Welcome to Subterranean Cinema .

The perfect place to watch classic movies originating from your hometown TV station, PBS Fort Wayne.

And I'm your host, Kris Hensler.

And I'm JJ Fabini.

Every week we've been featuring a new co-host just to keep things fresh and interesting.

This week, we thought it would be fun to have someone that you may have heard on the radio.

JJ Fabini from 96.3 XKE.

Thanks for being here, JJ.

And for those of you that may not be familiar with your radio job, tell us just a little bit more about what you do.

Well, I get to work on the radio and that's a lot of fun.

And as Doc West says, any day that you can play a Led Zeppelin record is a good day.

So I get to have a good day every day.

But we do lots of stuff in the community.

One of the things that we're really proud of is our support of Rock the Plaza.

Maybe you've been down to one of the shows over the past 19 or 20 years now that we've been doing it with the Allen County Public Library, and we're going to have another series starting out for seven weeks in June.

And we're really looking forward to it.

And hopefully you can come down and see your show.

I will check out a show for sure.

And just in case you haven't tuned in for Subterranean Cinema just yet, here's how it works.

Each week we come down to the basement and dig through the archives to look for an interesting movie that we think our viewers might like.

And then we show that movie three different times over the course of the weekend.

It all starts off at 8 p.m. on our Explore channel, also known as 39.4.

Then again at midnight on 39.1, which is our main channel and also on Sunday afternoon at 2 p.m., also on the main channel.

All right.

Now they said I should just read this part right here.

So that's what I'm going to do.

These movies will also be available to watch on demand through the PBS App as they roll out each week.

And you can also find more info about the Subterranean Cinema and upcoming movies on the website.

PBSFortWayne.org.

And there's also going to be details about each movie on the PBS Fort Wayne social media pages like Facebook and Instagram.

Did I do okay?

I think that was pretty good for sure.

All right.

So, Mr. Hensler, what do you have on store for us tonight?

Well, I'm going to tell you, tonight's film is Blood on the Sun .

This 1945 American spy thriller is based on a document that outlined the plan for Japanese world domination.

This document, which has never been proven to be authentic, was a plan supposedly devised by Japanese Prime Minister Baron Tanaka that laid out a plan for Emperor Hirohito to conquer the world.

Real or not?

That's the story behind tonight's film Blood on the Su .

The film's timeline takes place in 1929.

The Tokyo Chronicle publishes a document known as the Tanaka Memorial.

So the Japanese secret police raid the newspaper's headquarters and demand that James Cagney's character, Nick Condon, reveal his source, which of course, he refuses to do.

The reporter that first obtained the document plans on taking it out of the country.

Needless to say, things get a bit complicated.

But I don't want to give away too much right now, so let's leave it right there.

JJ.

All right.

Well, there's an interesting bit of trivia related to this movie.

It has to do with the martial arts fight scenes.

Prior to production, James Cagney trained intensely in the martial art of judo in preparation for this role.

You'll see him throw some chops around.

Actually, some mean chops.

Anyway, he reportedly insisted that he perform all of his own stunts.

That's a move that was pretty unusual in that era of filmmaking.

Another instructor that worked with James Cagney was former LAPD policeman John Halloran, who also plays the role of Captain Oshima and can be seen in the closing fight scene of the film.

So let's get out the popcorn, pour some drinks and settle in for a night at the movies with Blood on the Sun .

You're watching Subterranean Cinema only on PBS Fort Wayne.

(soft orchestral music) (film reel clicks) (dramatic orchestral music) (light sentimental music) (dramatic orchestral music) (men shouting in foreign language) (tumultuous orchestral music) (sirens blaring) (foreboding orchestral music) >> But gentlemen, I, I know nothing about this article being printed.

I was out of town.

>> Then let me read what is printed here in your paper.

"If Japan wants to control China, we must first crush the United States, just as, in the past, we had to fight in the Russo-Japanese war."

>> But gentlemen, you know "The Chronicle" has supported the government for 25 years, every government!

>> It is late for explanations.

This insult to Baron Tanaka and the Japanese people has caused great disturbance.

You must know the penalty for disregard censorship.

>> If my managing editor had violated any of the regulations, I'll fire him.

Nick!

Nick Condon!

Somebody dig up Nick Condon!

>> He's out.

Something important.

Said he wasn't to be disturbed.

>> I don't care if he's interviewing the emperor.

Get him here right away.

>> Get him on the phone, Kinshan.

>> Okay, Mr. Sprague, but he's not gonna like it.

>> Get him anyway.

(body thuds) (man shouts) (body thuds) (man shouts) (men speaking in Japanese) (men murmuring) (Condon hums) >> Hello, Oshima, what's on your mind?

>> Uh, Nick, I, uh- >> There's a matter to discuss, if you please.

>> Shoot.

>> Hijikata: It is an official matter of great importance.

>> Well, great.

Come on in.

We'll talk it over.

>> Nick, will you please.

>> Oh, all right, all right.

Uh, hand me that towel, will you?

>> Lies, lies!

It is all one big lie!

Every word untrue.

>> Aw, now, just a minute.

>> You must disclose source of your information.

Police must know name of this traitor.

>> All right, that's fair enough.

You have a right to know.

The name of the traitor is the American press!

That article appeared in three New York newspapers.

>> But I cannot believe it!

>> All right, check with your consul in New York.

>> Very unfortunate.

When American newspaper prints slander, fine American people receive poor impression of Japanese friendship.

>> Oh, I agree, I agree.

If there's anything I hate, it's to give anyone a poor impression of Japanese friendship.

>> Ah, thank you.

>> Thank you.

>> You can't do this to me, Nick.

My blood pressure won't stand it.

Supposing they shut me down.

>> Now look, when I came here two years ago and took over this rag, it was on one condition.

That I run it.

>> I know, Nick.

But you can't- >> Oh, your circulation has doubled, advertising has gone up 500%, and you're making more money than you ever made in your life.

>> Hey, you're not doing so badly yourself.

You're making five times the money you made at Shanghai.

>> You tired of the deal?

>> Oh, now, don't think I don't appreciate what you did for "The Chronicle."

But printing things like that is- >> That's what newspapers are for.

That's what people buy.

Not just Japanese propaganda handouts.

>> But this was just a rumor.

>> Yes and thousands of American businessmen have a right to know about rumors like that.

>> I know, I know.

But Nick, lots of Japs read English, too.

>> Yeah.

But there was more to that than just a rumor, to bring those two birds here about it.

I'll, uh, I'll have Ollie Miller look into it.

>> Look into it?

We've got to get out of it!

You're going to write the retraction.

>> I'll write a retraction when they prove the story is false.

>> Nick, are you sure that piece was in the New York papers?

The Japs would've caught it on the wires and censored it.

>> New Yorkers read it yesterday.

>> Yesterday?

Then how could you have read it?

>> Read it?

I wrote it.

>> Nick!

Nick, for the love of Mike!

(light orchestral music) >> Hi, Nick.

Thought you'd be in jail by this time.

>> Somebody's gonna have to slit your throat to save his face.

>> Aren't you a little bit early with that stuff?

>> Oh, no, no, no, no.

It just seems early.

(laughs) >> I hear the police have collected all "The Chronicles" from the newsstands.

>> Well, I hope you boys got your copies.

You're welcome to cable any part of it you want.

>> Mmm, no thanks.

I want to stay in Tokyo.

I just signed a new lease.

(men laugh) >> Anybody here seen Ollie, Ollie Miller?

>> No, not yet.

>> When Ollie Miller is not at this bar, he must be sick.

(men laugh) >> See you later.

>> Sure.

>> Oh, there you are, Nick.

Meet Joe Cassell.

He just pulled in from Shanghai.

>> Hello.

>> Glad to know you.

>> Won't you sit down?

>> Yeah.

>> Uh, have a drink?

>> Scotch and soda.

>> Me, too.

>> Three Scotch and sodas.

Uh, Joe Cassell, Joe Cassell.

Mmm, covered the criminal courts for the old "Tele" in New York, then went to Russia and then Peking, and worked for the American Press Association for a while.

Then I lost track.

>> There's fame for ya, Cass.

>> No, that's a good memory.

>> Want a job?

>> Going home.

I was up at the Foreign Office this morning.

That story of yours had 'em buzzing like hornets.

It was very amusing.

>> Eh, break the monotony.

>> Where'd you dig it up?

>> A little here, a little there.

>> Of course, there's not a grain of truth in it.

You know that.

>> I don't know anything, do you?

>> Quite a bit.

Our Chinese cousins are trying desperately to shape public opinion against Japan.

>> What for?

>> To take attention off their own internal disorders.

And believe me, disorder is a clean name for it.

Having just spent four years there, I know.

>> I lived there six years, myself.

>> Four was enough for me.

Not that I haven't a tremendous admiration for the Chinese people.

>> I see.

"Some of my best friends are Chinese," huh?

(men chuckle) (soft music) >> Hi, fellas!

>> Hiya, Bogardis.

Hey, Chas, did you get a load of that front page of Nick's this morning?

Dynamite, huh?

Hey, come on, how about a little drink?

Set 'em up, on me!

>> You, buying?

>> As many as you can handle.

>> I'll have a double Scotch and soda.

>> I'll have a Bourbon, double.

>> Double.

>> How 'bout you, Bogardis?

>> I'll have a little soda.

>> You know what I want.

>> But Mr. Condon, China, throughout the century- >> Excuse, please.

Mr. Miller is here.

>> Oh, yes, sir, I'm quittin'.

>> What, again?

>> Ever see these things before?

>> Thank you.

>> Keep the change.

Two tickets for home, on the first boat I could get, leaving tonight.

Nagata Maru.

>> But where did you get the dough?

>> New invention.

Secret machine.

Press button, out comes fives, tens, hundreds!

(laughs) >> Well, in that case, how about the 30 you owe me?

>> A pleasure, a pleasure!

And here's the 10 that you wouldn't loan me, Stinker.

Buy a round of drinks.

>> Excuse me, we'll continue this in our next.

Ollie just came in.

I'll see you later.

>> So long, Nick.

>> Yes, sir, I'm quitting this godforsaken land.

What has it got?

Cherry blossoms but no cherries.

(laughs) What kind of cherry trees are those?

Eh, I'll probably settle down in Connecticut and write a book.

If I don't write a book, I'll, hi, Nick boy.

I've been looking for you all over.

200 and 20.

A debt of long standing.

Great honor to pay.

>> He must have been trading in Shanghai silver.

(men laugh) >> Johnson's just going to buy a drink.

>> Where'd you get the money?

>> I came into it.

>> Come on, make sense.

What's up?

>> I might well take offense at the skepticism in your tone.

But I prefer to be generous and remember you as my friend and former employer.

And attribute it to your bitter jealousy of my good fortune.

>> Former employer?

>> I'm leaving.

Tonight.

Me and Edith.

Nagata Maru.

(laughs) >> Where did you get that money?

>> Nick, take a tip from me.

Come on back to the States.

This place is gettin' hotter than the inside of Fujiyama.

Get out.

There was blood on the streets this morning.

(laughs) It'll be flowing like a river before the summer's over.

>> So you are mixed up in something shady.

>> Me?

Ollie Miller?

(laughs) Hey, don't forget.

A deck, cabin 23.

Come down there tonight, and I'll fill you full of champagne and tell you how much I love you.

(chuckles) Man's best friend, ya dog!

So long, friends!

So long, nice people, so long!

Woo-hoo!

(men speaking in Japanese) >> (speaking in Japanese), Miko-san.

>> Nick!

Isn't it marvelous, going home?

I won't believe it till I'm seasick.

>> Yeah, great stuff.

>> Oh, (speaking in foreign language) Miko-san.

>> Uh, you go on with your packing, Edie.

>> Yeah, I'll have to.

Never been early in my life.

>> What's it all about?

>> Oh, Nick, you've got me.

All of a sudden, everything is wonderful.

Rags to riches!

>> Well, how does Ollie explain it?

>> Oh, like he does everything else.

Uh, excuse me, he dismisses it.

>> Didn't he say anything?

>> Oh, vague, very vague.

Something about a contract for a book he's gonna write.

Big literary deal, advanced royalties, scads of money.

>> Mmm.

Fine, fine.

>> Nick, I don't care where he got it.

Maybe he stole the emperor's treasures.

All I know is we're going home.

This place is slowly killing him.

And me, too.

>> All right, all right.

After all, Ollie's private business is still his own.

But I didn't want to see either of you get into a jam because of anything irregular.

>> Well, if there's anybody he'd tell what it's all about, it'd be you, Nick.

>> Well, that's what has me worried.

He hasn't.

>> You'll be at the boat tonight?

>> Yeah, sure.

With a couple of magnums of champagne.

>> (laughs) That should open his big mouth.

>> He's opened it on less.

>> Yeah.

>> Well, I'll see you there.

>> Uh, Nick, in, in case I don't get a chance to tell you tonight, I, you're all we're gonna miss of this place.

I wish you were coming back with us.

>> All right.

See you at the boat, beautiful.

(horn blares) (foreboding orchestral music) (ominous orchestral music) (man speaking in Japanese) >> Good evening, Condon-san.

You go to America?

>> (laughs) Oh, no.

You're too anxious to get rid of me.

I'm just goin' to see a couple of friends of mine up on the boat.

(suspenseful music) >> Your name, please.

>> Name?

>> Well, uh, ask Hijikata, here.

He's been tailing me all day.

>> I am Thought Control officer.

Please to answer questions.

>> All right, I'll give you an answer.

I'm thinking this is a new low in stupidity, even for the Imperial Police.

Now I want to see Mr. and Mrs. Miller, stateroom 23.

Any objections?

>> Not yet.

Mr. and Mrs. Miller not yet arrived.

>> Well, I'll wait for them on deck.

>> Sorry, not permitted tonight.

>> Excuse me, please.

Armstrong?

Come on, dear.

>> Yes.

>> Hey!

Wait, (speaking in Japanese)!

>> Hey!

(foreboding music) >> Officer: Name?

(ominous orchestral music) (horn blares) (suspenseful music) (hand knocks) (dramatic orchestral music) >> Edie!

(door rattles) (frantic music) (man grunts) (body thuds) (desperate music) >> Too bad.

You refused to believe police.

Now you know.

Truth has been told.

You saw for yourself, friends have not yet arrived.

(fist thuds) (ominous orchestral music) (sailor shouting in Japanese) >> Hello, "Tokyo Chronicle," please.

Charlie Sprague!

Yeah.

(phone rings) >> "Chronicle" office.

>> Charlie?

Charlie, there's trouble, big trouble.

Look, I can't tell you about it now.

I'm coming right down.

But, uh, find out where the ambassador is, and get a call through to him, right away.

>> Right, Nick.

Did Ollie Miller reach you?

>> Ollie?

>> Charlie: He's been trying to get in touch with you.

He said it was urgent.

>> Well, where is he?

>> Charlie: He said he's trying to get over to your house.

>> Oh, fine, fine.

Well, I'll go there, then.

Switch the call there.

Yeah.

(suspenseful music) (gun bangs) (foreboding music) (suspenseful music) (body thuds) (glass clatters) Ollie!

(Ollie moans) Ollie!

>> Nick!

Nick!

>> Easy, easy.

(desperate orchestral music) (ominous orchestral music) (desperate orchestral music) Here you go, Ollie.

Ollie, take a sip of this.

There you are.

Easy, easy.

You're all right.

Ollie, will you tell me what happened?

>> If I'd have known they were going to be so tough, I'd have asked for more money.

Made a good guess in the paper, this morning.

You won't have to guess anymore, Nick.

Tanaka plan.

>> Ollie.

>> I'm glad, glad Edith got away okay.

Tell her, sorry I missed the boat, will you?

(somber music) >> Ollie?

(ominous orchestral music) (fist pounding) (fist pounding) (fist pounding) (fist pounding) What is it?

>> Very sorry to disturb.

>> So am I, beat it.

>> A desperate criminal escaped police.

Maybe he is hiding here.

Sorry, we must search.

>> We wish to protect you.

>> There's nobody here, and I don't need anybody to protect me.

Now get out!

>> Have accident?

>> Ah.

Here is criminal.

>> Don't you mean victim?

>> We must search house, please.

(speaking in Japanese) (Hijikata speaking japanese) (officer sighs) (speaking in Japanese) (speaking in Japanese), Hijikata?

(Hijikata speaking in Japanese) >> Well, of course, there was nothing to find.

Now go on, get out of here.

>> Yes.

But you come with us.

Make report.

>> All right, all right.

That's exactly what I ought to do.

Now, if you'll just give me a chance to phone my office, why, I'll- >> Uh, not permitting telephone.

>> Now look here, Oshima.

I'm getting awfully tired of this.

Your chief, Yamada, is a very good friend of mine.

I don't want to have to turn you in.

>> Come, please.

>> All right.

(dramatic orchestral music) (bodies thud) (table clatters) (glass clatters) (grunts) (birds chirping) (bars rattle) >> Condon-san.

(prisoner speaking in Japanese) >> Good morning, Condon-san.

Did not expect to meet you here, except as friend.

>> Can I use your phone?

Hello.

Hello, "Tokyo Chronicle," please.

You've got some explaining to do, Yamada.

Hello.

Hello, get me Charlie Sprague.

I mean, my government does not like its nationals to be thrown into the jug without any charge.

>> Japanese government would not do that to American, Condon-san.

Here is charge.

"Nicholas Condon, much-esteemed editor, 'Tokyo Chronicle,' held private celebration in his own home.

Gaiety, intent and far-reaching, causing complaints from neighbors.

Complaints ignored, forcing police to make polite request that gaiety subdue.

Request ignored.

Police enter home at 10:30 p.m. Find Nicholas Condon with two girls."

Two, Condon-san?

"Mr. Condon very much under influence sake.

Demand police leave.

Police demand two girls leave.

Condon attempt to throw police out.

Condon overcome by drinks.

Friendly police put him to bed in city jail to protect him."

>> Hello, hello!

Hello!

You cut me off, get me the "Tokyo Chronicle" again, please.

>> Because holding you in much esteem, man of great prestige, no longer angry with protective police.

You are free to go.

>> Thanks.

Hello, Charlie!

>> Aw, Nick, please.

Go home and get a little sleep.

You had us up all last night.

We even woke the ambassador.

I don't know how we're gonna alibi it to him.

Japanese papers are full of what you did.

>> Never mind that, never mind that.

Look, I'm glad you got the ambassador.

Get him again, and tell him I've got to see him as soon as possible.

And then get in your car and pick me up here.

Yeah.

And, uh, bring a camera.

>> Yamada: Sgt.

Oshima.

You know our good friend Condon-san, of "Tokyo Chronicle?"

>> We have met many times.

Great honor.

>> It's not mutual.

You killed two Americans last night, Oshima, one at the Nagata Maru, and the other at my house.

>> Ah, serious charge, Condon-san.

You have proof?

>> Condon-san and sake have big fight last night.

Sake win.

>> I suppose you weren't at the harbor and you weren't at my house.

>> Last night, we take families to view cherry blossoms in moonlight.

Most pleasurable evening.

>> Be better you forget bad dreams and go home to good sleep.

Sayonara, Condon-san.

And if I may try big joke, I say hope I am not to see you here too soon.

>> Understand you are very strong judo.

Perhaps you honor me with contest some time.

>> Certainly.

Only I hope next time it'll be face to face.

You can put your camera away.

There's the window that Ollie plowed through, last night, and they've replaced it.

Plant number one, even to the lipstick.

Plant number two.

>> Yeah, they don't miss a bit.

>> They've even cleaned up the bloodstains.

>> Yeah, very thorough.

Uh, what is it, Nick?

(fist raps) There's someone at the door, shall I see who it is?

>> Yeah, see who it is.

>> Hayoshi: Mr. Condon, please?

>> Come in.

>> Thank you.

>> Charley: This is Mr. Condon.

>> Yes.

Hayoshi.

>> Thank you.

Am from foreign office.

Please permit me to escort you to audience with His Excellency, Premier General Baron Tanaka.

>> Hmm.

Well, uh, I'm going to be busy for a couple of hours.

Tell him I'll drop into his office sometime this afternoon.

>> Please.

Not to office.

His Excellency awaits you at his home.

>> Home?

Hmm.

An honor.

Well, uh, a few minutes, please.

(soothing orchestral music) (woman speaking in Japanese) >> Uh, uh, won't you join us, Miss Hilliard?

>> Not now, thank you, Prince Tatsugi, if you don't mind.

>> I'm afraid Iris is unhappy these days.

Unfortunately, it was necessary to involve her in this distasteful affair.

Col. Tojo advised it.

>> Since when, Baron Tanaka, do you concede to Col. Tojo's sordid wishes?

>> I did not concede, Prince Tatsugi.

I agreed.

>> In the future I would be less unhappy if I were not called upon to search the effects of a woman so horribly murdered.

>> It will not happen again, my dear.

I promise that.

>> An interesting woman.

>> Yes.

>> Mixed parentage?

>> Yes.

>> Her mother was Chi- >> Chinese.

>> Baron, you know that I have communicated my fears to the emperor regarding the road down which you are determined to lead the nation.

>> Your Highness, the decisions already have been submitted to the emperor.

>> (sighs) Your great influence, Baron, could still check the militarists.

I am but an old man whose voice no longer carries its authority.

>> But you are among the most highly esteemed in my cabinet, your Highness.

>> "Esteemed."

Esteemed as a liberal screen.

I'm the scroll of the poet behind which samurai swords are being sharpened.

>> Without armed strength, we will perish.

That is my view.

>> Those views will lead Japan to disaster.

>> Tanaka: We see the problem differently.

>> That is true.

To uphold my beliefs, I would die with honor.

You, Baron Tanaka will die only to erase your dishonor.

>> Servant: Mr. Hayoshi and Mr. Condon.

>> It is a pleasure to see you again, Mr. Condon.

Uh, Col. Tojo, of the Imperial Army.

And you know Major Kajioka, Imperial Secret Police.

And Mr. Nicholas Condon.

Please sit down.

Thank you for coming to my home.

It is more agreeable than meeting at the office.

Here, we are not bothered with, uh, (chuckles) newspaper men.

Eh, your, uh, front page story yesterday, Mr. Condon, was somewhat, uh, embarrassing.

>> Can't please everybody.

>> (laughs) Of course.

Uh, we realized you had no way of knowing it was an inopportune moment for such a story.

>> Frankly, Mr. Condon, certain liberal, subversive factions within our own country are seeking to create an incident to weaken the present government.

They are responsible for the malicious rumor which you have regrettably printed.

>> As I see it, Mr. Condon, the story itself is unimportant.

These rumors of a document which plans world conquest are ridiculous.

But should this rumor be taken seriously by the wrong people, a blazing fire might be kindled which Japan would find costly to extinguish.

>> Oh, I see.

What you're saying is, you'd like "The Chronicle" to put on a Fire Prevention Week campaign.

Is that it?

>> No, Mr. Condon.

Within the past 24 hours, we've discovered a plot to smuggle this forged document out of Japan.

A man by the name of Oliver Miller, one of your former employees, is involved.

>> We could recover the document from him by force, if we chose.

We would prefer that you persuade him to return to us.

>> It seems you haven't heard, Your Excellency, nor your secret police, Major, that Mr. and Mrs. Miller were murdered, last night.

>> (laughs) Yes.

Uh, we read in the paper this morning about your escapade last night, Mr. Condon.

In your incoherent condition, you spoke of this unpleasant fantasy.

As we were concerned with the fate of Mr. Miller even more than you, we immediately made inquiries.

From the captain of the Nagata Maru, a most trustworthy gentleman.

Isn't it clear to you, now?

>> Mm-hmm, perfectly clear.

>> In every detail, Mr. Condon.

Murder is an ugly and dishonorable act.

And to prove it, someone must be accused.

Bodies must be produced.

No, Mr. Condon.

To approach this problem that way would only lead you to many difficulties.

But if you send Mr. Miller a radiogram, I am sure he will return the document to us, through you.

Everyone would be enormously relieved and you would greatly profit.

(laughs) We will all live to laugh at the strange hallucination which you experienced last night.

>> I see.

Well, you want this, uh, forgery returned.

>> Yes.

>> And, uh, you're willing to pay plenty for it.

Mm-hmm, all right.

Here's my price.

When the United States embassy is informed that the murderers of Ollie Miller and his wife, I mean the real murderers, Oshima and Hijikata, not a couple of sacrificial monkeys, are brought to trial and convicted, then and only then, the thing that you're looking for may turn up.

>> Drink?

>> Whiskey.

For the love of Mike, what's this about your quitting the paper?

>> Trying to give you a break.

You want my job, don't you?

>> Oh, come on, don't toy with me.

What's up, what happened with Tanaka?

>> Well, Charlie, I, I can't tell you much.

You'll have to be satisfied with the crumbs.

After I left Tanaka, I went over to the embassy.

We had a long talk.

Now, don't ask any questions.

This much I can tell you.

They're sending me back to Washington.

>> Okay, crumbs, but from cake.

I suppose you saw bright-eyes, over there.

>> Yeah, he's been tailing me all day.

>> They know you're leaving.

They might have other plans for you, Ollie Miller-style.

>> No, the embassy's expressed a very definite interest in my safe departure.

Polite, but official.

Oh yeah, and, uh, one more for me.

After you finish that drink, you're going back to the office.

I want a story in tomorrow's paper that says I'm sailing for 10 days on the "President Wilson".

>> Why the publicity?

>> My hunch was right, Charlie.

The police did not get that document.

So it must have been the people that want to get it out of Japan.

Now if they know I'm sailing, they may try to get in touch with me.

>> Oh, don't do it, Nick.

Keep on ice until the boat sails.

>> Look, there's a one-column cut of me in the files, three-quarter face, very flattering.

Run that with the story, front page.

(soft sentimental music) Hey, kiddy, do me a favor, will ya?

>> Yes, please?

>> Keep an eye on my friend, over there.

>> Yes, yes.

(soft impressive orchestral music) >> I say, Condon, may we join you?

It looks as if every table's taken.

>> I arranged it that way.

>> This is Nick Condon, "Tokyo Chronicle."

Miss Iris Hilliard, just arrived from Shanghai.

>> I hope you'll enjoy Tokyo.

>> I think I'm going to.

>> Never mind, I do it better.

And besides, I'm not crazy.

>> What you mean, uh, crazy?

>> No man in his right mind would willingly share your company, Miss Hilliard.

Uh, how's Shanghai these days?

>> Oh, Shanghai is always gay.

>> For everyone but the Chinese.

>> May the waiter interrupt long enough to take your orders?

>> Daiquiri.

>> The same.

How was the trip over?

>> A little on the rough side.

>> I always say it's not the ocean, but the Japanese boats.

>> You arrived last night?

>> Yes.

>> I went down to see a couple of friends of mine off on the Nagata Maru last night.

You didn't, by any chance, come in on that boat, did you?

(dramatic music) >> Look here, Condon, you have a reputation for bad manners, but this is going too far.

>> It's all right, Mr. Cassell.

Perhaps Mr. Condon can explain.

>> Telephone, Mr. Cassell.

>> Excuse me.

>> Well?

>> I'm sorry, sorry.

I had kind of a rough night, last night.

And, uh, I'm not quite myself, today.

>> I read about it in this morning's paper.

>> Oh, that story?

Not true.

>> I didn't think so.

Too much fun to be true.

May I have a cigarette?

I'd like to make a confession.

>> Well, we're alone.

>> You were wrong about Cassell.

He isn't crazy.

>> I insisted on coming over here.

>> Why?

>> I wanted to meet you.

>> You certainly know your judo, don't you?

You've had me off balance ever since you came in.

>> Good.

>> All right, now, what you're saying is that, uh, you're making a play for me.

Why?

>> Perhaps I like your look.

>> Mm-mm, not with this.

>> There may be things about that I like.

>> Yeah?

What?

>> I've always liked red hair.

>> Well, I grew it for you.

>> And the ears?

>> Yeah, two of those.

>> Isn't that good?

>> More would be a bother.

Well, keep on, keep on.

Pretty soon, you'll level.

>> All right, Mr. Condon, let's, to use your phrase, level.

I was told to meet you by a friend.

>> Yes, but whose friend?

>> Yours, from Shanghai.

A very wonderful, almost saintly old man.

>> Chang Po-Ling.

>> Yes.

>> Yes, yes, wonderful, wonderful.

And he asked you to look me up?

>> Yes.

>> Well, he certainly hasn't forgotten me.

>> No, he remembers you very well, as you were then.

He hoped you hadn't changed.

>> Now just what does that mean?

>> First, we become better acquainted.

It was his desire.

>> His desire became mine five minutes ago.

Come on, let's figure a way to go about that.

>> About what?

>> How to get better acquainted in the shortest possible time.

You see, I'm, I'm leaving in 10 days.

>> Oh.

>> Oh, that's not bad.

Come on, let's drink to them.

>> To them?

>> Yeah, 10 days.

The 10 days that shook the world.

(light orchestral music) >> Iris, my dear.

You know Col. Tojo, of course.

And, uh, Major Kajioka.

There's tea?

>> No, thank you.

>> Have you anything to report?

>> I have made some progress.

>> Tojo: What progress, please?

>> Mr. Condon finds me attractive.

>> The introduction I arranged worked smoothly?

>> Excellently, thank you.

>> Please waste no time in becoming most closely acquainted.

>> This adventure, Col. Tojo, has many ramifications which I find displeasing.

Perhaps we can eliminate the sordid details and learn exactly what has occurred thus far.

Does this man possess the document?

>> I cannot say for certain.

>> Tojo: I'm sure he does, Your Excellency.

>> It would appear so.

>> It is Mr. Condon's ambition to leave Tokyo in good health within one week.

He is relying upon his embassy to protect him.

That means you must work swiftly.

>> Col. Tojo, I do not need you to remind me of my duty.

As far as Mr. Condon is concerned, I have every hope for success.

>> Hope alone will not suffice.

With your permission.

(car horns beep) >> Hey, Charlie, Charlie.

That fellow in the top hat, just going out, isn't he the one from the foreign office that was over at my house the other day, uh, Hayoshi?

>> Yeah.

Why?

>> Oh, nothing.

Just checking, thanks.

>> Uh, say, Nick, uh, do you know a guy named Cassell?

A Joe Cassell?

>> Yeah.

Heard of him.

>> Someone, well, I just got a wire from the States about him.

They say he's a good man.

I thought I'd try him out in your job after you go.

>> From what state?

You mean you just got an order from the Japanese Foreign Office to put him on, two minutes ago.

>> That's an insult!

Nobody dictates to me.

>> No, not even your own conscience.

You promised Charlie Sprague my job, didn't you?

>> Well, I've reconsidered.

They say Cassell's got a fine record in journalism.

>> Yeah, great.

He ran a paper in China that posed as a friend of the people.

And on the side, he set up a patriotic organization that collected nickels and dimes from the poor Chinese from the States to print anti-Japanese propaganda.

>> Well, what of it?

>> Oh, nothing much.

But instead of printing the leaflets, he lost the money in the stock market, 60,000 bucks.

His partner committed suicide and Cassell decided on a change of climate.

>> I don't suppose you can prove that.

>> All right, if that isn't enough, I'll dig up something that'll make even your stomach crawl.

But if you've got any sense, you'll stick to Charlie Sprague.

>> Will you stop trying to run my paper?

>> Yes!

Yes!

Right now!

>> Okay, okay.

I'll give it some more thought.

>> Hey, Nick, where you going?

>> Uh, well, as the Japanese say, if the flower is to be beautiful, it must be cultivated.

(upbeat orchestral music) Come on.

>> Do you know what this chase has done for me?

Developed a ravenous appetite.

>> I've developed a few, myself.

>> Must we really avoid him?

>> No, come on, let's eat.

(lively orchestral music) >> Thank you.

>> You like it, huh?

>> Japan is lovely, what I've seen of it in three days.

>> Yeah, the scenery's all right, but some of the inhabitants, I object to.

The higher up you go, the lower grade people you meet.

>> Then I'm lucky that I don't have to meet any highly placed Japanese in my work.

>> Work?

>> Of course.

>> Namely?

>> I'm studying the problems of Japanese women.

>> Why?

>> Our friend in Shanghai.

>> Now don't tell me that was why he told you to get in touch with me.

>> Nick, you know so much, and still you're so ignorant about women.

>> Ignorant, but awfully willing.

>> Do you know anything at all about Japanese women?

>> Now what kind of a question is that, academic, or personal?

>> Well, if you won't be serious.

>> Oh, I'll be serious.

>> They're not considered human beings.

They're not even allowed to think.

It's against the law.

>> Mmm, I imagine they bootleg a thought now and then.

>> Yes, bootleg thinking.

That's not good enough.

>> Nick: And so you've elected to help them.

>> Why not?

I'm a woman.

>> I've been aware of that for some time.

>> The Chinese women are just beginning to learn what it could mean to be free.

If the Japanese women felt the same way- >> You mean, that might stop, uh, Tanaka, Tojo, Yamamoto, and all the rest?

>> It might help.

>> The Tanaka plan, what do you know about it?

>> Why don't you tell me?

I haven't published any articles on the subject.

>> Why don't I just kill him off?

>> I think I know a less violent solution.

>> Wait.

Watch.

(door slams) (laughs) Don't wait up for me, kiddy.

(fist raps) (servant speaking in foreign language) >> You've got a pretty good notion there.

>> Do you understand Chinese?

>> I?

(chuckles) (speaking in Chinese) (servant laughs) >> I'm afraid she's hopelessly romantic.

>> She's not exactly my type, but, uh, on the other hand, with a few alterations, you'd be- >> What sort of alterations?

>> Ah, this is just kind of a game.

Rule one, learn never to interrupt a conversation when it begins to get interesting.

Rule two, whenever you sit, always sit with your chin tilted up like this.

(soft romantic music) >> Like this?

>> Mm-hmm.

Perfect.

>> When did you leave China, Nick?

>> Oh, (chuckles) there goes rule one.

Well, I, uh, I left China two years ago.

Left Brooklyn 15 years ago, Cleveland 10 years ago, Kansas City in the summer of 1921.

Now would you like me to go all through the towns, very quickly, just sort of get them out of the way?

>> I don't think that'll be necessary.

>> Well, I just wanted to make sure that I'd cover everything that you might interrupt with.

>> I'm afraid I'll have to interrupt you, Nick.

>> Yeah?

Why?

>> I was just thinking.

>> I know.

You were thinking of changing the subject again.

Now, uh, let me tell you what I'm thinking.

>> I think I know.

And I like it very much.

But I don't believe you really know what you think of me.

>> Maybe I do.

>> Desirable woman?

>> Much more than that.

>> Be sensible, Nick.

What, what I'm trying to tell you is that I'm half Chinese and- >> Well, I'm half Irish and half Norwegian.

>> It isn't the same thing.

>> Aha!

What are you trying to do, run down the Irish?

>> Thank you, Nick.

>> Ah, stop it.

Stop it, I hate gratitude.

It's a very debasing emotion.

Now you just keep your mind on the game, that's rule one.

Rule two.

Hmm.

Have you played this game before?

>> Maybe when you learn a little more about these people, you might revise your opinions about the Chinese.

>> Maybe, but the farther west I've gone, the more I'm convinced that wisdom and civilization come from the East.

>> That's what I say, China!

>> Japan is east of China.

>> You should do well here, Mr. Cassell.

>> How 'bout this?

>> Excuse me gentlemen, I'll see you later.

>> Hmm?

>> Dirty, low-down- >> Newspaperman: What is it, what's it all about?

>> Colonel, this is an outrage.

I won't tolerate it.

You seem to forget my position and influence.

>> Perhaps you do not have them any longer, Mr. Cassell.

Have you seen His Excellency, Baron Tanaka?

>> If he'd see me, I wouldn't be here.

Be reasonable, Colonel.

All you wanted was that the loan to China be killed.

It didn't happen the way we planned it, but what's the difference?

>> We are just as much concerned in the manner in which these matters are accomplished.

Now His Imperial Majesty's government will have to make it very clear we were never acquainted with you.

>> But where's that leave me?

I've lost my friends in China, and now- >> Precisely.

Surely you must realize, Mr. Cassell, that he who is not a good friend of China cannot be a good friend of Japan.

Most regrettable.

Good day.

>> Okay.

Okay.

(shoes pounding) Don't get me wrong, Condon.

I don't blame you, it was my mistake.

I don't know what got into me.

The Chinese are great people.

I love them.

If you'd only come to me before printing the story and stopped me, knocked some good sense into my head.

>> It isn't brains you're short on, Cassell.

>> I know, but it was like doubling up, letting the money ride on a good bet.

I couldn't pass it up.

>> Oh, go on, get out of here.

>> Wait a minute.

You're a decent guy, Condon.

And I've got an idea that'll work for both of us.

You're in a worse spot than I am.

They're not gonna let you get out of the country alive.

But they don't suspect me.

You set the price.

Half a million?

Anything you say.

Let me take it to China and set myself up again, with the right people.

You collect the money in America.

>> Take what to China?

The Tanaka Plan.

You've got it, Condon.

Tanaka's already made you an offer, but you're holding out for more, I know.

>> Oh, yeah?

Well, what else do you know?

>> Plenty.

Didn't I frame the introduction for Tanaka, between you and the Hilliard dame?

Don't I know she hasn't had any luck yet because you're playing cagey?

>> What else?

>> That's plenty.

You smear me for selling out China, while you're selling out your own country!

(fist thuds) (dramatic orchestral music) (dramatic orchestral music) >> Nick!

Nick, what is it?

>> Now that we know each other, start talking.

Start talk.

Hey, (speaking in foreign language).

You were on the Nagata Maru that night.

>> What if I was?

>> You work for Tanaka.

>> No.

>> That's a lie.

Thought you were going great, didn't you?

Had me shooting off my mouth about the wonderful Chinese people, tied me up with Chang Po Ling.

You're gonna build up a case of espionage against me and have me boxed.

I'd give up the Tanaka Memorial or else spend the next 10 years of my life in a dirty Jap prison.

Very cute.

But you made one slip.

You thought you'd build yourself up with me by spilling that story on Cassell.

Well, it didn't work.

He talked.

>> Can I say something?

>> Yes, plenty, to the United States embassy.

You're going to tell them how you killed Edith Miller.

>> I didn't.

>> Well, you know who did and who killed her husband.

You go down into a sewer with a dirty rat like Tanaka, and then come to me with your freedom for women, equal rights for all people, love of humanity.

Well, now, who killed them?

The names!

Oshima, and who else?

>> What would you give for the names?

The Tanaka Memorial?

>> It's too late for that kind of a deal now.

>> What is your price, then, for the document?

>> That hardly answers my question.

>> All right, I'll give it to you in your own language.

It may come as a surprise to you, but these things can't buy everything.

There isn't money enough in all Japan to buy that document.

>> Then what are you risking your life for?

To protect people in China and America you don't even know?

To save humanity?

>> Come on, let's get over to the embassy.

>> Are you sure?

Are you sure you'd risk your life to protect the Tanaka plan, if you had it?

>> Oh, don't worry.

I have it!

>> No, you haven't.

I have.

>> Nick: Is this more of your lies?

>> Iris: No, Nick.

If you'll wait on the terrace, I'll bring it to you.

(speaking in foreign language) >> Where'd you get this?

>> Where did you put it?

The portrait of the emperor held no fears for me.

When the police left- >> Where were you?

>> In your garden.

An awfully good fight you put up, Nick.

But when Oshima hit you from behind- >> Yeah, he hits awfully hard.

Awfully hard.

So this is it, huh?

This is it.

>> "Memorial to His Imperial Majesty, by Premier Tanaka, Outlining the Positive Policy of Japan."

>> Tell me, how, how, uh, how close did I come, in my article the other day?

>> You missed, Nick, by millions of square miles.

This is a plan for world conquest.

Manchuria's only the beginning.

All of China, then America- >> Oh, now, wait a minute.

What do you think we'll be doing while all this is going on?

>> Sleeping.

Until the bombs start falling on you.

They're counting on that, Nick.

That's why it's so important to get this to the outside world, to China, to your country.

Now, before the plan goes into full operation.

>> Hmm.

Well, the Japanese are gonna claim it's a forgery.

And, uh, they'll scream "fraud" all over the place.

Now what we've got to do is to find some means to keep them from squirming out of it.

>> That can be done, too.

This document can be authenticated with the signature of someone who was present when the plan was drawn up.

>> Are you sure of that?

>> I'm sure of that.

>> Hmm.

Darling, tell me, uh, how'd you get mixed up in this?

>> My work.

>> Well, I can think of easier ways to make a living.

>> Not for me.

>> Big payoff, huh?

>> Yes.

A free China.

That's why I had to be so careful, Nick, about telling you.

I had to be sure how you felt about it.

>> Hmm.

And about you.

(soft orchestral music) >> Nick.

Nick, the other evening, I said I wished we'd met two years ago.

I couldn't tell you why then.

I suddenly became afraid that the thing I wanted most, for you to say yes, you'd take the chance, would come too swiftly.

It would end for us before it could begin.

I suddenly wanted the moment of your decision pushed back months, years.

>> Well, wait a minute, darling.

I'm still alive.

>> Yes, Nick, very much.

So much so that I can't bear to think of it otherwise.

(ominous orchestral music) >> Thank you.

>> Sit down.

>> You are not displeased that I suddenly begged this cocktail?

I intended to see you later this evening, but some rather important matters demand my attention.

I am concerned about your work.

I had hoped you might have completed your mission by now.

And that the document we seek might already be in your hands.

>> I shall be very happy when all this is over and forgotten.

I'm afraid that politics and intrigue are not my special talent.

Sometimes I get a little frightened.

>> I understand, Iris.

I promise, for you, there will be no more politics, no more intrigue, no more spying.

>> I shall be very grateful.

>> It is I who am grateful.

In fact, I brought you a little gift in reward.

It's something I picked up at a silversmith's on my way over.

(foreboding music) I daresay you were expecting more rubies.

I haven't forgotten how you love them.

>> Oh, no, these are quite lovely.

>> "A virtuous woman, who can find?

For her price is far above rubies."

>> A quotation?

>> From the Christian Bible.

It should remind you of something else from the same source.

The coins, count them.

30 coins.

30 pieces of silver.

(dramatic music) Now, I'm not going to kill you.

I'm going to give you a chance to save your life and my honor.

The fact that you betrayed me was discovered by Col. Tojo.

I have managed to save face thus far by informing him that your actions were part of a plan of mine, through which I could obtain the name of the traitor within our government with whom you had been working.

Now, what is his name?

(suspenseful music) Very well.

You have two hours in which to make your decision.

If at the end of that time I do not receive a call from you naming the traitor, your fate will be in the hands of Col. Tojo.

Weigh carefully the possibilities of such a future.

(dramatic orchestral music) Oh, and, uh, do not attempt to leave the hotel or use the telephone, as it will be useless.

I will await your call.

(soft music) You will see that the woman is punished.

Death that comes quickly is not punishment.

There are other forms which are slow, which must be painfully absorbed.

>> Yes, Excellency.

>> I had planned for our divine emperor, for his rule and power.

In the execution of these plans, I have failed.

For my own stupidity, I have been deceived and thus dishonored His Imperial Majesty.

To you, Capt.

Yamamoto, to you, Col. Tojo, I task the sacred obligation which I have betrayed.

I charge you a pledge.

>> I pledge you never to sheathe the sword of the samurai until our victorious armies march as conquerors through the streets of every capital of the world.

>> I swear the same.

America will be crushed, never to rise again.

If the gods are kind, I will be in the White House when Japan dictates her terms of peace.

>> Meet me before the shrine, where we will do what must be done.

(ominous music) (dramatic music) (foreboding music) Is everything in readiness?

>> Yes, Your Excellency.

(determined orchestral music) (suspenseful orchestral music) (dramatic orchestral music) >> I have been considering your past services to us.

They have not been without, uh, value.

>> Thank you, Col. Tojo.

You know I've always been a friend of Japan's.

>> Japan does not forget her friends.

There is a way in which you can, uh, reestablish yourself.

An exclusive news story of the first magnitude.

>> I'll be right over in a half an hour.

>> There must be something wrong, Charlie.

I've been trying to get her all morning.

Did Miss Hilliard have any visitors yesterday?

>> Yes, Baron Tanaka.

>> Baron Tanaka!

Well, you know where he is now, don't you?

With his ancestors.

(fist knocks) Oh come on, open up.

>> There's something fishy about that press release.

Where did Cassell come off to grab an exclusive?

>> If you ask me, Charlie, the stroke that killed Tanaka had a very sharp edge to it.

>> Oh, Miss Hilliard?

(foreboding music) >> Well?

>> They didn't get her.

She took a run-out powder.

(fist knocks) (somber music) >> There they are for the baggage.

Come right in.

There they are.

(hotel clerk speaking in foreign language) >> Four piece luggage.

>> Count check, please.

>> All right, all right, I'll take your word for it.

>> Sorry, must count.

>> All right.

(sighs) One, two, three, four.

>> Go.

>> All right, let's get going.

>> Have another drink.

>> It's a frame, Nick.

>> Easy, easy.

>> Hijikata's around, outside, somewhere.

>> She's had almost a week to contact you.

Why did she wait until three hours before your boat sails?

I told you that dame is no good.

She's trying to hang a spy rap on you.

Can't you see it?

Don't go, Nick, for the love of.

(brakes squeaking) Let me see who it is.

>> No, no, no, no.

You wait here.

Johnny Clarke, from the embassy.

>> I'm certainly relieved to find you here, Nick.

>> Why, where'd you expect to find me?

>> Frankly, in a Japanese dungeon.

>> I told you.

>> What's the story?

>> You've got a friend somewhere on this island, Nick.

We received a phone call from him at the embassy 20 minutes ago.

>> Who was it?

>> Anonymous.

A warrant is to be sworn out for your arrest.

You're to be held for questioning, suspected of being a Chinese agent.

The ambassador sent me over in his car.

Official American property, can't be violated.

So I'm to put you on the "Wilson" at once, in charge of the captain.

>> Great, you'll be immune.

You'll be a diplomatic pouch.

>> It's the only way, Nick.

If they once catch you, it's a long legal tangle before we can do anything, weeks, maybe months.

>> So long, Nick.

Bon voyage!

Now get going.

>> Thanks, Johnny.

I'll see you at the embassy in about an hour.

>> Charlie: Hey, Nick!

(suspenseful orchestral music) (engine roars) (tense music) (ship horn blares) >> Nick Condon!

(speaking in foreign language) (soft hopeful music) >> Light up in there.

>> Iris: It's all right, Nick.

(sentimental music) >> It's been a whole week and not a word from you.

>> I couldn't get word to you before this.

>> You could've gotten word to me some way.

>> You still don't trust me.

>> I do trust you.

I worked that out for myself an hour ago.

>> I think I can prove to you that it was worth it.

Come with me.

(suspenseful music) >> Mr. Condon, I am quite certain you will agree there is very little time to waste on explanations.

>> That's right.

>> Miss Hilliard and I feel it would serve our purpose most effectively if I signed the document in your presence.

Naturally, when this is made public, its authenticity will not go unchallenged.

My signature will be branded a forgery by our government, including the emperor.

>> In that event, Your Highness, your voice will give them the lie.

>> The length of elapsed time between the publication of this document and my ability to speak will be very brief.

In Japan, a traitor's voice is quickly silenced.

Mr. Condon, I take my part in this not for your country but for mine.

I would rather see Japan defeated than triumphant under the heels of our militarists.

(determined orchestral music) (gentle sentimental music) >> Lady, would you mind very much if I were to kiss you?

>> I don't believe I'd have the strength to move from this spot until you did.

>> And now we've got to get out of here.

>> It's all been arranged.

In a few minutes, a fishing boat will take us to a freighter out in the lower bay.

>> Us?

>> You're going with me, Nick.

They're planning to hold you for questioning.

Once they get you- >> Aha!

I had an idea it was you that warned the embassy there was a warrant out for me.

They want to send me out under diplomatic immunity.

>> Diplomatic immunity won't stop a bullet or a bomb under a car.

>> Rough, are they?

>> Leave with us, Nick, for me.

>> For you?

Are you worth that?

>> Mm-hmm.

>> Well, honey, why didn't you tell me?

(suspenseful orchestral music) (ominous music) (suspenseful music) (sinister music) (gun bangs) (body thuds) (Oshima shouts in Japanese) (frantic music) (men speaking in Japanese) >> Nick, this way.

>> Wait, wait.

Police everywhere.

Hurry!

You'll have to take it out, darling.

I'll hold them here until you get a start.

>> No, Nick, they'll kill you!

>> Get going.

>> Nick, Nick, they'll kill you!

The plan is all they want.

Leave it here for them- >> No- >> They didn't- >> No, we're not, no.

We can't do that.

>> I won't leave without you, I won't!

>> Darling, darling!

We've got jobs to do.

Nobody gave them to us, but they've got to be done.

Now you're my girl, aren't you?

All right, then you're gonna do what I want you to do.

I know it's tough.

It's tougher to go than it is to stay.

But you can't hold them, and I think I can.

>> All right, Nick.

I'm your girl.

(hopeful orchestral music) (shoulder bangs) >> Better hurry, darling.

This neighborhood's getting awfully run down around here.

(shoulder bangs) (shoulder bangs) (door rattles) (determined music) Given up strangling, eh, Oshima?

Oh, that's right!

You had given it up.

You shot Ollie Miller.

It was his wife you strangled, wasn't it?

>> Yes.

>> I see your point.

When it comes to taking a man with your bare hands, it's rather risky, isn't it?

>> You're very clever, Mr. Condon.

But there's one flaw in your cleverness.

It is as easy to kill you with these as with that.

In fact, I prefer it that way, the Japanese fashion.

(ominous music) (grunts) (speaking in Japanese) (table clatters) (shouts) (frantic music) (grunts) (body thuds) (body thuds) (desperate music) Ah!

(grunts) (body thuds) (Nick gasps) (body thuds) (shouts) (fist thuds) (grunts) (frantic music) (Nick gasps) (gasps) (grunts) (dramatic orchestral music) (fists thud) (body thuds) (grunts) (fist thuds) (body thuds) (fist thuds) (baskets clatter) (grunts) (water splashes) (solemn music) (officer shouting in Japanese) (frantic music) (water splashes) (crate splashes) (suspenseful orchestral music) (fist thuds) (water splashes) (Nick shouts in Japanese) (ominous music) (desperate music) (solemn music) >> Kabe, check the men.

(tense music) >> Condon has escaped from the docks.

>> Now he comes here.

>> Driver!

Drive past Aka Street.

(driver speaking in Japanese) (speaking in Japanese) (desperate music) (engine hums) (foreboding music) (feet shuffling) (doors slam) (determined music) (gun banging) (suspenseful music) (Yamada speaking in Japanese) >> So sorry, Mr. Condon, to take plan from you.

But you see, Japanese very smart.

>> Only half smart, monkey.

Only half smart.

(suspenseful orchestral music) >> Johnny: Get out of my way!

>> Hello, fella.

I said I'd be back in an hour.

Sorry, I'm a few minutes late.

>> Yamada, this is not going to be treated as another of your very regrettable mistakes.

>> Condon is an enemy of Imperial Japan.

Insist he must be.

>> Extremely sorry this has been result, Mr. Clarke.

It is true Condon has been enemy of Japan, but Japanese people very good, very generous.

We will forget bad actions of Condon and say no more.

You, in turn, will forget this incident?

>> What's the matter, Yamada, afraid of the penalty for failure?

>> But is much simpler this way.

Both sides have made mistake.

Will be very embarrassing for all.

>> The United States government doesn't settle for a deal, Yamada.

>> Condon-san, Condon-san, you have saying, "forgive your enemies."

I am willing.

>> Sure.

Forgive your enemies, but first get even.

(dramatic orchestral music) You're watching Subterranean Cinema only on PBS Fort Wayne.

Hey, it's Kris and JJ.

Once again, we hope you enjoyed Blood on the Sun .

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Now, Kris, what is the next movie that you've got for us?

Well, I'm going to tell you, JJ.

Next week's film is Fire Over England , and it stars Laurence Olivier and Vivien Leigh.

JJ, thanks again for joining us down here in the basement.

We're going to play some cards later.

If you want to stick around, that would be amazing.

I hope you brought your milk money, Kris, because I'm going to take it all from you when we play poker.

Well, I don't have a whole lot of money, so we're going to see what happens.

And we hope that you'll start back next week for Subterranean Cinema only on PBS Fort Wayne.