.” 2:53

Evidence, details and a link to share

Frame at 3:13, shot 103:13Frame at 3:23, shot 113:23Frame at 3:38, shot 133:38Frame at 3:46, shot 143:46
4 of 5 shots sampled

4. Porch

3:09–3:52 Not yet checked

Model synopsis: A woman and a man in a white coat converse on a porch; another man walks away in the background. The dialogue suggests a discussion about a pregnancy and whether to inform someone named Harry.

  • A woman shakes hands with a man in a white coat. [frame:1]
  • A man in a suit walks away from the porch area. [frame:2]
  • A man in a white coat speaks to a seated woman. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Well, what's the verdict?” 3:24 · “Then it's definite. How do you feel?” 3:30

Evidence, details and a link to share

Frame at 3:55, shot 153:55Frame at 4:02, shot 164:02
2 of 2 shots sampled

5. Porch

3:52–4:08 Not yet checked

Model synopsis: A man and a woman sit in wicker chairs and discuss the possibility of an impending event related to the war. The woman expresses disbelief and fear while the man suggests they prepare.

  • The man and woman are seated and talking about the war. [frame:1]

2 people observed.

“Do you really think they'll come? I'm afraid I do, eventually. I can't believe it. I really can't. No.” 3:59 · “I think we ought to be prepared for it anyway.” 4:06

Evidence, details and a link to share

Frame at 4:12, shot 174:12Frame at 4:21, shot 184:21
2 of 2 shots sampled

6. Garden

4:08–4:27 Not yet checked

Model synopsis: A man and a woman sit outdoors in a garden-like setting, discussing the impending arrival of Japanese forces and the evacuation of women and children. The woman holds a dark bowl and appears distressed as they talk about being forced to leave.

2 people observed.

“But how? How can you prepare for it?” 4:09 · “Well, I'm really ashamed to think of what I might do if they came. No.” 4:13

Evidence, details and a link to share

Sequence 3 from 4:27

Frame at 6:18, shot 196:18
1 of 1 shots sampled

7. Private office

4:27–8:08 Not yet checked

Model synopsis: A woman and a man embrace in a dimly lit interior while discussing evacuation, fear, and loyalty amid news of Pearl Harbor and impending Japanese occupation. The scene ends with a request to dial a phone number.

  • A man and woman are seen embracing closely in a dimly lit room. [frame:1]

Named: Harry (t:5:59), Bill (t:5:54). 4 people observed.

“How'd you like to take a little trip, darling?” 4:49 · “I don't want to go.” 5:03

Evidence, details and a link to share

Sequence 4 from 8:08

Frame at 8:11, shot 208:11Frame at 8:15, shot 218:15Frame at 8:17, shot 228:17Frame at 8:45, shot 238:45
4 of 4 shots sampled

8. Private office

8:08–9:11 Not yet checked

Model synopsis: A man and a woman are on separate phone calls in different rooms, discussing an impending arrival and giving instructions for children to be taken to a government house. The woman is seen packing while speaking, and the man is seated at a desk, both appearing concerned.

  • A woman is packing clothes into a suitcase while on the phone. [frame:1]
  • A man in a white shirt is seated at a desk, speaking on the phone. [frame:2]
  • The woman is standing, holding a phone receiver to her ear, looking concerned. [frame:3]
  • 1 more under Evidence and details.

Named: Stan (t:8:34), Georgie (t:8:28), Harry (t:8:57). 4 people observed.

“No, but we have a guard on the point to let us know. No need to worry too much yet. It may all be very simple and routine. We're going down…” 8:19 · “You're to take Georgie straight to government house.” 8:28

Evidence, details and a link to share

Frame at 9:26, shot 249:26Frame at 10:05, shot 2510:05
2 of 2 shots sampled

9. Private office

9:11–10:29 Not yet checked

Model synopsis: A man in a white coat is seen in a dimly lit room, first seated at a desk handling an object, then standing at a cabinet. The transcript includes dialogue about waiting, being taken away, and boats approaching, but no names are spoken.

  • A man in a white coat sits at a desk and handles an object. [frame:1]
  • The man stands at a cabinet, facing away from the camera. [frame:2]

1 person observed.

“Did there come anything? No, not yet, but any minute now, I guess.” 9:31 · “What you think they do, Missy?” 9:34

Evidence, details and a link to share

Sequence 5 from 10:29

Frame at 11:15, shot 2611:15
1 of 1 shots sampled

10. Sidewalk

10:29–12:01 Not yet checked

Model synopsis: A woman hands a panda toy to a child holding an umbrella while speaking to her; the child is told to go home quickly. The scene is dimly lit and appears to be outdoors at night.

  • A woman hands a panda toy to a child. [frame:1]

Named: Georgie (t:10:49). 2 people observed.

“You want me to stay, missy? No, no, I ain't. You go home quickly. Thank you. Here, Georgie, take your panda.” 10:49 · “Come on.” 11:19

Evidence, details and a link to share

Sequence 6 from 12:01

Frame at 12:05, shot 2712:05Frame at 12:13, shot 2812:13Frame at 12:34, shot 2912:34
3 of 3 shots sampled

11. Living room

12:01–12:52 Not yet checked

Model synopsis: A woman comforts a child while another woman looks on; a girl walks through a crowded room; soldiers march at night outside a large building. A voice speaks in Japanese and another cries for Charles and Mother.

  • A woman holds a child while another woman looks on. [frame:1]
  • A girl walks through a room filled with seated adults. [frame:2]
  • Soldiers march at night outside a large building. [frame:3]

Named: Charles (t:12:42), Mother (t:12:49). 8 people observed.

“I don't know.” 12:09 · “What was that gun? You're not too quiet, darling. But what was it?” 12:19

Evidence, details and a link to share

Sequence 7 from 12:52

Frame at 13:50, shot 3013:50Frame at 14:48, shot 3114:48
2 of 2 shots sampled

12. Private office

12:52–14:49 Not yet checked

Model synopsis: A group of men, including a Japanese officer and a civilian official, are in a tense confrontation inside a room. The civilian admits to following orders to destroy machinery, bridges, and other assets, while the officer challenges his claim to civilian status under the rules of war.

5 people observed.

“Those were my orders, and I obeyed them.” 13:46 · “I had my orders. You had your orders from a general in Singapore and they were military orders.” 14:14

Evidence, details and a link to share

Frame at 14:51, shot 3214:51Frame at 14:59, shot 3314:59Frame at 15:29, shot 3415:29Frame at 15:59, shot 3515:59
4 of 4 shots sampled

13. Living room

14:49–16:03 Not yet checked

Model synopsis: A man in a military uniform confronts two other men in a room, asserting authority. In another scene, women and children are seen resting on the floor in a large hall, and two women are shown in a close interaction on a couch.

  • A man in uniform confronts two men in a room. [frame:1]
  • More uniformed men enter the room, surrounding the civilians. [frame:2]
  • Women and children are lying on the floor in a large hall. [frame:3]
  • 1 more under Evidence and details.

Named: Mrs. Keese (t:15:43), Mrs. Agnes Lothankees (t:15:46). 6 people observed.

“Never use that voice to me again.” 14:50 · “We are in charge here now, the Nipponese army.” 15:08

Evidence, details and a link to share

Frame at 16:03, shot 3616:03Frame at 16:05, shot 3716:05Frame at 16:10, shot 3816:10
3 of 3 shots sampled

14. Other

16:03–16:14 Not yet checked

Model synopsis: A woman refuses to leave a child with a soldier, insisting she cannot leave him alone. The soldier and another woman are present in a crowded interior space.

  • A soldier stands in a crowded room. [frame:1]
  • A woman holds a child while another woman stands nearby. [frame:2]
  • A soldier stands facing two women in a crowded room. [frame:3]

5 people observed.

“You come along.” 16:03 · “Oh, no, I won't leave him. I can't leave him here alone. Leave him. Soldier take care of him.” 16:04

Evidence, details and a link to share

Frame at 16:15, shot 3916:15Frame at 16:22, shot 4016:22
2 of 2 shots sampled

15. Living room

16:14–16:27 Not yet checked

Model synopsis: Two women and a boy are in a room; one woman speaks reassuringly to the boy while the other looks on. The scene shifts to show the boy being led away as another woman enters the room.

  • The boy is led away as another woman enters the room. [frame:2]

4 people observed.

“He'll be all right, don't worry.” 16:16 · “No, darling, be a good boy. Mommy will be home right away.” 16:18

Evidence, details and a link to share

Sequence 8 from 16:27

Frame at 16:41, shot 4116:41
1 of 1 shots sampled

16. Private office

16:27–16:54 Not yet checked

Model synopsis: A man in uniform stands behind a desk in an office while a woman is addressed and told to sit. The setting includes bookshelves and a lamp, suggesting a formal interior space.

  • A man in uniform is standing behind a desk. [frame:1]

Named: Mrs. Keith (t:16:46). 2 people observed.

“Hey, then.” 16:33 · “Mr. Ski.” 16:35

Evidence, details and a link to share

Frame at 17:02, shot 4217:02Frame at 17:34, shot 4417:34Frame at 18:08, shot 4718:08Frame at 18:15, shot 4918:15
4 of 8 shots sampled

17. Private office

16:54–18:17 Not yet checked

Model synopsis: A man in a military uniform speaks with a woman across a desk in an office; they discuss children and a book about Borneo. The conversation includes references to Japan, California, and the man's familiarity with 'orientals'.

Named: George (t:17:02), Mrs. Keats (t:17:45). 2 people observed.

“George.” 17:02 · “The lieutenant wouldn't let me bring him in.” 17:07

Evidence, details and a link to share

Frame at 18:29, shot 5018:29
1 of 1 shots sampled

18. Private office

18:17–18:41 Not yet checked

Model synopsis: A man and a woman are in a room with bookshelves and a lamp; the man stands while the woman sits. The transcript includes references to universities, a football game, and betting, with one line warning 'He'll murder us.'

  • A man stands facing a seated woman in a room with bookshelves. [frame:1]

2 people observed.

“He'll murder us.” 18:27 · “Yes, you got it.” 18:29

Evidence, details and a link to share

Frame at 19:21, shot 5119:21
1 of 1 shots sampled

19. Private office

18:41–20:02 Not yet checked

Model synopsis: A woman sits in a room while a man stands near a desk; they discuss an autograph request and then the woman asks about her husband's fate. The setting appears to be an office or study with bookshelves and a desk visible.

  • A woman sits in a chair while a man stands near a desk. [frame:1]

Named: Mrs. Keyes (t:18:45). 2 people observed.

“Have we a copy of your book here, Mrs. Keyes?” 18:45 · “And would you also mind writing in it that you gave it to me personally?” 19:13

Evidence, details and a link to share

Sequence 9 from 20:02

Frame at 20:11, shot 5220:11
1 of 1 shots sampled

20. Living room

20:02–20:19 Not yet checked

Model synopsis: A woman in a shawl walks away from the camera in a dimly lit room while a man in a hat sits nearby. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 10 from 20:19

Frame at 20:49, shot 5320:49
1 of 1 shots sampled

21. Bedroom

20:19–21:19 Not yet checked

Model synopsis: A man in a suit examines a child in bed while two other adults stand nearby in a dimly lit bedroom; dialogue suggests a medical visit and concern for the child’s health. The scene ends with an adult asking why something was not disclosed.

  • A man in a suit examines a child in bed while two others stand nearby. [frame:1]

Named: George (t:20:58), Harry (t:21:05). 5 people observed.

“This then was occupation by the enemy. Business as usual, they said. Carry on with your lives and your work. At the end of one month,” 20:20 · “I no longer have my secret.” 20:49

Evidence, details and a link to share

Sequence 11 from 21:19

Frame at 21:22, shot 5421:22Frame at 21:27, shot 5521:27Frame at 21:41, shot 5621:41
3 of 3 shots sampled

22. Bedroom

21:19–21:53 Not yet checked

Model synopsis: A woman lies in bed holding a child while a man looks on with concern; dialogue suggests a pregnancy has ended. The child speaks about not having a baby brother or sister, and the woman responds with 'Amen.'

  • Woman lies in bed holding a child. [frame:1]
  • Man looks on with a concerned expression. [frame:2]
  • Woman speaks to child while lying in bed. [frame:3]

3 people observed.

“It just seemed too much on top of everything else.” 21:20 · “One less problem to handle.” 21:33

Evidence, details and a link to share

Frame at 21:54, shot 5721:54Frame at 22:01, shot 5822:01Frame at 22:08, shot 5922:08Frame at 22:12, shot 6022:12
4 of 4 shots sampled

23. Bedroom

21:53–22:14 Not yet checked

Model synopsis: A child and two adults are in a bedroom; the child speaks about Christmas while lying in bed with an adult, and another adult leans over them. The dialogue indicates a small family unit will be together for the holiday.

  • Adult man leans over the bed toward the child and woman. [frame:2]
  • Child looks up with a serious expression. [frame:3]
  • Child touches the woman's face while she smiles with eyes closed. [frame:4]

Named: Mommy (t:22:04), Daddy (t:22:04). 3 people observed.

“But next Christmas, maybe?” 21:53 · “I'm afraid not, darling.” 21:57

Evidence, details and a link to share

Sequence 12 from 22:14

Sequence 13 from 22:22

Frame at 22:45, shot 6222:45
1 of 1 shots sampled

25. Living room

22:22–23:08 Not yet checked

Model synopsis: A man stands on a veranda while another man and a woman are inside a room with luggage; a truck is expected. The scene includes dialogue about waiting and using an object.

  • A man in uniform stands on a veranda while two others are inside a room with luggage. [frame:1]

3 people observed.

“Oh.” 22:39 · “Come on.” 22:40

Evidence, details and a link to share

Sequence 14 from 23:08

Frame at 23:17, shot 6323:17
1 of 1 shots sampled

26. Other

23:08–23:25 Not yet checked

Model synopsis: A man stands on a porch overlooking the sea while a woman sits nearby; a child is also present. The transcript suggests they are waiting for someone who may be late.

  • A man stands on a porch with hands on hips, looking out to sea. [frame:1]
  • A woman sits on a bench, hands clasped, looking toward the man. [frame:1]
  • A child sits at a small table near the woman. [frame:1]

3 people observed.

“Still got a few more minutes, even if they're on time, which they probably won't be.” 23:18

Evidence, details and a link to share

Sequence 15 from 23:25

Frame at 23:55, shot 6523:55Frame at 24:04, shot 6624:04
2 of 2 shots sampled

28. Other

23:54–24:12 Not yet checked

Model synopsis: A young boy sits alone on a patterned chair, reaching toward an object. A man and a woman sit close together outdoors, smiling and holding hands. The transcript mentions concern for children and notes a child's small size.

  • A boy sits on a chair and reaches toward a small object. [frame:1]
  • A man and a woman sit side by side, holding hands and smiling. [frame:2]

3 people observed.

“If only they make some kind of provision for children.” 23:55 · “Pretty sturdy. That's one good thing.” 24:03

Evidence, details and a link to share

Sequence 16 from 24:12

Frame at 24:14, shot 6724:14
1 of 1 shots sampled

29. Road

24:12–24:15 Not yet checked

Model synopsis: A vintage truck is shown driving past trees and a building. 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 17 from 24:15

Frame at 24:24, shot 6824:24Frame at 24:34, shot 6924:34Frame at 24:39, shot 7024:39
3 of 3 shots sampled

30. Other

24:15–24:42 Not yet checked

Model synopsis: A man and a woman embrace while a boy looks on; the dialogue reveals fear and dependence. The setting appears to be an outdoor or semi-outdoor space with foliage and patterned furniture.

  • A man and a woman embrace tightly. [frame:1]
  • A boy sits alone, looking toward the couple with a concerned expression. [frame:2]
  • The man and woman continue to embrace, the man looking off to the side. [frame:3]

3 people observed.

“Oh, I'm so scared.” 24:19 · “I know, dear. I know. Everybody is.” 24:21

Evidence, details and a link to share

Frame at 24:44, shot 7124:44Frame at 24:47, shot 7224:47
2 of 2 shots sampled

31. Other

24:42–24:49 Not yet checked

Model synopsis: A boy sits holding a paper while a man and woman embrace in a separate shot. No names are spoken, and no time of day or period is established.

  • A boy sits holding a paper and looking down. [frame:1]
  • A man and woman embrace closely. [frame:2]

3 people observed.

“I...” 24:43 · “- Mm.” 24:46

Evidence, details and a link to share

Sequence 18 from 24:49

Frame at 24:53, shot 7324:53Frame at 25:05, shot 7425:05
2 of 2 shots sampled

32. Street

24:49–25:12 Not yet checked

Model synopsis: A woman is shown in close-up with a man's hand on her chin, followed by a wide shot of a truck carrying several people past a building with a pagoda-style roof. Two lines of dialogue are spoken during this interval, one asking about 'Yankee spirit' and the other apologizing.

  • A man holds a woman's chin in a close-up shot. [frame:1]
  • A truck carrying several people drives past a building with a pagoda-style roof. [frame:2]

4 people observed.

“Where's that Yankee spirit?” 24:52 · “I'm sorry.” 24:55

Evidence, details and a link to share

Sequence 19 from 25:12

Frame at 25:16, shot 7525:16Frame at 25:32, shot 7625:32
2 of 2 shots sampled

33. Porch

25:12–25:45 Not yet checked

Model synopsis: A man and a woman stand on a porch with a child nearby; the man and woman then embrace closely. The transcript includes farewells and affirmations of returning home.

  • A man, woman, and child stand on a porch. [frame:1]
  • The man and woman embrace closely. [frame:2]

3 people observed.

“Goodbye, my darling. Goodbye, sweetheart. I love you so much.” 25:17 · “We'll come home, Miss Wheeler.” 25:34

Evidence, details and a link to share

Frame at 25:49, shot 7725:49Frame at 25:58, shot 7825:58Frame at 26:05, shot 7926:05
3 of 3 shots sampled

34. Garden

25:45–26:07 Not yet checked

Model synopsis: A man embraces a young boy outdoors while another man and a woman stand nearby; the man tells the boy he is going away with his mother and to not forget him. The setting appears to be a garden or patio with plants and outdoor furniture.

  • The man holds the boy close while speaking to him. [frame:3]

4 people observed.

“A big hug for Daddy? A hard one? Certainly the hardest one you can give me.” 25:53 · “Goodbye, son. Bye. You're going away with Mommy for a little while. Don't forget Daddy.” 25:59

Evidence, details and a link to share

Frame at 26:09, shot 8026:09
1 of 1 shots sampled

35. Porch

26:07–26:11 Not yet checked

Model synopsis: A man sits in a chair holding a young boy on his lap while another man stands nearby on a porch with plants and a view of trees and sky. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 20 from 26:11

Frame at 26:31, shot 8126:31
1 of 1 shots sampled

36. Living room

26:11–26:51 Not yet checked

Model synopsis: A man and a woman prepare to leave a room with a child, gathering luggage and giving instructions. The child is told to stay close to the mother as they prepare to exit together.

  • The man is seen handling a suitcase near the child. [frame:1]
  • The woman stands holding papers, looking toward the man and child. [frame:1]

3 people observed.

“Ready? We're going. Very sorry. Thank you.” 26:14 · “You just listen to what Mommy tells you and stick close to her at all times. Yes, Daddy. Wait here a moment. We'll all go out together.” 26:22

Evidence, details and a link to share

Sequence 21 from 26:51

Sequence 22 from 26:57

Sequence 23 from 27:07

Frame at 27:09, shot 8427:09
1 of 1 shots sampled

39. Other

27:07–27:10 Not yet checked

Model synopsis: A group of people, including a woman in a light dress and others in hats and coats, are gathered around a vehicle or structure. One person is reaching up toward the woman in the dress.

5 people observed.

Evidence, details and a link to share

Sequence 24 from 27:10

Frame at 27:11, shot 8527:11Frame at 27:16, shot 8727:16Frame at 27:21, shot 8827:21Frame at 27:27, shot 9027:27
4 of 6 shots sampled

40. Other

27:10–27:29 Not yet checked

Model synopsis: A group of men and women, some in hats and light clothing, are gathered in a crowded outdoor setting. One man in a military-style cap is visible among civilians, and people appear to be moving or standing in a queue or assembly.

7 people observed.

Evidence, details and a link to share

Sequence 25 from 27:29

Frame at 27:31, shot 9127:31
1 of 1 shots sampled

41. Other

27:29–27:32 Not yet checked

Model synopsis: A woman in a headscarf and long dress reaches toward a child in a striped shirt while a uniformed man stands nearby; other people are visible in the background. No dialogue or on-screen text is present in this beat.

  • A woman in a headscarf reaches toward a child in a striped shirt. [frame:1]

5 people observed.

Evidence, details and a link to share

Sequence 26 from 27:32

Frame at 27:36, shot 9227:36
1 of 1 shots sampled

42. Other

27:32–27:38 Not yet checked

Model synopsis: A woman holds a young boy while pointing at something off-screen; other figures stand in the background. The setting appears to be an interior space with hanging garments.

  • Woman points with her right hand while holding a boy. [frame:1]

4 people observed.

Evidence, details and a link to share

Sequence 27 from 27:38

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Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1009 segments kept, 397 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. 1:15 Six degrees north of the equator, in the heart of the East Indies, lies Sandakon.
  2. 1:20 the tiny capital of British North Borneo. In Sandaken in 1941, there were 15,000 Asiatics, 79 Europeans, and one American. I was the American.
  3. 1:32 My name is Agnes Keith. I was born in Oak Park, Illinois, and graduated from the University of California at Berkeley. My husband is Harry Keith, a colonial official of British North Borneo. Borneo became my home when Harry and I were married. And it was in Sandaken that I bore one child and lost another.
  4. 2:02 and 41, certain only of one thing, that sooner or later, Japanese guns would join in the funders of war, and Japanese troops would come down through the East Indies. The men waited because it was their duty, the women because it was their choice.
  5. 2:37 Good, Dad.
  6. 2:38 Jack, Jack.
  7. 2:40 What's he doing, teasing that ape? Oh no, doctor, they're much friends now.
  8. 2:44 Is Mrs. Keith in? Yes, Doctor. Will you tell her I'm here? Yes, Doctor.
  9. 2:48 How are you feeling, young fella?
  10. 2:50 Hi, Dr. Vanley. Had any fight yet?
  11. 2:53 Yes, sir. That's a good lad.
  12. 2:55 How big was he? Was the boy.
  13. 2:58 Oh, you can't start too early at that sort of thing. What did you do? Wallop her? I ran all the way home. Slendid, Georgie. And then your brother ran me all the way back. The filthy bully. Trying to corrupt him again, are you? Not in the least. Boy's got to learn to protect himself against women. Inside, darling. It's time to get washed up for luncheon. Come on, Mr. Grouch. Bye, Dr. Barry. Bye, young fella. Trip her up next time.
  14. 3:24 Well, what's the verdict?
  15. 3:26 What's what you like?
  16. 3:27 A girl or another boy.
  17. 3:30 Then it's definite. How do you feel?
  18. 3:32 All right? - Mornings, you know. - Perfectly normal.
  19. 3:35 Nothing to be done about that.
  20. 3:37 Drop into the office the first time you're downtown and we'll go into details.
989 more segments
  1. 3:41 How's Harry feel about it?
  2. 3:42 I haven't told him yet nothing. I want to wait until it was definite.
  3. 3:46 You weren't afraid, were you?
  4. 3:48 - Afraid of what? - Afraid to tell him.
  5. 3:50 Well, of course not. Why should I be?
  6. 3:54 situation I mean, the war and all that.
  7. 3:57 Oh.
  8. 3:59 Do you really think they'll come? I'm afraid I do, eventually. I can't believe it. I really can't. No.
  9. 4:05 I hope not, of course.
  10. 4:06 I think we ought to be prepared for it anyway.
  11. 4:09 But how? How can you prepare for it?
  12. 4:13 Well, I'm really ashamed to think of what I might do if they came. No.
  13. 4:16 The Japs were to come here.
  14. 4:18 Probably have to drag me down out of those hills.
  15. 4:20 I know that's where they'll find me. Oh, no. You won't be here anyway.
  16. 4:25 The government will clear out all you women and children.
  17. 4:27 That gives me an idea.
  18. 4:29 I played Charlie in Charlie's aunt a couple of years ago. I wonder what I did with that dress.
  19. 4:34 That's what I'll do this day-night by George.
  20. 4:49 How'd you like to take a little trip, darling?
  21. 4:51 Chip where? Home, back to the States, you and Georgie. Are you beginning to worry, too? No, not altogether, but...
  22. 4:58 It is liable to get a little rough out here.
  23. 5:00 No need taking too many chances, you know.
  24. 5:03 No, I don't want to go.
  25. 5:05 I don't want to leave you. I want to be with you whatever happens.
  26. 5:13 What about Georgie?
  27. 5:16 We'll have to send him out, I guess. But I've made up my mind about myself. I don't know.
  28. 5:21 I'm sticking with Papa.
  29. 5:25 No matter what proper things? No matter whatever.
  30. 5:31 What about the government? Would you listen to it? Oh, if the government puts me out, then I'll have to go, but not otherwise. All right, then we'll leave it up to the government.
  31. 5:43 You know, I never knew before that you were a woman of steel.
  32. 5:46 Oh, I'm not. I'm a woman of tenfold.
  33. 5:52 I'm scared to death already.
  34. 5:54 You're just my Bill, I guess.
  35. 5:59 Name happens to be Harry. Oh, Wolf, of course. I forgot. Just my Harry, I meant...
  36. 6:07 You had very nice hands, darling. Thank you.
  37. 6:10 still?
  38. 6:13 Always.
  39. 6:25 Here we go, Ian.
  40. 6:30 Oh, uh, I.Y.N. tells me Dr. Andy was here this morning. Anything wrong? No.
  41. 6:35 No, no, I just wanted him to look at George's throat.
  42. 6:49 Newsflash. Newsflash. We interrupt this program to tell you that the Japanese have attacked the American naval base at Pearl Harbor in the Hawaiian Islands.
  43. 6:56 This is all the information we have at the moment.
  44. 7:16 And then we waited. For five weeks from that December morning, we waited for the voice of command and authority to give us our orders. On January 11th, we got them. To all police subjects in the state of North Borneo...
  45. 7:29 The enemy occupied Jessalden this morning and may be expected in Sandagnet any hour now.
  46. 7:36 You'll be doing your duty by remaining at your posts. Meet the enemy. Resist passively. Do not cooperate.
  47. 7:42 We're sorry, but we cannot help you.
  48. 7:50 A nice night they picked for it too.
  49. 7:54 Very inconsiderate, people.
  50. 8:06 Two-four-seven, please.
  51. 8:14 Hello?
  52. 8:15 Did you have the radio on?
  53. 8:16 Yes, I heard it.
  54. 8:18 Is there any sign of them yet?
  55. 8:19 No, but we have a guard on the point to let us know. No need to worry too much yet. It may all be very simple and routine. We're going down to the dock to show them that we're not armed.
  56. 8:28 You're to take Georgie straight to government house.
  57. 8:30 All the women and children are to gather there and stay under orders.
  58. 8:33 until we know what's what.
  59. 8:34 I'm Stan.
  60. 8:36 I'm packing now.
  61. 8:38 But when will I see you?
  62. 8:40 I'll catch up with you later.
  63. 8:42 Try not to worry, dear. I...
  64. 8:44 I know everything's going to be all right.
  65. 8:46 How's Georgie?
  66. 8:47 Has he noticed anything yet?
  67. 8:48 No.
  68. 8:49 He's a little angel.
  69. 8:51 Very pleased to be up so late.
  70. 8:53 Give him a big hug from the end.
  71. 8:54 Tell him I'm counting on him to help his mum here.
  72. 8:56 All right, darling.
  73. 8:57 Harry, listen.
  74. 9:00 Be very careful, will you?
  75. 9:01 Don't worry, dear. I won't do anything foolish.
  76. 9:03 And I'll see you a little later.
  77. 9:06 Goodbye, darling.
  78. 9:31 Did there come anything? No, not yet, but any minute now, I guess.
  79. 9:34 What you think they do, Missy?
  80. 9:36 I don't know, Ian. I don't even like to think about it.
  81. 9:39 What about your friends?
  82. 9:40 Very good friend.
  83. 9:41 When time comes they take me away to the hills.
  84. 9:44 No one find me there.
  85. 9:47 Come here, darling.
  86. 10:08 They're coming around the point.
  87. 10:19 launches but the boy couldn't tell how many doesn't matter ten hundred ten thousand makes no difference should we start gentlemen as well
  88. 10:49 You want me to stay, missy? No, no, I ain't. You go home quickly. Thank you. Here, Georgie, take your panda.
  89. 11:19 Come on.
  90. 12:09 I don't know.
  91. 12:13 What?
  92. 12:15 What is it, Mommy?
  93. 12:19 What was that gun? You're not too quiet, darling. But what was it?
  94. 12:37 Oi, this is easy, isn't it? The Singaporean is different.
  95. 12:42 Charles!
  96. 12:44 Charles!
  97. 12:49 I'm sorry, I don't understand Japanese. Stay away from me, you gutting jack! Charles! Oh, why not? Mother! Mother! Mother!
  98. 13:03 Let's get it! Stand up! Everybody!
  99. 13:08 When Japanese officer enter,
  100. 13:10 Stand up, everybody, and bow!
  101. 13:13 - It's a lot of stuff.
  102. 13:16 Now!
  103. 13:17 - Out! Japanese, out there!
  104. 13:42 And the flake isn't there and your pets will occur.
  105. 13:44 We dumped it.
  106. 13:46 Those were my orders, and I obeyed them.
  107. 13:48 Precisely as you obey yours. What do you mean orders?
  108. 13:51 you are not the soldier you are a civilian you told me so yourself
  109. 13:55 I'm a civilian, but I'm also an official.
  110. 13:57 subject to the orders of my government.
  111. 13:59 And what else did you destroy?
  112. 14:02 Certain pieces of machinery.
  113. 14:04 Some votes.
  114. 14:05 A few bridges.
  115. 14:07 And you're stuck to the boil, too, I suppose?
  116. 14:10 All of it.
  117. 14:11 And you still expect to be treated as a civilian?
  118. 14:14 I had my orders. You had your orders from a general in Singapore and they were military orders.
  119. 14:21 You have probably committed 40 acts of war in the past 24 hours.
  120. 14:26 and yet you stand there and try to tell me you are a civilian, that you are all civilians,
  121. 14:31 so that it doesn't count.
  122. 14:33 What do you take me for?
  123. 14:35 A complete fool?
  124. 14:36 The rules of war defining a civilian and civilian rights
  125. 14:39 are perfectly clear.
  126. 14:40 And I'm sure you're quite familiar with them.
  127. 14:43 I'm asking for nothing that I'm not entitled to.
  128. 14:45 And if I may say...
  129. 14:50 Never use that voice to me again.
  130. 14:54 Oh, wait a minute. You have absolutely no right. Oh, wait a minute.
  131. 14:59 Perhaps you had better understand this now.
  132. 15:02 That's the very beginning.
  133. 15:04 I'll take none of your British arrogance.
  134. 15:07 - Not now!
  135. 15:08 We are in charge here now, the Nipponese army.
  136. 15:12 You understand that?
  137. 15:15 Now?
  138. 15:17 Bow to Japanese officers.
  139. 15:21 Bow!
  140. 15:38 Okay.
  141. 15:43 Mrs. Keese?
  142. 15:44 Yes?
  143. 15:46 Mrs. Agnes Lothankees? Yes.
  144. 15:50 - Are that people? Go your home.
  145. 15:52 Stay at home.
  146. 15:54 Mrs. Keith, you come with me.
  147. 15:57 Come on, Mary.
  148. 16:01 No, no way.
  149. 16:03 You come along.
  150. 16:04 Oh, no, I won't leave him. I can't leave him here alone. Leave him. Soldier take care of him.
  151. 16:16 He'll be all right, don't worry.
  152. 16:18 No, darling, be a good boy. Mommy will be home right away.
  153. 16:23 Come on.
  154. 16:33 - Hey, then.
  155. 16:35 Mr. Ski.
  156. 16:41 Coming.
  157. 16:46 Sit down, Mrs. Keith.
  158. 16:57 You have a child, haven't you?
  159. 17:01 Yes?
  160. 17:02 George.
  161. 17:03 Wait, see.
  162. 17:05 I left him with a friend.
  163. 17:07 The lieutenant wouldn't let me bring him in.
  164. 17:09 I have two sons.
  165. 17:12 - Really? - Two sons and your daughter.
  166. 17:15 How old did he avoid?
  167. 17:17 He's four.
  168. 17:18 My youngest is free.
  169. 17:20 But he is quite big for three.
  170. 17:22 People often take him for four.
  171. 17:25 Really?
  172. 17:26 You'll have to bring your little boy to see me sometime.
  173. 17:30 I'll tell him about Japan, how little boys live there.
  174. 17:34 And I have some pictures too. I'll show him.
  175. 17:37 Oh, my God.
  176. 17:39 That will be over soon. We are just cleaning up a bit.
  177. 17:45 I read your book about Borneo, Mrs. Keats.
  178. 17:48 Fernand Pirote Wind.
  179. 17:51 You did?
  180. 17:52 In the Japanese edition, I like it very much.
  181. 17:57 You were a very sympathetic with the orientals. Of course.
  182. 18:01 I've lived out here for several years now.
  183. 18:03 I've come to know them quite well.
  184. 18:06 It's not usual, you know.
  185. 18:09 Where is your home in the States, Mrs. Kees?
  186. 18:12 California.
  187. 18:14 I've lived in America for four years.
  188. 18:18 I went to the University of Washington.
  189. 18:20 I was at Berkeley.
  190. 18:22 I went down to Berkeley too, many years ago, for a football game.
  191. 18:27 He'll murder us.
  192. 18:29 Yes, you got it.
  193. 18:31 And we were the favorites too.
  194. 18:33 I took evil money and gave two points to one fellow.
  195. 18:37 You must do that.
  196. 18:38 You should have put your money on the crew. That's right.
  197. 18:42 We had always good crews.
  198. 18:45 Have we a copy of your book here, Mrs. Keyes?
  199. 18:48 The American edition.
  200. 18:50 Yes.
  201. 18:51 I would like very much to have on an autograph.
  202. 18:55 Well, I...
  203. 18:56 I don't see how you could have picked a better time to ask for one. I'm sorry.
  204. 19:02 You think it's too impolite this way?
  205. 19:04 Oh, not at all.
  206. 19:06 I don't get enough requests for my autograph.
  207. 19:11 Quibble over the circumstances.
  208. 19:13 And would you also mind writing in it that you gave it to me personally?
  209. 19:18 Certainly.
  210. 19:19 They appreciate that very much.
  211. 19:22 I wrote out the name for you.
  212. 19:25 meet you
  213. 19:27 So that
  214. 19:28 I'm going to go on the way.
  215. 19:31 I think I read it again, too.
  216. 19:33 Is that all?
  217. 19:34 That's all.
  218. 19:40 Colonel.
  219. 19:41 Yes?
  220. 19:42 May I ask you something about the men?
  221. 19:45 My husband, what are you going to do with him?
  222. 19:48 that will be attended to in time.
  223. 20:19 All right.
  224. 20:20 This then was occupation by the enemy. Business as usual, they said. Carry on with your lives and your work. At the end of one month,
  225. 20:46 of such civilized consideration.
  226. 20:49 I no longer have my secret.
  227. 20:51 I think she'll be all right now. You should make something during the night. Give her another tablet.
  228. 20:58 I'll ring you in the morning. Thank you, Doctor. Thank you very much. Good night, George. Good night, Doctor.
  229. 21:05 Good night, Harry. Good night, Doctor.
  230. 21:17 Why didn't you tell me, dear?
  231. 21:20 It just seemed too much on top of everything else.
  232. 21:25 I couldn't.
  233. 21:26 Oh, my God.
  234. 21:27 My poor darling.
  235. 21:31 Maybe it's just as well.
  236. 21:33 One less problem to handle. What is it, Mommy?
  237. 21:39 Amen.
  238. 21:41 Great.
  239. 21:43 We're not going to have a little baby brother after all.
  240. 21:46 with my little baby sister.
  241. 21:50 Amen.
  242. 21:51 No little sister either.
  243. 21:53 But next Christmas, maybe?
  244. 21:57 I'm afraid not, darling.
  245. 22:00 For a while, it'll have to be just us. That's all.
  246. 22:04 You and Daddy and me. That's all right, Mommy. I didn't want anybody else anyway.
  247. 22:13 Oh, my baby.
  248. 22:39 Oh.
  249. 22:40 Come on.
  250. 22:49 Is there any sign of the truck yet? Come soon.
  251. 22:53 We'll be out here on the veranda. - Okay.
  252. 22:58 You use this?
  253. 23:18 Still got a few more minutes, even if they're on time, which they probably won't be.
  254. 23:35 - Oh, darling, darling. - Now, now.
  255. 23:39 Oh
  256. 23:48 Have you heard anything at all?
  257. 23:49 Where we're going.
  258. 23:51 Nothing that means anything.
  259. 23:55 If only they make some kind of provision for children.
  260. 24:03 Pretty sturdy. That's one good thing.
  261. 24:07 But he's still so little.
  262. 24:19 Oh, I'm so scared.
  263. 24:21 I know, dear. I know. Everybody is.
  264. 24:25 I'm scared to be without you.
  265. 24:28 I need you so I just wonder what to do without you
  266. 24:33 What's the matter with Mommy?
  267. 24:38 Mommy's all right.
  268. 24:39 She just doesn't feel very well.
  269. 24:43 I...
  270. 24:46 - Mm.
  271. 24:48 *crying*
  272. 24:52 Where's that Yankee spirit?
  273. 24:55 I'm sorry.
  274. 25:17 Goodbye, my darling. Goodbye, sweetheart. I love you so much.
  275. 25:34 We'll come home, Miss Wheeler.
  276. 25:36 I know we will.
  277. 25:43 Chuck, we're here.
  278. 25:51 How about a young fellow.
  279. 25:53 A big hug for Daddy? A hard one? Certainly the hardest one you can give me.
  280. 25:59 Goodbye, son. Bye. You're going away with Mommy for a little while. Don't forget Daddy.
  281. 26:14 Ready? We're going. Very sorry. Thank you.
  282. 26:22 You just listen to what Mommy tells you and stick close to her at all times. Yes, Daddy. Wait here a moment. We'll all go out together.
  283. 26:29 Do you have all that? Yes, I think so. Let's go.
  284. 26:59 Goodbye, son. Goodbye, daddy.
  285. 28:26 Arke, Arke.
  286. 28:29 Back, we'll get!
  287. 29:29 I'm going to go.
  288. 30:19 This was Berhala Island, where for nine months, the white women and children of Sandaken...
  289. 30:25 were grounded in the filth and hunger and degradation that were to be theirs throughout their imprisonment under the Japanese.
  290. 30:34 And here we began to know for the first time the cruelest of all suffering that war brings to women. Emptiness. The gnawing, lonely, hopeless emptiness of life without love.
  291. 30:48 At Birhalla, we knew it twofold because our men were nearby.
  292. 30:52 Only a few hundred yards down the road in their own compound. And now and then we could see them, a glimpse anyway, on their way to or from their work in the fields.
  293. 31:05 And now and then.
  294. 31:07 If one were willing to run the risk of a beating.
  295. 31:46 i'm sorry
  296. 32:03 How is he? Still a little feverish.
  297. 32:09 Come on.
  298. 32:11 Amen.
  299. 32:17 I'm sorry.
  300. 32:20 I'm sorry.
  301. 32:32 Did you sleep at all, darling? Little.
  302. 32:37 Yeah.
  303. 32:38 You're going, aren't you?
  304. 32:41 I want to.
  305. 32:44 If George is all right.
  306. 32:46 You must.
  307. 32:47 I'll take care of George. He'll be all right.
  308. 32:49 Daddy, he looks so sick.
  309. 32:52 You don't look any too well yourself.
  310. 32:53 Oh, I'm all right. Considering those rubber vegetables we had last night. If you go, will you ask him about Jock? Of course. And Robbie?
  311. 33:01 I'll ask about everybody. But don't tell him about Joyce, will you? Tell him she's getting along all right.
  312. 33:05 Do you think you could give him a message for Freddy?
  313. 33:07 Yes, of course.
  314. 33:08 Would you tell him to tell Freddy that my cough is a great deal better?
  315. 33:11 He worries so you know. I'll tell him. And Joe too, don't forget.
  316. 33:15 I saw him on the road the other day.
  317. 33:16 He looks so thin.
  318. 33:18 I'll make a list this evening of all the messages, and I'll bring back the news for everybody. Greetings for everybody, too, I suppose. We will not speak to you, if you don't mind.
  319. 33:26 Perhaps not, but you're proposing something that's likely to get us all in trouble.
  320. 33:30 You know very well if she were caught, the whole camp would be punished. Will you keep your voice down? Oh, tell her to go jump in the ocean. Agnes hasn't even spoken to her husband for five months.
  321. 33:39 And if she's got a chance to be with him for a few minutes now, I think she ought to grab it like a shot. Doesn't matter what happens to the rest of us, I suppose. She's not going to get caught.
  322. 33:47 Others have done it and got away with it. I do not care to be beaten because some disgusting woman cannot do without a husband for a few months.
  323. 33:55 I wish I could tell you what I think of you for that. Why can't you keep your big mouth shut?
  324. 34:00 You make more noise and more trouble than any other five women in the camp. Every time one of you women sneak through that fence...
  325. 34:05 You endanger every other person in this camp.
  326. 34:08 And I refuse to be quiet about it. All right, then.
  327. 34:11 Why don't you go and tell the sergeant now? Sure. Why don't you give him a great big kiss while you're about it? I have no intention of doing anything more than my duty. Okay.
  328. 34:19 Here he is now. Tell him why don't you.
  329. 34:28 Everyone, I'm happy to meet you.
  330. 34:34 Well...
  331. 34:36 If it isn't old frog face.
  332. 34:38 Betty.
  333. 34:39 Oh, that's right. You haven't met this one yet.
  334. 34:41 Sergeant doesn't understand one word of English, do you, Repulsive?
  335. 34:47 Now, you cute little bucket of swirl.
  336. 34:50 it's
  337. 34:51 "Do you teach English?"
  338. 34:54 O coronakak?
  339. 34:55 - Koranaka? - Koranaka.
  340. 34:57 Isn't he a stinker? Oh, yes, indeed. You can tell that even from this distance.
  341. 35:02 Are you sure it's all right? Certainly.
  342. 35:05 Oh Henrietta!
  343. 35:08 Hadn't you something to tell our little garbage blossom? I'll take no part in this insanity, no part whatever.
  344. 35:13 Hey, Sarge.
  345. 35:14 You see that woman over there?
  346. 35:16 Mrs. Henrietta Tattletail Thomas.
  347. 35:19 Well, that woman sneaks out of the camp every single night and meets Tocho.
  348. 35:23 - Dojo? - Dojo.
  349. 35:25 Under the palm trees.
  350. 35:26 Mrs. Summers.
  351. 35:47 So I'll go and do it!
  352. 35:51 I'm going to leave.
  353. 36:03 Bam!
  354. 36:06 *pain*
  355. 36:49 Better.
  356. 36:58 I think I'll get in with him. You don't mind. Of course not. Agnes.
  357. 37:03 You're burning up.
  358. 37:05 You sure you can make it? I've got to make it.
  359. 37:07 Don't you think you'd better try another night? No, it's got to be tonight. He'll be waiting for me. But he'd understand, darling.
  360. 37:12 I've got all those messages too I can't disappoint everybody
  361. 37:31 Good God.
  362. 39:30 Shh.
  363. 40:12 Mm-hmm.
  364. 40:26 Larry!
  365. 40:45 Oh, my God.
  366. 41:09 - Harry. Harry.
  367. 41:20 Harry!
  368. 41:42 - Yeah.
  369. 41:48 Oh, my God.
  370. 41:58 I'm sorry.
  371. 42:14 I
  372. 42:22 That's right.
  373. 42:24 I'll get...
  374. 42:26 I'm sick.
  375. 42:30 I'm very sick.
  376. 42:32 Hey.
  377. 42:35 Yes.
  378. 42:36 Help me!
  379. 42:36 All right.
  380. 42:48 Harry.
  381. 43:13 *Burps*
  382. 43:53 Mommy.
  383. 43:55 Georgie, darling.
  384. 43:56 Dear God.
  385. 43:57 Sister Rose, what can we do?
  386. 44:02 I want to eat this. What is it, you think? Malaria, probably.
  387. 44:05 It's burning up.
  388. 44:07 We'll have to call the captain of the guard.
  389. 44:09 But this child's terribly sick. It can't until Agnes gets back.
  390. 44:13 Can I help?
  391. 44:14 Have you any cronines?
  392. 44:15 Why?
  393. 44:20 No, I haven't. I'm sorry.
  394. 44:22 Isn't there something we can do just till she gets back?
  395. 44:25 Go to the captain and ask him some, Cunin. Summon your hand. You don't have to tell him whom it's for.
  396. 44:29 That's it.
  397. 44:30 I'll just say it's for one of the children.
  398. 44:32 And hurry, will you?
  399. 44:35 I'm going to go.
  400. 44:55 What to one? I want some Quinine, Captain. Quinine, one of the children is ill.
  401. 45:01 Doctor give a quiet name.
  402. 45:03 We'll see it after tomorrow. But he needs it now, Captain. He's very old.
  403. 45:06 You, Mrs. Summers? - Yes?
  404. 45:09 You know how to tie it.
  405. 45:10 Foolish child.
  406. 45:11 Mrs. Keith.
  407. 45:13 Why not she come?
  408. 45:15 why you come.
  409. 45:16 She's ill too.
  410. 45:18 I don't have Kwanang.
  411. 45:20 See doctor tomorrow. Tomorrow might be too late, Captain.
  412. 45:23 Can't you send me to the doctor for some now? It's not far and they're very ill.
  413. 45:26 - Ill like dyes? - They are truly.
  414. 45:30 We go see how ill.
  415. 45:34 Must see first. Must not wait doctor unless very ill.
  416. 45:38 But that's not a toll, necessarily. You don't have to go to all that trouble.
  417. 45:41 Really?
  418. 45:42 But ill like dye, you say? Yes, they are, but...
  419. 45:45 You don't have to go.
  420. 45:46 You can send me. I'll explain to the doctor.
  421. 45:49 I go with you.
  422. 45:50 Can't we go directly to the doctor?
  423. 46:07 Please don't go in there, Captain. It would upset them very much. They'd be very frightened. Don't go in, please.
  424. 46:15 We go see.
  425. 46:38 Here, Captain.
  426. 47:00 I get doctor.
  427. 47:01 He had plenty quinine.
  428. 47:12 All ladies...
  429. 47:15 Or Chetern.
  430. 47:16 We'll be transferred from this camp this afternoon.
  431. 47:19 Must be ready to occur.
  432. 47:22 Be careful!
  433. 47:24 Keep up with the spirit and the murder.
  434. 47:33 Where to?
  435. 47:35 We had our choice of three roomers to a wonderful new camp with electric lights and beds.
  436. 47:41 To be repatriated.
  437. 47:43 to the officer's brothels. All we knew for certain was that the men were not being transferred with us.
  438. 47:51 It's Nappy! It's Daddy, Mommy. Look, Mommy, it's Daddy. You see? Japanese kind of people. Wives can say goodbye husband, but no kissing, you see? Must not kiss. Now make Nappy, please.
  439. 48:13 Oh, Georgie, my, what you've grown. You really have. How are you feeling? I'm hungry, babe. Oh, no, you can't be. You've just eaten. He's not doing badly at all. You mustn't worry about that for a minute. Oh, you die. We were both quite sick for a while, but we're fine now.
  440. 48:31 Are you sure you're all right? Oh, absolutely, darling. They treated us very well, really. Do you have any idea where you're going? No. Well, perhaps you'll go to one of the big camps. You'll have it better there. I have a little going away gift for you. For me too, Daddy? For both of you. Be careful now that the guards see. Don't look for much. You know, there isn't much chance to shop around here. Thank you, sweetheart. Whatever it is, we need it. Did you get the eggs? Yes, darling. Where did you get them? From Little Man at the Dog. Oh, how wonderful. Now, don't cry. Smile at me. I can't help you.
  441. 49:00 Did you get the quinine? No, I didn't. Did you send some? And we needed it so badly. Yes, Mike. Say hello to your baby. We don't know where... Oh, look what daddy's... Hello, Joyce. Hello, baby. Where are you going to go? I don't know, darling. Don't you get any... Just hold on. What? You over the malaria? Yes, darling, I'm fine. Tony...
  442. 49:19 He's pretty ill or something.
  443. 49:22 Right.
  444. 49:22 Thought you knew it.
  445. 49:23 Freddy was sent away last week.
  446. 49:26 Yeah.
  447. 49:27 No, I didn't.
  448. 49:28 Please, I can't bear that. I'm not brave enough to do that. I can't bear that. I can't. I can't. Have you heard anything about yourself?
  449. 49:38 I'll be alright. Gotta have someone do the work, you know.
  450. 49:42 Are you eating? You look so thin. I was getting a little fat, remember? Oh, no, you... Be careful now, you fall. I don't care. No, don't...
  451. 49:51 I had eggs when I was sick, Daddy.
  452. 49:53 Eggs? Why, you little monkey. No wonder you're growing up living off the side of the land.
  453. 49:59 Justin!
  454. 50:01 Take it to my place.
  455. 50:03 Must go now! No!
  456. 50:08 Stop it! What? Give me... Give me a little bit of a smile. It's not much of a way to say goodbye, is it? It won't be for long, darling. We'll see each other again soon. Goodbye, son. Goodbye, darling. Be very careful, darling. I love you, darling.
  457. 50:50 Take last look babies.
  458. 50:52 Maybe goodbye for a long time.
  459. 50:57 Okay.
  460. 50:58 They're going to kill him.
  461. 51:01 It's the last time I'll ever see him.
  462. 51:05 They're going to kill him and he knows it. I'll never see him anymore.
  463. 51:10 Okay, okay.
  464. 51:46 Do we see the present now?
  465. 51:48 I think so.
  466. 51:53 Wasn't this nice of Daddy? Daddy?
  467. 51:58 They're handkerchiefs. Is that all?
  468. 52:01 Oh, but aren't they pretty? Look, that's the skeeter netting. Now, wasn't that clever of Daddy?
  469. 52:07 You mean Daddy made this himself? Yes. He's becoming quite a seamstress, isn't he?
  470. 52:17 Take care of that.
  471. 52:18 of sun.
  472. 52:19 I love him because he is you. He is ours.
  473. 52:23 He is you and I that must live.
  474. 52:26 Although our bodies may die,
  475. 52:28 I know there's something between us.
  476. 52:30 with
  477. 52:38 These ten days at sea, bound for we knew not where, were, I believe, the worst.
  478. 53:19 At that moment, I hated the human race. Not just the enemy, but mankind.
  479. 53:26 But this to helpless innocent children should still be possible.
  480. 53:31 What hope was there for such an animal?
  481. 53:38 This was it. Kuching. The great dump heap of prisoners in the East Indies. And this was the women's camp, isolated and segregated from the many men's camps that were scattered among the hills around us.
  482. 53:55 Four! Well, as ten years! That was the first thing we heard at Kuching.
  483. 54:03 Four, four, last, ten.
  484. 54:07 Boy, yes!
  485. 54:09 Then we heard it again.
  486. 54:11 Four will last ten four years. Again and again and again. But by then we knew that...
  487. 54:22 While the war might, we wouldn't.
  488. 54:24 Not on one cup full of thin rice grill. Five tablespoons of cooked rice.
  489. 54:29 occasionally a bit of green and tea
  490. 54:31 Once a day. Not through the long days of work beyond our star strength.
  491. 54:51 Perhaps not through the occasional cruelty.
  492. 54:55 Stick out tongue, quick.
  493. 55:03 Not even with now and then little acts of kindness.
  494. 55:07 For you and son. Thank you, Doctor.
  495. 55:22 So in the course of time...
  496. 55:23 Life was reduced to one simple, simple,
  497. 55:26 with a stubborn purpose.
  498. 55:28 to keep alive.
  499. 55:32 To avoid punishments and beatings, the ladies should presume themselves to endeavour with passive behaviour, not negative. Lieutenant McCartan. The Lieutenant must have learnt his English at Harvard. Mrs. Key.
  500. 56:00 You please bathe and put on a dress and report to Lieutenant Nakata's office with your child as quickly as possible. Yes, sir.
  501. 56:06 Quickly as possible.
  502. 56:14 Hurry, please.
  503. 56:25 Mr. T.
  504. 56:26 Come in, please.
  505. 56:29 How do you do, Mr. Scales?
  506. 56:33 This is a great pleasure.
  507. 56:34 How do you do, Colonel? Well, I'm afraid I'm your jailer again.
  508. 56:39 So I see. Yes, I am now in command of all the prison camps including.
  509. 56:43 I suppose I should congratulate you. Thank you. And this is George, isn't it? Yes, that's right. Oh, he's a big boy.
  510. 56:49 How are you, young man?
  511. 56:51 How do you feel? I'm hungry.
  512. 56:54 you know
  513. 56:54 Really?
  514. 56:58 Well?
  515. 56:59 We'll have to do something about that.
  516. 57:01 Can't have nice little boys like you going around hungry.
  517. 57:04 You know, Lieutenant Nakata, you are camp commander, I suppose.
  518. 57:09 Mrs. Keese is a very celebrated writer in America.
  519. 57:12 I have let her book myself personally. You know, Mrs. Keith.
  520. 57:15 - Have a cigarette? - Thank you.
  521. 57:20 Keep it the package.
  522. 57:24 Are you quite sure you can spare them?
  523. 57:26 Don't mention it.
  524. 57:30 I have something obvious of pride for you.
  525. 57:42 Where on earth did you get it?
  526. 57:44 How to be your house?
  527. 57:46 I haven't forgotten you, I promise, have you?
  528. 57:49 No, no.
  529. 57:51 I'm an Australian.
  530. 58:06 Australian prisoners.
  531. 58:13 Why do the Australians always seem to be just a little more aggressive?
  532. 58:17 than necessary.
  533. 58:19 Uh-huh.
  534. 58:21 to Canada or
  535. 58:22 which is not
  536. 58:23 A love of beautiful letters, Agnes Newton-Kiss.
  537. 58:28 You are really too kind, Mrs. Keyes. Not at all. That'll be all now. Thank you.
  538. 58:34 There are a lot of times there.
  539. 58:37 Quickly, please, quickly.
  540. 58:39 This is the barcode.
  541. 58:43 Well, that was about the quickest literary tea I ever saw. Hey, outside. Outside. All right, all right.
  542. 59:00 A miracle happened.
  543. 59:01 I beat Mrs. Gulliver to the garbage tonight. Wonderful.
  544. 59:05 What did you get?
  545. 59:07 That's a bit of pineapple, I believe.
  546. 59:09 I don't know what that is, but it's quite good.
  547. 59:13 Potato top, isn't it? Is it?
  548. 59:15 Don't you have any?
  549. 59:17 No, I had buckets on it.
  550. 59:18 That's for you. Go right ahead.
  551. 59:20 I wonder if I should wake him. No, don't.
  552. 59:23 I have a piece of banana for him.
  553. 59:25 Let him sleep now and give it this in the morning.
  554. 59:27 You're a darling, Betty.
  555. 59:32 What would you say this was?
  556. 59:34 Is there a bone in it?
  557. 59:35 No, yes.
  558. 59:37 Yes, a flat bone.
  559. 59:41 Did you find a fish? Oh, no, the head.
  560. 59:44 That's what it is, a fish head.
  561. 59:48 It couldn't taste better, really.
  562. 59:50 It isn't the cooking in particular.
  563. 59:52 I just wash the stuff and dump it in the pot.
  564. 59:54 I don't even know what some of it is sometimes.
  565. 59:56 Most of it I recognize, of course.
  566. 59:58 What's some of it is I...
  567. 1:00:00 They can't imagine.
  568. 1:00:02 It's all food, isn't it? That's it.
  569. 1:00:07 I don't know what George and I would have done with it.
  570. 1:00:12 Mmm, mmm.
  571. 1:00:14 Well, it's not an owl, I can tell you that.
  572. 1:00:19 Do it, do it, do! That's even worse.
  573. 1:00:28 Right at the bottom of the fence.
  574. 1:00:30 It's a moment.
  575. 1:00:31 It's the Australians. Oh, cut it out, fellas.
  576. 1:00:35 There's a gun out front. She'll get us in trouble. Oh, tell me again, lady. Tell me again. I just want to hear you talk.
  577. 1:00:42 You get out of here.
  578. 1:00:43 Did you hear that, Sarge?
  579. 1:00:45 That one's for me.
  580. 1:00:46 Come on down here, lady.
  581. 1:00:47 Let's take a look at you. Please, fellas.
  582. 1:00:50 If the guard hears you, we'll really be in trouble. They'll cut our rations again.
  583. 1:00:53 Listen, sister.
  584. 1:00:54 We ain't even talked to a dame in months. That guy don't bother us. You don't have to worry about him. He sticks his nose in here, we'll slit his runny throat. You come down here, Tootsie, and I'll give you a lipstick.
  585. 1:01:05 I wouldn't interest you, really.
  586. 1:01:07 I'm much too old, much too tough for you.
  587. 1:01:10 How old?
  588. 1:01:12 - Six feet.
  589. 1:01:15 What's the matter with 60?
  590. 1:01:17 I thought you meant about a hunker or something.
  591. 1:01:19 What is it? What about the other one?
  592. 1:01:28 How old are you? Me?
  593. 1:01:31 Yes, not that he matters, but how old are you?
  594. 1:01:33 Oh, I'm nearly 17 now.
  595. 1:01:35 Really? What?
  596. 1:01:37 I said I'm nearly 70 now.
  597. 1:01:39 Septic?
  598. 1:01:41 What have you got ourselves into?
  599. 1:01:43 The old lady's home.
  600. 1:01:45 Ah, they're kidding us
  601. 1:01:47 They sound like a couple of babes to me, both of them. Hey, how about some of those lipsticks down here? Okay, baby.
  602. 1:01:53 Any time you want to come down and pick 'em up.
  603. 1:01:55 Oh, you boys.
  604. 1:01:56 Now look.
  605. 1:01:56 Now look, I'm terribly sorry, but this is really too dangerous. Now go away. Try to run out of the house and we'll throw a couple of rocks through your window. Oh, come on.
  606. 1:02:04 We've had a rough time with it, lady.
  607. 1:02:05 We need a little relaxation.
  608. 1:02:08 If we stay here, will you behave?
  609. 1:02:11 Behave.
  610. 1:02:12 Lady, we're behind a barbed wire fence.
  611. 1:02:17 - Looks hard.
  612. 1:02:18 Thousands of them And us without a wire cutter
  613. 1:02:21 by the eye could see nothing but dames.
  614. 1:02:23 Come on down here, lady. Come on down, Tootsie, and I'll give you a lipstick.
  615. 1:02:28 Wait!
  616. 1:02:30 Damn, can't you smell it now?
  617. 1:02:32 You're nuts. I can't smell anything.
  618. 1:02:34 Perfume, I tell you. Ladies' perfume. Come on.
  619. 1:02:51 Betty, this is awful. I'm scared to death. Hey!
  620. 1:02:55 You got lipsticks too?
  621. 1:02:56 loaded with a PewDiePie.
  622. 1:02:58 You want one? Sure, throw me one.
  623. 1:03:01 His, too. Come and get him. Go on, get him. Look who is me.
  624. 1:03:04 No, don't do that.
  625. 1:03:07 Here's two for you too, sister. Come on.
  626. 1:03:11 This is smoking.
  627. 1:03:13 Come on, friend. Come on.
  628. 1:03:23 Yes, hon?
  629. 1:03:28 I think we could get over this trap. Yeah, why not?
  630. 1:03:32 - No! - Why don't you do that? You'll get killed! - Not us, lady. We've just sent us to death twice already. - Yeah, I'm crazy. Both of us!
  631. 1:03:39 we're what they say eternal. Felly, can't you think of anything? Look, fellas, aren't you married? Haven't you got wives back home? No, strictly bachelors, both of us. You don't think we'd go calling on strange ladies if we was married to you? You're making all this trouble for nothing because we're not going to have anything to do with you.
  632. 1:03:57 And besides, we're missionaries.
  633. 1:03:59 mission of it.
  634. 1:04:00 Both of us. I wouldn't mind being converted tonight.
  635. 1:04:03 Me neither.
  636. 1:04:07 *Screams*
  637. 1:04:22 Nearly two years had passed since Harry and I said goodbye to each other across the ditch in Burjala.
  638. 1:04:27 Nearly two years of wondering if he still lived or not. Nobody could tell me. Nobody seemed to know.
  639. 1:04:35 Alice knew about Frank. He had been beheaded.
  640. 1:04:39 A guard told her.
  641. 1:04:42 And Cecily knew about Larry. They had taken her to see his poor thin body. His hair had turned white.
  642. 1:04:53 But George and I didn't know. That's why our eyes were always on the road that led from the men's camps. It was strictly forbidden to look at the men. But what did that matter when any day, any minute, he might pass by?
  643. 1:05:19 Okay.
  644. 1:05:22 I'm going
  645. 1:05:24 Into the land of the world
  646. 1:05:29 I am
  647. 1:05:32 Where the night in the air will be.
  648. 1:05:39 And the white moon be
  649. 1:05:47 There's a long, long night of waiting for you.
  650. 1:05:55 Until my dreams all come true
  651. 1:06:03 Till the day when I'll be going down that long trail
  652. 1:06:17 with you.
  653. 1:06:22 God save our gracious King, long live our noble King, God save our King.
  654. 1:06:33 When you make orders that land of the pilgrims that...
  655. 1:06:57 Betty. Betty.
  656. 1:07:03 No, darling. You go back to sleep. Mommy's going to get out Betty's wash off the
  657. 1:07:13 before it starts to rain.
  658. 1:08:13 Oh, my God.
  659. 1:08:43 The next morning, I made the greatest mistake of my entire imprisonment.
  660. 1:09:05 In my shock and agitation, I forgot the first of all laws for prisoners of war.
  661. 1:09:10 The man with the gun is always right.
  662. 1:09:15 Attention!
  663. 1:09:24 Hello.
  664. 1:09:33 How do you do, Mrs. Case?
  665. 1:09:35 How do you do, Colonel?
  666. 1:09:39 How did you get those?
  667. 1:09:43 I got those when I was attacked by one of your soldiers last night.
  668. 1:09:46 What do you mean?
  669. 1:09:48 I was attacked by one of the guards last night.
  670. 1:09:51 violently attacked.
  671. 1:09:52 It wasn't in the way of punishment of any sort.
  672. 1:09:55 It was attempted
  673. 1:09:56 Criminal assault.
  674. 1:09:58 I can hardly believe this, Mrs. Gibbs.
  675. 1:10:00 Well, it's the truth.
  676. 1:10:02 I know I'm a prisoner, but I believe I have the right to protest against such an experience.
  677. 1:10:08 I believe I have the right to demand your protection.
  678. 1:10:14 If another peasant had told me this, I wouldn't believe it.
  679. 1:10:17 Come to Camp Headquarters at 10 o'clock. I want to talk to you about it.
  680. 1:10:21 Thank you, sir.
  681. 1:10:30 Well, that did it. Now we're in for it.
  682. 1:10:35 It didn't happen to you. You don't know what it's like.
  683. 1:10:37 Complaining won't undo it. You've still been mauled.
  684. 1:10:40 But now the guards are going to be very angry and take it out on all of us.
  685. 1:10:43 You can't win. You should know that by now.
  686. 1:10:51 You invite soldier. You say hello. You say come here. No, I didn't. I never saw him until he grabbed me. You lie. Japanese not like white women. You invite soldier. I'm not a young girl, Lieutenant, and I'm not flirtatious. Flirtatious.
  687. 1:11:05 I did nothing whatever to attract this soldier. I don't even think he could see me in the dark.
  688. 1:11:09 He attacked me because I was helpless and a prisoner.
  689. 1:11:12 You know this soldier's face?
  690. 1:11:13 No.
  691. 1:11:14 I can't identify if that's what you mean. It was too dark, I tell you. Too dark?
  692. 1:11:19 Not even know if soldier there, huh?
  693. 1:11:21 It was a soldier, all right.
  694. 1:11:24 Not Chinese fella from outside? Mo-mo-i-mo-i.
  695. 1:11:27 You know what I do now?
  696. 1:11:29 I've heard that I've heard about it.
  697. 1:11:35 I believe what you say, Mrs. Keys, and I am very sorry it happened.
  698. 1:11:38 I apologize to you for him.
  699. 1:11:41 Thank you, Kelo.
  700. 1:11:42 You may go now.
  701. 1:11:50 Do you think that's the end of it?
  702. 1:11:53 I don't think so.
  703. 1:11:55 Just wait till the Colonel gets out of camp.
  704. 1:12:09 Sugar my head
  705. 1:12:11 Sweat.
  706. 1:12:15 Gee, don't know.
  707. 1:12:22 Just come with me, please. - -
  708. 1:12:37 Look at this man.
  709. 1:12:46 Now, which one?
  710. 1:12:48 I told you I couldn't identify him. I haven't the faintest idea what he looked like. Not there, huh?
  711. 1:12:54 I don't know. I couldn't tell if he were.
  712. 1:12:59 Wait!
  713. 1:13:00 You come with me.
  714. 1:13:13 Sit here.
  715. 1:13:21 To make force charges against the Japanese soldier is to die.
  716. 1:13:24 You know that.
  717. 1:13:25 Yes.
  718. 1:13:25 You want to die?
  719. 1:13:27 No.
  720. 1:13:28 Then why do you lie? I haven't lied. I've told you the truth, but I know there's nothing to be done about it.
  721. 1:13:33 I can't identify the man and I haven't any witnesses.
  722. 1:13:36 I'm perfectly willing to drop the matter.
  723. 1:13:38 Won't you let me do that?
  724. 1:13:40 Very serious to make false charges against the Japanese soldier.
  725. 1:13:43 The charge was the force.
  726. 1:13:45 I'm sorry I made it, but the charge wasn't false.
  727. 1:13:48 You sign this.
  728. 1:13:50 No, no, Marie, just sign.
  729. 1:13:52 Of course not. I can't sign anything I haven't read. You sign. Everything be okay.
  730. 1:13:57 I'm sorry, I can't do that.
  731. 1:13:59 Either I read it or I can't sign it.
  732. 1:14:02 Okay, read. Then sign.
  733. 1:14:19 I can't say that. It's not true.
  734. 1:14:21 In his order, I say sign it. I won't do it. If I did, you'd have the right to kill me for falsely accusing a Japanese soldier. I won't do it.
  735. 1:14:29 No, no, you sign.
  736. 1:14:30 Nothing happened.
  737. 1:14:33 No, I won't, because it's not true.
  738. 1:14:38 - Oi.
  739. 1:14:39 - It's got it down now, Oscar.
  740. 1:14:40 so that you can't be a
  741. 1:14:46 Come.
  742. 1:15:02 Oh.
  743. 1:15:12 - Oi,立て!
  744. 1:15:14 Mm-hmm.
  745. 1:15:18 - No!
  746. 1:15:24 Hey!
  747. 1:15:24 Yeah.
  748. 1:15:34 Uh...
  749. 1:15:37 Yes.
  750. 1:15:48 I'm sorry.
  751. 1:15:56 You sign now?
  752. 1:15:58 No.
  753. 1:16:00 You want more trouble?
  754. 1:16:02 No.
  755. 1:16:05 I won't sign it.
  756. 1:16:07 It'll wait my life.
  757. 1:16:09 I'm not going to be a problem.
  758. 1:16:11 I am not sure there is nothing.
  759. 1:16:15 All right, then. That's all.
  760. 1:16:17 You go now.
  761. 1:16:21 But do not talk about this, you understand?
  762. 1:16:24 I understand.
  763. 1:16:26 Must not say anything about this.
  764. 1:16:28 Very bad for you if you do.
  765. 1:16:30 I won't.
  766. 1:16:31 Talk.
  767. 1:16:32 Promise.
  768. 1:16:33 All right, then.
  769. 1:16:35 Get out.
  770. 1:16:46 - Madness, they beat you.
  771. 1:16:48 No.
  772. 1:16:50 What did he do?
  773. 1:16:52 Nothing.
  774. 1:16:55 Well, as long as they don't send for you again, you're probably all right.
  775. 1:17:10 Oh.
  776. 1:17:11 Oh, please, darling.
  777. 1:17:13 Oh, be very careful.
  778. 1:17:14 I'm going to do your work for you tomorrow morning.
  779. 1:17:19 Thank you, darling.
  780. 1:17:21 I'll be all right in the morning.
  781. 1:17:22 Is it all over now?
  782. 1:17:25 I guess so.
  783. 1:17:26 I'm glad, Mommy.
  784. 1:17:45 Mrs. Keith?
  785. 1:17:53 Yes. You'll report to Lieutenant Nakata in his office at 10 o'clock this morning.
  786. 1:17:58 I'll be there.
  787. 1:18:07 Can I do anything for you, dear?
  788. 1:18:11 Sit here, Betty.
  789. 1:18:14 Don't ask any questions.
  790. 1:18:16 I won't.
  791. 1:18:18 If anything happens to me...
  792. 1:18:21 Will you do what you can for George?
  793. 1:18:23 I love you.
  794. 1:18:27 I don't know about Harry.
  795. 1:18:30 I don't want to leave my little boy without somebody who's interested in him.
  796. 1:18:35 He's still such a baby, you know.
  797. 1:18:38 I'll take care of him, dear.
  798. 1:18:46 Oh.
  799. 1:18:50 Probably nothing to it.
  800. 1:18:53 I'm just being stupid.
  801. 1:19:03 Mommy!
  802. 1:19:05 Come on, Nath. I've got my head out of the house. Well, let's see.
  803. 1:19:14 Now it's all well.
  804. 1:19:16 You're all dressed up, Mommy. You look beautiful.
  805. 1:19:20 Do I really, darling?
  806. 1:19:23 Mommy can always depend on her big boy to say something nice.
  807. 1:19:27 Where are you going?
  808. 1:19:29 I'm going to headquarters to see somebody.
  809. 1:19:32 We'll be back soon.
  810. 1:19:34 I think so.
  811. 1:19:36 Put yourself.
  812. 1:19:39 If I'm late for supper,
  813. 1:19:42 You go to Aunt Betty and...
  814. 1:19:43 She'll take care of you.
  815. 1:19:48 Mommy, you're hurting me.
  816. 1:19:51 Oh, I...
  817. 1:19:53 I'm sorry, darling.
  818. 1:19:55 Mommy just loves you so much.
  819. 1:19:59 What's the matter?
  820. 1:20:00 - Better, Mommy.
  821. 1:20:02 Nothing.
  822. 1:20:03 I just felt like hugging you that soft.
  823. 1:20:06 You don't mind, do you?
  824. 1:20:08 No, but you hug so hard.
  825. 1:20:11 All right.
  826. 1:20:13 We'll try it again and...
  827. 1:20:14 This time I promise not to hurt you.
  828. 1:20:17 Now you give me a kiss.
  829. 1:20:23 Greg!
  830. 1:20:26 Mommy, you promised.
  831. 1:20:49 I'm Mrs. Keith. Go in. They're waiting for you.
  832. 1:21:08 Sit down.
  833. 1:21:17 You think last night?
  834. 1:21:19 Yes.
  835. 1:21:20 You sign now, huh?
  836. 1:21:27 No.
  837. 1:21:33 I'm going to go.
  838. 1:21:50 Hey, I thought I'm here. I thought I was going to go.
  839. 1:21:57 Oh, my God.
  840. 1:22:02 What's the matter, Mrs. Keith?
  841. 1:22:08 Are you alright?
  842. 1:22:15 I...
  843. 1:22:16 Just felt a little weight for a moment.
  844. 1:22:18 Mrs. Keith is very helpful to close case, sir. She is willing to drop the charge, I believe, and say nothing further about the matter.
  845. 1:22:25 That's right.
  846. 1:22:27 I am very pleased indeed.
  847. 1:22:30 Drink.
  848. 1:22:31 Feel better.
  849. 1:22:34 Just suck it.
  850. 1:22:54 And then on March 25th, 1945, at 10 minutes past 10 in the morning.
  851. 1:23:24 They're ours! Baby, they're ours! They're ours! They're ours! They're ours! They're ours! They're ours! Look at those planes! They're ours!
  852. 1:24:08 Oh
  853. 1:24:11 Japanese army were never left him!
  854. 1:24:13 Let me slide back into the sea!
  855. 1:24:15 They will never come!
  856. 1:24:22 Not for months, not for centuries, it seems.
  857. 1:24:29 Now, of course.
  858. 1:24:30 The rumors were even wilder and more terrifying.
  859. 1:24:33 You hear about your husband this evening?
  860. 1:24:35 Kissing me.
  861. 1:24:36 - I'm just...
  862. 1:24:37 Amen.
  863. 1:24:37 - Look behind this.
  864. 1:25:45 It's that kid!
  865. 1:25:48 Mrs. Keen?
  866. 1:25:49 Yes. You report headquarters at once, please.
  867. 1:25:57 Hurry, please!
  868. 1:26:06 Go in, please.
  869. 1:26:18 How do you do, Mrs. Case? How do you do, Cain?
  870. 1:26:23 Won't you have a seat? - Thank you.
  871. 1:26:32 I hope you don't mind.
  872. 1:26:34 I wanted to talk to you.
  873. 1:26:36 At least for a few moments. Of course.
  874. 1:26:39 I fear that you'll understand.
  875. 1:26:42 I have...
  876. 1:26:46 I have no more family now. No.
  877. 1:26:49 My hometown was bombed last weekend.
  878. 1:26:52 They are all dead now.
  879. 1:26:55 Oh, I'm terribly sorry, Colonel.
  880. 1:26:58 Where was it? Tokyo?
  881. 1:27:01 No.
  882. 1:27:02 We used to live in Tokyo.
  883. 1:27:04 But after the do-little rage,
  884. 1:27:06 Mrs. Suga worried so much about the children that
  885. 1:27:10 Last year, I got the permission for them to move to
  886. 1:27:14 Hiroshima
  887. 1:27:19 I wish there was something I could...
  888. 1:27:21 - I have to say to him.
  889. 1:27:22 I'll give you some comfort, but I know there isn't.
  890. 1:27:25 We have been married 15 years last month.
  891. 1:27:28 and we had three of the terrorist children you could imagine
  892. 1:27:32 Two boys and a girl.
  893. 1:27:35 One of the boys, the youngest, was just a little younger than George.
  894. 1:27:40 I remember you told me.
  895. 1:27:42 Hmm.
  896. 1:27:44 Remember? Really? Yes, you told me in Sandaken.
  897. 1:27:49 He was a year younger, but...
  898. 1:27:51 She was
  899. 1:27:52 Almost a storm.
  900. 1:27:56 I remember that, too.
  901. 1:27:59 How old were the others?
  902. 1:28:01 The oldest boy was just twelve.
  903. 1:28:04 Giorgio, the little girl was eight.
  904. 1:28:07 She was not very pretty, I suppose.
  905. 1:28:10 But she won't get.
  906. 1:28:11 Darling child.
  907. 1:28:13 - Gently.
  908. 1:28:14 Motherly.
  909. 1:28:24 It's very strange to sit here and...
  910. 1:28:27 Think that I will never see them again.
  911. 1:28:32 Oh, I don't mean to.
  912. 1:28:33 bothering you with my troubles when you have so many of your own.
  913. 1:28:38 But I felt that all of the people here
  914. 1:28:41 you would be the one most likely to understand.
  915. 1:28:44 I think I do, Colonel.
  916. 1:28:48 Whatever the rest is,
  917. 1:28:49 There's no difference in our hearts about our children.
  918. 1:28:53 Thank you Mrs. Kitzel.
  919. 1:29:06 Thank you very much for coming.
  920. 1:29:08 Goodbye, sir.
  921. 1:29:33 - O'er, it's over.
  922. 1:29:35 Huh?
  923. 1:29:36 The tea is over.
  924. 1:29:38 Uh, I'll take it.
  925. 1:29:54 Ooh.
  926. 1:29:55 Leave me.
  927. 1:29:56 This is good.
  928. 1:29:59 I have some more Georgians.
  929. 1:30:02 Yes.
  930. 1:30:10 George?
  931. 1:30:13 Hello, Colonel.
  932. 1:30:15 What are you doing?
  933. 1:30:16 Eating something. What is it?
  934. 1:30:21 What does it say?
  935. 1:30:29 Are you really so hungry?
  936. 1:30:31 Yes, sir, but I'm not as something as I was, though. I am. I'm not.
  937. 1:30:38 How would your children like to come with me to my house in Cochin and have a little party with the last two each? Now? Why not?
  938. 1:30:46 We'll have a little celebration together, just the four of us.
  939. 1:30:50 Shall we? Oh boy, a picnic!
  940. 1:30:53 Put the note.
  941. 1:31:01 - Benny, have you seen George? - He was with Susie a few minutes ago and Colonel Sugar... - Hey, mommy! Hey, mommy! - George! George!
  942. 1:31:17 - Was Colonel Sugar in that car? - Colonel Sugar? Yes.
  943. 1:31:22 Oh, dear God, no!
  944. 1:31:24 - Oh, no! - Take care. Take care.
  945. 1:31:38 No, boy!
  946. 1:31:41 Now, to drink, this is it.
  947. 1:31:47 What's up this day, George?
  948. 1:31:50 I want to. - You can start, come back. - Yes, I got it.
  949. 1:31:55 Huh?
  950. 1:31:56 Over there, flowers. Oh, look at them. I'm going to take that one home for Johnny's.
  951. 1:32:03 Mmm, they're pretty! Mmm, look at that red! That's what I'm going to do. And then, I'll make biscuits.
  952. 1:32:12 - Wow.
  953. 1:32:16 Till then
  954. 1:32:18 I can't believe you wish.
  955. 1:32:31 Still hungry, George?
  956. 1:32:36 Come on, diggin.
  957. 1:32:41 It's all right.
  958. 1:32:43 Eat all you want.
  959. 1:32:44 It's all yours.
  960. 1:33:02 This is good.
  961. 1:33:08 Mmm.
  962. 1:33:09 Mmm. I like some cake, George. I like some cake, George.
  963. 1:33:17 Ahem!
  964. 1:33:20 Mmm, this is good.
  965. 1:33:28 And so at last came the day.
  966. 1:33:30 September 11, 1945. And this was how it dawned.
  967. 1:33:36 with a strange calm and quiet.
  968. 1:33:43 Where's the gun?
  969. 1:33:45 Amen.
  970. 1:33:46 I'm sorry.
  971. 1:33:48 They're gone!
  972. 1:33:49 The guards, the guards!
  973. 1:34:26 They're coming! The soldiers are here!
  974. 1:35:26 I hope so.
  975. 1:36:56 Oh, dear.
  976. 1:37:28 I'm not going to be able to do it.
  977. 1:37:31 laughter
  978. 1:37:53 Praise Him, all Jesus, here below.
  979. 1:37:59 Praise Him above, ye heavenly hosts.
  980. 1:38:05 Praise Father, Son, and Holy Ghost.
  981. 1:38:14 Praise God to all blessings flow.
  982. 1:38:21 Praise Him, all the angels here below.
  983. 1:38:28 Amen.
  984. 1:38:31 I'm so tired now.
  985. 1:38:35 Praise Father, Son.
  986. 1:38:38 I guess it's no use.
  987. 1:38:42 - Amen.
  988. 1:38:52 Here comes somebody!
  989. 1:39:27 Harry!

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